The Project Gutenberg eBook of Masks, with Jim's beast, Tides, Among the lions, The reason, The house This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Masks, with Jim's beast, Tides, Among the lions, The reason, The house Author: George Middleton Release date: May 14, 2022 [eBook #68072] Language: English Original publication: United Kingdom: Samuel French, 1920 Credits: Charlene Taylor, hekula03 and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) *** START OF THE PROJECT GUTENBERG EBOOK MASKS, WITH JIM'S BEAST, TIDES, AMONG THE LIONS, THE REASON, THE HOUSE *** MRS. PARTRIDGE PRESENTS Comedy in 3 acts. By Mary Kennedy and Ruth Hawthorne. 6 males, 6 females. Modern costumes. 2 interiors. Plays 2½ hours. The characters, scenes and situations are thoroughly up-to-date in this altogether delightful American comedy. The heroine is a woman of tremendous energy, who manages a business--as she manages everything--with great success, and at home presides over the destinies of a growing son and daughter. Her struggle to give the children the opportunities she herself had missed, and the children’s ultimate revolt against her well-meant management--that is the basis of the plot. The son who is cast for the part of artist and the daughter who is to go on the stage offer numerous opportunities for the development of the comic possibilities in the theme. The play is one of the most delightful, yet thought-provoking American comedies of recent years, and is warmly recommended to all amateur groups, (Royalty on application.) Price, 75 Cents. IN THE NEXT ROOM Melodrama in 3 acts. By Eleanor Robson and Harriet Ford. 8 males, 3 females. 2 interiors. Modern costumes. Plays 2¼ hours. “Philip Vantine has bought a rare copy of an original Boule cabinet and ordered it shipped to his New York home from Paris. When it arrives it is found to be the original itself, the possession of which is desired by many strange people. Before the mystery concerned with the cabinet’s shipment can be cleared up, two persons meet mysterious death fooling with it and the happiness of many otherwise happy actors is threatened” (Burns Mantle). A first-rate mystery play, comprising all the elements of suspense, curiosity, comedy and drama. “In the Next Room” is quite easy to stage. It can be unreservedly recommended to high schools and colleges. (Royalty, twenty-five dollars.) Price, 75 Cents. SAMUEL FRENCH, 25 West 45th Street, New York City New and Explicit Descriptive Catalogue Mailed Free on Request MASKS With JIM’S BEAST, TIDES, AMONG THE LIONS, THE REASON, THE HOUSE _One-Act Plays of Contemporary Life_ BY GEORGE MIDDLETON “_We all wear many masks_” COPYRIGHT, 1920, BY GEORGE MIDDLETON _ALL RIGHTS RESERVED_ CAUTION.--Professionals and amateurs are hereby warned that “Masks,” “Jim’s Beast,” “Tides,” “Among the Lions,” “The Reason,” and “The House,” being fully protected under the copyright laws of the United States of America, the British Empire, including the Dominion of Canada, and the other countries of the Copyright Union, is subject to a royalty, and anyone presenting the play without the consent of the owner or his authorized agents will be liable to the penalties of the law provided. Applications for the professional and amateur acting rights must be made to Samuel French, 25 West 45th Street, New York, N. Y. NEW YORK | LONDON SAMUEL FRENCH | SAMUEL FRENCH, LTD. PUBLISHER | 26 SOUTHAMPTON STREET 25 WEST 45TH STREET | STRAND =MASKS= with =Jim’s Beast, Tides, Among the Lions, The Reason, The House= _One-Act Plays of Contemporary Life_ =ALL RIGHTS RESERVED= +------------------------------------------------------------------+ | | | | | Especial notice should be taken that the possession of this book | | without a valid contract for production first having been | | obtained from the publisher, confers no right or license to | | professionals or amateurs to produce the play publicly or in | | private for gain or charity. | | | | In their present form these plays are dedicated to the reading | | public only, and no performance, representation, production, | | recitation, or public reading, or radio broadcasting may be | | given except by special arrangement with Samuel French, 25 West | | 45th Street, New York. | | | | These plays may be presented by amateurs upon payment of a | | royalty of Ten Dollars per performance, payable to Samuel | | French, 25 West 45th Street, New York, one week before the date | | when the play is given. | | | | Professional royalty quoted on application to Samuel French, 25 | | West 45th Street, New York, N. Y. | | | | Whenever the play is produced the following notice must appear | | on all programs, printing and advertising for the play: | | “Produced by special arrangement with Samuel French of New | | York.” | | | | Attention is called to the penalty provided by law for any | | infringement of the author’s rights, as follows: | | | | “SECTION 4966:--Any person publicly performing or representing | | any dramatic or musical composition for which copyright has | | been obtained, without the consent of the proprietor of said | | dramatic or musical composition, or his heirs and assigns, | | shall be liable for damages thereof, such damages, in all | | cases to be assessed at such sum, not less than one hundred | | dollars for the first and fifty dollars for every subsequent | | performance, as to the court shall appear to be just. If | | the unlawful performance and representation be wilful and | | for profit, such person or persons shall be guilty of a | | misdemeanor, and upon conviction shall be imprisoned for a | | period not exceeding one year.”--U. S. Revised Statutes: Title | | 60, Chap. 3. | | | +------------------------------------------------------------------+ =To= GARDNER and MARICE SOUVENIR OF HAPPY DAYS IN THE FOREST WHERE MUCH OF THIS WAS WRITTEN In the prefaces to my five previous volumes I have sufficiently explained my reason for play publication--not as a substitute for production but as an alternative sometimes compelled by the exigencies of a highly commercialized theater. Further, I have stated in other places why I have so frequently turned to the one-act form. The present volume is dedicated to no thesis, though perhaps the title may offer some hint of the underlying motive which has prompted this series. G. M. _December 23, 1919._ CONTENTS PAGE PREFACE v MASKS 3 JIM’S BEAST 67 TIDES 113 AMONG THE LIONS 149 THE REASON 181 THE HOUSE 211 MASKS THE PEOPLE GRANT WILLIAMS, _a dramatist_. JERRY, _his wife_. {_Characters_ {_in his_ TOM ROBINSON, _a great painter_. {_unproduced_ MARIE CASE, _formerly Tom’s wife_. {_drama “The_ {_Lonely Way.”_ SCENE _In the_ WILLIAMS’ _flat, New York City, after the second performance of_ GRANT WILLIAMS’ _first great success_, THE SAND BAR, _produced at the National Theater_. MASKS[A] _The doorway from the public stairs opens immediately upon the living-room without the intervening privacy of a small hallway. The room was, no doubt, more formally pretentious in the early days of the_ WILLIAMS’ _marriage; but the relics of that time--some rigid mahogany chairs and stray pieces of staid furniture--have been ruthlessly pushed against the walls, so that one perceives a “parlor” transformed into a miscellaneous room upon which the flat’s overflow has gradually crept. And with this has come_ GRANT WILLIAMS’ _plain wooden work-table, bearing now a writer’s accessories, a desk lamp, and a mass of manuscripts; one of which is his unproduced drama_, THE LONELY WAY, _bound in the conventional blue linen cover. His well-worn typewriter is perched on the end of the table, in easy reach of his work-chair with its sofa cushions crushed and shaped to his form. Another chair is near by, so that it also may catch the flood of light which comes from the conventional electric bunch-light above. There is a small black kerosene heater to be used in those emergencies of temperature which landlords create. Not far from it, a child’s collapsible go-cart is propped. On the walls, above some over-flowing bookshelves, are several tastefully selected etchings. A window in back, which hides an airshaft, is partly concealed by heavy curtains that hang tired and limp. There is another doorway, directly opposite the entrance, which leads to the other rooms of a characteristically compressed city flat._ _Yet the room is not forbidding: it merely suggests forced economies that have not quite fringed poverty: continual adaptation, as it were, to the financial contingencies of a marriage that has just managed to make both ends meet._ _When the curtain rises_ JERRY WILLIAMS _is seated in the cozy chair reading a number of newspaper clippings_. JERRY _is an attractive woman in her thirties. Externally, there is nothing particularly striking about her: if there be such a thing as an average wife_ JERRY _personifies it. She has loved her husband and kept house for him without a spoken protest; for she has had no advanced ideas or theories. Yet she has had her fears and little concealments and dreams--like any married woman. She has been sustained through the ten years of hard sledding by the belief in her husband’s ultimate financial success. And as she reads the criticisms of his play_, THE SAND BAR, _produced the night before, she realizes it has come at last. She is now completely happy and calm in the thought of her rewards._ _She looks at the cheap watch lying on the desk and indicates it is late. She closes the window, walks over to the doorway and looks in, apparently to see if the child is still asleep. Then she closes the door and stands there, with just a suspicion of impatience._ _Several minutes pass. Then she gives a little cry of joy as she hears the key turn in the lock and she sees the hall door open slowly--admitting her husband._ GRANT WILLIAMS _is a more striking personality than his wife; about forty, with a tinge of iron gray on his temples, he has a strong virile face not without traces of idealism. His whole appearance is normal and devoid of any conscious affectation of dress. But a very close inspection might reveal that his suit, though carefully pressed, is well worn--as is the overcoat which covers it._ GRANT _happens to be a man of cultivation and breeding, with a spark of genius, who has strayed into strange pastures. At present there lurks an unexpected depression back of his mood; perhaps it is only the normal reaction which comes to every artist when success is won and the critical sense within mocks the achievement so beneath the dream. Perhaps with_ GRANT WILLIAMS _it is something else_. JERRY Oh, Grant, I thought you’d never come home. GRANT Best, the house manager, detained me. JERRY (_Detecting his mood_) There’s nothing the matter with the play? GRANT Nothing; except it’s an enormous success. (_She smiles again, and he wants to keep her smiling._) We were sold out to-night. The second night! Think of that! I had to stand myself. JERRY Well, I don’t see why you should be blue about it. There were always plenty of empty seats at your other plays. I knew THE SAND BAR couldn’t fail. GRANT (_Throwing coat carelessly over chair_) You felt the same about the others. JERRY (_Trying to cheer him_) They didn’t fail--artistically. GRANT You mean nobody came to see them--except on passes. But THE SAND BAR! That’s different! (_With a tinge of sarcasm throughout._) You ought to have seen the way the mob at the National ate it up. JERRY I wanted to go but I couldn’t ask Mrs. Hale to take care of the baby again. Besides, I was anxious to read all the notices over quietly by myself and.... GRANT (_Picking them up and glancing through them_) Great, aren’t they? Not a “roast” among them. JERRY Not one. I couldn’t find Arthur Black’s review: he was always so kind to your other plays, too. GRANT (_Evasively_) I forgot to bring in the _Gazette_. Best says he never saw such “money” notices. (_Glances at one._) Doran outdid himself. (_Reading the critic’s notice with a touch of theatrical exaggeration._) “The perception of human nature evinced by Grant Williams in his profoundly moving drama THE SAND BAR places him in the front rank of American dramatists!” JERRY Just where you belong. GRANT (_Skipping_) “His hero, Tom Robinson, the artist, who deliberately deserts his highest ideals because his wife’s happiness is of more value than his own egoistic self-expression, is a new angle on the much abused artistic temperament.” (_With a wise smile._) That “twist” seems to have got them. (_Reading_) “Marie, his wife, who is willing to risk her honor to test his love and thus awaken him to a sense of his human responsibility, is a character which will appeal to every married woman.” JERRY (_She nods in approval, without his seeing her_) But read the last paragraph, dear. GRANT “In fact, all the characters are true to themselves, never once being bent by the playwright for dramatic effect out of the inevitable and resistless momentum of their individual psychologies.” And Doran used to report prizefights! JERRY I hope he doesn’t go back to it. He writes beautifully. GRANT By the way, I haven’t told you the crowning achievement of my ten years of writing. Trebaro--the great Trebaro who would never even read my plays before--asked me in the lobby to-night to write him a curtain raiser! JERRY (_Happily_) That’s splendid! GRANT I’ve promised to get it done in ten days. His new play is going to run short. He’s got to have something to lengthen the evening. JERRY Have you an idea? GRANT No; not yet. But he doesn’t like anything with ideas in it. JERRY (_As she sees him go to his typewriter to remove cover_) But, dear, you’re not going to begin it to-night! (_Significantly stopping him._) To-night belongs to me--not to your work. (_Nestling close beside him._) Dearest.... GRANT All right, Jerry. I’ve only got a few paragraphs of personal stuff to bang off. Then I’ll be with you. _The Times_ wants it for a Sunday story--with my photo. (_As her face brightens again._) You see, Mrs. Grant Williams, your husband is now in the limelight. JERRY I’m so glad success has come to you at last. GRANT Better at last than at first. I’m told it’s bad for your character to be too successful when you’re young. So providence nearly starved us a bit, eh? JERRY You thought it was going to be so easy when we were first married. It’s been hard for you, dear. I know. Writing and writing and seeing other fellows make money. But now you’ve won out. You ought to be very happy, as I am. GRANT You are happy, aren’t you? (_He takes her hands affectionately, then looks at them, turning them over._) The only hard thing, Jerry, was to see these hands of yours grow red and rough with the work here. JERRY Maybe that’s the only way they could help you. GRANT (_Enigmatically_) It’s because of them and only because of them that I’ve done it. JERRY Done what? GRANT Oh, nothing. (_He puts paper in the machine._) How about a glass of milk? JERRY I’ll get it while the great man reveals himself to an anxious public. GRANT And some crackers. (_Sitting at machine._) They want something on: “How I Make My Characters Live.” (_She laughs suddenly: he starts._) Oh; it’s you? JERRY Yes. I was thinking how funny it was to celebrate a success in milk. GRANT Yes. But the greatest joke of all is that THE SAND BAR _is_ a success--a real financial success. JERRY It’s a very good joke. (_She goes out happily. Then a cynical look creeps into his face. He reads as he types._) GRANT “How I Made My Characters in THE SAND BAR Live.” (_He pauses a second, smiling cynically. Then, as he apparently hears something, he rises and goes over to the hall door which he opens quickly. He looks out and apparently sees a neighbor entering the apartment opposite. A bibulous “good night” is heard. He closes the door, turns the key, tests the door and sees it is locked. As he stands there puzzled_, JERRY _enters, with a bottle of milk, some crackers, and an apple on a small tray_.) You’ll have to get over this habit of waiting on me now. JERRY Don’t ask the impossible. GRANT But we shall have servants now; plenty of them. JERRY Plenty of them? Why how much money are you going to make out of THE SAND BAR? GRANT Nearly a thousand dollars a week. JERRY (_Almost inaudibly as she nearly drops the tray_) My God! GRANT (_As he puts tray on table_) It will run forty weeks at the National. Then three road companies next year: “stock” and the “movies” after that. I’m going to make as much money in two weeks now as I ever made before in one year--turning out hack stuff and book reviews. And all I’ve got to do is to sit back and let it work for me! JERRY It doesn’t seem honest. GRANT Maybe it isn’t, Jerry. (_As he eats._) But when the public is pleased it pays to be pleased. JERRY (_Venturing_) The first thing I want is some new clothes. GRANT (_Grandiloquently_) My first week’s royalty is yours. JERRY Really? GRANT Throw away everything that’s darned and patched. I’m sick of seeing them. JERRY I was always so ashamed, too. Just think what people would have said if I’d been run over or killed in an accident. GRANT Now you’ll do the running over--in our new car. JERRY (_Hardly believing her ears_) A car! GRANT Every successful playwright has a car. JERRY (_Joyfully_) Then we’ll have to move from here to live up to the car? GRANT We’ve got to move. It’s more important to look like a success than to be one. (_Glancing about flat._) And the Lord knows this doesn’t look like success. JERRY I’m so glad. I’ve grown to hate these five stuffy rooms without sunlight. GRANT Nothing to light them up these ten years but the glow of my genius, eh? Now I’ll have a big house to shine in. JERRY I’ve always dreamed of you having a room off by yourself. GRANT Where you could really dream without the sound of my typewriter waking you and the baby? JERRY But it will be splendid for you, too. I don’t see how you ever wrote here with me always fussing in and out. GRANT Washing the eternal dish and cooking the eternal chop. JERRY I don’t ever want to look another gas stove in the face. GRANT You’ve cooked your last chop. JERRY Oh, Grant; my dreams have come true. GRANT (_Enigmatically again_) Yes. Success or failure: it’s all a matter of how you dream. (_She looks up puzzled: he is silent a moment and then goes to machine again._) But I’ll never get this done. JERRY I’ll put on my old wrapper, for the last time, and wait up for you. I’m going to get a real négligée to-morrow. Your favorite color. GRANT I won’t be long. This is an awful bore and I’m tired. (_He begins to pound out something on his machine._ JERRY _goes over to hang up his coat, and as she does so, a newspaper clipping falls out of his pocket, on the floor. She picks it up unnoticed by_ GRANT. _She glances at it; starts angrily to speak to_ GRANT _about it; but seeing he is absorbed, hesitates and then conceals it. She hangs up the coat, comes around back of him as though to speak--but changes her mind. She kisses him. As she passes the table, she knocks off the manuscript of a play. She picks it up._) GRANT What’s that? JERRY The manuscript of THE LONELY WAY. (_He looks over at it, with a cynical smile._) You’ve learned a lot about playwrighting since you wrote that, haven’t you, dear? GRANT Yes--a lot. JERRY (_Tentatively_) You used to say it was the best thing you ever did. GRANT How did you happen to come across it? JERRY I found it behind the chest when I was cleaning. GRANT Oh, yes; I remember. I threw it there the day of my great decision: The day I made up my mind to rewrite it and call it THE SAND BAR. JERRY (_As she glances over the pages_) Grant. I’m not going to lose you now that you’re a success? GRANT What ever put such a foolish idea in your head? JERRY You remember the Tom Robinson you drew in this play? All you made him think of was his art; he even threw away his wife to make a success of it. GRANT That was because his wife didn’t understand. Besides, dear, you know how much I altered my original conception of their characters and completely changed the plot. Look how different it all is in THE SAND BAR. JERRY And you think your changes made the play truer to life? In real life a Tom Robinson wouldn’t have got rid of her? GRANT I don’t think anything’s ever going to come between us, if that’s what you mean. JERRY Of course not. (_Putting the manuscript on table, relieved, as she sees him resume his typing._) But I felt so sure of you when we were poor. Perhaps it was because you couldn’t afford to be wild. (_She turns off the switch and goes out. The room is lighted only by the desk lamp, casting its shadows into the corners of the room. He takes a cigarette from the box on the table, and as he smokes he reads half to himself what he has written._) GRANT “An author’s characters grow into life out of his observation and experience. Once they are conceived by these two parents their first heart beats are the taps of the author’s typewriter.” Good. “Gradually they grow into living men and women. They live with him, yet with a life of their own. In writing THE SAND BAR I ... I....” (_This makes him hesitate to continue. He glances toward the manuscript of_ THE LONELY WAY. _He rises slowly and picks it up cynically. Then, as though fascinated, he gradually settles in the cozy chair by his table. He begins to become absorbed as he reads his earlier play. He puts his hand over his eyes, he lowers the manuscript, gives a sigh as though lost in the thoughts it calls up. The door, which he has locked, opens noiselessly, and closes as_ GRANT _looks up in surprise and sees a man enter_. GRANT _immediately discovers there is something extraordinary about his unexpected visitor. As he directs the light upon him_, GRANT _perceives the man’s power which lies both in his frame and impressive personality. His eyes have a relentless coldness when they narrow. His mouth is firm but cruel, with a sarcastic droop pulling down the corners. In spite of an occasional uncouth manner of spasmodically blurting out his words_, GRANT _soon realizes how keen is the intruder’s penetration when it is sharpened to the one point which vitally concerns him--his art. For this man of fifty-five winters, is a great artist._ GRANT _is too amazed and puzzled to recognize it is one of his own creations_: TOM ROBINSON. _The latter comes over to the dramatist and places a hand on his shoulder._) TOM You and I have some scores to settle. GRANT (_Moving away_) Who are you? TOM So you don’t recognize me? GRANT Your manners are familiar. TOM So Whistler once said. Look at me closely. GRANT Is this a dare? TOM (_Shaking his head slowly_) An author’s brain is indeed a store-house of mixed impressions: a strange asylum for me to have escaped from. GRANT (_Starting toward door_) Possibly the police may be able to lead you safely home. TOM I am at home with you. GRANT Don’t get excited. Keep perfectly cool. TOM I am cool because my intention is. (GRANT _gives him a look as_ TOM _goes over to the machine and glances at the heading of the article_.) “How I Make My Characters Live!” You certainly do--some of us. (GRANT _suddenly crosses to the door, tries it and realizes it is still locked. He turns, bewildered, to_ TOM.) GRANT How did you get in here? TOM Why shouldn’t I? As your fellow-craftsman once remarked: “I am a trifle light as air.” GRANT I can’t say you look it. TOM (_Eyeing him as he lights one of_ GRANT’S _cigarettes_) Since you don’t recognize me perhaps you didn’t do what you did to me--deliberately. GRANT But I’ve never done a thing to you. TOM Are we so soon forgot? (_Puffing_) Yet how reminiscent the odor of this cigarette. I notice you still smoke the same cheap brand. GRANT I must say I admire your nerve. TOM You ought to admire it. You gave it to me. GRANT I never gave you anything. TOM (_Bluntly_) Liar! You gave me life! GRANT Gave you life? TOM Yes; I am your child. GRANT My child? (_He laughs._) TOM Many a man before you has tried to deny paternity with a laugh. GRANT But you’re old enough to _be_ my father. Are you accusing me of improving on Nature? TOM All artists do. (_Picking up manuscript of_ THE LONELY WAY.) Here’s how you described me. (_Reading_) “... his eyes have a relentless coldness when they narrow ... mouth firm but cruel.... Not attractive but impressive.” There I am. Read it for yourself. GRANT Then you are--? TOM (_Sarcastically_) Your child. Your once dearly beloved brain baby. GRANT (_Awed_) Tom Robinson! TOM As you originally conceived him here in THE LONELY WAY. GRANT Well, I’m damned. TOM I suspect you are. _That’s_ what I’m here to see. (_Ominously_) And then if.... (_Suddenly casual_) But sit down and we’ll talk it over calmly first. (GRANT _sits down astonished_. TOM _sits also_.) Thanks. GRANT Go on. TOM Look at me. Here I am, as you drew me. Tom Robinson. Your greatest creation! GRANT I recognize the egotism. TOM (_Blurting_) I am what my egotism made me. Your egotism also made you dare to conceive me, here at this very desk, out of your brain, in the puffs of your cheap cigarettes. The taps on your typewriter were my first heart beats. Your birth pains were my own cries of life. GRANT You certainly gave me a lot of trouble. TOM But you never suffered in having me as I did last night when I went with you to THE SAND BAR and saw what you’d done to Tom Robinson! GRANT (_More and more amused at what seems to be the childish petulance of an admittedly great man_) You must have had quite a shock. TOM Shock? I was disgusted! Why, the actor who’s interpreting me isn’t even bad looking. GRANT No. He couldn’t be. He’s a star. TOM But _I_ was your original conception. Why did you alter me into a good-looking fashion plate with charm? There never was anything charming about me; _never_. GRANT (_Glancing towards his wife’s door_) Please not so loud. I made you unpleasant, I know; but don’t pile it on, Tom. TOM (_With dignity_) Robinson to you. GRANT (_Smiling_) I beg your pardon. TOM Why you authors feel you can take liberties with your characters is beyond me. I, for one, shall be treated with respect. (_His eyes narrow_.) Unless you have lost your capacity to respect a work of art like me. GRANT Come, come. I’m afraid it’s you who have lost your sense of humor. TOM (_Sarcastically_) Perhaps you didn’t give me as much humor as you thought. GRANT But can’t we talk over the object of your visit in a friendly spirit? (_With a smile_.) Say, as father to son? TOM You’ll take me seriously before I’m through. I’ll remind you that _I_ was a force in THE LONELY WAY though in THE SAND BAR Tom Robinson is merely a figure. One suit a year was good enough for me. You make him change his every act. GRANT (_More at ease_) I’m afraid you don’t understand the demands of the modern theater. TOM What have I--a great character--to do with the modern theater? GRANT Nothing. That’s why I revised you. TOM (_Bitterly_) Then why did you give me life at all? GRANT Because then I was fool enough to think the modern theater was a place for great creations. I recognize the conditions better now. TOM But in THE LONELY WAY you didn’t consider me a fool when _I_ continued to paint great pictures--in spite of conditions. GRANT You were a great artist in that play. TOM And when you drew me you were a great dramatist. (_Sadly_) Now I see you are only a playwright. GRANT And at the National Tom Robinson has become only a painter of pot-boilers. (_Mockingly_) You’ve certainly come down in the world. TOM I don’t need your pity; but I want you to realize that what you did to me you also did to yourself. When you made me fall, I brought you down with me. (_He shakes the manuscript before him._) Look! I had life there in a powerful play. GRANT I won’t dispute that. It was fine: beautifully articulated in its subtlety. TOM That just describes it. It was nearly as fine as my Sumatra Sunlight or even my Russian Nocturne. GRANT Which you never sold. TOM But what is painted lives for the future. GRANT Don’t be sensitive: my LONELY WAY is still here. Nobody would produce it. TOM Yet you cared for nobody when you made me live in it--perfect as the frame that held me. The strength you gave me in my own relentlessness was also yours. You glowed when you wrote it; as you made me glow when I painted. You felt the joy which only a creator knows when beauty and perfection slowly struggle out of his inner vision. GRANT But, my dear fellow.... TOM Wait. Contrast this play with THE SAND BAR! With your skill as a builder you turned what was a lonely palace on a peak--aflame with my art--into a scrambly suburban residence where miserable ordinary people function. You produced a miserable makeshift of a play and made Tom Robinson a miserable makeshift of a man. (_Accusing him._) But when you played tricks on me you played tricks on yourself. That’s what you did when you took from Tom Robinson his genius and made him paint pot-boilers at the National. Pot-boilers! Pot-boilers! Me!! Good God, man, did you know what you were doing when you rewrote this play? GRANT (_Slowly_) I knew exactly what I was doing. I was turning it into a popular success. TOM (_Outraged_) You had not even the excuse of self-deception? GRANT No. TOM (_Eyeing him strangely_) Then you are worse off than we thought! GRANT _We?_ TOM I wonder how far you have fallen! I shall be patient till we see the depths of your artistic degradation. GRANT You said “we”? A WOMAN’S VOICE (_Outside_) Yes. We. (GRANT _gives a start towards the door, thinking the voice has come from his wife’s room_.) TOM Oh, that isn’t your wife. GRANT Then if you’ve some friend concealed about your person, hadn’t you better produce her? TOM That isn’t my friend; that’s my wife. GRANT Your humor isn’t inspiring. I’ve heard that brilliant retort before. TOM Certainly. You wrote it yourself; but you stole it from Molière. If I had your memory I’d be witty, too. GRANT (_Looking about_) I don’t seem to see Mrs. Robinson very clearly. TOM She says you never did. Come to think of it, she’s no longer Mrs. Robinson. GRANT Oh, I forgot. In THE LONELY WAY you divorced her. TOM Marie and I haven’t been on speaking terms since; but _after_ she saw THE SAND BAR she simply insisted on coming here. GRANT Well, I’ll be happy to hear her grievance, too. TOM (_Ominously_) You won’t think us so amusing when we are through with you. GRANT As a dramatist, I admire your talent for suspense. (_Calling_) Come in, Mrs. Robinson. TOM (_Correcting him_) Case. Mrs. Pendleton Case. You’ve also forgotten that in THE LONELY WAY you made her marry him. GRANT To be sure. But in THE SAND BAR I made her stay with you. TOM Yes. That’s one of her grievances. GRANT Come in, Mrs. Case. (GRANT _watches_ MARIE _come slowly from behind the curtains, into the light. Then he sees a handsome woman of thirty-five, bien soignée to the last degree. Yet somehow to_ GRANT _her manner is an assumption she has acquired and not inherited. Beneath her vivid personality, her unrestrained moods glitter with force if not heat. But now she eyes him steadily with the greatest contempt. She wears a magnificent opera cloak, clutched close to her. She carries a small hand bag._ _Though_ MARIE _and_ TOM _are aware of each other’s presence, they never address each other; they speak to each other through_ GRANT _as though they existed only in him_.) GRANT Do sit down. TOM Oh, Marie will sit down. Don’t worry. (_Before she sits she carelessly throws her cloak over the same chair that_ GRANT _had previously thrown his coat. She stands revealed in a beautiful evening gown. It seems to proclaim to_ GRANT _her daring and contempt for conventions_.) MARIE After what I’ve just heard I don’t know whether it’s worth while to waste words on a creature like you. GRANT (_Very politely throughout_) Your husband seems to have succeeded in doing it. TOM Her husband? Don’t try to saddle her off on me. Once was enough. MARIE It’s only our contempt for you, Mr. Williams, that finds us two together. GRANT To be sure. I keep forgetting. (MARIE _takes a cigarette out of the hand bag_; GRANT _offers her a light_.) Permit me. (_She glares at him and refuses it. As she searches her hand bag for a match, a small pistol accidentally falls to the floor._ GRANT _quickly picks it up and hands it to her. She replaces it. He offers her another light, which she sullenly accepts._) MARIE I wouldn’t accept anything from you, only, in my haste, I forgot my matches. (_She crosses one knee over the other and puffs._) Brr--it’s cold here. TOM (_Bluntly_) She wants a drink. GRANT Will she accept it from me? TOM She’ll take it from anybody. GRANT Oh, yes, I remember. I beg your pardon. MARIE (_Seeing him lift up the milk bottle_) Milk! GRANT (_Apologetically_) When I gave you your fondness for alcohol in THE LONELY WAY, we didn’t have prohibition. MARIE Was that the reason you took it away from Marie when you changed her in THE SAND BAR? GRANT Not exactly. You see no leading lady can ever have a real thirst. I’m sorry if you’re cold. TOM Oh, Mrs. Case will warm up when she remembers what you’ve done to her. She had a wonderful temper when she lived with me. MARIE I had to have. And you also took that away from me. GRANT I’m very sorry, Mrs. Case; the leading lady didn’t like your temper either. MARIE But _I_ liked it. It was part of my character, as you originally conceived me. GRANT Yes; a character touch. It was the only comedy relief in my play. TOM It may have been comedy to you but it was no relief to me. MARIE (_Emotionally_) My temper was my defense and my attack. It aroused fear and respect. Through it I got what I wanted out of life. It was mine! Mine! And you took it away from me! Oh! (_She rushes angrily towards the milk bottle and lifts it above her as though to smash it; but_ GRANT _stops her_.) TOM (_As he lights another cigarette_) There you see. Every time she thinks of what a temper she has she loses it. GRANT (_Still holding the bottle with her_) I concede your temper. I always had a hard time to control it. (_Taking it from her courteously._) It was one of your most unpleasant traits. MARIE (_Sullenly_) Then why did you change me? GRANT It’s a professional secret, Mrs. Case. The leading lady hasn’t the capacity to reach the heights your wonderful temper demanded. Besides, her specialty is cute ingénue stuff. She’s a great popular favorite, you know, and is consequently afraid to lose her following by playing any part which lacks charm. TOM (_Bitterly_) Charm! Charm! There it is again, Williams. You hadn’t a bit of respect for Mrs. Case’s _true_ character so you made her charming. MARIE But you gave me a charm all my own before I married Tom. TOM She kept it to herself; I never suspected it after we were married. MARIE But, Mr. Williams, you knew no one could live with Tom Robinson and not lose her charm. All he really wanted of me was to cook his chops and wash his dishes. TOM She seems to forget she was my wife and that I was a genius. She wanted me to get my precious fingers red and rough in a dish pan. MARIE (_Flaring_) No. I wanted him to be a human being, not an artist. GRANT (_Who has been trying to speak throughout_) Please. Please. Remember you two are no longer married. TOM You see: she’s warming up. MARIE (_Bitterly_) How like old times. GRANT By Jove. I remember now. (_Opening manuscript._) I remember everything about you. MARIE Don’t be humorous. There’s lots about your own characters you authors never know. TOM That’s what critics are for. MARIE So don’t try to make my temper seem trivial, Mr. Williams. I valued it. It gave me a chance to assert myself. It kept me alive as an individual. In THE LONELY WAY, while I was his wife, you made my whole fight to keep from being swamped by his personality. TOM As a married man yourself, Williams, you know damn well that women have got to capitulate in marriage. We husbands have got to close the door on them when they don’t understand us. MARIE (_Contemptuously_) And in THE SAND BAR, Marie didn’t have the courage to take the things of life that lay outside the door! She didn’t dare, like me, because you’d changed _her_ into a sweet simpering woman who loved her husband. TOM But the Tom Robinson she loved there isn’t the Tom Robinson you see here. MARIE No. The other is a hero! He’s a halo on legs. GRANT Your ignorance of theatrical conditions is appalling. THE SAND BAR _had_ to have a happy ending. If I hadn’t made you both charming the public wouldn’t have believed in your ultimate happiness together. TOM (_Bringing his hand down on the table_) Now we’re getting at it. Why the devil did you bring us together? GRANT (_Trying to explain elementally_) Because I’d turned you into the hero and you into the heroine. They must always come together for the final curtain. MARIE But I wasn’t a heroine. TOM No. She’s right there. MARIE (_Emotionally_) I was a bitter, disillusionized woman. I saw how Tom Robinson succeeded in getting out of life what he wanted by being relentless. I, too, became relentless and married Pendleton Case because he could give me what _I_ most wanted. GRANT (_Beginning from now on to lose his patience_) Yes; but that was too unsympathetic a motive to use in a popular play. So I _had_ to make Pendleton Case a villain who took advantage of your trust in him. MARIE But Penny was only a poor gullible fool consumed by my egotism. Why were you so unfair to him? Why did you make him a villain? TOM Yes. I want to know why you gave him all my vices? GRANT If Case hadn’t had all your vices, Marie wouldn’t have had all the sympathy. MARIE I didn’t want sympathy; I wanted clothes! GRANT (_Confused_) But the leading lady has to, have sympathy even without clothes. I mean---- TOM (_Quickly_) Do you mean that the reason you made me sacrifice my art in THE SAND BAR and rescue her from Case was because she had to have sympathy? GRANT Exactly. And, besides, how was an audience going to know you were a hero unless you sacrificed something? TOM But I’m not a hero: I’m an artist. You know the real reason I got rid of her was because she stood in the way of my art; because I wouldn’t let a single human responsibility weaken the vision within me. MARIE Wasn’t that reason enough why I should leave him? GRANT But that was too abstract an idea for the audience to get. MARIE So you turned an abstraction into a villain! GRANT Can’t you see your husband couldn’t rescue you from an abstraction? MARIE But I didn’t want to be rescued. I wanted to marry Penny! TOM And I was tickled to death to get rid of her. MARIE Yes. It meant release for us both to be ourselves. GRANT But, Robinson, you _had_ to rescue her. She was the leading lady. The manager pays her five hundred dollars a week to marry the star. MARIE Well, she earns it. GRANT She earns it because she draws. TOM (_Surprised_) Does she paint, too? GRANT She draws that much money into the box office. TOM Money, money! How that runs through your talk. MARIE (_Referring to_ TOM) I wish to heaven it had run through his. TOM (_Lifting his voice angrily_) I was above such things. I am an artist. Money! Money! I see red when I hear that word. Money! Money! The curse of true art. GRANT (_Pointing to his wife’s door_) Please, please; not so loud. You’ll wake the baby. MARIE (_With a poignant cry_) Oh! GRANT What’s the matter with you? MARIE I forgot all about that. You also took my baby away from me in THE SAND BAR. TOM So far as I was concerned that was the only decent thing you did. I had to make money for the child. MARIE Have you forgotten that was the other reason I left him? He didn’t love our child: it was in his way. TOM Love a mewling, puking child? Not much. GRANT (_Trying to calm her as she walks up and down_) Sh! Control yourself. MARIE My love for the child was the only decent thing about me. GRANT But I gave you other virtues. I made you love your husband. MARIE If I _had_ to love my husband in your revised version couldn’t I at least have kept my child? GRANT Don’t be unreasonable. No leading lady wants a child. MARIE So you took it away to please the leading lady! GRANT Can’t you understand if I’d given her a child it would have complicated matters? TOM You’re right. It certainly complicated matters for me. GRANT (_Trying to explain_) I wanted the struggle to be a simple one between two men and a woman. A child would have been a side-issue. MARIE You call my child a side-issue! (_Looking at_ TOM.) Hasn’t his father anything to say to that? TOM (_To_ GRANT) She can’t get me excited about that brat. It stood in my way. I’d have killed it myself if necessary. MARIE (_To_ GRANT) But _you_ killed it instead. GRANT (_Losing patience_) Yes. I killed it for the same reason he would have: because it would have stood in the way of the play’s success. Are you a couple of fools? Can’t you both get into your heads I was writing a play to make money? TOM Money! Money again! MARIE (_Astonished as she comes to_ GRANT) So you killed it for money? GRANT Yes. Just as I changed you both for money. TOM If you’d killed it for art I would have understood. But to kill a creature for money! You are a murderer! MARIE (_Sneering_) And how much blood money will you get for what you have done? GRANT A thousand dollars a week! MARIE (_Overcome_) My God! TOM (_Awed_) How much did you say? GRANT A thousand a week. MARIE You’re going to get that much for putting me into a popular success? GRANT Yes. TOM She isn’t worth it. GRANT (_Determined to have it out with them_) It was worth it to me. Think of the exquisite joy I had in revising my problem drama. Think of how I turned two hectic, distorted, twisted, selfish, miserable, little-souled characters into two self-sacrificing, sugar-coated, lovable beings! TOM You are not only a murderer but a hypocrite: you distorted life to win sympathy for us. GRANT The theater no longer has anything to do with life. It’s a palace of personality. TOM Well, what’s the matter with _my_ personality? MARIE Leaving him aside, what about me? GRANT You wouldn’t draw a cent. There wasn’t a dollar in either of you. MARIE Is that _my_ fault? You made us what we are. GRANT Yes; before I learned that the public pays to be pleased. Do you think there’s anything pleasing about either of you? Why, you couldn’t even be happy together. TOM This is getting damned personal. MARIE What right has the public got to be so proud of itself? There’s many a woman in the audience worse than I am. GRANT But they want to be flattered into believing they are as much like heroes and heroines as you are not. The successful playwright, like the fashionable portrait painter, flatters and never reveals. TOM While true artists like me starve? GRANT And dramatists who write “Lonely Ways” also starve. What are you two kicking so about? Because I’ve made you respectable, wealthy and happy? Do you think the general public cares a whoop in Hades what _I_ think of life, of my peculiar slant on the motives that mess up the characters that happen to interest _me_? No: all they want is what they want life to be. TOM How little you know of human nature. If we’d had a chance to be our true selves we would have been appreciated. GRANT By whom, pray? A few professional soul lovers. And they’d get into the theater on passes. No. You are caviar; most of the world lives on mush. So I mixed you in mush, sentimental glue, anything you want to call it. TOM You disgust me. MARIE But _I_ see hope for you. At heart you despise the crowd, as I did its smug conventions. GRANT (_Bitterly_) I hate what it has made me suffer. TOM Every great artist has despised them. I despise them. GRANT (_More seriously_) Only I think the public has its rights. They have the right to laugh, to watch virtue triumph, to behold success, to feel love win out, to see what they think is happiness. They have that right because their own lives are so full of the other things. And maybe they like to dream a little, too. MARIE Who’s mushy now? GRANT Don’t sneer at a popular success. It’s sometimes more difficult to perform a trick than climb a mountain peak. TOM Have _we_ artists no rights? GRANT (_Wearily_) Only the right to dream and starve. MARIE But I’m not an artist: I’m one of your creations. Have _I_ no rights? Must I be turned into a trained poodle and do tricks for money? GRANT You are only a phantom, a projection, a figment. MARIE (_With great indignation_) You call me a figment? TOM (_Rising ominously_) I’m tired of hearing you insult your own flesh and blood. GRANT I disowned you both when I rewrote you. I was thinking then of only one thing: the public. TOM Liar! You _did_ deceive yourself! You were thinking of your wife and child. MARIE (_Seeing_ GRANT _is startled_) That gets you. You did this to us for them. GRANT (_Himself serious now throughout_) Yes. I was thinking of them most of all. MARIE Yet when you created Tom Robinson in THE LONELY WAY you did not let him think of _his_ wife and child. TOM That’s where I was bigger than you, Grant Williams! GRANT You mean more brutal. TOM Mush. Mush. You can’t hide behind that. (_Impressively._) I am you! I could never have lived had I not been a wish hidden in yourself. I am what you would have been if you had dared! GRANT How dare you say a thing like that? I made you. I knew you inside and out. TOM But you didn’t know yourself. _I_ knew when you wrote me that you wanted to be as relentless as you made me. GRANT I hated you. I hated every bone beneath your miserable hide! TOM (_With a triumphant smile_) That only proves it! You were afraid to be yourself; so you created me! GRANT (_Shrinking back_) No.... No.... TOM You forget people have made gods and devils out of their own dreams to worship and hate. Look at me, through the mask you gave me, and see yourself! I was the worst of what was human in you--the devil side of you: I was the best of what was the artist in you--the God within you! GRANT (_As though stunned by the thought_) God and devil. No.... No.... MARIE (_Seriously_) Now I see how _I_ came into being. I was your wife, as part of you saw her! (_He protests._) She was in your way, as I was in his way. You made Tom close the door on me because, deep in your soul, you wished to close it on her. She never understood. GRANT Stop. You shan’t go any further. She stood by me through all these years of poverty. She loves me and understands. MARIE (_Relentlessly_) But you thought her a fool for loving you. You really thought she ought to go. You wanted her to go, I tell you. You wanted her to see that your art meant more to you than her love. But you didn’t have the courage to do to her what you made him do to me! GRANT (_To_ TOM) Take her away! I won’t let her say these things. I did what I did to you for Jerry’s sake. I wanted to make money so _she_ would be happy. I couldn’t stand it to see her hands grow rough.... TOM (_Contemptuously_) Bosh! Art denies all human responsibility. You made me face that truth with my wife, and when I threw her out I was _your_ own inner answer to that eternal question! GRANT I tell you my love for her is greater than for my art. MARIE Mush. Mush. It’s time to think of punishment. GRANT Punishment? (_Triumphantly_) I have a thousand a week. She will have clothes and comfort. And you talk of punishment! MARIE (_Drawing a pistol and pointing it at him_) What you did to us means your death. TOM (_Stopping her_) No. You cannot be killed, Grant Williams. You are dead already. MARIE (_About to shoot_) I think I’ll make sure. TOM (_As_ GRANT _stares at him spellbound_) When you turned your soul into money you died. There is a greater punishment. We’ll let what remains of you live, as we shall live to haunt you in your dreams. GRANT (_Laughing hysterically_) But you can’t live. I killed you. You’re dead, too. And the dead cannot dream. TOM We are your dreams. We will outlast you. MARIE We live. We shall go on living. Yes. That is a greater revenge. We’ll haunt you every time you are alone.... GRANT You can’t. You can’t.... TOM Whenever you smoke and think in your new house.... MARIE Or walk by the sands, you will see only our hands beckon you from the living waters of the sea.... GRANT (_Frantically_) I’ll drown you like rats. I’ll keep you under till you are dead. You shan’t come back ... ever ... ever ... (_They both laugh._) Get out. You phantoms.... I’ll kill you again.... TOM Mush.... Mush.... GRANT I’ll kill you forever now. (_He picks up the manuscript of_ THE LONELY WAY _and savagely tears it up_.) Die. Die forever.... Die.... (_They laugh loudly and mockingly at him._) TOM You see we still live! GRANT Ah. I’ll kill you yet. I’ll kill you! (_He rushes towards them and overturns the lamp. They laugh mockingly farther off in the complete darkness._) I’ll kill you! I’ll kill you! JERRY (_As she enters_) Grant!! What is the matter? (_She turns on the switch by the door. The other lights flare up. She is dressed in a kimono, with her hair in braids. He rushes towards her._) GRANT I’ll kill you! JERRY Grant! (_He holds her arms, suddenly realizing who she is and that they are alone._) GRANT You are real, aren’t you? You are flesh and blood? JERRY Silly boy. What on earth is the matter with you? I go out of the room for a moment and I come back to find you yelling and wanting to kill me. GRANT (_Still dazed_) No. It wasn’t true: I don’t want to get rid of you. I.... JERRY (_In a matter-of-fact tone_) I do wish you’d get over the habit of acting all your plays out. The neighbors will think you and I aren’t happy. You’d better come to bed and get some rest. GRANT I--I couldn’t sleep just now. (_He goes over to the table and sees the manuscript of_ THE LONELY WAY _untouched. He stands trying to collect himself._) JERRY It’s upset you, reading over THE LONELY WAY? GRANT (_Half to himself_) That’s strange. JERRY Then what is the matter? GRANT (_Evasively as he sits down wearily_) I--I was reading over the notices. JERRY I should have thought they’d soothe you, not get you so excited. Though there is one that put me in a terrible temper. (_He looks at her quickly._) Why did you conceal the _Gazette_ notice from me? (_Smiling, she shows it to him: he takes it._) Did you think this would worry me because Arthur Black said THE SAND BAR didn’t live up to the promise of your other plays? GRANT (_Half to himself_) And he was the only one who liked the others that failed. JERRY But it is outrageous of him to say you’d deserted your ideals. I have half a mind to write to the Editor. GRANT (_With a thought_) Would it mean so very much to you if it were true? JERRY Of course it would. GRANT (_Defensively_) But, after all, Jerry, does it make any difference to anybody but the artist whether he sells out or not? JERRY But, dear, _I_ think you’ve just begun to reach your ideals. GRANT Just begun? JERRY Yes. I never told you before because I didn’t want to discourage you when we were so hard up. But, Grant dear, I never liked all those other plays--especially THE LONELY WAY. They seemed unworthy of you. THE SAND BAR is the first play that really seems true to life. GRANT (_Staring at her_) Really true to life? JERRY Yes. And I hope from now on you’ll go on writing the plays that will make people feel happier and.... GRANT (_Suddenly bursting out in an ironic laugh_) I’ve got it. I’ve got it. JERRY What? GRANT The curtain raiser Trebaro wants. I’ll call it THE MASK. No. MASKS! That’s the title. I’ll show _them_ whether I’m dead or not. JERRY What are you talking of? GRANT The theme of my play: that so long as an artist knows what he is doing with his art he is alive: that the only thing which can kill him is self-deception. JERRY Dear me, you’re going to write another play nobody will understand? GRANT (_Contemptuously_) Why should I care whether _anybody_ will understand it? JERRY But Trebaro won’t produce it, dear. GRANT Oh yes, he will: he said he’d produce anything I wrote no matter how good it was. JERRY (_Seeing him eagerly go to his typewriter_) You’re going to begin it _now_? GRANT Yes. _Now._ I can write it off at a sitting. JERRY To-night--of all nights? GRANT Yes. As Tom said: while the “glow” is here. Now that I’m free. I’ll show them whether I’m dead or not. I’ll use their very words. I’ll make it bite. JERRY (_Completely lost_) I don’t understand you or what you are talking about. GRANT (_Gives her a look_) You don’t need to understand now, Jerry; THE SAND BAR has released you. JERRY (_Hurt_) I never heard you talk like this before. You’re unkind. GRANT (_Putting paper in machine_) I don’t mean to be, dear; only my nerves are on edge. JERRY (_Begins to cry_) I can see that. You’ve no regard for my feelings. GRANT I have my work.... JERRY You seem so far off all of a sudden. To-night of all nights! Just when you’ve made your first real success! GRANT (_More testily_) Please. Please, Jerry. I won’t be able to write this if I have to think of anything else. (_He begins to write. He looks about the room showing he is describing it._) “The scene is the living-room in a flat. The doorway from the public stairs opens immediately upon it without the intervening privacy of a small hallway....” (_He murmurs as he goes on, striking the keys very rapidly. She stands looking at him--hurt and wondering what it means: but he is absorbed. Then she slowly goes to the kerosene heater and lights it. She looks at him a moment._) JERRY I guess I won’t wait up for you to-night. I’m cold. (_She goes out, hardly controlling herself. He continues for a moment. Then he gets up, still absorbed, and closes the door after her. He resumes his work with the glow of intense creation on his face._) [CURTAIN] [A] Copyright by George Middleton. See back of title page. JIM’S BEAST THE PEOPLE BRONTOSAURUS, _a fossil_. SARAH, _a scrubwoman_. PROFESSOR POHL, _a curator_. ROBERT HOOD, _a member of the Legislature_. ELIZABETH LIVINGSTON, _a seeker of sensations_. MRS. CORNELIUS VAN DYKE, _a social leader_. MRS. JAMES MORROW, _a wealthy woman_. ROBERT LIVINGSTON, _a good citizen_. LARRY ANDERSON, _a doughboy_. SCENE _A corner in the Hall of Paleontology of a Public Museum; late one afternoon._ JIM’S BEAST[B] _Two arched passageways are in back, and between them, on the wall, is a large dark plaster cast which may be a replica of the famous Dinosaur footprints in Brownstone. Beneath this is a low bench. At the extreme right, as one enters from back, there are two cases, just visible, in which are fossil bones and casts. There is a bench near them and an aisle between which leads off to the windows beyond, suggested by the soft streams of sunlight which shoot over the tops of the cases to the_ BRONTOSAURUS _opposite. Only the dull-colored flat skull and a portion of the neck of this venerable fossil are to be seen, projecting about a yard or two. It stands seven feet above its low platform, which is surrounded by a railing. On this is a slanted sign which describes it. Its size, its grimness and the light which rests upon it make it dominate everything. The remainder of the huge dinosaur is masked by a high screen at its left, upon which hangs a map indicating by its varied horizontal shades of color, the various geological strata and periods._ _When the curtain slowly lifts_, SARAH, _a scrubwoman, is on her knees, mopping the floor with long practised sweeps_. _She is fifty, heavy, with a dull tired face lined by years of physical toil. Though her hair is tightly drawn back and tied in a knot, several long wisps fall across her eyes as she leans forward over her work; and she continually pushes these back with her arm, since her hands are wet and soapy._ _As she wrings her rag savagely she mumbles to herself in a rich Irish brogue._ SARAH Scrub. Mop. Scrub. (_She looks up at the_ BRONTOSAURUS.) Keepin’ watch on me, too, ye dirty heathen. Grinnin’ there every day at me a-scrubbin’ and moppin’. (_She raises the rag, in momentary revolt, as though she were about to throw it at the skull. But she stops sullenly as she mechanically resumes her work._) Ye dirty heathen ... me a-scrubbin’.... (_As she finds a hairpin and sticks it in her hair_, PROF. POHL _enters, carrying a small plaster cast in which is embedded the outlines of a fossil_. PROF. POHL, _the curator, is a short, round-shouldered man nearing sixty. He is absorbed in his scientific interest, devoid of conscious humor and fundamentally inclined to be impatient with anything that has not been dead for at least several million years._) PROFESSOR Good afternoon, Sarah. SARAH (_Mumbling half to herself resentfully, as he walks over where she has just mopped_) And I was just after a-moppin’ up that place. PROFESSOR You’re cleaning up earlier than usual. SARAH Wipe ’em up as they comes, says I: it’s easier in the end. PROFESSOR But I’m expecting over two hundred soldiers here this afternoon. SARAH (_Astonished_) Here? What’s the matter with ’em? PROFESSOR They’re slightly wounded. SARAH Shure: that explains it. PROFESSOR All the theaters are entertaining them so I’ve invited them here. I thought the soldiers might enjoy having me personally show them through the paleontological section. Dr. Taylor has volunteered to explain the mummies. SARAH What between these dead ’uns and them ould ladies the boys’ll be havin’ a foine time, all roight. PROFESSOR I thought it might be edifying, too. SARAH (_As she resumes her mopping_) They’ll be a-makin’ more work for me; but footprints is footprints no matter who makes ’em. PROFESSOR (_Looking in case at the right_) Now where’s that card? (_He tries to get key out of pocket to open case but he is afraid of breaking the cast._) Sarah, will you assist me? SARAH Me! Touch one of them dead corpses? PROFESSOR No; no. That’s so; you’d get them wet. (_She watches him as he goes to bench and lays the cast down carefully on the handkerchief he has spread for it. Then he goes over to case, opens it with a key, returns for cast and puts it with care and affection in the case._) SARAH Ye’d be a-thinkin’ it was a baby ye was puttin’ to bed. PROFESSOR (_Admiring them_) All these are my children, Sarah. SARAH (_Mumbling as she looks up at the_ BRONTOSAURUS) I’d see a doctor about it if I was their mother. PROFESSOR There. (_He closes the case._) That’s a very rare Pterodactyl. (_She is somehow not impressed._) I’ve reconstructed it from five tiny bones found in Oregon. SARAH (_Wringing mop with a contemptuous look at him_) Why go to all that trouble? PROFESSOR I’m afraid you wouldn’t understand. I study fossils, Sarah, because it is my profession--just as scrubbing is yours. SARAH Do ye have to do it? PROFESSOR No; I chose it. I’m very happy in it. SARAH What I’d loike to know is why I’ve got to scrub and mop all the day? _I_ don’t do it for pleasure. PROFESSOR (_Failing to see the human analogy_) Somebody’s got to keep the Museum clean. SARAH (_Seeing him blow off some clay from bench_) Yes. Some o’ us is born to wipe up other people’s dirt, and some’s born to make it. (_Wiping it._) Why can’t everybody clean up his own dirt, says I? Maybe they wouldn’t be makin’ so much. PROFESSOR I daresay you’re right. (_Over by the_ BRONTOSAURUS.) You’ve forgotten to run your rag over this platform. SARAH (_Rebelliously_) Ye don’t git me inside th’ rail with that dirty heathen. PROFESSOR The superintendent tells me he’s had to remind you every day. SARAH (_Her revolt rises_) If I’ve got to go inside there alone ye can tell ’im I’m through. There’s plenty of dirty places in the world what needs cleanin’ and if I’ve got to mop I’m going to do me own pickin’ of dirt an’ places. PROFESSOR (_Firmly_) But you forget you’re paid for this. SARAH If ye’ll pardon my saying so I ain’t paid to go rubbin’ agin’ the slats of that dirty heathen loike you. I’m paid me two an’ a quarter a day to wash up people’s tracks. Two an’ a quarter a day, mind ye, by this place what owns jewels and things they wraps up in satins and laces what honest people could git some comfort out of--and the cost of livin’ mountin’ high as St. Peter himself. PROFESSOR (_Impatiently_) If you won’t keep it clean, there are plenty of scrubwomen who will. SARAH Ye care more for the looks of that dirty heathen than ye do for my feelin’s. PROFESSOR (_Outraged_) Sarah! You forget there are only a few fossils like this in existence! I don’t want to have to report you for lack of respect. SARAH Shure, it’s not ye I’m not respectin’--it’s that other inhuman beast. PROFESSOR Now be a sensible girl and run your rag over it. SARAH (_Sullenly as her revolt subsides_) Oh, all roight. It’s seein’ it in me sleep I am as it is. (_She slowly picks up the mop and pail and goes under the rail, cautiously rubbing the platform with wide stretched arms._) PROFESSOR Around the feet, Sarah. SARAH They’re so big it’s glad I am they’ve put a brass rail around ’im so he can’t be prowlin’ about at night trackin’ the place up. It’s bad enough some of the people what come here to see him. PROFESSOR But you have less to clean up than some of the other girls. (_Sighing._) So few people wander in this out of the way section. SARAH Ye don’t think anyone would be fool enough to look at these corpses for pleasure, do ye? PROFESSOR I suppose not. SARAH Even though it means more work to my poor back, I’m goin’ to ask to be put over where the cases of butterflies are. When I was a-scrubbin’ around them I could be thinkin’ that I was out among the daisies, instead of hangin’ ’round a morgue. PROFESSOR That’s much better, Sarah. (_Gazing in admiration at the fossil._) Wonderful specimen--wonderful! (ROBERT HOOD _enters. He is a well set-up, attractive young man about thirty. As he glances impatiently at his watch, it is evident he is ill at ease and under the stress of an unusual emotion. Though he carries a Museum catalogue it is soon apparent he has come for a rendezvous._ SARAH _soon disappears from view--scrubbing_.) HOOD I beg your pardon. Is this where the Brontosaurus lives? PROFESSOR Yes. (_Proudly_) This is the Brontosaurus. HOOD (_Indifferently_) Oh, is it? Thanks. PROFESSOR Are you interested in fossils? HOOD Fossils?--Oh, yes; but only the living ones. PROFESSOR Oh, then you’ve come to see the Hoatzins? HOOD (_Impatiently_) Not especially. PROFESSOR They’re in the ornithological section. Curious, isn’t it, when people think fossils are so remote, that to-day in the thorn bushes along the Berbice River there should be a small living bird who swims, creeps, climbs, dives and can duplicate within a few minutes the processes of evolution through the centuries. Mr. Beebe calls them “living fossils”; so when you said.... HOOD (_Again looking at his watch_) It’s very interesting. PROFESSOR Their wing formation somewhat resembles the Archæopteryx. We have a cast of the Solenhofen specimen, if you.... HOOD I have a catalogue. I’d like to study them myself, quietly at first, if you don’t mind. (_He sits down on the bench at back and opens the catalogue. The_ PROFESSOR _is offended, gives him a look and goes out. The minute he has gone_, HOOD _arises, takes several steps about as though looking for someone_. SARAH _has entered with her pail and watches him. She stands there, a worn and abject figure._ HOOD _takes out his watch again_.) SARAH I beg ye pardon? HOOD (_Startled a moment_) Eh? SARAH Do ye be havin’ the toime about ye? HOOD My watch says four. But I think it must be fast. SARAH (_As she wearily crosses_) Thank ye, sir. HOOD (_A bit anxiously_) When does the Museum close? SARAH For ye or for me? HOOD Why, for me; of course. SARAH Ye’ll hear the bell in a half-hour; it’s not long after that I’ll be a-pullin’ up these shades. HOOD Thanks. SARAH (_Pointedly as she begins to wash up his footsteps_) If ye need more toime to _look_ at the animals ye may be doin’ it, as the Professor is expectin’ a whole regiment of soldiers. HOOD (_Vexed_) Coming _here_? I thought nobody ever came here? SARAH Ye mustn’t be surprised at anythin’ in a museum. All the strange animals ain’t behind the railin’s. (_She gives him a knowing look and finally goes out of sight, mopping down the aisle. He takes a step impatiently and then sits in back and opens catalogue aimlessly as he sees_ MRS. CORNELIUS VAN DYKE _and_ MRS. JAMES MORROW _enter from back. They do not notice him at first._ MRS. VAN DYKE _is a harmless middle-aged woman who throughout life has comfortably relied on her blood instead of her brains. She hides the absence of the latter by a calm and superior imperturbability._ _Her companion_, MRS. JAMES MORROW, _is younger; obviously nouveau riche, she has achieved a successful manner, most of which is dexterously expressed in her lorgnette_. _Both women are handsomely gowned and proclaim to the observer flaunting wealth._) MRS. VAN DYKE I’m sure we’ve lost our way. MRS. MORROW The attendant said keep turning to the right. MRS. VAN DYKE I can’t say it’s my idea of ancient jewelry. MRS. MORROW No. But if we dressed up at Mrs. Bilton’s ball like some of these animals, we’d certainly make a hit. MRS. VAN DYKE It might suit you, dear; but I think I’ll wear at least some jewelry. I’m sure there must be wonderful old pieces in the museum I can get Tiffany to copy in time. I must find something original. MRS. MORROW (_Looking absently at_ HOOD _through her lorgnette_) Dear me, this is a terrible place--full of monsters. MRS. VAN DYKE I can’t say they’re very showy. (_Glancing at the_ BRONTOSAURUS.) What an ugly animal! What is it? MRS. MORROW (_Reading sign_) It’s a Bron--(_Not able to pronounce it and turning away_) I left my reading-glasses at home. You try. MRS. VAN DYKE (_After studying it a moment_) Oh, yes: I’ve heard of them. (_More closely._) Why, that looks like your husband.... MRS. MORROW (_Interrupting, as she turns quickly to the fossil_) My husband? That? MRS. VAN DYKE (_Looking more closely_) Yes. It _is_ your husband’s name. (_Reading_) “Donated by James Morrow.” MRS. MORROW Why this must be Jim’s beast! MRS. VAN DYKE Jim’s beast? (HOOD _covertly shows a bit of interest in spite of his more pressing impatience over their presence_.) MRS. MORROW I knew there was something here Jim wanted me to see. He donated $250,000 to the museum last year. He said they’d bought some old animal with it. MRS. VAN DYKE I can’t say I admire his taste. I thought he went in for horses. MRS. MORROW Of course, it’s Jim’s own money; but it does seem a bit extravagant to turn all that money into old bones. MRS. VAN DYKE Yes; when he might buy so many nicer things you could wear. MRS. MORROW Jim’s been awfully generous to me; though, of course, now that the war’s over we’ve got to hold in a bit. He hasn’t any more army contracts, you know. (_Sighing_) It certainly was wonderful while it lasted. MRS. VAN DYKE I shouldn’t worry about it if I were you. Why, even this beast would look like a piece of bric-a-brac in that new house he gave you. MRS. MORROW (_The hand of_ SARAH _mopping in the aisle is seen_. MRS. MORROW _is startled_.) What’s that? MRS. VAN DYKE Oh, it’s only an old scrubwoman. MRS. MORROW They might wait till the museum closed before they splash about spoiling our gowns. MRS. VAN DYKE Well, if we’re ever going to see that ancient jewelry before we’re as old as it is, I suppose we’d better try and find it. MRS. MORROW But I’ll have to tell Jim I came especially to see his beast: he’ll want to know what it looks like, the poor dear! (ELIZABETH LIVINGSTON _enters. She is a woman of such an indefinite age that she must be past her early thirties. Handsome, well-groomed and yet a bit hectic, her secret is that she is a born intriguanté and likes to see men feverish._ _She sees_ HOOD: _he sees her: the two women catch this exchange of glances, though_ HOOD _instantly resumes reading and_ BESS _goes quickly to the case opposite not to betray she is there to meet_ HOOD. _The two women exchange significant glances._ HOOD _looks up and catches_ MRS. MORROW _eyeing him through her lorgnette. He rises in question._) MRS. MORROW (_To cover it_) I beg pardon. Do _you_ happen to know where they keep the ancient jewelry? HOOD (_Politely_) I think it’s to the right. MRS. VAN DYKE But that’s what the other man said. HOOD Have you tried the long hall? MRS. MORROW But _which_ hall? HOOD (_Obviously trying to get rid of them_) The very _furthest_ hall. MRS. MORROW Oh.... (_She turns to_ MRS. VAN DYKE.) The very furthest hall, he said. (_Aside to her as they turn_) I’m afraid we’re _de trop_. I’m sure it’s.... MRS. VAN DYKE I thought so, too; and with a different tame robin this time. (_As she turns and looks at the_ BRONTOSAURUS.) I’m glad I won’t look like Jim’s beast when I’m dead. MRS. MORROW Well, dear, we’ll never be found in a museum at any rate. MRS. VAN DYKE (_As they go up_) I don’t know. I’m most dead already. (MRS. MORROW _gives a look at_ BESS _through her lorgnette. They go out obviously gossiping about her._ HOOD _takes a step to see they have gone. Then he turns tensely._) HOOD Bess! BESS Oh, Bob! HOOD Dearest! BESS Be careful. Somebody may see us. I’m sure those women.... HOOD (_With extravagant expression_) I’d like the whole world to see us. I can’t stand this much longer. Bess, I want you. BESS I know. Sh! (SARAH _comes from out of aisle, goes out of sight, obviously to clean another aisle. But she has seen them and gives a knowing smile as though such rendezvous were not unusual._) HOOD It can’t go on like this. BESS Aren’t you satisfied with what we’ve already had? HOOD (_Unconsciously playing up to the situation_) I want all or nothing--the _you_ all the world has, too. I.... BESS Yes? Say it. I like to hear you say it. HOOD I want you to be my wife. (_Intensely_) Bess! Bess! Will you? BESS Give me time to think. HOOD But it can’t go on like this ... having me meet you in strange places ... always being afraid. Bess, you love me, don’t you? BESS Oh, Bob! HOOD You’ve never loved anybody before as you love me? BESS Oh, no; you’re so fine and strong and.... HOOD Then why are you afraid? BESS The world ... my world ... your world.... HOOD But you wouldn’t be the first who.... BESS Don’t drive me to the wall! HOOD You must decide. BESS I’m thinking of you. I’m older than you. In time, perhaps, you.... HOOD Never. BESS How you say it! HOOD I love you. I’ve never loved any woman before. I’ll never love any woman again. BESS My dear boy! I must go now. I just wanted to see you, to hear you say you love me. HOOD And I came because I wanted a definite answer. BESS Wait. In time. Don’t drive me to the wall. HOOD (_Heroically_) I tell you I’ll kill myself if.... BESS Bob! Do you care as much as that? HOOD Yes. Nothing else matters. BESS But your career--your position? HOOD You are more than all that. What will you give up for me? BESS Sh! Somebody’s coming. (_In a different tone, mistress of herself._) It must have taken a good many years to collect these specimens. (RAY LIVINGSTON _has come in on this, walking slowly down with eyes that glitter for a moment on seeing them_. _He is about sixty. The tightly drawn skin on his face clearly reveals the bones beneath. He is an aristocratic, calm, collected man: the essence of deliberate politeness. When he comes to them he acts as though he were surprised._) LIVINGSTON Bess. This is a surprise. BESS Ray? LIVINGSTON Do you come here often? BESS I was just strolling through to look at some ancient jewelry when I happened to meet Mr. Hood.--This is my husband. Mr. Hood. (_As_ LIVINGSTON _crosses slowly and shakes his hand with cold studied courtesy_, HOOD _gives him a sickly smile, ill at ease in an unaccustomed situation_.) LIVINGSTON I’m charmed to meet you. I’ve heard Mrs. Livingston speak of you. Let me see, where was it? BESS (_Casually, mistress of herself_) Perhaps it was after I first met him at Judge Wilton’s. Mr. Hood is in the Legislature, you know. LIVINGSTON To be sure. I remember your photograph in all the newspapers. (_Half playfully_) But you’re rather a young man for such a conspicuous and responsible office. HOOD (_Trying to be at ease_) One soon grows older up there. LIVINGSTON (_Pleasantly_) I hope that means wiser; for wisdom, I’m told, is only a matter of perspective, and its secret is finding the relative importance of things. (_With a smile._) But, of course, _every_thing must seem vitally important at the beginning. Just as each moment of life was _once_ the most important thing to these animals. (_Before_ HOOD _can answer_.) Are you interested in fossils? HOOD (_Eyes him_) I’m trying to understand their meaning and significance. LIVINGSTON Do you find it difficult? I see you have a catalogue. Do you come here to study them? BESS (_Trying with her skill to relieve the situation_) Mr. Hood was just telling me he was planning to introduce a bill in the Legislature to--to extend the wings. LIVINGSTON To extend the wings? What of? BESS Of the Museum, of course. LIVINGSTON Indeed? HOOD (_Lying in spite of himself_) Yes. BESS (_With a reassuring smile_) He thinks it’s a bit cramped here. LIVINGSTON I quite approve. Space is what is needed. But you’ll find it difficult to get money from the Legislature for such purposes. I’ve tried myself. HOOD Oh, are you interested in museums? LIVINGSTON Didn’t you tell him, Bess, about the museum I had planned? BESS (_Beginning to detect his intention_) No; it slipped my mind. LIVINGSTON (_Playfully reproving her_) And I had such a personal interest in it, too. HOOD Was it a museum for fossils? LIVINGSTON It was to prevent people from becoming fossils before their time. It was a museum of safety appliances. HOOD Industrial? LIVINGSTON No: domestic. From a very long life, I’d observed that in the world and in the home, most everybody, through lack of a little precaution, makes a fool of himself or herself once or twice in a life. BESS (_Suavely_) I thought the average was higher; didn’t you, Mr. Hood? LIVINGSTON Perhaps the nasty messy mangling is. I’m not sure of the mortalities. You see, Mr. Hood--if you are interested? HOOD (_With a start_) Very. LIVINGSTON What I mean is that people cut off a useful hand or limb--metaphorically, of course--because they go a little too near the machinery: the machinery of what we call the hard facts of life. HOOD And what was your exhibit intended for? LIVINGSTON (_Pointedly_) To have them read the danger signs _first_. It was my plan to indicate how signs should be put up over terrain places, like stores and homes and.... BESS (_Calmly_) How interesting. What sort of signs were they to be, dear? HOOD “Don’t Handle,” “Watch Your Step.” You know the sort. You see, I have a theory that if these signs were placed about in enough places people would soon grow accustomed to carrying them in their mind’s eye, as it were. (_Pointedly_) Do you get my meaning? BESS But, dear; there are so many signs now. Look at these about here for instance. I’m sure people would never get anything out of these by carrying them about in their heads. LIVINGSTON It’s merely a matter of how much intelligence and imagination you bring to signs--otherwise they are only words. (_As_ LIVINGSTON _crosses to read sign under the_ BRONTOSAURUS, HOOD _makes a movement as though to speak, but_ BESS, _who has sat on the bench, stops him with an imploring gesture_.) Um--highly suggestive, this. (_Reading_) “Great Amphibious Dinosaur Brontosaurus ... Jurassic Period ... Donated by James Morrow.... The Brontosaurus lived several million years ago....” You see (_To them_) James Morrow and the animal have clasped hands over the centuries. Um. From this sign, can’t you picture the love and devotion to science that prompted such a gift? HOOD (_Now smiling for the first time_) As it happens he didn’t even know what his money was for. While I was waiting here I heard Mrs. Morrow say.... (_He stops short as_ LIVINGSTON _gives him a sharp look_.) BESS (_Quickly_) You see, dear, you were mistaken in that sign. LIVINGSTON (_Casually_) Perhaps. Curious though how much information a man picks up while he _waits_ about. (_He crosses over to the case opposite._) I wonder what this one will reveal. (HOOD _sees he has been caught in a slip. It spurs him into a mood of retaliation. He overcomes a momentary hesitation and then shows he resolves to tell_ LIVINGSTON _everything_.) HOOD (_With hoarse nervous intensity_) Mr. Livingston! BESS (_Under her breath to him_) Bob! LIVINGSTON (_Not turning_) Yes? (_For a second_ HOOD _is about to speak, but he is halted by_ BESS’S _look and voices, as the_ PROFESSOR, _followed by_ LARRY ANDERSON, _enters_. LARRY _is a fine strapping doughboy in his uniform, on which are two gold service stripes and several decorations for bravery. His hand is bandaged. They come down._ _As_ LIVINGSTON _gives no indication of leaving_, BESS _still sits there while_ HOOD _keeps his eyes on her husband’s back. His silence holds them there._) PROFESSOR But I was expecting at least two hundred. LARRY They got lost on the way. PROFESSOR Lost? LARRY Yes. I left them at the Follies. But I’d heard my uncle speak of this place. PROFESSOR (_Brightens_) Is your uncle interested in fossils? LARRY Yes. He’s a queer bug. He told me to be sure and not miss the Chamber of Horrors. You know, where all the Kings and Queens and statesmen are embalmed in wax? PROFESSOR But, my dear friend, they tore down the Eden Musée several years ago. LARRY They did? Why didn’t they wait till I got back? Haven’t you any Chamber of Horrors here? PROFESSOR No; this is the Paleontological section. LARRY (_Looking about_) Well, now that I’m here maybe this will do as well. (LIVINGSTON _now turns, leaning against the case, much interested in the two men. As he shows no intention of moving_, BESS _sits there, twisting her handkerchief nervously in her hand_. HOOD _is embarrassed and undecided_.) Trot ’em out, so I can tell uncle I’ve seen ’em. PROFESSOR (_Pointing to_ BRONTOSAURUS) This is a major Dinosaur. LARRY Major what? PROFESSOR The more popular name is the Brontosaurus. LARRY Is that so? (_Looking at it._) Some bird! PROFESSOR It’s a reptile: its name means Thunder Lizard because its mighty tread shook the earth. LARRY Where did it grow? PROFESSOR From other bones we have found I should say it roamed all over the world. This specimen was dug up in Wyoming. LARRY What was it doing in Wyoming? PROFESSOR (_On his dignity_) It was possibly overtaken there by an earthquake. LARRY Must have been some earthquake. PROFESSOR Since it was thus buried in silica away from the decomposing air and moisture, it was preserved for centuries--till we happened to discover it with a pick. LARRY You don’t say so! (_He looks at it a bit awed._) When we were digging trenches in No Man’s Land we used to find.... PROFESSOR What? LARRY Not that sort of bones. PROFESSOR This was in an excellent state of preservation. It is sixty feet long and must have weighed when alive forty tons. It took seven years to dig it out and mount it. We had to be very careful not to break its marvelous tail. If you’ll walk to the other end you’ll get an idea of its length. We found ninety-seven perfect vertebræ. LARRY Ninety-seven? You don’t say so? PROFESSOR You can count them and see. LARRY Ninety-seven what you call ’ems! Think of that. (_As he goes up._) And you say it came from Wyoming? PROFESSOR Yes. LARRY (_Proudly_) That’s my state, too. (LARRY _wanders off out of sight looking at the fossil. As the_ PROFESSOR _starts to follow_, LIVINGSTON, _who has been watching his wife and_ HOOD, _stops him_.) LIVINGSTON I beg your pardon. I hope you won’t mind our being interested in what you were saying; but we were wondering about the animal ourselves. (HOOD _looks at_ BESS _quickly not knowing what_ LIVINGSTON _is driving at_.) PROFESSOR (_Brightening_) Indeed? I’m afraid our young friend is a bit irreverent. LIVINGSTON May I ask what is known of its domestic habits? PROFESSOR It was hardly a domestic animal. Its family life probably extended only during the infancy of its young. LIVINGSTON Was this a female, by chance? PROFESSOR Yes: the large pelvic development.... LIVINGSTON This one undoubtedly had young, too? PROFESSOR Of course. But we have never found any of its eggs. It was a reptile, you know. LIVINGSTON But while they were dependent it undoubtedly fought to protect its young--like other animals? PROFESSOR With very few exceptions all the female animals at least do that; even those of low intelligence. LIVINGSTON This one couldn’t by any chance have been wooed away from that obligation by romantic notions? PROFESSOR (_Suspiciously_) This--romantic? LIVINGSTON But you said it roamed in search of adventure? PROFESSOR (_A bit on his dignity_) Romance lies in the field of the emotions: I am a scientist. LIVINGSTON What I mean is: was she faithful to one or promiscuous? PROFESSOR (_Embarrassed_) Undoubtedly promiscuous. LIVINGSTON Of course.--You see, Bess, the lady existed before man made his conventions. PROFESSOR Yes. She could follow all her natural instincts. LIVINGSTON Which were? PROFESSOR Food and fighting. You will observe her large maw and small brain. Her main weapon of defense was her long powerfully muscled tail. From the teeth, we deduce she was mainly herbivorous. LIVINGSTON What did she feed on? PROFESSOR Everything she could pick up. LIVINGSTON (_Significantly_) Think of that, Hood--“everything she could pick up.” PROFESSOR Young weeds, tender grass and the like. LIVINGSTON Young weeds--ah, yes, of course. Yet in spite of her diet, there is something quite impressive about dead things, isn’t there? PROFESSOR (_Eyeing it_) They have a dynamic power. LIVINGSTON Exactly. You see, Mr. Hood, a dead tree, that has in its time given shelter and substance, fights to be left standing. It resists the alien ax. Its roots go as deep as when they flowed with sap. They also fight to prevent themselves from being torn up. They don’t like to be disturbed--any more than this animal did in its cold clayey comfort. (_To_ PROFESSOR) You say it took seven years? PROFESSOR (_Not understanding_) Yes. We were afraid of hurting it if we were careless. LIVINGSTON You were right to be careful: one shouldn’t hurt the dead. What is its scientific significance? PROFESSOR Nothing but a further proof of the slow processes of evolution. LIVINGSTON (_With a smile_) I am a utilitarian. I see another significance. Possibly she was dug up, a thousand centuries after she died, just to give _you_ an occupation. PROFESSOR I can’t accept that as a working hypothesis. LIVINGSTON Just think, Hood. Several million years dead! There it stands for man to look upon! Possibly that was _why_ it existed, after all: for us _three_ to look upon. (_He glances pointedly at them._) Mr. Hood is thinking of introducing a bill in the Legislature to increase the wings of the Museum. PROFESSOR That’s very kind of him. We have many boxes still unpacked in the cellar for lack of room. But, unfortunately, this museum is under the control of the city, not the state. LIVINGSTON (_Smiling at_ HOOD) Indeed? BESS (_Rising impatiently_) It’s getting late. LARRY (_Re-entering_) I only counted sixty-three. PROFESSOR (_Emphatically_) But there are ninety-seven. LARRY All right. I won’t argue it. PROFESSOR If you’ll come with me, I’ll show you the Tyrannosaurus. They were carnivorous and the greatest fighters of them all. LARRY Say, this is a fine place to be showing a fellow who’s just back from France. BESS (_Sweetly_) Young man, I’d like to shake your hand. I see you have all sorts of lovely decorations. May I ask how you got them? LARRY (_Embarrassed_) Oh, I was careless and they pinned a rose on me by mistake. BESS You must be very proud of them? LARRY Sure I am. (_Looking at the_ BRONTOSAURUS.) But that lizard kinder takes the pride out of a fellow. BESS But _I_ admire bravery--whenever I see it. I’d like to hear about how you really got those decorations. LARRY Would you? (_The gong in the distance rings._) PROFESSOR (_In back_) If you want to see the Tyrannosaurus before we close.... LARRY Oh, all right. (_To others_) Gee, I’ll be glad to get out among the live ones. BESS (_Smiling at him_) So will I. LIVINGSTON (_Coldly_) You should have gone to the Follies, young man. LARRY Oh, I might have sprained an ankle going to my seat. (_He goes out after the_ PROFESSOR _as_ BESS _looks after him_. SARAH _comes in back and then goes off. The rear of room darkens, indicating she has pulled the curtain up._ LIVINGSTON _glances at_ HOOD _who is gazing at_ BESS _with a strange enlightenment_.) LIVINGSTON I think you’re right, Bess: we’d better be going. We might stop and take the children for a spin before it’s dark. BESS Yes. LIVINGSTON (_To_ HOOD) Are you going _our_ way? HOOD No. BESS You’re sure we can’t drop you somewhere? HOOD No. Thank you. LIVINGSTON I’m delighted to have met you, Mr. Hood. (_Shaking hands._) I shall follow your work in the Legislature with great interest. HOOD Perhaps I may be able to help you with _your_ museum. LIVINGSTON Just talking to you has encouraged me greatly. Good-bye. There is a big political future waiting a young man these days--if he keeps his head. BESS (_Shaking his hand_) I’m sure my husband is right. HOOD (_Looking at her_) So am I. Quite sure. (_She turns away, as she sees what his tone of finality implies, and looks up at the_ BRONTOSAURUS _with a start_.) LIVINGSTON What is it, dear? BESS Nothing. Only it seems to be smiling at us. LIVINGSTON All skulls grin: it’s the eternal laughter of the dead. BESS Come. (_As she starts._) Dear, don’t you think it might be a good idea to rescue that fine strong good-looking young soldier? He must be so lonely and we might take him for a drive. LIVINGSTON (_A bit wearily at what he sees ahead_) Oh, yes; if you wish. But I’m sure he should have gone to the Follies. (_He offers her his arm--she takes it._ HOOD _watches them as they walk out without turning back. He stands there a moment, with a cynical smile creeping over his lips. He throws the catalogue on the seat. Then he goes to the sign before the_ BRONTOSAURUS.) HOOD (_Reading and thinking_) “Mainly Herbivorous.” “Anything she can pick up.” “Several million years”.... (_As he gazes there_, SARAH _enters and goes out to pull up the other curtain. She apparently does so for some red rays slowly gather about the fossil. The room is darker. She re-enters and stands there looking at him._ HOOD _gives a sigh of relief, and determination: he puts on his hat, and, with hands in his pockets, goes off whistling_. SARAH _stands there as the room darkens. Then she goes over near the seat and begins to mop._) SARAH Moppin’ and scrubbin’ ... moppin’.... (_She pauses and gives a glance at the_ BRONTOSAURUS _on whose skull are now centered the rays of the setting sun_.) Holy Mother of Saints! What are you grinnin’ at, ye dirty heathen? (_She lifts her arm again in revolt as though to throw the mop at it. Then she puts it down with a sense of futility. She picks up her things and goes off slowly._ _The place is now dark save for the faint light on the skull; and even that fades after a little while._) [CURTAIN] [B] Copyright by George Middleton. See back of title page. TIDES THE PEOPLE WILLIAM WHITE, _a famous Internationalist_. HILDA, _his wife_. WALLACE, _their son_. SCENE _At the Whites; spring, 1917._ TIDES[C] _A simply furnished study. The walls are lined with bookshelves, indicating, by their improvised quality, that they have been increased as occasion demanded. On these are stacked, in addition to the books themselves, many files of papers, magazines and “reports.” The large work-table, upon which rests a double student lamp and a telephone, is conspicuous. A leather couch with pillows is opposite, pointing towards a doorway which leads into the living-room. There is also a doorway in back, which apparently opens on the hallway beyond. The room is comfortable in spite of its general disorder: it is essentially the work-shop of a busy man of public affairs. The strong sunlight of a spring day comes in through the window, flooding the table._ WILLIAM WHITE _is standing by the window, smoking a pipe. He is about fifty, of striking appearance: the visual incarnation of the popular conception of a leader of men. There is authority and strength in the lines of his face; his whole personality is commanding; his voice has all the modulations of a well-trained orator; his gestures are sweeping--for, even in private conversation, he is habitually conscious of an audience. Otherwise, he is simple and engaging, with some indication of his humble origin._ _On the sofa opposite, with a letter in her hand_, HILDA WHITE, _his wife, is seated. She is somewhat younger in fact, though in appearance she is as one who has been worn a bit by the struggle of many years. Her manner contrasts with her husband’s: her inheritance of delicate refinement is ever present in her soft voice and gentle gesture. Yet she, too, suggests strength--the sort which will endure all for a fixed intention._ _It is obvious throughout that she and her husband have been happy comrades in their life together and that a deep fundamental bond has united them in spite of the different social spheres from which each has sprung._ WHITE (_Seeing she has paused_) Go on, dear; go on. Let’s hear all of it. HILDA Oh, what’s the use, Will? You know how differently he feels about the war. WHITE (_With quiet sarcasm_) But it’s been so many years since your respectable brother has honored me even with the slightest allusion.... HILDA If you care for what he says--(_Continuing to read the letter_)--“Remember, Hilda, you are an American. I don’t suppose your husband considers that an honor; but I do.” WHITE (_Interrupting_) And what kind of an American has he been in times of peace? He’s wrung forty per cent profit out of his factory and fought every effort of the workers to organize. Ah, these smug hypocrites! HILDA (_Reading_) “His violent opposition to America going in has been disgrace enough----” WHITE But his war profits were all right. Oh, yes. HILDA Let me finish, dear, since you want it. (_Reading_) “--been disgrace enough. But now that we’re in, I’m writing in the faint hope, if you are not too much under his influence, that you will persuade him to keep his mouth shut. This country will tolerate no difference of opinion now. You radicals had better get on board the band wagon. It’s prison or acceptance.” (_She stops reading._) He’s right, dear. There will be nothing more intolerant than a so-called democracy at war. WHITE By God! It’s superb! Silence for twenty years and now he writes his poor misguided sister for fear she will be further disgraced by her radical husband. HILDA We mustn’t descend to his bitterness. WHITE No: I suppose I should resuscitate the forgotten doctrine of forgiving my enemies. HILDA He’s not your enemy; he merely looks at it all differently. WHITE I was thinking of his calm contempt for me these twenty years--ever since you married me--“out of your class,” as he called it. HILDA Oh, hush, Will. I’ve been so happy with you I can bear him no ill will. Besides, doesn’t his attitude seem natural? You mustn’t forget that no man in this country has fought his class more than you. That hurts--especially coming from an _acquired_ relative. WHITE Yes; that aggravates the offense. And I’ll tell you something you may not know: (_Bitterly_) Whenever I’ve spoken against privilege and wealth it’s been his pudgy, comfortable face I’ve shaken my fist at. He’s been so damned comfortable all his life. HILDA (_She looks at him in surprise_) Why, Will, you surely don’t envy him his comfort, do you? I can’t make you out. What’s come over you these last weeks? You’ve always been above such personal bitterness; even when you were most condemned and ridiculed. If it were anybody but you I’d think you had done something you were ashamed of. WHITE What do you mean? HILDA Haven’t you sometimes noticed that is what bitterness to another means: a failure within oneself? (_He goes over to chair and sits without answering._) I can think of you beaten by outside things--that sort of failure we all meet; but somehow I can never think of you failing yourself. You’ve been so brave and self-reliant: you’ve fought so hard for the truth. WHITE (_Tapping letter_) But he thinks _he_ knows the truth, too. HILDA He’s also an intense nature. WHITE (_Thoughtfully after a pause_) Yet there is _some_ truth in what he says. HILDA (_Smiling_) But you didn’t like it--coming from him? WHITE It will be different with you and me now that America’s gone in. HILDA Yes. It will be harder for us here; for hate is always furthest from the trenches. But you and I are not the sort who would compromise to escape the persecution which is the resource of the non-combatant. (_The phone rings: he looks at his watch._) WHITE That’s for me. HILDA Let me. (_She goes._) It may be Wallace. (_At phone._) Yes: this is 116 Chelsea. Long Distance? (_He starts as she says to him_) It must be our boy. (_At phone._) Who? Oh--_Mr._ William White? Yes: he’ll be here. (_She hangs up receiver._) She’ll ring when she gets the connection through. WHITE (_Turning away_) It takes so long these days. HILDA Funny he didn’t ask for me. WHITE What made you think it was Wallace? HILDA I took it for granted. He must be having a hard time at college with all the boys full of war fever. WHITE And a father with my record. HILDA He should be proud of the example. He has more than other boys to cling to these days when everybody is losing his head as the band plays and the flag is waved. He won’t be carried away by it. He’ll remember all we taught him. Ah, Will, when I think we now have conscription--as they have in Germany--I thank God every night our boy is too young for the draft. WHITE But when his time comes what will he do? HILDA (_Calmly_) He will do it with courage. WHITE (_Referring to her brother’s letter_) Either prison or acceptance! HILDA I would rather have my son in prison than have him do what he felt was wrong. Wouldn’t you? WHITE (_Evasively_) We won’t have to face that problem for two years. HILDA And when it comes--if he falters--I’ll give him these notes of that wonderful speech you made at the International Conference in 1910. (_Picking it up._) I was looking through it only this morning. WHITE (_Troubled_) Oh, that speech. HILDA (_Glancing through it with enthusiasm_) “All wars are imperialistic in origin. Do away with overseas investments, trade routes, private control of ammunition factories, secret diplomacy....” WHITE Don’t you see that’s all dead wood? HILDA (_Not heeding him_) This part gave me new strength when I thought of Wallace. (_Reading with eloquence._) “War will stop when young men put Internationalism above Nationality, the law of God above the dictates of statesmen, the law of love above the law of hate, the law of self-sacrifice above the law of profit. There must be no boundaries in man’s thought. Let the young men of the world once throw down their arms, let them once refuse to point their guns at human hearts, and all the boundaries of the world will melt away and peace will find a resting-place in the hearts of men!” WHITE (_Taking it from her_) And I made you believe it! What silly prophets we radicals were. (_He tears it up._) Mere scraps of paper, dear; scraps of paper, now. HILDA But it was the truth; it still _is_ the truth. WHITE Hilda, there’s something I want to talk over very very seriously with you. I’ve been putting it off. HILDA Yes, dear? (_The outer door is heard to bang._) Listen: wasn’t that the front door? WHITE Perhaps it’s the maid? HILDA (_A bit nervously_) No: she’s upstairs. No one rang. Please see. WHITE (_Smiling_) Now don’t worry! It can’t possibly be the Secret Service. HILDA One never knows in war times what to expect. I sometimes feel I am in a foreign country. (WHITE _goes slowly to the door in back and opens it_. WALLACE, _their son, with valise in hand, is standing there, as though he had hesitated to enter_. _He is a fine clean-cut young fellow, with his father’s physical endowment and his mother’s spiritual intensity. The essential note he strikes is that of honesty. It is apparent he is under the pressure of a momentous decision which has brought him unexpectedly home from college._) WHITE Wallace! WALLACE (_Shaking hands_) Hello! Dad. HILDA Wallace! My boy! (WALLACE _drops valise and goes to his mother’s arms_.) WALLACE (_With deep feeling_) Mother! WHITE (_After a pause_) Well, boy; this is unexpected. We were just talking of you. WALLACE Were you? HILDA I’m so glad to see you, so glad. WALLACE Yes ... yes ... but.... WHITE There’s nothing the matter? HILDA You’ve had trouble at college? WALLACE Not exactly. But I couldn’t stand it there. I’ve left--for good. WHITE I was sure that would happen. HILDA Tell us. You know we’ll understand. WALLACE Dad, if you don’t mind, I’d like to talk it over with mother first. WHITE Of course, old fellow, that’s right. She’ll stand by you just as she’s always stood by me--all these years. (_He kisses her._) I ... I.... (_He smooths her hair gently, looking into her eyes as she smiles up at him._) We mustn’t let this war hurt all we’ve had together--you and I---- HILDA (_Smiling and turning towards her son_) And Wallace. WHITE And Wallace. Yes. (WALLACE _looks away guiltily_.) Let me know when the phone comes. (_He goes out hastily. She closes the door after him and then comes to_ WALLACE, _who has sat down, indicating he is troubled_.) HILDA They made it hard for you at college? WALLACE I don’t know how to tell you. HILDA I understand. The flag waving, the patriotic speeches, the billboards advertising the glory of war, the call of adventure offered to youth, the pressure of your friends--all made it hard for you to be called a slacker. WALLACE No, mother. I wasn’t afraid of what they could call me. That was easy. HILDA (_Proudly_) You are your father’s son! WALLACE Mother, I can’t stand the thought of killing, you know that. And I couldn’t forget all you’ve told me. That’s why I’ve had to think this out all these months alone; why I’ve hesitated longer than most fellows. The only thing I was really afraid of was being wrong. But now I know I’m right and I’m going clean through to the limit. HILDA As your father said I’ll stand by you--whatever it is--if only you feel it’s right. WALLACE Will you? Will you, mother? No matter what happens? (_She nods._) I knew you would. (_Taking her hand._) Then mother, listen. I’ve volunteered. HILDA (_Shocked_) Volunteered! WALLACE Yes. I leave for training-camp to-night. HILDA To-night? WALLACE Yes, mother. Once I made up my mind I couldn’t wait to be drafted. I wanted to offer myself. I didn’t want to be made to go. HILDA (_Hardly grasping it_) But you are too young. WALLACE I lied about my age. You and father can stop me if you tell the truth. That’s why I’ve come back. I want you to promise you won’t tell. HILDA _You_ ask me to aid you in what I don’t believe? WALLACE But you said you’d stick by me if _I_ thought it was right. HILDA But.... WALLACE (_With fervor_) And I tell you, mother, I do feel it was right for America to go in. I see now we ought to have declared war when they crushed Belgium. Yes; we ought to have gone in when the Lusitania was sunk. But we’ve been patient. The President tried to keep us out of it until we _had_ to go in to save our self-respect. We had to go in to show we were men of honor, not pussy cats. We had to go in to show the world the Stars and Stripes wasn’t a dishrag on which the Germans could dry their bloody hands! HILDA (_Gazing at him incredulously_) You hate them as much as that? WALLACE Hate? No, mother, no. (_As though questioning himself._) I really haven’t any hate for the German _people_. People are just people everywhere, I suppose, and they’re tricked and fooled by their rotten government, as the President says. HILDA Then why fight them? WALLACE Because they’re standing back of their government, doing what it says. And they’ve got to be licked to show them what kind of a government they have. HILDA At least you have no hate in your heart--that’s something. WALLACE Oh, yes, I have, mother. But it isn’t for the poor devils I’ve got to shoot. It’s for the stay-at-home fellow here in America who sits in a comfortable armchair, who applauds patriotic sentiment, cheers the flag and does nothing for his country but hate and hate--while we fight for him. That’s the fellow I’ll hate all right when I sit in the trenches. And that’s why I couldn’t look myself in the face if I stayed out a day longer; why, I’ve got to go in; why, I’m going to die if I must, because _everybody_ ought to be willing to die for what he believes. HILDA You are my son, _too_! For I would willingly have died if it could have kept us out of this war. WALLACE Yes. I am your son, too. And that’s why you wouldn’t respect me if I didn’t go through. HILDA No. I wouldn’t have respected you. But ... but.... (_She breaks a bit, then controls herself._) You are quite sure you’re doing what’s right? WALLACE (_Tenderly_) Would I have been willing to hurt you like this? HILDA (_Holding him close to her_) My boy; my boy! WALLACE It’ll be all right, mother. HILDA Ah, yes. It will be all right. Nothing matters in time: it’s only the moments that hurt. WALLACE (_After a pause_) Then you won’t tell my real age, or interfere? HILDA I respect your right to decide your own life. WALLACE (_Joyed_) Mother! HILDA I respect your dedication; your willingness to sacrifice for your beliefs. Why, Wallace, it would be a crime for me to stand in your way--even with my mother’s love. (_He kisses her._) Do it all as cleanly as you can. I’ll hope and pray that you’ll come back to me. (_Half breaking down and taking him in her arms._) Oh, my boy; my boy. Let me hold you. You’ll never know how hard it is for a mother. WALLACE (_Gently_) But other mothers send their boys. HILDA Most of them believe in what their sons are fighting for. Mothers have _got_ to believe in it; or else how could they stand the thought of bayonets stuck into the bodies they brought forth in their own blood? (_There is a pause till she controls herself._) I’ll help you get your things together. WALLACE And father? HILDA He will be angry. WALLACE But you will make him understand? HILDA I’ll try. Yet you must be patient with him if he doesn’t understand. Don’t ever forget his long fight against all kinds of Prussianism when you hear him reviled by those who have always hated his radicalism and who, now, under the guise of patriotism, are trying to render him useless for further attacks on them after the war. He’s been persecuted so by them--even back in the days when our press was praising Germany and our distinguished citizens were dining at the Emperor’s table. Don’t forget all this, my boy. These days are hard for him--and me--harder perhaps than for you who go out to die in glory and praise. There are no flags for us, no music that stirs, no applause; but we too suffer in silence for what we believe. And it is only the strongest who can survive.--Now call your father. WALLACE (_Goes to door_) Dad! (_He leaves door open and turns to his mother._) I’ll be getting my things together. (_There is a pause._ WHITE _enters_.) Dad, mother has something to ask you. (_He looks from father to mother._) Thanks, little mother. (_He kisses her and goes out taking the valise. His father and mother stand facing each other._) HILDA Wallace has volunteered. (_He looks at her keenly._) He has lied about his age. He wants us to let him go. WHITE Volunteered? HILDA Yes; he leaves to-night. WHITE (_After a pause_) And what have _you_ told him? HILDA That he must go. WHITE You can say that? HILDA It is the way he sees it. WHITE (_Going to her sympathetically_) Hilda. HILDA (_Looking up at him tenderly_) Oh, Will, do you remember when he was born? (_He soothes her._) And all we nursed him through afterwards; and all we taught him; all we tried to show him about war. (_With a shrug of her shoulders._) None of it has mattered. WHITE War is stronger than all that. HILDA So we mustn’t blame him. You won’t blame him? WHITE He fears I will? HILDA He has always feared you a little though he loves you deeply. You mustn’t oppose him, dear. You won’t? WHITE (_Wearily_) Is there any use opposing anybody or anything these days? HILDA We must wait till the storm passes. WHITE That’s never been my way. HILDA No. You’ve fought all your life. But now we must sit silent together and wait; wait for our boy to come back. Will, think of it; we are going to have a boy “over there,” too. WHITE Hilda, hasn’t it ever struck you that we may have been all wrong? (_She looks at him, as she holds his hand._) What could these frail hands do? How could we poor little King Canutes halt this tide that has swept over the world? Isn’t it better, after all, that men should fight themselves out; bring such desolation upon themselves that they will be forced to see the futility of war? May it not become so terrible that men--the workers, I mean--will throw down their worn-out weapons of their own accord? Won’t permanent peace come through bitter experience rather than talk--talk--talk? HILDA (_Touching the torn pages of his speech and smiling_) Here is your answer to your own question. WHITE Oh, that was all theory. We’re in now. You say yourself we can’t oppose it. Isn’t it better if we try to direct the current to our own ends rather than sink by trying to swim against it? HILDA Oh, yes; it would be easier for one who _could_ compromise. WHITE But haven’t we radicals been too intolerant of compromise? HILDA That has been _your_ strength. And it is your strength I’m relying on now that Wallace.... Shall I call him? WHITE (_Significantly_) No; wait. HILDA (_Apprehensive at his turn_) Oh, yes. Before he came you said there was something...? (_The phone rings. They both look at it._) That’s for you. WHITE (_Not moving_) Yes. HILDA (_Hardly believing his attitude_) Is--is it private? WHITE No. Perhaps it will be easier this way. (_He hesitates, then goes to phone as she stands expectant._) Yes. Yes. Long Distance? Washington? (_Her lips repeat the word._) Yes. This is William White. Hello. Yes. Is this the Secretary speaking? Oh, I appreciate the honor of having you confirm it personally. Senator Bough is chairman? At _his_ request? Ah, yes; war makes strange bedfellows. Yes. The passport and credentials? Oh, I’ll be ready. Yes. Good-bye. (_He hangs up the receiver and looks at her._) HILDA You, too! WHITE I’ve been trying to tell you these last weeks; but I couldn’t somehow. HILDA You were ashamed? WHITE No, dear; only I knew it would hurt you. HILDA I’m not thinking of myself but of you. You are going to be part of this war? WHITE I’m going to do what I can to help finish it. HILDA By compromising with the beliefs of a lifetime? WHITE No, dear; not that. I’ve accepted the appointment on this commission because I’m going to accept facts. HILDA Have the facts of war changed or is it you? WHITE Neither has changed; but I’m going to act differently. I’m going to be part of it. Yes. I’m going to help direct the current. HILDA I can’t believe what I am hearing. Is it you, William White, speaking? You who, for twenty years, have stood against _all_ war! WHITE Yes. HILDA And now when the test comes you are going to lend yourself to it! You of all men! WHITE Hilda, dear; I didn’t expect you to accept it easily; but I think I can make you see if you will let me. HILDA (_Poignantly_) If I will _let_ you! Why, Will, I must understand; I must. WHITE Perhaps it will be difficult at first--with your standards. HILDA But my standards were yours, Will. You gave them to me. You taught me. You took a young girl who loved you. You showed her the truth, and she followed you and has followed you gladly through hard years of struggle and poverty because of those ideals. And now you talk of _my_ standards! Will, don’t you see, I _must_ understand? WHITE Dear, standards are relative things; they differ with circumstance. HILDA Have your ideals only been old clothes you change to suit the weather? WHITE It’s the end we must keep in mind. _I_ haven’t changed or compromised one bit in that. I’m working in changed conditions, that’s all; working with all my heart to do away with all war. HILDA By fighting one? WHITE (_With eloquence_) Yes. Because it is necessary. I’ve come to see we can’t argue war out of the world with words. We’ve got to beat it out of the world. It can’t be done with our hands lifted up in prayer; it can only be done with iron hands crushing it down. War is the mood of the world. Well, I’m going to fight in my fashion. And when it is over I’m going to keep on fighting; for the next war will be greater than this. It will be economic revolution. It will be the war of capital and labor. And I mean to be ready. HILDA (_Listening incredulously_) And to get ready you are willing to link arms now with Senator Bough--a man you once called the lackey of Wall Street--a man who has always opposed every democratic principle.... WHITE Yes. Don’t you see the Government is beginning to realize they can’t do without us? Don’t you see my appointment is an acknowledgment of the rising tide of radicalism in the world? Don’t you see, with the prestige that will come to me from this appointment, I will have greater power after the war; power to bring about the realization of all our dreams; power to demand--even at the Peace table itself, perhaps--that all wars must end? HILDA Do you actually believe you will have any power with your _own_ people when you have compromised them for a temporary expediency? WHITE (_With a gesture_) The leader must be wiser than the people who follow. HILDA So, contempt for your people is the first thing your new power has brought you! (_He makes a gesture of denial._) You feel you are above them--not of them. Do you believe for a moment that Senator Bough has anything but contempt for you, too? WHITE (_Confidently_) He needs me. HILDA Needs you? Don’t you understand why he had you appointed on that committee? He wanted to get you out of the way. WHITE Isn’t that an acknowledgment of my power? HILDA Yes. You’re a great asset _now_. You’re a “reformed” radical. Why, Will, he’ll use you in the capitals of Europe to advertise his liberalism; just as the prohibitionist exhibits a reformed drunkard. WHITE And I tell you, Hilda, after the war I shall be stronger than he is, stronger than any of them. HILDA No man is strong unless he does what he feels is right. No, no, Will; you’ve convicted yourself with your own eloquence. You’ve wanted to do this for some reason. But it isn’t the one you’ve told me. No; no. WHITE (_Angrily_) You doubt my sincerity? HILDA No; only the way you have read yourself. WHITE Well, if you think I’ve tried to make it easy for myself you are mistaken. Is it easy to pull out of the rut and habit of years? Easy to know my friends will jeer and say I’ve sold out? Easy to have _you_ misunderstand? (_Goes to her._) Hilda, I’m doing this for their good. I’m doing it--just as Wallace is--because I feel it’s right. HILDA No; you shouldn’t say that. You are not doing this for the same reason Wallace is. He believes in this war. He has accepted it all simply without a question. If you had seen the look in his eyes, you would have known he was a dedicated spirit; there was no shadow, no doubt; it was pure flame. But you! You believe differently! You can’t hush the mind that for twenty years has thought no war ever could henceforth be justified. You can’t give yourself to this war without tricking yourself with phrases. You see power in it and profit for yourself. (_He protests._) That’s your own confession. You are only doing what is expedient--not what is right. Oh, Will, don’t compare your motives with those of our son. I sent him forth, without a word of protest, because he wishes to die for his own ideals: you are killing your own ideals for the ideals of others! (_She turns away._) Oh, Will, that’s what hurts. If you were only like him, I--I could stand it. WHITE (_Quietly, after a pause_) I can’t be angry at you--even when you say such things. You’ve been too much a part of my life, and work, and I love you, Hilda. You know that, don’t you, dear? (_He sits beside her and takes her hand._) I knew it would be difficult to make you understand. Only once have I lacked courage and that was when I felt myself being drawn into this and they offered me the appointment. For then I saw I must tell you. You know I never have wanted to cause you pain. But when you asked me to let Wallace go, I thought you would understand my going, too.--Oh, perhaps our motives are different; he is young: war has caught his imagination; but, I, too, see a duty, a way to accomplish my ideals. HILDA Let’s leave ideals out of this now. It’s like bitter enemies praying to the same God as they kill each other. WHITE Yes. War is full of ironies. I see that: Wallace can’t. It’s so full of mixed motives, good and bad. Yes. I’ll grant all that. Only America has gone in. The whole tide was against us, dear. It is sweeping over the world: a brown tide of khaki sweeping everything before it. All my life I’ve fought against the current. (_Wearily_) And now that I’ve gone in, too, my arms seem less tired. Yes; and except for the pain I’ve caused you, I’ve never in all my life felt so--so happy. (_Then she understands. She slowly turns to him, with tenderness in her eyes._) HILDA Oh, now, Will, I do understand. Now I see the real reason for what you’ve done. WHITE (_Defensively_) I’ve given the real reason. HILDA (_Her heart going out to him_) You poor tired man. My dear one. Forgive me, if I made it difficult for you; if I said cruel words. I ought to have guessed; ought to have seen what life has done to you. (_He looks up, not understanding her words._) Those hands of yours first dug a living out of the ground. Then they built houses and grew strong because you were a workman--a man of the people. You saw injustice and all your life you fought against those who had the power to inflict it: the press; the comfortable respectables, like my brother; and even those of your own group who opposed you--you fought them all. And they look at you as an outsider, an alien in your own country. Oh, Will, I know how hard it has been for you to be always on the defensive, against the majority. It is hard to live alone away from the herd. It does tire one to the bone and make one envious of the comfort and security they find by being together. WHITE Yes ... but.... HILDA Now the war comes and with it a chance to get back; to be part of the majority; to be welcomed with open arms by those who have fought you; to go back with honor and praise. And, yes, to have the warmth and comfort of the crowd. That’s the real reason you’re going in. You’re tired and worn out with the fight. I know. I understand now. WHITE (_Earnestly_) If I thought it was that, I’d kill myself. HILDA There’s been enough killing already. I have to understand it somehow to accept it at all. (_He stares at her, wondering at her words. She smiles. He goes to a chair and sits down, gazing before him. The music of “Over There” is now heard outside in the street, approaching nearer and nearer. It is a military band._ WALLACE _excitedly rushes in dressed in khaki_.) WALLACE Mother, mother. The boys are coming down the street. (_Sees father._) Dad! Mother has told you? HILDA (_Calmly_) Yes; I’ve told him. WALLACE And you’re going to let me go, Dad? HILDA Yes. WALLACE Oh, thanks, Dad. (_Grasping his hand._) I knew mother would make you see. (_Music nearer._) Listen! Isn’t that a great tune? Lifts you up on your feet and carries you over there. Gee, it just gets into a fellow and makes him want to run for his gun and charge over the top. (_He goes to balcony._) Look! They’re nearing here; all ready to sail with the morning tide. They’ve got their helmets on. You can’t see the end of them coming down the avenue. Oh, thank God, I’m going to be one of them soon. Thank God! I’m going to fight for Uncle Sam and the Stars and Stripes. (_Calls off._) Hurrah! (_To them._) Oh, I wish I had a flag. Why haven’t we got a flag here--Hurrah!! (_As he goes out on the balcony the music plays louder._ HILDA _has gone to_ WHITE _during this, and stands behind him, with her arms down his arms, as he sits there, gazing before him_.) HILDA (_Fervently_) Oh, Will, if I could only feel it as he does!! (_The music begins to trail off as_ WHITE _tenderly takes hold of her hands_.) [CURTAIN] [C] Copyright by George Middleton. See back of title page. AMONG THE LIONS THE PEOPLE PATRICIA TENNER, _a popular “star.”_ MRS. EMILY FROWDE, “_a lion-hunter_.” MISS EVA STANNARD, _about whom there has been talk_. THE BROWN ONE, } THE BLUE ONE, } _as they appear to Patricia_. THE GREEN ONE, } M. MAVOSKY, _an artist “who’s all the rage.”_ GEORGE SILVERTON, _a musician; an old friend of Patricia_. OTHER GUESTS. SCENE _Drawing-room at Mrs. Frowde’s during a small reception given to Patricia Tenner. A late afternoon._ AMONG THE LIONS[D] _An elaborate drawing-room is disclosed, with bare high-paneled walls, relieved only by attractive candle-clusters and a stretch of tapestry. At back is an alcove effect in which a piano is seen, with the usual decorations of a music-room suggested beyond. There are two openings which lead to the hallways and street doors without. Opposite these is a stone-built fireplace with a smoldering log blaze and attractive “British Soldier” andirons. By this rests a deep chair which tones with the other furnishings. A tea-table, resplendent with silver, stands obliquely in the center, with lighted candles. Appropriate ferns and flowers rest in likely places._ GEORGE SILVERTON _is playing a Chopin étude in the music-room; about the opening are grouped_ PATRICIA TENNER, MRS. FROWDE, THE BROWN ONE, THE GREEN ONE, THE BLUE ONE _and others. They are listening, duly impressed by the touch of an expert._ MAVOSKY, _the artist, is standing off alone by the tea-table complacently munching a macaroon and eyeing_ PATRICIA. MAVOSKY _is about forty, tall, with large eyes and a pointed beard. There is a slight Russian accent in his speech and his manners have the studied spontaneity of a professional foreigner exploiting a new field. As he continues to watch_ PATRICIA _with a cynical smile, she leaves the group unobserved by the others and moves towards the low, deep chair near the fireplace_. PATRICIA _has the large features of a stage-beauty, which enhance her appearance before the footlights. Her hair is parted and coiled low on her neck. She is elegantly gowned, and carries a long, elaborate scarf which is hung across her back and held by each arm. She uses this continually to increase her instinctive plasticity. As she turns there is a serious expression upon her face, as though, for once she had been her true self._ PATRICIA (_Almost inaudibly_) George Silverton. Poor George! (_She seems to feel_ MAVOSKY’S _eyes; but again mistress of herself, turns, and smiles invitingly. Then she drapes herself artistically in the chair._ MAVOSKY _comes with the plate of macaroons, which she declines with a pretty gesture. He replaces them on the table, and, seeing no one is watching, returns to her, speaking softly as the music continues._) MAVOSKY _Quel charme!_ PATRICIA The gown or the pose? MAVOSKY Mademoiselle Tenner, in _your_ profession they are inseparable. PATRICIA We actresses belong only to each moment we act. It is _your_ profession which fastens us as we should be in the memory of others. MAVOSKY Perhaps that is why my portraits please. PATRICIA (_Bantering charmingly_) And you only take celebrities, Monsieur Mavosky. MAVOSKY I wish to go to posterity on the hem of their garments. PATRICIA (_Smiling_) Some day I may wear a gown that pleases you, eh? (_He starts to answer, but the music stops and the others applaud in perfect taste. He offers his hand in parting, as she seems to invite it._) MAVOSKY _Au revoir._ PATRICIA (_With a fascinating smile_) _Déjà?_ (_He bows far over her hand and their eyes meet with interest. As he turns away, while the others come into the room_, PATRICIA _gives a secret smile of satisfaction, as though she had obtained her intention. Then she sighs wearily, bored, as she glances at the others._ MRS. FROWDE, _the hostess is about fifty, looking forty; rather large and as self-contained as possible in her loose black tea-gown. She is a nervous woman with an apparent seriousness in her social undertakings. Her eyes are continually criticizing and her hands correcting. She has a gracious voice, and towards_ PATRICIA, _at least, a possessive protectiveness_. THE BROWN ONE _has a good profile from her chin up, but otherwise, in spite of lacing, is stout. Her tan gown makes up in elegance what it lacks in outline._ _The clinging gown of_ THE BLUE ONE _accentuates the languid manner she affects. There is a satisfied, set smile upon her aquiline face and her voice maintains a gentle, persistent tremolo._ THE GREEN ONE _is younger than the others and in general indefiniteness of bearing and appearance merely suggests money. Her olive-trimmed gown is very simple, but is caught by a conspicuous jade belt._ _These, with the other guests who gradually depart, suggest the atmosphere of a conventional tea._) OMNES (_Enthusiastically to Silverton_) How delightful! How wonderful! (GEORGE SILVERTON _is medium-sized, in the late thirties, with a fine, sensitive face and short-cropped hair. He is retiring in manner and seems ill at ease in the present company. Towards_ PATRICIA, _however, this disappears and it is evident he has known her well_.) THE BROWN ONE (_Shrugging her shoulders, and splashing each sentence with jerky gestures throughout._) He has such a _je-ne-sais-quoi_. Don’t you think? THE BLUE ONE (_In a shocked tone_) I’d hardly put it that way. SILVERTON (_To_ THE BROWN ONE) You compliment me. MRS. FROWDE Didn’t Pachmann play that at the Philharmonic Friday? THE GREEN ONE How should I know? MRS. FROWDE I wish they’d announce what they play as an encore so I can recognize it. THE BROWN ONE We need a Chopin in this country. Do you compose, Mr. Silverton? THE BLUE ONE (_Who has come down to_ PATRICIA) It must be splendid to be a real artist, Miss Tenner, instead of just having money. _We_ have to be so careful. (PATRICIA _smiles and nods understandingly throughout_. SILVERTON, _apparently ill at ease, comes beside_ PATRICIA _as_ MAVOSKY _is speaking to_ MRS. FROWDE _and the others at the table_.) Oh, Mr. Silverton, your playing made me so--so--(_at a loss for words_) don’t you know? SILVERTON (_Stiffly_) Music is the only mental adventure in good and evil which some of us ever have. THE BLUE ONE How clever of you! I wonder if that’s why I adore Tristan? You will come to my next Thursday and play for me? _I_ need adventure. (_She laughs, tremulously_) I’ll have some people there if I may tell them _you_ are coming. SILVERTON (_Hiding his displeasure_) Charmed. THE BLUE ONE (_To_ PATRICIA) You have a beastly rehearsal then, haven’t you? So sorry. (PATRICIA _smiles as though regretful, and the three continue talking_.) MRS. FROWDE (_By the table, shaking_ MAVOSKY’S _hand_) Must you go? MAVOSKY Only till luncheon Tuesday. MRS. FROWDE (_Aside to him_) It was good of you to meet her. MAVOSKY (_Looking across to_ PATRICIA) Miss Tenner is a poem in pose. THE BROWN ONE (_Who has been manœuvering to be in his line of departure, as_ MRS. FROWDE _turns to give_ THE GREEN ONE _a cup of tea_.) M. Mavosky, I’ve heard if you wait at Port Said you’ll sooner or later meet everyone you know. Here, at Mrs. Frowde’s, one only meets those one wishes, _n’est-ce pas_? MAVOSKY (_Gallantly_) You American women! THE BROWN ONE I’ll bring my husband to see your portraits. May I? MAVOSKY (_Bowing_) _You_ speak for his taste. THE BROWN ONE (_Pleased_) He actually threatens to have one of me, and wishes the very best that can possibly be painted. (_They exchange pleasantries, and as_ MAVOSKY _passes out he glances towards_ PATRICIA, _who has been watching him, while_ SILVERTON _has engaged_ THE BLUE ONE, _who by now has joined_ THE GREEN ONE _and_ THE BROWN ONE _and_ MRS. FROWDE _at the table. They laugh as_ SILVERTON _and_ PATRICIA _find a chance to snatch a few words unheard_.) SILVERTON (_Referring to_ THE BLUE ONE) Who is she that I must pay for my tea by playing for her Thursday? PATRICIA (_Flippantly_) Her name begins with T. Her husband owns _The Star_. It’s been good to me. I call her The Blue One; I no longer remember names. People are color to me. See the stout one--like an overfed question mark? She seems brown all through. Have you heard her talk? With her (_imitating and shrugging shoulders_) “je-ne-sais-quois”? No one who is fat should speak French. And The Green One--ugh!--with the jade life-belt! SILVERTON (_Seriously_) Pat, why do you still come to these stupid affairs? PATRICIA There are still things _I_ may want, too. SILVERTON Mavosky? PATRICIA A portrait by him in my new rôle. Yes. Mrs. Frowde knew him. _Voilà._ SILVERTON I see: that’s how you still get things. PATRICIA Mrs. Frowde is the greatest “lion-hunter” in captivity. She is happy to-day; she’s caught three of us: a star, a painter, and a promising musician. That’s why you’re here, isn’t it? (_He nods._) You’ve finally decided to follow the advice I gave you when we first came East---- SILVERTON Yes: how different it was then---- PATRICIA (_Reminiscently_) Yes--how different! MRS. FROWDE (_Gently restraining_ THE BROWN ONE, _who has started towards_ PATRICIA _and_ SILVERTON) I’ve heard they had quite a romance once. THE BROWN ONE How romantic! I wish my husband played a piano. (_They talk._) PATRICIA (_Quietly to_ SILVERTON) Funny, George, while you were playing I was thinking of when I hadn’t a job and you were copying for a living. Your music actually made me want to throw off all my insincerities here just for once and see what would happen. SILVERTON They’d be shocked---- PATRICIA And I’d be chilly. SILVERTON But _I_ couldn’t be of any use to you--_then_. PATRICIA No; my “art” wasn’t big enough to succeed by itself alone. I had to play the game--get influence--(_He protests._) Oh, I know myself, George; I was cruel to you and all the others. Some day, just to square myself in my own eyes, I’ll tell people like these here about my life and how I have always used them to get what I wanted. SILVERTON (_Surprised_) What is the matter, Pat? You’re not yourself. PATRICIA (_Smiling_) I’m having a rush of sincerity to my lips. SILVERTON (_Looking over toward the others_) I wonder what _they_ would say if it slipped out? PATRICIA Perhaps they’d say it was “temperament.” I’ve affected it so much I actually believe I’ve got it. MRS. FROWDE (_Laughing with others_) Mavosky is _so_ clever; he said in America passion was only sentiment waving a red flag! THE GREEN ONE He told me art had no morals and I understood him. He’s so subtle. SILVERTON (_To_ PATRICIA) If I could but make phrases. PATRICIA (_Rising, wearily_) I don’t have to; I smile them. MRS. FROWDE (_Coming down anxiously_) Surely, you’re not going yet, Patricia? THE GREEN ONE (_To_ THE BROWN ONE) She calls her Patricia! MRS. FROWDE (_Offering_ PATRICIA _a cup_) I’ve fixed it the way you like it--no lemon. PATRICIA (_Declining_) You are so thoughtful, dear Emily. THE GREEN ONE (_To_ THE BROWN ONE) Emily! THE BLUE ONE (_Coming to_ PATRICIA) I’m just dying to see your Rosalind. PATRICIA (_Beautifully covering with an air of sincerity her mockery which_ SILVERTON _alone detects_) You may before you do. THE GREEN ONE (_In surprise_) But the papers say---- PATRICIA You mustn’t believe all you see _there_. My press agent has imagination. THE BLUE ONE (_Cozily to the others_) Isn’t it splendid to be taken into her confidence. (PATRICIA _darts a humorous glance at_ SILVERTON.) THE BROWN ONE I should think you’d be tired going out so much. PATRICIA Mrs. Frowde’s friends are always interesting and proper--a rare combination. (_Smiling._) Her idea of a tragedy would be a social mishap--that way. MRS. FROWDE (_Protectively_) I warn her against overtaxing herself--and with that trying part to play every night. PATRICIA Whenever it gets trying to me I think of the audience. MRS. FROWDE (_As the others laugh_) I always said one must have a sense of humor off the stage to play the parts you do. PATRICIA I get my inspiration from my friends; a cup of tea, and brilliant conversation before the horrid time to go and “make up.” THE GREEN ONE Doesn’t all the make-up hurt the complexion? PATRICIA (_Sweetly_) I always use cold cream first--don’t you? (_An abrupt halt in the laughter comes as_ MISS EVA STANNARD _enters and pauses momentarily in the doorway_. MISS STANNARD _is about twenty-nine, tall, vibrant and almost imperious in bearing. Her forehead is high, her eyes keen and her mouth thin and tense. She is gowned in gray._ PATRICIA _is immediately interested in her and in the constrained attitude of the others_. MISS STANNARD _slowly comes to_ MRS. FROWDE, _bowing graciously, as she passes, to the others, who return it with sickly smiles, exchanging secret looks of surprise and indignation_. MRS. FROWDE _in her obvious embarrassment, instead of offering her hand, proffers the tea-cup, which_ MISS STANNARD _smilingly declines_. THE BLUE ONE, _with rare presence of mind, coughs, and the others all laugh nervously, as though to cover the silence which has ensued_. PATRICIA _slowly sits again, with_ SILVERTON _standing by her chair, intensely interested and curious_.) MISS STANNARD (_Sweetly_) I had no idea, Mrs. Frowde, you were receiving formally to-day. MRS. FROWDE (_Constrained throughout_) I only sent out a few special cards to meet Miss Tenner. But now that you’ve come, let me present you to her. Miss Stannard. PATRICIA (_More cordial than ever_) Miss _Eva_ Stannard? (_Miss Stannard nods._) Oh; I’m indeed glad to meet you. MISS STANNARD (_Formally and a bit puzzled_) Thanks. MRS. FROWDE You know the others? MISS STANNARD (_Cordially_) Oh, yes---- (_The others laugh a little nervously, nod mechanically, with ill-concealed rudeness._) MRS. FROWDE (_Nervously_) _Do_ have another cup of tea. (_Pause._) What lovely weather we are having! (_They all agree._) I almost hate to go to Florida this winter; but it saves fuel. (MISS STANNARD _declines again and_ SILVERTON _takes the cup from_ MRS. FROWDE _to the table, returning to_ PATRICIA. _There is another embarrassing silence in which they all look at one another. Finally_ THE BROWN ONE _comes to say good-bye to_ MRS. FROWDE, _whose discomfort increases throughout_.) Must you really go so soon? THE BROWN ONE (_Pointedly_) Yes; I--I had expected to stay longer, but I’ve just remembered a most important engagement. THE BLUE ONE Can’t I drop you on the way? My car’s waiting. MRS. FROWDE (_Distressed_) Must you, too? But Mr. Silverton has promised to play again. SILVERTON (_Significantly_) An improvisation--prompted by the occasion. THE BLUE ONE I’m to hear it Thursday--remember. (_As_ THE BLUE ONE _and_ THE BROWN ONE _say good-bye to_ MISS STANNARD, THE GREEN ONE _goes to_ MRS. FROWDE. MISS STANNARD _being left alone, shows her struggle at self-control and sits in a chair unasked_. THE BROWN ONE _and_ THE BLUE ONE _with heads together go out the upper opening_.) THE GREEN ONE It’s getting late. I’ve had such a pleasant afternoon. You won’t forget bridge next Monday? (MRS. FROWDE _responds limply and as_ THE GREEN ONE _turns_, MISS STANNARD _rises and halts her with a look_.) MISS STANNARD Good afternoon. MRS. FROWDE Must you? THE GREEN ONE Yes, I’m going to Cartier’s for the prizes. (_To_ PATRICIA) Good afternoon. (_After a moment’s hesitation._) Good afternoon, Miss Stannard. (THE GREEN ONE _goes out as_ MISS STANNARD _eyes_ MRS. FROWDE _in silence while_ PATRICIA _and_ SILVERTON _speak unheard_.) PATRICIA Leave me here alone, George: _this_ is real. I’ve heard about her. SILVERTON What are you going to do? PATRICIA The cats! There’s something inside me wants to speak. Run along. I’m feeling that rush of sincerity I spoke of. SILVERTON Mrs. Frowde, I leave only because--(_as_ MISS STANNARD _catches his eye_) Miss Stannard, I’m sorry they did not wait for that improvisation. But I’m afraid they wouldn’t have understood the _motif_. (SILVERTON _goes out_. PATRICIA _leans forward watching the two, as_ MRS. FROWDE _faces_ MISS STANNARD. _There is an embarrassing pause._) MRS. FROWDE Really, I don’t know what to say. I hardly thought you would come--under the circumstances. MISS STANNARD (_Fencing carefully throughout_) I’m dreadfully sorry. I did not know it was a select affair. I thought you were always at home to your friends. MRS. FROWDE (_Pointedly_) Friends--yes. MISS STANNARD (_Sweetly_) Then _I’m_ forgiven? MRS. FROWDE I think you must have seen my friends did not remain after you arrived. MISS STANNARD I’m very sorry; but it is they you should criticize for being so frightfully inconsiderate of you. (_With a sudden firmness_) And now Mrs. Frowde, don’t you think you owe me an explanation? MRS. FROWDE (_Controlling herself with difficulty_) I feel a strong desire to give it, only I hardly think you would like me to speak before---- MISS STANNARD (_Sarcastically_) Strangers? The resentment was shown before Miss Tenner, why not the explanation? PATRICIA (_Appealing with the usual success to their intimacy._) Emily, dear, you forget you have already spoken to me of Miss Stannard. (MISS STANNARD _stiffens_.) MRS. FROWDE Wouldn’t it be better if I simply asked you not to call again? MISS STANNARD (_With a note of challenge_) I must insist that you tell me frankly the reason. MRS. FROWDE You insist? MISS STANNARD Yes. MRS. FROWDE (_Bluntly_) There has been too much talk about you. Surely you must have realized your name is on every tongue. You know the world: women can’t do what you have done. You must have been mad--and with a married man at that! (PATRICIA _eyes her keenly_. MISS STANNARD _tosses her head defiantly; but as_ MRS. FROWDE _eyes her piercingly she seems to lose all her control, begins to tremble, totters, clutching the back of a chair and finally sinks with an hysterical sob upon the sofa, burying her face in her hands. Her vanity-case rattles to the floor._ PATRICIA _rises instinctively to go to her but sits again as_ MRS. FROWDE _motions her back and approaches_ MISS STANNARD _less harshly_.) I’m very sorry. I didn’t mean to hurt you like this. Only one must protect one’s self--one’s friends. I couldn’t have you come here. (_Slowly_) Oh, well, I’m sure you will see one must draw the line somewhere. PATRICIA (_Impressively_) Yes, Emily, one must draw the line somewhere. Why didn’t you begin with me? (MRS. FROWDE _sits in astonishment as_ PATRICIA _leans forward. There is a long pause till_ MISS STANNARD _looks up slowly in wonder and curiosity_.) I really don’t see why you discriminate. MRS. FROWDE But---- PATRICIA If you and your friends are so shocked by Miss Stannard’s presence, why should you tolerate me? No one gives us stage people the right to privacy. Everybody makes it their business to retail our lives. We’re public property; so surely you and your friends have heard my story, too. Now, really, haven’t you? MRS. FROWDE (_Confused_) Yes, but--my dear.... PATRICIA And what have you heard about me? Let’s see if it is correct. My name? It isn’t my own. My real one wouldn’t look well on the advertising. Besides, my father hadn’t given me any reason to be proud of it. My mother may have been a good soul if I had ever really known her. I’ve always thought I was an unwanted child: I hate children so myself. But mother couldn’t have been the sort who’d drink with ease out of your frail tea-cups, and I’ll warrant no amount of coaching would have kept the veneer from peeling when she spoke. I grew up somehow among “beer and skittles,” as Trilby would say; didn’t know what pictures and teas and things were till I came East. And do you know _how_ I came? _He_ seemed so handsome, too, in those days. MRS. FROWDE (_Moving uneasily as she sees a grim smile come to_ MISS STANNARD) But, dear, you were young and---- PATRICIA Oh, I knew better; but I was bored--bored out there and I wanted a chance to live. We didn’t get along very well--he and I; partly my fault. He couldn’t be happy with a woman who also had a spark of creation tucked away in her soul. Then, besides, I had made up my mind I’d do something because I had to keep alive. I turned to the stage--most of us poor fools do. But I happened to have a way with me and a pair of shoulders that were proud of my face. (_Sarcastically_.) The critics called it personality. (_Quickly_) I wonder if you also know I lived in a five-dollar-a-week boarding-house with circus acrobats on the floor above, a sad soprano in a closet next to mine and a smell of cooking all over so I wouldn’t be lonely? (_Almost unconsciously her voice at times betrays an unexpected commonness._) How I hated it! How I wanted these feathers and gilt! And every time I made up my face in that two-by-four part I had, I determined to succeed somehow--_anyhow_. I deserve every bit of success I’ve got, for I worked hard getting the burrs out of my speech and some grammar into it. (MRS. FROWDE _moves uncomfortably again_.) That’s the truth. People suspected I had a brain and I had; but I wasn’t wasting it on books--I was studying the hearts and souls of the sort of people I needed to get along. (_With increasing relish at the effect of her revelations._) And I saw to succeed in my life I had to grow hard inside and soft out. So I affected my husky voice and my sad smile; sadness gave me a touch of mystery and encouraged curiosity. I knew I’d have to keep my face smooth, too; so I stopped feeling for others and thought only of myself. Suffering isn’t good for the complexion. But I helped everybody in convenient ways, because I knew I could make them help me in greater. And as I began to get along I went out more to teas and the like so I could meet the people I could use. MRS. FROWDE But, my dear.... PATRICIA Oh, I’m not ungrateful for their kindness, but I owe them nothing, for I repaid them, by letting them do things for me. Yes, it flattered them to have me about and to say they knew me “intimately.” I was a good asset to their affairs because I was a success. Then I picked up a lot of cant phrases about art and the like, so I could prattle; and I even signed articles which somebody else wrote lamenting the decline of the stage, when I knew in my heart I was glad things were as they were because I could make more money with a dramatized novel or a tailor-made part than in my much advertised and never intended appearance in Shakespeare. (_Acting as with apparent conviction._) And back of this, life was calling me. So I did other things to get along. My eyes were open and so it seems were those of the world. It envied me my freedom because I was a success. All of us don’t do it, but I did and it wasn’t always for love. (MISS STANNARD’S _quick breath halts her for a moment; then she adds dramatically_) Yes, Mrs. Frowde, if you’re going to draw the line somewhere at your teas, why don’t you begin with me? MRS. FROWDE (_Floundering_) But--but you forget, dear, you--you are a great creative artist. PATRICIA No, I don’t. Everybody’s tolerance of my whims, my moods, my morals would never let me forget it. But what has that to do with the right and wrong of it? That’s what you are wondering, Miss Stannard. (MISS STANNARD _gazes at her_.) I don’t ask any less charity for myself because my “temperament” has made me live my life my own way; though I don’t need charity now I’m on top. (_Surging along effectively._) But why shouldn’t you and your friends extend that same charity to the rest of the sinners? (PATRICIA _does not detect_ MISS STANNARD’S _change of manner so intent is she in her own words_.) You give it to me because I am a creative artist. Everybody has a bit of the artist in them. Some of us use it to make bread; others use it to make trouble. All the nice sinners of the world have the creative spirit, too. Sin is the creating of the actual out of the imagined. It’s falling over the fence in a desire to see what is on the other side. (_Consciously shaping her words and manner to a climax._) But the more so are the sins one does for love. Love is the most creative of all impulses. If you forgive me because I’m an artist, as you say; if you can ask _me_ to sit beside your lily-faced daughters and stubby-chinned sons; if you can kiss my lips--I, who have openly violated all your standards--why do you turn against this woman, who has done what she has for the noblest of motives--love--the love of a man? MISS STANNARD (_She has risen tensely and speaks with a biting bitterness_) I suppose you meant very well, Miss Tenner; you said it just as though it were a scene in some play--with the proper emphasis and pause and nice phrases. But believe me, Mrs. Frowde is right: we can’t judge people by the same standards. (_Contemptuously_) There _is_ a difference between you and me. _I_ feel it myself. When I need forgiveness I shall only want it of my own class. (_Scornfully_) The tolerance of yours means nothing to me. (_Very quietly_) I am sorry, Mrs. Frowde. I’ll not call again till he and I are married. Then, of course, it will be all right. Good-bye. (MISS STANNARD _goes out quickly leaving_ PATRICIA _dumb at her mis-reading of the situation_. MRS. FROWDE, _who has been too confused throughout to speak, now vents her anger on_ MISS STANNARD.) MRS. FROWDE The brazen hussy! You see what she is--to insult you so after your splendid defense of her! PATRICIA (_Slowly_) She was right. MRS. FROWDE Not at all. She doesn’t understand the difference with a lady of temperament. PATRICIA Temperament--oh, yes. (_She smiles sarcastically and then looks surprised at_ MRS. FROWDE.) And you are not angry with me? MRS. FROWDE (_Affectionately_) At _you_, my dear friend? Indeed not. I know you didn’t mean _me_. And besides I would have understood you if you had. PATRICIA (_Eyeing her with undetected cynicism_) Yes, yes. You would have understood. MRS. FROWDE (_Impulsively_) Won’t you stay and have a bite to eat with me--all alone? I can drive you to the theater. PATRICIA I have an interview. MRS. FROWDE (_As they walk to the door_) Too bad they misquote so. PATRICIA Yes, isn’t it? I’ve had such a dear afternoon. MRS. FROWDE (_Embracing her affectionately_) And you’ll come to lunch Tuesday? PATRICIA (_As though wishing to escape_) No ... I.... MRS. FROWDE (_Solicitously_) But Mavosky will be here and he’s taken quite fancy to you. Thinks you’d make a splendid study. PATRICIA (_Recalling_) Mavosky! Oh, yes. I thought you said Wednesday; that’s matinée day. Tuesday is all right. MRS. FROWDE Say at two? PATRICIA I may be a moment late. MRS. FROWDE We’ll wait for you. (_As they are walking out_) I hope you’ll forget what _she_ said. PATRICIA Oh, Miss Stannard hasn’t any temperament. And it does make a difference, doesn’t it? (_They go out leaving the room empty, with the candles on the table winking in their sockets._) [CURTAIN] [D] Copyright by George Middleton. See back of title page. THE REASON THE PEOPLE LOCKSLEY RANDOLPH, _a retired merchant_. PAULA, _his daughter_. TOM SABINE, _his secretary_. MARY SABINE, _his secretary’s wife_. SCENE _Sitting-room at the Randolph home in a suburb of the city; an early winter night._ THE REASON[E] _A handsomely furnished sitting-room, the general entrance of which from the floor below is at the right. Beyond this a broad window is seen as the moonlight faintly filters through the trees outside. Directly opposite, some smoldering logs betray a fireplace, near which is another door opening into_ PAULA’S _apartments. Large double doors in the center open into a hallway leading to library. A telephone is on a large writing-table, upon which a light, with a luxurious shade suspended above, casts a strong yellow glow. The furnishings show signs of tasteless wealth and are devoid of any feminine touch._ SABINE _and_ RANDOLPH _are bending over some documents_. SABINE _is about thirty-three, clean-shaven with shrewd eyes and a conspicuously insinuating smile. The manner with which he feels for his words and his studied coolness suggest a deep and significant interest in the developments._ RANDOLPH _is fifty, well-preserved and possessing the assurance of permanent prosperity: he is apparently without illusions as the lines about his slightly protruding eyes and thick lips indicate a dissipated life_. _Though the two men are obviously considerate, there is concealed an instinctive mistrust. They are silent a long while until_ RANDOLPH _looks up from the papers_. SABINE Anything else? RANDOLPH How long will those compilations take? SABINE Same as the others. RANDOLPH A month each, eh? You’ve done ... let’s see.... SABINE I’ve been your secretary for three months. RANDOLPH And you’ve been at these every evening--ever since I took you in. SABINE I wouldn’t put it that way. RANDOLPH You are sure you can still find all you need in my own library here? SABINE All I need--behind the closed doors. RANDOLPH (_Casually_) I shall see that my orders not to disturb you are continued. SABINE I’ve noticed you never even come yourself. RANDOLPH I like to think of young genius being left alone. SABINE (_Mock seriously_) And out of harm’s way? RANDOLPH Exactly--at night. (_Half to himself._) Another month will about finish it. SABINE (_Significantly_) Mr. Randolph, you are paying rather high for---- RANDOLPH (_Eyeing him quickly_) For what? SABINE (_Turning the pages casually_) Unremunerative work. RANDOLPH One never pays too high for what one wants. SABINE Not at the time. (_They look at each other_: SABINE _slowly gathers the papers together and glances towards_ RANDOLPH _who is coolly staring before him. There is a quiet pause. Then_ SABINE _opens the library door and casually steps back_.) Your daughter. (_Calmly to_ PAULA) Your father is here, Miss Randolph. (PAULA _enters with a book in hand. She is twenty-three and charming, with a sweet innocent air which suggests a hedged-in life. She is dressed in a simple tea-gown and her manner throughout is calm and unsophisticated._) PAULA Good evening, Mr. Sabine. RANDOLPH Where have you been, Paula? PAULA Getting a book. RANDOLPH You mustn’t read so much. SABINE Anything further, Mr. Randolph, before you go out? RANDOLPH No. But--but I don’t remember mentioning that I was going out. SABINE I thought you did. Good evening. PAULA (_Good-naturedly_) Is Mrs. Sabine well? SABINE Not exactly. RANDOLPH Indeed? SABINE (_Smiling_) My wife seems upset about something. RANDOLPH (_Casually_) Why, she seemed well when she was here last, didn’t she, Paula? PAULA Yes, and so happy. RANDOLPH What’s the trouble? SABINE I’m not quite sure--_yet_. RANDOLPH Perhaps she needs a change. SABINE I’ll tell her you asked after her, Mr. Randolph. RANDOLPH Certainly. Do. But it was _Miss_ Randolph who inquired. SABINE I thought it was you. (_He smiles._) The air in the library has affected me. (_He smiles._) Good evening. (_He leaves the room, slowly closing the door. There is a pause as_ PAULA _looks curiously before her, while_ RANDOLPH, _somewhat puzzled, goes up to door and sees that_ SABINE _has gone into the library beyond_.) PAULA I hope it’s nothing serious. RANDOLPH What? PAULA Mrs. Sabine. RANDOLPH Nothing, of course. PAULA Hasn’t she told _you_? RANDOLPH Me? PAULA You’re such good friends. RANDOLPH My dear, women with attractive husbands never confide in outsiders. PAULA (_Innocently_) Don’t they? RANDOLPH (_Laughing_) You know so little of life. (PAULA _sighs in agreement_.) And I wish you to keep your sweetness until you are married. PAULA Doesn’t one need it then? RANDOLPH You’ll understand when the time comes, child. PAULA (_Enigmatically_) And one mustn’t before! RANDOLPH Children don’t realize how they unconsciously hold parents to higher things: it’s because of you, for instance, more than anything else since your dear mother died, that I’ve tried to keep _my_ life an example. PAULA I’ve always had it before me, father. (_Coming closer._) I’m deeply grateful for showing me what I, too, should be. RANDOLPH Yes, yes. (_Patting her._) Now, dear, run along to bed: your eyes are tired. PAULA (_Glancing at book_) I’m fond of reading. RANDOLPH (_Humoring her throughout_) What do you like best? PAULA (_Cheerfully_) Adventure. RANDOLPH With real heroes? PAULA (_Referring to book_) I love those who keep cool in times of danger. RANDOLPH You’re only a child, after all, eh? (_He pats her tenderly as she notices him glancing at his watch._) PAULA (_Casually_) You _are_ going out? RANDOLPH Yes: some business. PAULA Will you be late? RANDOLPH Do I disturb you? PAULA I can generally hear the machine from my room, before you turn up the path. RANDOLPH It’s easy nowadays to go fast in the dark. PAULA You will always toot the horn? (_Reprovingly_) Think of the danger to others. RANDOLPH Foolish girl! There’s no danger about here. PAULA No; of course not. (_Goes to him._) Good night. RANDOLPH Dear, dear girl. (_Looking at her._) It’s good to have such a daughter. PAULA And such a father. (_They kiss; the telephone rings._) Oh, let me. (_She goes to phone._) Good evening, Mrs. Sabine. (RANDOLPH _starts a bit, unnoticed_.) I thought you were ill. Mr. Sabine was telling father. I believe he’s in the library. Father will take the message: he’s here. Do take care of yourself: just think what Mr. Sabine would do if you were ill. Good night. (_She hands receiver to father, who half pauses, thinking she will leave the room; but she lingers over her book._) RANDOLPH Good evening. (_Half pointedly_) Yes, my daughter is here. Anything I can do? Do you want my advice? Oh, whatever is wisest. Of course I’ll tell Mr. Sabine. I hope it’s nothing serious. (_He hangs up receiver, concealing from_ PAULA _his displeasure_.) PAULA She seemed excited. RANDOLPH Woman’s nerves. PAULA Funny I never have them. RANDOLPH You’re not married. PAULA You’re going to see her? RANDOLPH She’s on her way here. PAULA Here? Then you will tell Mr. Sabine she’s coming? RANDOLPH Yes. But you’re tired, dear. PAULA I’ll feel better with my things off. Good night. (_She pauses at her door._) Father; she and Mr. Sabine are happily married, aren’t they? RANDOLPH Of course, of course. PAULA I’m glad to hear so. RANDOLPH Why? PAULA (_Glancing at him_) Then it couldn’t be about _that_. (_She closes the door softly._ RANDOLPH _looks after her puzzled, then walks up and down alone very much irritated. He takes out his check book, glancing through the stubs cynically. Then he throws it back into the table drawer. Finally he picks up the phone, obviously switching it._) RANDOLPH Is that you, Sabine? You’ve found what you want? You won’t need me any more? Well, stick close to it. I just wished to see. Good night. (_He switches it off again and impatiently waits._) Is that you, Brooks? Tell Toder to have the car ready. I may need it later. No, the closed car--it’s chilly. Oh, by the way, (_trying to be casual_), in case _I_ should be out, Mr. Sabine is expecting Mrs. Sabine. Let her come right up to the library. What’s that? Better see who it is. (_Showing displeasure._) I’ll tell Mr. Sabine myself. Yes; if you’re sure it’s Mrs. Sabine, better let her come up here. That’ll be all for to-night. (_He hangs up the receiver, walks up and down again and finally opens the hall door. There is quite a pause as he stands, smoking a cigarette, awaiting her. Finally_, MRS. SABINE _enters, leaving the door open_. _She is in her late twenties, of rather restless beauty, which under her shifting expression becomes hard and cynical. She apparently has little resistance and suggests a love of excitement and sensation. Her manner is flighty though worldly. She is handsomely dressed, with beautiful furs upon her sensuous shoulders._) RANDOLPH (_Abruptly_) What the devil does this mean? MRS. SABINE We’re alone? RANDOLPH Naturally. MRS. SABINE (_Half flippantly_) I had to see you. RANDOLPH Why here? MRS. SABINE I couldn’t wait till you came to me. RANDOLPH (_With strained jocularity_) Feather brain; what’s the trouble? MRS. SABINE Nothing--only my husband _knows_. RANDOLPH (_Quickly_) About us? MRS. SABINE He’s known for some time. RANDOLPH And he only spoke----? MRS. SABINE To-day. RANDOLPH The devil! (_Slowly_) What’s the reason? MRS. SABINE Why he kept silent? (_Shrugging shoulders_) You men always have reasons. RANDOLPH What did he say? MRS. SABINE (_Laughing cynically_) He smiled. It was so funny and so unexpected. RANDOLPH (_Incredulously_) He didn’t make a scene? MRS. SABINE No. And I’d been rehearsing for weeks what I should say. RANDOLPH But didn’t he----? MRS. SABINE (_Bitterly_) I tell you he didn’t even insult me! RANDOLPH Sh! (_He looks towards his daughter’s room and then crosses and closes the door through which_ MRS. SABINE _has entered_.) MRS. SABINE (_After she has watched him_) Hasn’t he spoken to you? RANDOLPH Not yet. MRS. SABINE That’s like him. He said he’d wait till I broke the news to you. RANDOLPH And then? MRS. SABINE Then he said you would want to see him and (_ominously_) he’d do some talking. RANDOLPH (_Recalling_) So that’s why he smiled just now.--Didn’t he say _anything_? MRS. SABINE He merely put his hands on your furs. I thought he’d believe I’d saved enough to buy them myself. He stroked them once or twice slowly--and smiled. But he _said_ nothing. Then he led me to the window and pointed to your car--the extra one you forced upon _us_--when you began. He smiled; but he said nothing. He picked up a book: the work in the library was interesting; it kept him _safe_ in the long winter evenings. I tell you he said it all in his smiles and never a word. (_Violently_) He disappointed me so! I’d be sorry for him a little if he’d only struck me. God! I hate men who only smile when they are angry. (RANDOLPH _trying to quiet her_.) Oh, I hate him with his penny a year. I hate him for asking me to marry him, and then not even striking me when he found out what I was! RANDOLPH But didn’t you even try to deny it? MRS. SABINE (_Defiantly_) Why should I deny it? RANDOLPH (_Cynically_) Of course not. Sooner or later, a woman always confesses to someone. MRS. SABINE (_Quickly_) What did you want me to do? Think of you? I was sick of him. When I saw he wasn’t going to make a fuss, I didn’t think your well-known reputation would suffer; so I didn’t care about protecting myself. What’s the difference, anyhow? He can’t give me what I want: you can. If we can only keep it quiet, nobody need know--and it wouldn’t even reach your daughter’s ears. RANDOLPH (_Angrily_) We’ll not discuss her. MRS. SABINE No. She’s a good woman--with her lily hands and her thin eyebrows. What does she know of life: the sordid soapy hours ending with the snore of a husband you hate. Ugh! (_He walks up and down, irritated._) Well, then, what are we going to do to keep it from her? RANDOLPH That will depend on your husband and whether he’ll be sensible. (_He goes to phone, switching it._) MRS. SABINE (_Looking before her_) You did it beautifully, Randolph; with such knowledge of me and my kind. But don’t take too much credit. I’d have done it with _any_ man who offered me what you did--if he’d come at the right time, as you did, and found me at the end of a trolley line like this. RANDOLPH (_At phone_) Step here a moment, Sabine. Yes: your wife is here. (_Cynically_) She said you’d be expecting her. (_He hangs up the receiver._) You could almost hear him smile. MRS. SABINE (_Without self-delusion_) He couldn’t hold me: he was too poor. RANDOLPH No: you’re the sort that needs a diamond-studded clasp to keep her morals fastened on. MRS. SABINE And they’re your specialty. RANDOLPH I think Sabine and I can make some arrangement. MRS. SABINE Let’s be comfortable, that’s all I say. I’m so tired of making my lies fit. I’m willing to keep on with it. Why not? It’s all so easy with a woman once she’s slipped. Lots of us would be what I am if they could find a man to go through the marriage ceremony with them _first_. (_A knock is heard at the door--it seems almost sarcastic, as it waits for a reply._) RANDOLPH Come in. (_The door opens softly and_ SABINE _enters slowly and comes down to them with the same smile. There is a pause._ MRS. SABINE _remains tense and seated_.) Have a cigarette? SABINE (_They eye each other as they light up_) Thanks. RANDOLPH (_Coming to the point_) You know. SABINE (_Puffing throughout_) Yes. RANDOLPH Well? SABINE I repeat the word--well? RANDOLPH You will come to an understanding? SABINE Which means? RANDOLPH You are--shall I say agreeable? SABINE You love my wife? RANDOLPH (_Courteously_) Naturally. SABINE And you, Mary? MRS. SABINE Would a woman do what I’ve done without love? SABINE Never. RANDOLPH Well, say something. SABINE (_Calmly_) It seems very simple. RANDOLPH Which means? SABINE That I’d still like to complete the compilations in your library. MRS. SABINE (_Rising, astonished_) You’re even willing to stay _here_? RANDOLPH (_Quickly_) And live ostensibly at home--with your wife? SABINE (_Calmly_) Why not? I have no place else to go and she merely wishes to be comfortable. RANDOLPH (_Relieved_) You will not make a fuss? SABINE I’m sorry to disappoint my wife. RANDOLPH You will not let my daughter discover? SABINE No. I consider your position embarrassing enough. RANDOLPH (_Eyeing him_) So your wife is worth nothing to you? SABINE (_Quickly_) You’re mistaken there. MRS. SABINE Thanks. But how? SABINE Protection. MRS. SABINE Against what? SABINE Against Mr. Randolph. RANDOLPH Me? SABINE Exactly. RANDOLPH What the devil are you driving at? SABINE Perhaps if I take it kindly now, you will not blame _me_--in the future. MRS. SABINE Oh, I know we’ll get tired of each other if that’s what you’re suggesting. SABINE (_Detecting an agreeing look in_ RANDOLPH’S _face_) That _may_ be what I mean. (_Eyeing_ RANDOLPH _keenly as he sees her bite her lips_.) If that’s all, I’ll return to the library. RANDOLPH Have you no suggestions? SABINE (_Coldly_) Be careful not to make a fool of me--in public. MRS. SABINE There speaks the man. RANDOLPH Then you’ll be silent? SABINE Until---- RANDOLPH Until? SABINE Until you get your deserts. RANDOLPH A threat? SABINE (_Smiling_) No. Only I know my wife. MRS. SABINE And that’s the sort of man I married. (_To_ SABINE) Do you blame me for throwing you over? SABINE Have I? MRS. SABINE (_Indignantly_) How dared you open me to this? RANDOLPH Don’t blame him, Mary. MRS. SABINE (_Indignantly_) You knew, and you let him steal your wife. SABINE Some men like their women that way. MRS. SABINE Isn’t it funny! It’s losing its romance--being handed over like some food at supper. Isn’t it funny--and disappointing. RANDOLPH I can’t say I admire you, Sabine. SABINE No, you can’t. But you will when you know my wife better. MRS. SABINE (_Losing control_) I’m more ashamed of you than I am of myself. Why didn’t you stop me if you knew? What’s the reason? Why didn’t you strike me? Why didn’t you, so I could feel you and I were quits? Why didn’t you--like that and that. (_She strikes him furiously with her gloves once or twice, but he continues smiling._) RANDOLPH Mary, don’t let’s have a scene. Sh! MRS. SABINE I wanted a scene! And to think I wasn’t even worth insulting! (_She goes out quickly, leaving the hall door open. She has dropped her glove and as_ RANDOLPH, _with a resigned, half-bored air, starts to follow her_, SABINE _stoops, picks up the glove and, smiling, halts_ RANDOLPH.) SABINE My wife dropped her glove. Will you take it to her? I have my work, and, as you remarked, another month will about finish it. RANDOLPH (_Smiling in spite of himself_) Life would be so much simpler if all husbands were so considerate. SABINE The spice would be gone. RANDOLPH I suppose she is waiting---- SABINE --For the glove. (_Offering it to him._) RANDOLPH (_Taking it_) Yes: for her glove. SABINE I’m glad you will drive in the closed car. RANDOLPH (_At the door_) Our reputations must be protected. SABINE No man likes to be made a fool of. RANDOLPH (_Slowly_) After all, she’s only a woman and they’re all alike, eh? SABINE (_Slowly_) _All_ alike. Yes. RANDOLPH (_Casually_) You’ll find the cigarettes on the table. SABINE Thanks. (RANDOLPH _goes out, closing the door. Sabine stands a moment, then turns to the window and looks off till he sees the car has driven away. He turns down the light and then crossing eagerly, he knocks on_ PAULA’S _door. He repeats this._) Paula! Paula!! (_He stands waiting._) [CURTAIN] [E] Copyright by George Middleton. See back of title page. THE HOUSE THE PEOPLE CHARLES RAY, a _professor of philosophy_. ELIZABETH, _his wife_. SCENE _A room in an apartment hotel suite. One evening._ THE HOUSE[F] _PROFESSOR and MRS. RAY are at the little table finishing their coffee. In the center there is a white-robed birthday cake with three golden candles sending a gentle light on them. A myriad of faint wrinkles on the_ PROFESSOR’S _kindly face might betray his age, though his thin body, in spite of its slight stoop, belies his seventy years. As he sits there precisely dressed in his evening clothes, he is the personification of fine breeding, the incarnation of all that blood and culture can produce. And through it all, there glows an alluring whimsy which one has no right to expect in a professor of philosophy._ MRS. RAY, _gowned also for the ceremony they are celebrating, is ten years younger; soft and gentle, too, yet sadder somehow, as though, in spite of her effort to live in his enthusiasms, it has become a bit difficult to sustain his mood of happiness._ _But as they sip their coffee alone in the hotel suite with its conventional furnishings of a stereotyped comfort, graced only by a large bunch of white roses, one senses the deep and abiding affection which has warmed their long life together._ PROFESSOR (_With a sigh of contentment_) Ah! (_He sees she is thoughtful: he reaches over and takes from behind the table the quart bottle of champagne. He pours a little in her glass._) MRS. RAY Oh, dear; I’m afraid I’ve had enough. PROFESSOR Nonsense. MRS. RAY But I’m beginning to feel it. PROFESSOR That’s the intention. (_Filling his glass._) There. Now a toast. (_Standing with the greatest gallantry._) Here’s to my comrade of forty years: may we have as many more together. MRS. RAY Oh, Charles, I’m afraid that’s asking too much of Providence. PROFESSOR We should ask much and be satisfied with less. MRS. RAY (_Raising her glass_) To my friend and husband. PROFESSOR You make a distinction? MRS. RAY The world does. PROFESSOR What is the world doing here on our wedding anniversary? (_Seriously_) Let’s drink to each other--and the children. MRS. RAY (_Wistfully looking at the candles_) And the children. (_They sip: he shows he enjoys it; she sits thoughtfully while he takes out his cigarette case. He starts to take one, and then, with a twinkle in his eyes, offers her the case._) PROFESSOR Cigarette, dear? MRS. RAY (_Smiling_) No: thank you. I shan’t begin at my time of life. PROFESSOR Cato learned Greek at eighty. The minute people cease to learn--even a vice--they have begun to grow old. So beware. MRS. RAY (_Striking a match_) Let me light it for you. PROFESSOR (_Slyly_) Which illustrates a woman’s part in life: encouraging vice in men, eh? (_He lights it and puffs in enjoyment._) I must say I like my idea about the cake and the candles. MRS. RAY It’s lovely, dear. Who but you would have thought of having a birthday cake on our wedding anniversary. PROFESSOR I started to put forty candles: one for each year; but there was no room left for the cake. MRS. RAY I like the idea of three--just three. PROFESSOR Yes; three birthdays that meant so much in our time together: Teddy, Mary and Paul. MRS. RAY Forty years! PROFESSOR It’s a long while to be married, dear. Speaks well for our patience, eh? MRS. RAY And not a word to-night from our three children. PROFESSOR (_Waving it aside_) After all, our marriage didn’t concern them--at the time. MRS. RAY And we never forget their anniversaries. PROFESSOR But think how important those have always been from the beginning: each one the start of a great adventure for us. MRS. RAY And more responsibility. PROFESSOR Certainly. Isn’t that the way we have broadened our lives? Think, dear, of how many times we have been young--once with our own youth and three times with our candles. MRS. RAY (_She rises and goes to the roses which she inhales_) And our hair is white. PROFESSOR (_Gallantly rising also_) That can’t be blamed on the children. White hair doesn’t indicate marriage--always. It’s a matter of pigment, I’m told, and affects bachelors equally. MRS. RAY You’re right, of course, dear. We have kept young through having our children; only---- PROFESSOR (_Coming to her_) Only what? Surely there isn’t a regret as you look back? MRS. RAY Oh, no, not regret; only so many of our dreams have never been realized. PROFESSOR (_As he breaks off a rose and gives it to her_) But we have dreamed; that’s the important thing, isn’t it? MRS. RAY (_Looking at rose_) I suppose so. PROFESSOR Of course it is, dear. And we have dreamed more than most because we have been young four times. MRS. RAY (_As she crosses to the sofa_) But it’s always been through others--for others. PROFESSOR But _now_ it is for ourselves. MRS. RAY (_Smiling_) You mean our house? PROFESSOR Yes. Now that they’ve retired me with a pension and our children no longer need our help, we can build our house. MRS. RAY (_Wearily, as she sits_) We have built so many houses. PROFESSOR Yes. Life’s an experiment. Remember the first little cottage where Teddy was born? It didn’t leave us much margin even though it was small. Come to think of it, dear, we’ve built three houses, haven’t we? MRS. RAY It’s the fourth we’ve really thought of most--and that hasn’t been built _yet_. PROFESSOR That’s to be ours--all ours; with room for the children if they want to come back. MRS. RAY Oh, that’s it: they won’t come back now. Our house won’t suit them. PROFESSOR (_Taking a chair over near her_) How can we expect them to come into a house that isn’t even built? You know our modern children are very peculiar. They get that from you. MRS. RAY Nonsense. It’s you who are peculiar. Just look at the kind of house you want. PROFESSOR (_Doubtfully_) It _is_ different from yours, I’ll admit. MRS. RAY I don’t object to the architecture. It’s the surroundings you insist on. PROFESSOR You want the city and I want the forest. MRS. RAY (_Shaking her head_) We’ll never agree. PROFESSOR (_As though with an inspiration_) I have a solution. I’ll live in your city house, if you’ll have my forest around it. MRS. RAY I’m afraid, dear, that is a bit impractical at present prices. PROFESSOR (_With a whimsical smile_) But we certainly can’t have the city you love around my house in the woods! I’m afraid of the streets. MRS. RAY Any friendly policeman would help you across them. PROFESSOR Think of me walking arm in arm with a policeman! I must consider my reputation, even though I am seventy. No. (_With a twinkle._) I can’t seem to visualize the house, can you, dear? MRS. RAY It isn’t like your dream or mine. PROFESSOR No. I’d have a hard time finding my birch trees in the moonlight. Have you ever noticed how lovely they are when the leaves have all gone? MRS. RAY Somehow they are no more lovely than the sense of life in the tall ugly buildings man has built with his own hands. PROFESSOR But trees are eternal. MRS. RAY That’s where we differ. I live in to-day: you live in all time. PROFESSOR That’s my profession. You lose count of time when you are a philosopher. MRS. RAY And I am a woman of the world. PROFESSOR (_As he goes to light another cigarette from the candles_) I’d hardly describe you that way, my dear; that sounds so naughty. MRS. RAY I mean I love every minute that passes and everything the moment brings. I love the people who are of that moment. PROFESSOR You still dream of having a _salon_ of celebrities? MRS. RAY (_Smiling_) It’s no worse than the museum of antiquities on your book shelves. But I keep forgetting you want your house in the forest so you can write about the dead. PROFESSOR And you want your house in the city for the living. MRS. RAY I wish we could compromise somehow. PROFESSOR If we only had more money I could do away with the wilderness and content myself with a few wooded acres, I suppose. Only it must be roomy where the winds can speak. And I must have some wild things about. Though perhaps I could compromise on a pet squirrel, if necessary. (_He smiles._) And if I met you that far do you think you would be willing to live an hour or so from the city? MRS. RAY Why, of course. But haven’t we been looking for that sort of place for years; even when we weren’t free to live where we wished? PROFESSOR I can’t see why money is always getting in the way of our dreams. I often wonder what scoundrel it was who first invented money. MRS. RAY And yet we might now be able to have what we wished if---- PROFESSOR If? The eternal if? MRS. RAY (_She has gone to the table, placing rose there_) I was thinking of all we gave up for our children. PROFESSOR Wasn’t it jolly? MRS. RAY While we still dreamed of the house we two would build for ourselves. PROFESSOR With rooms for them, don’t forget that. MRS. RAY And now where are our children? PROFESSOR Living--maybe dreaming a bit of our dreams and not knowing it is ours. That’s the lovely thing about dreams: I like to think they are never lost. MRS. RAY Yet here we sit alone on our anniversary and they have forgotten. PROFESSOR The young have so many things to remember. MRS. RAY And we can _never_ build our house now. PROFESSOR Nonsense. We can go on building it just as though it were really possible. Come, little mother, let’s be young together to the end. I’ll have to throw another log on this make-believe open fire in _my_ house. (_He pulls the sofa around so it faces the radiator which he eyes dubiously._) Hm! That won’t stimulate the imagination. Wait! I know. (_He goes over to the table and smiling quaintly he lifts up the cake with its three burning candles and carefully places it on the low radiator. Then he presses a switch on wall nearby and the lights overhead go out, leaving only the candles, a desk lamp and the moonlight through the window to give the shadows life. He laughs and warms his hands before the candles as he would before a fire._) Come, dear, before my fire! By the way, is there a log fire in your dream-house, dear? MRS. RAY (_Smiling and fitting in with his fancy_) If you are to be with me, of course. PROFESSOR Well then we have a blazing fire in both our houses, eh? (_He sits beside her on sofa and they gaze at candles._) And how economical fuel is when you dream about it. I’ve got a whole forest waiting to be cut by me, to-morrow, after I’ve worked all morning on my new book. MRS. RAY And I’ve been to the musicale at the Biltmore. PROFESSOR What did you do this afternoon, dear? MRS. RAY (_Tapping his arm_) Oh, I had a brilliant reception. PROFESSOR Receptions are always brilliant. MRS. RAY But this one really was. I had André Gidet and Arsène Tailleur there. They are those clever new writers all Paris is talking about. PROFESSOR You didn’t enjoy their witticisms more than I did a pesky little bluejay that made fun of me as I fished in my emerald lake. MRS. RAY But surely even you would have envied me my dinner when the celebrated Mary Mevin explained her new symphony. PROFESSOR Nonsense, dear. Think of grilled trout caught by my own hand! And then the long lazy silent hours afterwards with Aristotle. Nice chap, Aristotle: knew a heap about men and things, though he lived in an age when there wasn’t so much to remember as there is now. Then afterwards I confess I yawned with the comfort of it all; good, deep-reaching yawns, as Nature intended. I went out to see my friends the stars. Best friends a man ever had: a bit cold and distant, perhaps; but always there behind the clouds. (_She has risen and gone to the candles. There is a pause. Then she snuffs them out._) And I suppose at the same time you were trying in vain to find them out your city window? (_Sees she is sobbing very quietly: the candles are out._) Why, dear! What’s the trouble? MRS. RAY Oh, I can’t pretend any more. Our log fire isn’t real. Here we are all alone in a hotel apartment--before an old steam radiator and electric light. (_Presses the switch again._) PROFESSOR (_Tenderly and seriously_) I know. You left all that which might have been yours ... if ... if you hadn’t married me. MRS. RAY And you--without me and the children--you might have had your dream now. PROFESSOR (_Very seriously_) No, dear. One never can realize them: that’s why they are called dreams. MRS. RAY (_Goes to him looking up into his face_) You know, I wouldn’t have given up one hour of my life with you. PROFESSOR (_Stroking her hair tenderly_) We have been very happy. MRS. RAY Yet why is there something we both feel we have missed? PROFESSOR Because even the happy must be incomplete or else they would cease to be happy. Isn’t happiness hope as much as realization? We have realized--not ourselves completely--yet through each other. We have been what the other sought. But only the very wise know that there is an inner life no one can be part of: a lonely place where even the dearest can not enter, because it is a lonely place. MRS. RAY Yes. I think that is the way it is with me, dear. PROFESSOR And the way it is with our house we shall never build. We can’t enter it _together_. MRS. RAY (_Looking before her_) Yet I can still see my house. PROFESSOR As clearly as I do mine. (_Looking whimsically over at the smoking candles._) Even though our own log fire is burned out. MRS. RAY (_Smiling_) It’s changed somewhat these forty years. PROFESSOR Yes. That’s the way dream-houses have. (_Taking her hand._) And, dear one, when we each think of our houses we can never build, let’s--let’s always go on holding each other’s hand, eh? MRS. RAY Dearest.... PROFESSOR So many people lose each other when they dream. (_He kisses her tenderly._) [CURTAIN] [F] Copyright by George Middleton. See back of title page. ON THE HIRING LINE Comedy in 3 acts, by Harvey O’Higgins and Harriet Ford. 5 males, 4 females. Interior throughout. Costumes, modern. Plays 2½ hours. Sherman Fessenden, unable to induce servants to remain for any reasonable length of time at his home, hits upon the novel expedient of engaging detectives to serve as domestics. His second wife, an actress, weary of the country and longing for Broadway, has succeeded in discouraging every other cook and butler against remaining long at the house, believing that by so doing she will win her husband to her theory that country life is dead. So she is deeply disappointed when she finds she cannot discourage the new servants. The sleuths, believing they had been called to report on the actions of those living with the Fessendens, proceeded to warn Mr. Fessenden that his wife has been receiving love-notes from Steve Mark, an actor friend, and that his daughter has been planning to elope with a thief. One sleuth causes an uproar in the house, making a mess of the situations he has witnessed. Mr. Fessenden, however, has learned a lesson and is quite willing to leave the servant problem to his wife thereafter. (Royalty, twenty-five dollars.) Price, 75 Cents. A FULL HOUSE A farcical comedy in 3 acts. By Fred Jackson. 7 males, 7 females. One interior scene. Modern costumes. Time, 2½ hours. Imagine a reckless and wealthy youth who writes ardent love letters to a designing chorus girl, an attorney brother-in-law who steals the letters and then gets his hand-bag mixed up with the grip of a burglar who has just stolen a valuable necklace from the mother of the indiscreet youth, and the efforts of the crook to recover his plunder, as incidents in the story of a play in which the swiftness of the action never halts for an instant. Not only are the situations screamingly funny but the lines themselves hold a fund of humor at all times. This newest and cleverest of all farces was written by Fred Jackson, the well-known short-story writer, and if backed up by the prestige of an impressive New York success and the promise of unlimited fun presented in the most attractive form. A cleaner, cleverer farce has not been seen for many a long day. “A Full House” is a house full of laughs. (Royalty, twenty-five dollars.) Price, 75 Cents. NOT SO LONG AGO Comedy in a Prologue, 3 acts, and Epilogue. By Arthur Richman. 5 males, 7 females. 2 interiors, 1 exterior. Costumes, 1876. Plays a full evening. Arthur Richman has constructed his play around the Cinderella legend. The playwright has shown great wisdom in his choice of material, for he has cleverly crossed the Cinderella theme with a strain of Romeo and Juliet. Mr. Richman places his young lovers in the picturesque New York of forty years ago. This time Cinderella is a seamstress in the home of a social climber, who may have been the first of her kind, though we doubt it. She is interested sentimentally in the son of this house. Her father, learning of her infatuation for the young man without learning also that it is imaginary on the young girl’s part, starts out to discover his intentions. He is a poor inventor. The mother of the youth, ambitious chiefly for her children, shudders at the thought of marriage for her son with a sewing-girl. But the Prince contrives to put the slipper on the right foot, and the end is happiness. The play is quaint and agreeable and the three acts are rich in the charm of love and youth. (Royalty, twenty-five dollars.) Price, 75 Cents. THE LOTTERY MAN Comedy in 3 acts, by Rida Johnson Young. 4 males, 5 females. 3 easy interiors. Costumes, modern. Plays 2¼ hours. In “The Lottery Man” Rida Johnson Young has seized upon a custom of some newspapers to increase their circulation by clever schemes. Mrs. Young has made the central figure in her famous comedy a newspaper reporter, Jack Wright. Wright owes his employer money, and he agrees to turn in one of the most sensational scoops the paper has ever known. His idea is to conduct a lottery, with _himself_ as the prize. The lottery is announced. Thousands of old maids buy coupons. Meantime Wright falls in love with a charming girl. Naturally he fears that he may be won by someone else and starts to get as many tickets as his limited means will permit. Finally the last day is announced. The winning number is 1323, and is held by Lizzie, an old maid, in the household of the newspaper owner. Lizzie refuses to give up. It is discovered, however, that she has stolen the ticket. With this clue, the reporter threatens her with arrest. Of course the coupon is surrendered and Wright gets the girl of his choice. Produced at the Bijou Theater, New York, with great success. (Royalty, twenty-five dollars.) Price, 75 Cents. POLLYANNA “The glad play,” in 3 acts. By Catherine Chisholm Cushing. Based on the novel by Eleanor H. Porter. 5 males, 6 females. 2 interiors. Costumes, modern. Plays 2¼ hours. The story has to do with the experiences of an orphan girl who is thrust, unwelcome, into the home of a maiden aunt. In spite of the tribulations that beset her life she manages to find something to be glad about, and brings light into sunless lives. Finally, Pollyanna straightens out the love affairs of her elders, and last, but not least, finds happiness for herself in the heart of Jimmy. “Pollyanna” is a glad play and one which is bound to give one a better appreciation of people and the world. It reflects the humor, tenderness and humanity that gave the story such wonderful popularity among young and old. Produced at the Hudson Theatre, New York, and for two seasons on tour, by George C. Tyler, with Helen Hayes in the part of “Pollyanna.” (Royalty, twenty-five dollars.) Price, 75 Cents. THE CHARM SCHOOL A comedy in 3 acts. By Alice Duer Miller and Robert Milton. 6 males, 10 females (may be played by 5 males and 8 females). Any number of school girls may be used in the ensembles. Scenes, 2 interiors. Modern costumes. Plays 2½ hours. The story of “The Charm School” is familiar to Mrs. Miller’s readers. It relates the adventures of a handsome young automobile salesman, scarcely out of his ’teens, who, upon inheriting a girls’ boarding-school from a maiden aunt, insists on running it himself, according to his own ideas, chief of which is, by the way, that the dominant feature in the education of the young girls of to-day should be CHARM. The situations that arise are teeming with humor--clean, wholesome humor. In the end the young man gives up the school, and promises to wait until the most precocious of his pupils reaches a marriageable age. The play has the freshness of youth, the inspiration of an extravagant but novel idea, the charm of originality, and the promise of wholesome, sanely amusing, pleasant entertainment. We strongly recommend it for high school production. It was first produced at the Bijou Theatre, New York, then toured the country. Two companies are now playing it in England. (Royalty, twenty-five dollars.) Price, 75 Cents. KICK IN Play in 4 acts. By Willard Mack. 7 males, 5 females. 2 interiors. Modern costumes. Plays 2½ hours. “Kick In” is the latest of the very few available mystery plays. Like “Within the Law,” “Seven Keys to Baldpate,” “The Thirteenth Chair,” and “In the Next Room,” it is one of those thrillers which are accurately described as “not having a dull moment in it from beginning to end.” It is a play with all the ingredients of popularity, not at all difficult to set or to act; the plot carries it along, and the situations are built with that skill and knowledge of the theatre for which Willard Mack is known. An ideal mystery melodrama, for high schools and colleges. (Royalty, twenty-five dollars.) Price, 75 Cents. TILLY OF BLOOMSBURY (“Happy-Go-Lucky.”) A comedy in 3 acts. By Ian Hay. 9 males, 7 females. 2 interior scenes. Modern dress. Plays a full evening. Into an aristocratic family comes Tilly, lovable and youthful, with ideas and manners which greatly upset the circle. Tilly is so frankly honest that she makes no secret of her tremendous affection for the young son of the family; this brings her into many difficulties. But her troubles have a joyous end in charmingly blended scenes of sentiment and humor. This comedy presents an opportunity for fine acting, handsome stage settings, and beautiful costuming. (Royalty, twenty-five dollars.) Price, 75 cents. BILLY Farce-comedy in 3 acts. By George Cameron. 10 males, 5 females. (A few minor male parts can be doubled, making the cast 7 males, 5 females.) 1 exterior. Costumes, modern. Plays 2¼ hours. The action of the play takes place on the S. S. “Florida,” bound for Havana. The story has to do with the disappearance of a set of false teeth, which creates endless complications among passengers and crew, and furnishes two and a quarter hours of the heartiest laughter. One of the funniest comedies produced in the last dozen years on the American stage is “Billy” (sometimes called “Billy’s Tombstones”), in which the late Sidney Drew achieved a hit in New York and later toured the country several times. (Royalty, twenty-five dollars.) Price, 75 Cents. TWEEDLES Comedy in 3 acts, by Booth Tarkington and Harry Leon Wilson. 5 males, 4 females. 1 interior. Costumes, modern. Plays 2½ hours. Julian, scion of the blue-blooded Castleburys, falls in love with Winsora Tweedle, daughter of the oldest family in a Maine village. The Tweedles esteem the name because it has been rooted in the community for 200 years, and they look down on “summer people” with the vigor that only “summer boarder” communities know. The Castleburys are aghast at the possibility of a match, and call on the Tweedles to urge how impossible such an alliance would be. Mr. Castlebury laboriously explains the barrier of social caste, and the elder Tweedle takes it that these unimportant summer folk are terrified at the social eminence of the Tweedles. Tweedle generously agrees to co-operate with the Castleburys to prevent the match. But Winsora brings her father to realize that in reality the Castleburys look upon them as inferiors. The old man is infuriated, and threatens vengeance, but is checkmated when Julian unearths a number of family skeletons and argues that father isn’t a Tweedle, since the blood has been so diluted that little remains. Also, Winsora takes the matter into her own hands and outfaces the old man. So the youngsters go forth triumphant. “Tweedles” is Booth Tarkington at his best. (Royalty, twenty-five dollars.) Price, 75 Cents. JUST SUPPOSE A whimsical comedy in 3 acts, by A. E. Thomas, author of “Her Husband’s Wife,” “Come Out of the Kitchen,” etc. 6 males, 2 females. 1 interior, 1 exterior. Costumes, modern. Plays 2¼ hours. It was rumored that during his last visit the Prince of Wales appeared for a brief spell under an assumed name somewhere in Virginia. It is on this story that A. E. Thomas based “Just Suppose.” The theme is handled in an original manner. Linda Lee Stafford meets one George Shipley (in reality is the Prince of Wales). It is a case of love at first sight, but, alas, princes cannot select their mates and thereby hangs a tale which Mr. Thomas has woven with infinite charm. The atmosphere of the South with its chivalry dominates the story, touching in its sentiment and lightened here and there with delightful comedy. “Just Suppose” scored a big hit at the Henry Miller Theatre, New York, with Patricia Collinge. (Royalty, twenty-five dollars.) Price, 75 Cents. ARE YOU A MASON? Farce in 3 acts. By Leo Ditrichstein. 7 males, 7 females. Modern costumes. Plays 2¼ hours. 1 interior. “Are You a Mason?” is one of those delightful farces like “Charley’s Aunt” that are always fresh. “A mother and a daughter,” says the critic of the New York _Herald_, “had husbands who account for absences from the joint household on frequent evenings, falsely pretending to be Masons. The men do not know each other’s duplicity, and each tells his wife of having advanced to leadership in his lodge. The older woman was so well pleased with her husband’s supposed distinction in the order that she made him promise to put up the name of a visiting friend for membership. Further perplexity over the principal liar arose when a suitor for his second daughter’s hand proved to be a real Mason.... To tell the story of the play would require volumes, its complications are so numerous. It is a house of cards. One card wrongly placed and the whole thing would collapse. But it stands, an example of remarkable ingenuity. You wonder at the end of the first act how the fun can be kept up on such a slender foundation. But it continues and grows to the last curtain.” One of the most hilariously amusing farces ever written, especially suited to schools and Masonic Lodges. (Royalty, twenty-five dollars.) Price, 75 Cents. KEMPY A delightful comedy in 3 acts. By J. C. Nugent and Elliott Nugent. 4 males, 4 females. 1 interior throughout. Costumes, modern. Plays 2½ hours. No wonder “Kempy” has been such a tremendous hit in New York, Chicago--wherever it has played. It snaps with wit and humor of the most delightful kind. It’s electric. It’s small-town folk perfectly pictured. Full of types of varied sorts, each one done to a turn and served with zestful sauce. An ideal entertainment for amusement purposes. The story is about a high-falutin’ daughter who in a fit of pique marries the young plumber-architect, who comes to fix the water pipes, just because he “understands” her, having read her book and having sworn to marry the authoress. But in that story lies all the humor that kept the audience laughing every second of every act. Of course there are lots of ramifications, each of which bears its own brand of laughter-making potentials. But the plot and the story are not the main things. There is, for instance, the work of the company. The fun growing out of this family mixup is lively and clean. (Royalty, twenty-five dollars.) Price, 75 Cents. SAMUEL FRENCH, 25 West 45th Street, New York City New and Explicit Descriptive Catalogue Mailed Free on Request +--------------------------------------------------------------+ | FRENCH’S | | Standard Library Edition | | | | Includes Plays by | | | | Clyde Fitch Booth Tarkington | | William Gillette J. Hartley Manners | | Augustus Thomas James Forbes | | George Broadhurst James Montgomery | | Edward E. Kidder Wm. C. de Mille | | Percy MacKaye Roi Cooper Megrue | | Sir Arthur Conan Doyle Edward E. Rose | | Louis N. Parker Israel Zangwill | | R. C. Carton Henry Bernstein | | Alfred Sutro Harold Brighouse | | Richard Harding Davis Channing Pollock | | Sir Arthur W. Pinero Harry Durant | | Anthony Hope Winchell Smith | | Oscar Wilde Margaret Mayo | | Haddon Chambers Edward Peple | | Jerome K. Jerome A. E. W. Mason | | Cosmo Gordon Lennox Charles Klein | | H. V. Esmond Henry Arthur Jones | | Mark Swan A. E. Thomas | | Grace L. Furniss Fred. Ballard | | Marguerite Merrington Cyril Harcourt | | Hermann Sudermann Carlisle Moore | | Rida Johnson Young Ernest Denny | | Arthur Law Laurence Housman | | Rachel Crothers Harry James Smith | | Martha Morton Edgar Selwyn | | H. A. Du Souchet Augustin McHugh | | W. W. Jacobs Robert Housum | | Madeleine Lucette Ryley Charles Kenyon | | C. M. S. McLellan | | | | French’s International Copyrighted Edition contains plays, | | comedies and farces of international reputation; also recent | | professional successes by famous American and English | | Authors. | | | | Send a four-cent stamp for our new catalogue | | describing thousands of plays. | | | | SAMUEL FRENCH | | Oldest Play Publisher in the World | | 25 West 45th Street, NEW YORK CITY | +--------------------------------------------------------------+ =TRANSCRIBER’S NOTE= Italic text is denoted by _underscores_. Bold text is denoted by =equal signs=. Obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources. Except for those changes noted below, all misspellings in the text, and inconsistent or archaic usage, have been retained. Some hyphens in words have been silently removed, some added, when a predominant preference was found in the original book. Pg 206: ‘--for the glove’ replaced by ‘--For the glove’. *** END OF THE PROJECT GUTENBERG EBOOK MASKS, WITH JIM'S BEAST, TIDES, AMONG THE LIONS, THE REASON, THE HOUSE *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.