*** START OF THE PROJECT GUTENBERG EBOOK 46185 *** THE DEVIL by FERENC MOLNAR adapted by OLIVER HERFORD by exclusive arrangement with the author NEW YORK MITCHELL KENNERLEY 1908 (Copyright by Henry W. Savage) [Illustration: Olga and Dr. Miller (The Devil)] As originally produced by HENRY W. SAVAGE at Hartford, July 6th, 1908 Staged by Robert Milton, with the assistance of Julius Herzka, Director-General of the Volks-Theatre, Vienna CAST OF CHARACTERS IN ORDER OF APPEARANCE Karl Mahler, an artist Paul McAllister Heinrich, his valet W. Chrystie Miller Mimi, his model Marion Lorne Olga Hofmann, the banker's wife Dorothy Dorr Herman Hofmann, a banker Frank Monroe The Devil (calling himself Dr. Miller) Edwin Stevens Elsa Berg, an heiress Marguerite Snow Madame Zanden Nan Lewald Madame Reineke Jane Murray Madame Schleswig Guests at the Theodosia de Cappet Madame Lassen Hofmanns' ball Tina Marshall Herr Grosser John McKee Herr Besser Arthur Hoyt Man Servant Franklin Bixby SYNOPSIS OF SCENES ACT I.--Karl Mahler's Studio, Vienna. (Afternoon.) ACT II.--Conservatory Reception Room at the Hofmanns'. (Evening.) ACT III.--At Karl's Studio. (The next morning.) STAGE DIRECTIONS _Up._ away from audience _Down._ toward audience _Up C._ centre of stage, away from audience _R._ right of stage _L._ left of stage _C._ centre of stage _R. C._ to right of centre _L. C._ to left of centre THE DEVIL ACT I SCENE.--_Room next to_ KARL'S _studio. At the back of the stage to the L. is a glass door with portière towards the stage. When this door is opened one can see the studio. Bach of the stage to the R. a fireplace with burning fire. Round the fireplace an elevation about half a yard high reaching into the middle of the room. This elevation is bordered by a wooden railing with an opening on each side--in the middle of the railing an ancient Gothic chair, with back towards the public; the back of the chair must be so high that a person sitting in it cannot be seen by the public. On the R. a door leading into the entrance hall of the apartment. There is a little invisible door covered as the rest of the room, with wall paper, on the L. near the footlights. About a yard from this door, a settee with the head end towards the glass door of the studio. Next to this settee a small, ancient table, about one yard high. On the L. a curio cabinet (small); next to it a hall stand with some shawls of different colors. On L. next the settee a large, gilded, stand-up candelabra, as used in churches._ _There are many sketches, framed and unframed, about the room--some statues, some heads, and a very elegant electric candelabra hanging in the middle of the room. The whole thing unharmonious but artistic. Down stage on the R. a medium-sized table littered with books, magazines and bric-à-brac; a large palette lies on the top of some books and scattered among the other things some tubes of paint and paint brushes._ (_When the Curtain rises the stage is empty for a few minutes._) KARL, _comes in with hat and overcoat which he takes off_ Heinrich! Heinrich! [HEINRICH, _coming from studio_. KARL Where were you? HEINRICH Nowhere, sir. KARL The door is wide open; anybody could have walked in. [HEINRICH _goes into the studio and comes out with a velvet house-jacket. Calling after him:_ Where's today's paper? [_He finds the newspaper._ Well, hurry up. [HEINRICH _comes back and helps_ KARL _put on his jacket._ KARL, _lights a cigarette_ Did you take my dress suit to be pressed? HEINRICH Yes, sir: he will bring it back in an hour. [_Starts R._ KARL Good! Here's a crown. Get me a white tie, same as the last one. [HEINRICH _starts R._ Hold on! Put out a dress shirt on the bed, then look for my pearl buttons--they are probably in the top drawer--in a match-box. Stop! Give me that crown. Take this. [_Gives him a bill._ Get me a pair of white gloves, seven and a half. Oh! and Heinrich, before you go, put the Venetian chair next to the window. At three o'clock Mrs. Zanden will be here to have her portrait painted, and I shall be at home to nobody. [_Reclines on the settee._ Give me an ash tray. [HEINRICH _gives it to him._ All right; go along. HEINRICH Beg your pardon, sir-- KARL, _seated on couch L._ What is it? HEINRICH Mimi is here. KARL Where? HEINRICH Waiting in the studio. KARL, _indifferent, reading newspaper_ Send her away. HEINRICH, _goes to the glass door_ Fräulein, Herr Marler does not need you today. [_Exit L._ MIMI, _coming in_ Hallo. [KARL _is silent, continues reading his paper._ [MIMI _comes down L._ Don't you want to work today? KARL No. [_Continues reading paper._ [HEINRICH _goes into the studio._ MIMI, _in bad humor, crosses to C._ Good-bye. [_Turns around._ And tomorrow? KARL No. MIMI, _sad_ Good-bye. (_Wipes her eyes._) You don't love me any more ... you don't love me any more. KARL Oh! It's going to start again! MIMI Ever since last fall you've been different. I knew it right away when you started to paint landscapes. When you are in love you paint Venuses. I know what it means when you start to paint trees. KARL You're silly, Mimi. MIMI I know it. With her hat and coat on every model is silly. KARL Go home, Mimi. MIMI, _goes to head of couch_ Yes, yes. Go home! Be a good girl. For a week now you've sent me home without my even taking my gloves off. I'm no use any more. [_Begins to cry but stops it at once._ Look here: I know everything. KARL Really? MIMI [_From behind him, raises his head._ Look at me! Look at me! You want to get married? Tell me No--you don't dare. KARL No. MIMI, _comes to L. of him_ Oh, you tell me anything you want to my face; but I know you're going to marry a girl named Elsa--the wife of your friend Mr. Zanden has arranged everything--look at me and deny it, if you dare. After all, what's the use! you wouldn't tell me the truth anyway. KARL You little mind-reader. MIMI She's a nice one, Mrs. Zanden! Instead of taking you on herself, she marries you to a friend of hers. But I don't care; you don't love me any more--doing landscapes all the time. KARL Well, what do you want? MIMI, _crosses to R. of him and kneels_ Tell me you do love me. (_Pouting_.) KARL, _bored_ Yes, yes--of course. MIMI, _imitating him_ Yes, yes, of course. Is that the best you can do? KARL Well, what shall I say? MIMI Oh! You painters! It's always the same. First you say: "What an angel! What a Madonna! What a Venus! What color! What hair! What lines!" Then all of a sudden, it's: "Oh, my dear! Why, you've gone yellow." The next day you're green, and then it's: "I have no time today." And, first thing you know, you're--pooh! Landscapes. (_Scornfully_.) [_She goes to him above table at head of couch, takes his head in her hands._ Don't you _like_ me? KARL, smiling Why, yes. MIMI If you were really nice, you would at least promise to marry me. All the other artists promised. They weren't so mean as you are! Oh yes, I know I am annoying you. I'm absolutely boring you. KARL If you were not such a dear little nuisance-- [_Reaches up and draws her down to him._ --I would have done with you a long time ago. [_Kisses her._ And now, run away, little girl: go home. MIMI Don't you want me tomorrow? or the day after tomorrow? KARL No. MIMI, _crossing to him at couch_ You will never have me pose any more for you at all? KARL, _rises; crosses with her to door R._ I'll look in on you this evening on my way to the Zandens'. MIMI But you can't work in my house. I've only a lamp! KARL Ha! Ha! Ha! Well, we'll put that out! [_Has taken her to the door._ MIMI Oh, will we! [_Laughing._ Maybe _you'll_ get put out. KARL Bye, bye! [_MIMI exits._ [_Lights another cigarette--the bell rings sharply. Calls, somewhat excited._ Heinrich! Heinrich! HEINRICH, _comes in from studio_ Yes, sir. [_Runs through the door on the R., which he leaves open, and goes off to open the hall door._ KARL [_Fixes his tie nervously, puts away newspaper, puts out his cigarette in ash tray, and arranges his hair. He goes towards the door through which_ HERMAN _and_ OLGA _enter_, HEINRICH _closes the door from the outside_, KARL _bows_. Madame! [_Bows silently to_ HERMAN. HERMAN, _in a hurry_ I only came to bring Olga, my boy: I must go back at once. [OLGA _has been looking around._ OLGA, _going to C. and over to L._ So this is the famous studio. KARL, _looking around_ Funny, isn't it? More like a junk shop. HERMAN We might have chosen another day to begin Olga's portrait--we have waited six years, so we could just as well have waited until tomorrow; but the preparations for tonight's ball made Olga so nervous that I thought it best to bring her here. You know this ball is a kind of house-warming. [_Crosses over to C._ OLGA We were obliged to invite such a _lot_ of people, to clear off our social obligations. HERMAN I wish it was over. I hate these functions. Old Freebody, in whose business I started, was worth ninety millions, and he never gave a party in his life--or anything else, for that matter. When do you want me to call for Olga? KARL, _R. C._ Well, it gets dark very early now: in three quarters of an hour we won't be able to see any more. HERMAN Well, then-- KARL, _looking at his watch_ Let's say four o'clock. OLGA, _after looking at a picture L. very closely_ Who is that? KARL Oh, some model. OLGA Wasn't that the girl we just met on the stairs? HERMAN _crosses quickly to L._ I must have a look at her. [_Looks at picture._ [OLGA _stands so as to hide picture._ Oh, better not. [_Makes a gesture as if he had seen something indecent._ Well, every minute counts--I must be off. [_Shakes his finger at_ KARL. You'll have to stop that sort of thing, now, Karl. You know you are one of the reasons of tonight's ball. Isn't he, Olga? OLGA Yes--tonight Karl is to fall in love with his future wife. KARL, _goes L. C._ I shall do my best. [_To_ HERMAN. Sentenced to marry! Well, I'm prepared to meet my doom. OLGA, _seated on couch, with a little sigh_ At last! I shall be glad. HERMAN So shall I. So will the girl. So will Karl. KARL I hope so. She's a charming girl. OLGA Wait till you-- KARL I know--I know. I shall adore her. But I have till this evening, you know. HERMAN, _crossing to_ OLGA Well, I'm off. My agent may telephone any minute. [_He kisses_ OLGA'S _hand_. I shall call for you at four o'clock, my dear. And don't worry about tonight: the caterer has his instructions. [_Crossing to R., shaking hands with_ KARL, _who holds him back._ KARL, _shaking_ HERMAN'S _hand_ Aren't you afraid to leave your wife? HERMAN Shall I tell you the truth? I'm hurrying because I'm afraid of changing my mind and taking Olga away with me. OLGA You're not jealous? HERMAN, _at door_ If I wasn't afraid of appearing ridiculous, I would say: Be good! And now, good-bye. [_He goes off_, KARL _bringing him to the door of entrance hall._ KARL [_Coming back, closes the door, stands still for a minute--when he comes back_, OLGA _shivers slightly and touches her forehead with her hand._ [_Crosses to L. C. by_ OLGA. What is it? OLGA, _with a nervous, soft laugh_ Nothing--nothing at all. KARL, _tenderly_ Are you frightened? [OLGA _does not answer._ Tell me. OLGA, _nervous, confused, as if she was afraid of him_ I don't know, but--I feel as if--as if-- KARL What do you mean? OLGA, _trying to laugh, but very nervously_ I had the same feeling once in Dresden, when my mother took me to a boarding-school and left me there. I felt as if I were quite alone in this wide, strange world--and now--you know yourself. I have fought against coming here for six years. [_Looks around._ What a queer place. I don't think I like it. [KARL _crosses C. and up laughing._ Strange monsters, cut off heads, and you in the middle of all this like a wizard. While my husband was here I did not feel it, but now these heads seem to stare at me. [_She shivers._ KARL Don't be nervous--every woman I paint comes here. OLGA, _seated on couch, quietly_ And do you paint every woman that comes here? KARL No. [_Silence._ OLGA Did you understand my husband just now? KARL I think I did. OLGA He has often pretended to be jealous, but this time there was a ring in his voice that made me feel that there was something behind it. KARL You don't really think he's jealous? OLGA, _crosses to chair_ No. But this is the first time I've been alone with you. KARL Now we can talk things over. I've wanted to for a long time. OLGA, _leans against R. back of chair_ We've done well to avoid it all these years. A good conscience is like a warm bath--one feels so comfortable in it. KARL Last Thursday, when we spoke about my painting your portrait, you seemed embarrassed. OLGA, _looks at him; their eyes meet_ Don't let us talk about it. I don't want to. KARL Don't be afraid of me. If I were not I, your fear might be justified; but as it is, surely we can trust ourselves to talk things over quietly. To think that seven years ago I was a teacher in Herman's family--and I was there the day your engagement was announced--it was the evening of the day we-- OLGA, _puts her hand on his, softly reproaching him_ Karl. KARL --We kissed each other for the first time. Oh, I know. I was only a drawing teacher--but you--what were you? Just a poor little friend of Herman's sisters. Sometimes you were asked to tea in their grand house. And there we met--a beggar boy and a beggar girl at the rich man's table. Do you wonder? And then, just as we realized what we were to each other, one fine day Herman up and proposed to you. Such a dazzling offer--who could blame you? OLGA, _hurt_ Please--please, Karl. KARL We were two poor little souls who found one another in the wilderness of wealth--only to lose each other. Even the memory of that one little kiss.... OLGA Dear Karl, don't. We have grown up to be sensible people--we have put it out of our thoughts. KARL Oh, I know it's all over. To-day I'm--(_humorously_) the famous painter, your husband is my friend, and though we see one another every day, we have never spoken of it again. I wouldn't even have the courage to ask you to sit for your portrait. I was afraid, and I think you were afraid. And so was your husband. And that is why until this day-- OLGA, _steps down one pace from chair, gives him her hand_ You _are_ a real friend. KARL, _goes to her, gently_ There's nothing to be afraid of. OLGA Oh, it was only my husband's voice--something in his manner that frightened me. He must know what we were to one another, though he has never made the slightest allusion to it, not one single word in all these years. But when he left us here alone, he seemed to feel-- [_Breaks off._ But there is no reason for it, is there? We are not in love with one another, are we? And it's just lovely to think that we have not entirely forgotten old times. Don't you think so, Karl? KARL, _goes to chair_ Of course I do. OLGA Because if we still loved one another, you would not marry, would you? [_Taking off gloves._ KARL Of course not. OLGA So you will be married and you will be very, very happy--and I shall be happy, too, because it is my own idea, and I have picked out a nice girl for you--pretty and clever-- [KARL _bows silent acquiescence._ And now-- [_Goes up and knocks on back of chair--business of entering imaginary door, etc. She speaks in an everyday voice, in marked contrast to former tone._ How do you do, Professor? I have come to have my portrait painted. KARL, _quite enthusiastic, R. C._ Last night I made a sketch of you from memory.... Oh, I've made lots of sketches of you; but now, now I see you in another light. OLGA, _R._ How do you mean? KARL Yesterday I looked upon you as a model. To-day you are a motif--you are a revelation...? there is something in your eyes.... OLGA Please, please, Karl, we agreed that--that-- KARL Pardon me, I'll try to remember. [_Goes up on platform._ OLGA Let's go to work now--it's getting late. KARL Whenever you are ready-- OLGA What am I to do? KARL, _steps behind her to take hat pins out of her hat_ Take off your hat and your coat, please. OLGA Thanks, I can do that myself. [_She takes her hat and coat off. KARL takes her coat up on platform._ KARL, _passing her chair as he goes up_ Do you use perfume in your hair? OLGA I? Never! [_At chair up in alcove._ KARL Oh, then it is the natural perfume of your hair. [_She looks at him reproachfully._ Pardon me: I stood too near. [_Looks at her in silence. She crosses back of large chair to couch L., and sits facing audience._ OLGA, _nervously, turns her head to him_ What is it? KARL, _leaning against big chair, looking at her dress_ I was just thinking--didn't your husband say an evening frock? OLGA Yes. Herman wants me painted décolletée--in an evening gown; just a head and shoulders, you know. I would have preferred a street dress. KARL I'm afraid I agree with Herman on that point. But have you?... Didn't you?... Where is the dress? OLGA Oh, I thought you would only be painting my face the first sitting. KARL, _comes C., laughs_ So you thought I began at the top of a portrait and painted down? OLGA, _hesitating_ Yes. KARL Why, the drawing of the shoulders is almost more important than the head in the first sketch. OLGA Oh, dear. How stupid of me. KARL, crossing L. I'll tell you what-- [_He selects some draperies from those hanging in the corner._ I have some draperies here-- OLGA Well-- KARL You can arrange one of these around your shoulders like--like an evening gown. OLGA, _mechanically_ Yes. KARL, _hanging drapery on cabinet L._ You will have to be quick because it will soon be dark. Here are the draperies--you'll find some pins over here, and I'll go into the studio while you--until you-- [_Goes to door of studio._ OLGA, _seated_ Until when? Why? KARL Why, if I'm to paint your shoulders--well-- [_Turns away towards studio._ --your blouse? OLGA, _terribly embarrassed_ Of course-- KARL Do just as if you were at home. I'll close this door. [_Goes to door R. to entrance hall and locks it._ And now I'll go into the studio ... and you can lock this door yourself. [_He has opened the door of the studio and has made one step into studio, and now says in a low tone:_ Oh! It's snowing. [_He looks at Olga._ OLGA Snowing? KARL Snowing hard. [_Silence_. OLGA Hadn't we better?--perhaps--perhaps--tomorrow--or--or-- [_She has been saying this very slowly, as if afraid, but now suddenly regains confidence, as if she had had a saving idea._ Tomorrow I could bring my maid. KARL Oh, no, no. Your husband would certainly want to know the reason, and really--if this door is closed-- [_He goes back to his studio._ It's too bad! This snow takes all the light away. But never mind--never mind; the snow shovellers will be glad of it. [_He has spoken the last few sentences in a very low voice, as if the situation was painful to him. He goes backwards into the studio and now closes the door._ [OLGA _is standing with her back towards the studio, staring in front of her. She now shrinks together, shivers, turns around. Sudden resolution, she turns the key, locking the door to the studio. Slowly unbuttons her blouse, looks at the shawls, of which she chooses one, afterwards takes her blouse off quietly, putting the shawl around her shoulders. She has put the blouse on the settee before she arranges the shawl. She now picks up the blouse and wants to put it on the chair in front of the fireplace; her arm is already stretched out when she suddenly drops the blouse, utters a suppressed shriek, dropping blouse by chair, and crosses quickly to foot of couch._ [_The_ DEVIL, _in fashionable frock coat, a crimson carnation in buttonhole, a man of from thirty-five to thirty-eight years old, resembling in face classical Mephisto, very elegant, picks up the blouse and offers to_ OLGA _in a most polite manner._ DEVIL Pardon, Madame. [_Comes C. a little._ I think you dropped something. [OLGA takes the blouse mechanically and looks at him frightened. I must beg your pardon, Madame. I came from lunch. Karl was not at home. I waited and I fell asleep in this very comfortable chair. [_He rubs his eyes._ Forgive me, Madame, for opening my eyes at a moment when, for propriety's sake, I should have at least kept one eye shut. OLGA,_ puts blouse on couch and goes L., horrified and disgusted_ Oh! DEVIL, _Right of couch L._ I am aware this is a base insinuation--of course you only come here-- [_Ironical_. OLGA To have my portrait painted. DEVIL I once had a similar encounter at a dentist's; and the lady, to prove that my insinuations were false, did not hesitate to sacrifice a perfectly good tooth. OLGA I tell you, I-- DEVIL, _very polite_ Oh, I know--you speak the truth. I am even at liberty to believe it, though _your_ truth is only partly in style. _Truth_ should have nothing on at all, you know. OLGA The insolence! What right have you to speak to me? Who are you? What are you doing here? Karl! [KARL _tries door outside_. Karl! [_She opens the door of the studio_, KARL _appears on the threshold and looks surprised at the_ DEVIL. DEVIL, _crosses up R. C. very quickly_ How do you do? KARL, _taken aback_ How do you do?--er--how are you? DEVIL, _quickly_ You don't seem to remember me--we met at Monte Carlo-- KARL, _up L. C._ Oh, yes. DEVIL Quite an eventful day it was. KARL, _comes down a little_ Yes, yes, I remember. It was last fall, and I had just lost all my money at roulette. As I turned from the table, I caught sight of a stranger frowning at me. [_Pointing to_ DEVIL. It was you. I was startled, because only a moment before I had seen you next to the croupier, and I thought I heard you laugh when I lost. But now I remember--you stood behind me, and when I had lost everything, you offered me, a total stranger, a handful of louis d'or. DEVIL You refused--beggingly. KARL Yes, but-- DEVIL, _continuing_ You took them--protestingly. KARL In five minutes I had won everything back, and 20,000 francs besides. Your gold seemed to have magic power, I remember. When you gave it to me it seemed to burn. DEVIL But you paid me back and invited me to supper. I had to refuse, because I was obliged to leave for Spain the same evening, but I promised to look you up the next time you needed me-- [_Crosses to R._ and here I am. KARL Well, I'll be-- DEVIL, _interrupting quickly_ Don't mention it. I took a little nap in your chair. [_Goes up to back of big chair._ OLGA, _goes C., pointing to big chair. Frightened_ It's very strange--this chair was empty; there was nobody there. DEVIL, _stepping towards her, bowing; in a tone allowing no contradiction_ Then I was mistaken, Madame. [OLGA _goes over behind couch L. Silence._ [OLGA _and_ KARL _look at the_ DEVIL _suspiciously_. KARL, _L. C., embarrassed_ Won't you please sit down? Allow me to introduce you. I quite forget your name.... DEVIL, R. C. Call me anything you like: we only call names when the party is absent; but I am here now--call me Miller, or Brown, or Black. [_Start from_ KARL. DEVIL _stops him._ If you think Doctor sounds better, why not call me Doctor Miller? KARL, _very much embarrassed_ Doctor Miller-- [_Crosses to R. C. The_ DEVIL _kisses_ OLGA'S _hand devoutly at foot of couch_. Under ordinary circumstances, I should now take my hat and leave; [_Goes up C.; turns._ but my infinite tact compels me to force my presence upon you in this disagreeable situation. [_Sits down in chair C._ OLGA, _crossing to_ KARL; _to the_ DEVIL How dare you! Karl! This man has the insolence to-- DEVIL, _seated C. Very quickly_ Your husband has been dead some time? OLGA, _R._ I'm not a widow. DEVIL, _very quick_ Oh, divorced? OLGA No. DEVIL Well, if you think that I have insulted you, I should say the proper person to refer me to would be your husband. [_Rises_; _to_ KARL: Of course, if you wish, I am at your disposal also. [_To_ OLGA: But, Madame, this would be admitting-- KARL What's it all about? I don't understand you. You come in here, I don't know how or where from, and you--you act as if you had trapped us-- OLGA, _goes to_ KARL _R. C._ The idea! DEVIL Say what you like: I cannot go. OLGA Why not? DEVIL If I were to go now, it would be as much as to say: "Pardon me, I fear I intrude." But if I remain, I show that I suspect nothing. KARL We don't need your assurance. [OLGA _crosses to L. below couch._ DEVIL, _bows politely; embarrassing silence_ Suppose we talk about something else. I think we are in for a snowstorm. [_Standing R. of studio door. Silence._ [OLGA _stands near the door leading to the studio, quite astonished._ Are you sending anything to this year's exhibition? KARL, _uncomfortable_ Perhaps--I may send something. [_Silence. The_ DEVIL _lights a cigarette at table L. C._ DEVIL,_ puffs cigarette. On second puff_ Permit me, Madame. [OLGA,_ picking up blouse, as if suddenly awakened and realizing her position, goes into the studio, closing the door behind her._ Full of temperament--full of temperament. And pretty, too. [KARL _starts to light cigarette at table L. C._ KARL, _dropping cigarette, crosses to chair up C., sits and looks at the_ DEVIL _without speaking_ DEVIL Too bad she doesn't love her husband. [KARL _turns quickly towards the DEVIL. Quick_: How do I know? The way she turned to you just now when she fancied herself insulted--it didn't escape me. [KARL _takes up the ash tray and throws it angrily on table._ No; she doesn't love her husband. He must be either a genius or a very common man. Marriage with them is always unlucky. Believe me, common men live so low that women are afraid somebody will steal in at night through the window which they forgot to lock. And Genius, well! That lives on the top floor--so many stairs, no elevator. Her ideal is-- [_A motion of the hand, wanting to express an even, middle position._ --the second floor. [KARL _looks impatiently at his watch and goes towards the door of the studio. The_ DEVIL _leans back blowing the smoke of his cigarette, indifferently._ This is the second time I have seen her shoulders. KARL, _coming down left of couch_ What do you mean? DEVIL The first time I saw them was in Paris-- [_Start from_ KARL. at the Louvre--only they were on the _Aphrodite_. Am I right? KARL, _crossing to large chair R. C. In bad humor_ How should I know? DEVIL, _lifting himself upright, cynically_ Which shoulders have you not seen? KARL, _angry_ I've seen the Aphrodite. DEVIL, _seated on couch_ Well, you may take my word. I have seen them both. And, believe me, since Alcamenes, I have only known one sculptor who could model such shoulders. KARL Who's that? DEVIL Good living. Such tender, soft lines are only possible for a woman who lives exquisitely well. I take it she is the wife of a millionaire? [KARL _goes again towards door of studio impatiently._ Is she dressing? KARL, _nervously_ I suppose so. DEVIL Is there a looking-glass in your studio? KARL, _comes down L. of couch_ Yes. DEVIL She must be very respectable. [KARL _looks at him astonished._ If a lady takes as long as that to dress before a looking-glass, she's not a--model--anyway. KARL, _crosses around foot of couch to table L. C._ Look here! I think your remarks are, to say the least, in very bad taste. DEVIL, _standing erect_ Do you mean that? KARL, _aggressively_ I do. DEVIL, _patting_ KARL'S _cheek_ Then _you_ must be respectable, too. [_Crosses to big chair, KARL stares at him astonished._ In a situation like this, only a very respectable man can be so infernally stupid. [KARL _crosses to R._ OLGA _opens door of studio, goes towards_ KARL _without looking at the_ DEVIL, _who is hidden in chair._ OLGA, _dropping shawl on couch_ What's the time? [_Crosses to_ KARL, _R._ DEVIL, _looking up over back of chair_ He'll be here in ten minutes. OLGA, _angry_ Who? DEVIL Your husband. OLGA Oh! So you weren't asleep after all. DEVIL Oh, yes, I was. [_Rises._ But "What's the time?" always means the husband. A woman's intuition invariably anticipates her husband's coming by ten minutes. If it wasn't for that ten minutes, there would be more divorced women-- [_He goes and unlocks the door of the hall._ --and less locked doors. [KARL _crosses to L. C._ OLGA, _taking her hat_ Will this never stop! DEVIL I tried to change the subject. I started to speak about the weather--the Exhibition--but Karl wouldn't have it. OLGA Karl! KARL I? I haven't said a single word. DEVIL, _crosses to big chair_ But your actions fairly shouted. The way you jumped up, looked at your watch, went to the door-- [_To_ OLGA: He was afraid, the poor fellow. KARL Afraid of what? [_L. C._ DEVIL, _to_ OLGA That your husband would come before you had finished dressing. I don't blame him. OLGA, _R._ What, again! [_Goes up to hat._ KARL, _L. C._ Can't you-- DEVIL Come now! Let us be logical--let us look the situation in the face. Enter your husband-- [OLGA _comes down R._ "Well, here I am: where is the picture?" "The picture?" [_Shrugs his shoulders._ "There is no picture. Karl hasn't even touched a brush." Your husband is astonished--he tries to speak--the words stick in his throat--he gasps: "Well, if you didn't paint, why is she dressing?" Imagine the situation! You look at one another horribly embarrassed; Karl stammers something, but that only makes it worse. Nothing has happened--and yet the mischief is done. What mischief? Appearances--appearances. They're like fly-paper. There's no getting away from them. [_Speaking to OLGA:_ You go home with your husband, and he doesn't speak--and if you ask him: "Why don't you say something?" his blood seems to boil. If you ask him to take a cab, he suspects that you want to avoid meeting somebody--every word that you utter tortures him. And if-- KARL, _C._ And if it _were_ so, we are not alone, you are here. DEVIL, _icy and cynical_ Just so, I am here--one word from me would save the situation--but--I know myself--I'm a strange, whimsical, almost cruel man--and I'm afraid I won't say the word. Tableau! Embarrassing silence! Then I say: "I regret that I should have come at such an inopportune moment." I take my hat and walk out discreetly. If necessary, I can even stammer my excuses. OLGA If this is a jest, it's a cruel one. DEVIL, _bowing low_ Possible, Madame--but I can do better still. Of course, if you prefer it, I can make conversation--when your husband comes in, I can tell him that the portrait has not been touched and ask his pardon-- OLGA Pardon? Pardon for what? DEVIL, _bowing_ For having--quite accidentally--seen your shoulders. OLGA, _horrified_ Who are you? DEVIL I am one who always comes at the right moment--I come from Nowhere. [_Very bitingly._ I am here-- [_Touching_ OLGA'S _forehead_. OLGA What do you want with me? You turn everything to evil. I have scarcely known you five minutes, and I seem to feel your fingers at my throat. DEVIL That's because I like you. With most pretty women I take longer. KARL, _furiously, starts towards him_ Look here: this has gone far enough! [_Makes a few steps towards the_ DEVIL, _who stands erect without moving. At the same time_, HEINRICH _comes to the door, which he opens, and starts speaking at once._ HEINRICH The tailor has sent an evening suit, but it is not yours, sir. DEVIL Put it on the chair in the bedroom. KARL But it's not mine. DEVIL, _gives a sign to_ HEINRICH _to go out and do as he was told. Speaking to_ KARL It's mine. KARL Yours? DEVIL, _makes motion to_ HEINRICH, _who goes out_ [_During speech_ OLGA _goes up and gets her hat._ KARL _walks back and forth L. C._ I had to have it pressed. I told the tailor to send it here. I must dress for tonight. I'm going to a ball the prettiest woman in Vienna is giving at the house of the Duke of Maranse. OLGA, _coming down R., frightened_ But the Duke does not live there now--he's Ambassador in Madrid; he has sold his house--to us. DEVIL I know. I met him in Paris. He told me-- OLGA We are living there now--we are giving the ball. DEVIL Am I mistaken? Am I not invited? OLGA, _in a very low voice, dropping her head_ Yes--yes, you are. DEVIL, _very polite_ Madame, you asked me a little while ago what I wanted. That's what I wanted. Thank you. [_Bows and turns towards C. Silence._ OLGA But my husband-- DEVIL, _turning to her_ Will be delighted. I've just come from Odessa. I have good news. Wheat is rising--this year's crop turned out worse than they thought it would. OLGA, _greatly pleased_ Yes? The crop is bad? [_The_ DEVIL _goes to big chair and kneels on it L._ DEVIL So you do love your husband? You're glad the crop is a failure? OLGA Of course I am. [_As if she was somewhat ashamed about her husband's speculations._ We want the wheat to be bad because that will drive the price up. KARL What of that? OLGA My husband will make lots of money. DEVIL, _to_ OLGA And you will get that new gown. OLGA How do you know I want a new dress? DEVIL You have a new hat--a very pretty one--and you will certainly want a new dress to wear with it. OLGA You must be married. DEVIL Married? Not the least--but I have an eye for feminine vanities. Oh, no! A wife is like a single eyeglass--it looks very nice, but one is better off without it. OLGA, _R._ You seem to have strong views against marriage. May I ask why? DEVIL, _shaking his finger_ Because you are plotting matrimony against Karl, and I want to save him. KARL, _starts toward him; stops C._ I beg your pardon-- DEVIL An artist ought never to marry--his wife will swear on the wedding day to stand by his side all through life. The day after the wedding she will stand in his way. OLGA Not the real wife. DEVIL The real wife is always the other man's wife. OLGA You're a cynic. DEVIL Oh, no, not cynical, only careful. A tigress who has married--I mean eaten--a man, is no longer dangerous--you can ride on her back through the jungle. But, you must wait till she has married--I mean eaten--somebody; then she is quite safe. KARL Better to keep away from the tigress--and stay at home. DEVIL Then why didn't _you_ stay at home P Why did you refuse a legitimate position--good, everyday morals--a decent occupation at so much a week? You wanted to go into the jungle--and there you are. Now fight your battle--hunt tigers--but don't get married! [_He now changes his tone, goes into the church chair, on whose back he leans his two arms, speaking as if from a pulpit. It is almost dark, and during this scene it becomes darker yet._ And yet--what a splendid couple you two would make. [OLGA, _standing quite near the_ DEVIL _but not looking at him, buries her face in her hands._ Wake up! [To KARL: You, with your talent, your splendid youth! [To OLGA: You, with your temperament, and beauty and longing! KARL _crosses to R._ Stop! Stop! I beg you-- [OLGA _backs to R. of back of chair, as though to protect_ DEVIL. --for years we have been just good friends. DEVIL [_He now begins to speak in almost a whisper, but getting warmer and warmer, the more embarrassed_ KARL _and_ OLGA _become._ You may say what you like, but I can read your eyes; they say to me: "Don't believe him, he lies." [_Goes to fire and warms his hands_, KARL _stands below_ OLGA. KARL Don't interrupt me. For six years we have been --good friends, nothing else. Olga cares nothing for me--and I--and I-- DEVIL, _quickly_ What will you give me to interrupt you now? OLGA I don't know what you, who profess to know everything, know about us, but anyone who thinks Karl capable of one base thought must be very low and contemptible himself. DEVIL [_Goes behind_ OLGA _and whispers into her ear. At the end of the speech he is a little to the L. of them by the big chair_. It's not a base thought: it's a great thought--a thought that brings joy and warmth and light into your wretched little lives. But joy has its price--and you must pay it, you misers! The drunkard dies of drink, but while he is drunk angels in heaven sing to him. The poet dies in the ecstasy of his sweetest song. It is a coward's bravery that turns away from the wine, the song--and the lips of woman. The smallest candle-end shows you it is worth while to burn up for the sake of a little warmth--a little light. The only end of life is to burn--to burn yourself up. You must flame and blaze like a torch and toss the fire about you. I know: your moralists tell you to love one another--don't believe them--your grubby little earth with its paltry million years is not ripe for such a love as that. It can only breed monks, madmen, Methodists. Don't be a fool, be a rogue--but be a jolly rogue--and the world is yours! Look at me! I own the earth. Here is the key of life--Love yourself--only yourself. Dress yourself in the softest garments--kiss the sweetest lips--drink of the wine of Life--Drink! Drink! Drink! [_Bell rings sharply--nobody moves._ OLGA, _after a pause, in a low voice_ My husband-- DEVIL [_Steps down from the chair, crossing C., snaps his fingers angrily, and says afterwards, in a cold, cynical tone_: Mr. Wheat. [HEINRICH _opens the door, and_ HERMAN _comes in._ HEINRICH _follows him, but stops short at the door._ HERMAN I'm afraid I'm late. My agent hasn't telephoned me yet, but I didn't want to make you wait too long. Rather dark in here! [HEINRICH _touches a button, lighting the lights, and exits._ HERMAN, _sees the_ DEVIL, _presenting himself_ I'm Herman Zanden, of Zanden Brothers & Wilde. [DEVIL _mutters something and shakes hands with him C._ OLGA, _coming down R._ KARL _goes behind big chair_ Strange man. HERMAN Pleased to meet you. [_Converses with_ KARL _a few moments; then to_ OLGA: Well, my dear, where's the picture? Mayn't I see it? KARL, _in the big chair, leaning over back_ There's nothing to see--there is no picture. HERMAN, _looking at his watch_ What have you been doing? KARL Nothing. (_Silence_.) It's been dark for the last hour. HERMAN Yes, but I've been gone two hours. DEVIL, _steps to the front L. C. very politely_ It was all my fault. We have been chatting. We've had a very interesting discussion. And Madame was kind enough to invite me for this evening. HERMAN Oh! I'm very pleased. DEVIL, _crosses to couch L. and sits_ Thank you. I have just come from Odessa. I had a talk with the Russian Wheat King. He tells me-- HERMAN Yes, I've heard; wheat's going up. OLGA, _frightened_ Isn't that good for us? HERMAN No, dear. I did not tell you this is the first year I am short on wheat. KARL What does it mean to be short on wheat? DEVIL,_ seated on couch L._ It means digging a ditch for others and falling into it yourself. [_To_ HERMAN: I don't think you've any cause for uneasiness. I have inside information that the American crop will be excellent. HERMAN, C. If that is the case, I shall be safe. DEVIL You will be quite safe. HERMAN Do you also deal in wheat? DEVIL Yes and no. I dabble in everything. And always at improper moments. (_Rises_.) KARL, _has been talking to_ OLGA, _but now goes over to_ HERMAN I'm afraid I can't come before eleven o'clock this evening. [_Continues talking to_ HERMAN, _and both go to fire._ OLGA, _crosses and meets_ DEVIL, _C._ I must speak to you at once--alone. [_Looks around as if she wanted to say that her husband and_ KARL _were in the way_. DEVIL Alone? Delighted! [_Crosses by her and goes up C._ OLGA _goes behind couch and_ DEVIL _addresses_ HERMAN. By the way, if you want to see something delightfully bad, you ought to take a look at the sketch Karl made yesterday of your wife. HERMAN, _coming down_ Where is the sketch? DEVIL In the studio. [HERMAN _takes_ KARL'S arm _and walks to door of the studio; in going into the studio speaks to_ KARL. HERMAN I'm sorry you didn't start Olga's portrait today. What were you talking about all the time? [_Goes into studio._ DEVIL, _to_ OLGA I'll wait for you here. [_He steps back into the room just in time to see_ MIMI _enter from the hall._ MIMI, _comes right in, crossing to C._ Excuse me-- DEVIL You want to see the painter? MIMI, _excited_ Yes, please. DEVIL, _very gently, pushing_ MIMI _out of the door into the hall and speaking through the door_ One minute, my dear. There are some visitors here. Sit down there. I'll call you. OLGA, _comes quickly from the studio_ I wanted to tell you--to tell you-- DEVIL, _R. C._ It is not true. OLGA What is not true? DEVIL Whatever you are going to tell me. OLGA But believe me. DEVIL Surely no woman can expect that. OLGA But I am telling you the truth. DEVIL Ah! I might believe you if you said you were not speaking the truth. OLGA Must I think and speak only as you wish me to? DEVIL Not yet. Now what can I do for you? OLGA, _very earnestly L. C._ Don't come tonight. Now my husband has come, I am myself again, and your manner grates upon me. I had begun to feel as if some strange force--some invisible hand--was clutching me --holding me in spite of myself. There is a mystery about you. It frightens me. I thanked God when I heard that bell ring. He came just in time. DEVIL To point a moral and break up a charming party. We were just beginning to understand each other. OLGA Oh please stop! DEVIL Are you afraid? OLGA No, but I _ask_ you not to come to our house this evening. DEVIL, _with a very polite bow, then drawing himself up_ I shall come. OLGA And if my husband asks you not to come? DEVIL Your husband has already asked me to come. OLGA And if, in the presence of my husband, I ask you not to come? DEVIL Well, I'll make a compromise with you. If you repeat your invitation in your husband's presence, I shall accept; if you do not, I will not come. OLGA, _breathing freely_ That's nice of you--the first really nice thing you've said. I like you much better. [KARL and HERMAN come back from the studio, and HERMAN starts to talk at once to the DEVIL, KARL goes toward OLGA, who meets KARL up C. OLGA, _to_ HERMAN Shall we go? HERMAN Yes, dear; put your coat on. [_Comes down_ L. DEVIL _crosses to_ HERMAN. KARL, _meets_ OLGA, _they go up to recess. He helps_ OLGA _to put her coat on._ I see now how bad the sketch is. [_Holds mirror for_ OLGA _while she puts her hat on._ OLGA Please don't look at me like that. KARL Even if I don't look at you, I see you just the same, Olga. OLGA, _covering her face with her hand_ We must give up the portrait, Karl ... I'm going away ... away somewhere. DEVIL, _L., with_ HERMAN. You don't say? You represent Holman & Co. in London? When I am in Odessa I am always old Mr. Holman's guest. A charming old gentleman. No doubt you have heard the rumors. It seems they've been mixed up with some unfortunate ventures which have seriously affected their standing. HERMAN, _seated on couch_ Strange! Another friend of mine spoke to me about it only yesterday. DEVIL Yes, but that isn't all. He's the president of some trust company, and in order to boom the stocks he--but it's a long story, I won't bore you with it now. [_Makes as if he wanted to go._ HERMAN My dear sir, this concerns me more than I can tell you. The fact is--I--I am heavily interested. [OLGA _has her hat on and turns, listening to_ HERMAN _and the_ DEVIL. DEVIL You don't say. But it's a long story. HERMAN Well, then--tonight. DEVIL Oh, I am so sorry. I have excused myself already to Madame, but I had forgotten all about a call I must pay at the Russian Embassy this evening. HERMAN Well, lunch with me tomorrow? DEVIL, _with a gesture of regret_ I'm afraid it will be impossible. I leave tomorrow at nine o'clock for--Spain. HERMAN, _to himself_ H'm! I must have this information. [HERMAN _crosses to C., speaking to his wife_ My dear, won't you please ask the Doctor to try and arrange to come to our house this evening? OLGA, _somewhat embarrassed_ Well, but if pressing business.... DEVIL, _L. C._ It is not so very pressing. Of course, it would mean a little sacrifice. HERMAN, _C., looking at_ OLGA Well-- OLGA, _R. C._ Much as I would like to see you, Doctor, I cannot ask you to sacrifice anything for our sake. DEVIL, _as if suddenly remembering something_ Come to think of it, the Russian Ambassador left town yesterday, so if Madame-- HERMAN, _goes up C._ DEVIL _crosses to her R. C._ Well, my dear? OLGA, _in a tone of resignation_ I hope we shall have the pleasure this evening-- DEVIL, _crosses to_ OLGA Pardon me. You said-- OLGA, _very slowly_ I hope we shall have the pleasure of your company this evening? [_Goes to door R._ DEVIL, _ironically_ Madame, I thank you for your invitation; I shall be most charmed. HERMAN, _coming down to_ KARL And you don't come before eleven? KARL, _by big chair_ No; I expect an art dealer. HERMAN, _suggestively_ I know your art dealers. Fie! And you going to be married. OLGA, _curiously, and a bit jealous_ What is it? KARL Oh, nothing. DEVIL, _up C. as if listening_ I think somebody knocked at the door. HERMAN I didn't hear anything. DEVIL Yes, there it goes again. [_Cynically_. Probably the art dealer. [_Goes to hall door, which he opens, steps out, speaking into the hall._ Oh, it's you, my dear. Come in. /# [_Swings_ MIMI _into room past OLGA, landing her C._ MIMI, _as she comes in embarrassed_ Good evening. [HEINRICH _enters from studio._ KARL, _up C. embarrassed_ Good evening. [MIMI _goes up L._ DEVIL, _R. C., in a low tone to_ HERMAN We'd better go. [MIMI _and_ OLGA _stare at one another._ [_Cynically to_ HERMAN: The Art Dealer! HERMAN, _laughing, going to door_ Well, au revoir. [_Exit_. DEVIL, _to_ OLGA Quite a little comedy. OLGA, _at door R._ You think so? KARL, _to_ MIMI, _pointing to the studio_ Please step in there, Fräulein; I'll be with you in a minute. [KARL _turns to_ OLGA _with hand out-stretched, as if to say good-bye._ OLGA _pretends not to see it and bows coldly._ DEVIL, _whispers to_ OLGA You were good enough to invite me for this evening: I am now going to repay your kindness. In five minutes I shall be back here to interrupt this tête-à-tête. Watch me forget my overcoat. [_He takes the overcoat which_ KARL _had put on a chair at the beginning of the act when he came in._ HEINRICH _helps the_ DEVIL _to put on the overcoat, but notices that it is his master's._ HEINRICH Pardon, sir; but this is not your overcoat. This-- DEVIL, _aside to_ HEINRICH Shut up! [DEVIL _goes off_; HEINRICH _follows him out._ KARL, _comes C. to_ MIMI Didn't I promise you I'd come? What do you want? MIMI, _coming to him_ Were you ashamed to have those people see me? KARL I told you, I'd come. What more do you want? MIMI I was downstairs in the lunch room and thought it all over. Dear Karl, don't be mean--don't get married. KARL But--Mimi! MIMI I never used to care, but now that I've seen those people I--I can't bear it. Don't get married! [_Cries_. KARL You mustn't cry--it spoils your beauty. MIMI Oh, I'm a fool. KARL Now, you're talking sense. MIMI I've been a silly girl--but it's all over now. I'm sensible again. You are going to settle down and marry Elsa and be the most famous portrait painter in all Europe. KARL Mimi, child--don't speak of portraits. I feel at this moment as if I never wanted to hear the word portrait again. I'd like to run away from everything, Mimi. What do you say? [Illustration: Mimi and Karl] [_Goes to couch L. and sits._ Suppose you and I get married and go away--far away into the country--or to the United States, where we'd never be heard of again. MIMI, _kneels beside him_ Do you mean that? KARL, _recklessly_ Yes--yes! MIMI, gives him her hand That's mighty nice of you, Karl. [_Rises, goes L. C._ But no! even if you really mean it--which you don't-- [_Makes an effort to control herself._ KARL, _interrupting_ Mimi! MIMI No, Karl; I'd only keep you back--you must marry in your own set. [_Changes tone._ But don't run away--with--with anybody. Good-bye.----- KARL No, don't go! Now you have come, you might as well stay a while--take your hat off. [_Helps her off with her hat and jacket._ I'm glad you came back. Now, let's be sensible--and talk it over. You know I really am fond of you--after all, I am your best friend and you are my--my-- [_The_ DEVIL _has silently opened the door and comes in._ DEVIL My--my overcoat must be somewhere. Your stupid servant gave me yours. [_Takes coat off._ It's funny, but every time I come here, you are helping some lady to take off her things. [MIMI _goes to couch._ MIMI, horrified Well, I never. [_Exit_. DEVIL You have every qualification for a ladies' tailor. KARL You are very kind. DEVIL Don't mention it. KARL, _impolitely_ I'll fetch your overcoat; I don't want to detain you. [_Puts out lights and goes towards studio._ DEVIL The hanger was torn off. I asked your man to mend it and bring it here when it was done. [_Sits up C. Silence._ I just saw something very touching. KARL What? [_Goes to C. and sits on arm of chair by_ DEVIL. DEVIL The way that woman clung to her husband's arm as if for protection. KARL For protection? (_Sneeringly_.) From you? DEVIL Look here, my boy; do you think you are wise to be such a fool? [KARL _rises, starts away_, DEVIL _catches him by hand._ KARL I don't want to talk about it. You don't seem to understand my position. I have seen this woman for years every day, and I never even thought--and if I had thought--I should have laughed at myself. DEVIL, _rises, takes both_ KARL'S _hands_ Look at her! She's yours. Think what it means --joy, unspeakable joy--the most supreme joy one can have. And to think that you are too lazy to stretch out your hand! Why, another one would toil day and night, would risk life and limb for such a prize--and it just drops at your feet--a windfall. KARL I suppose that's why-- [_In a tone as if he didn't think much of it._ --just a windfall. [_Sits on couch._ DEVIL, _sits on table L. C._ Last fall, on the sixth of September--I shall never forget the date--something strange happened to me. I put on an old suit I hadn't worn for a long time, and as I picked up the waistcoat, a sovereign fell out. God knows how long it had been there. As I turned this sovereign over to look at it, it suddenly slipped through my fingers and rolled away. I looked and looked, but my sovereign was gone. I become nervous: I can't find the sovereign. I search around for half an hour, three quarters of an hour, still I can't find it. I get angry, I get furious. I shift the furniture--no sovereign. I call my man--we both look everywhere until it's dark. I'm perspiring and trembling--I have but one idea: I must get that sovereign back. Suddenly a suspicion comes into my mind--I get up from my knees. I scream at the top of my voice to my servant: "You thief, you have found the sovereign and put it into your pocket." The man gets angry and answers me disrespectfully. I am about to strike him when I see the blade of a knife shining in his hands. I draw my revolver-- [_Takes a shining revolver out of his pocket and rises._ --and with this revolver I nearly killed a man for a sovereign-- [_Look from KARL._ --I didn't need and had never missed--just a found sovereign. [_Puts revolver on table._ KARL, _embarrassed_ I give found money away. [_Turns on couch from him._ DEVIL I would have given it away, but--it slipped through my fingers, and whatever slips through our fingers, that is just the one thing we want. [_Goes to_ KARL. We break our necks for it: that's human nature. And if it once slips through your fingers, you will run after your found sovereign. And then, when it is too late, you will discover it was worth having. KARL To draw a revolver for a found sovereign? DEVIL, _sitting by him_ And that little woman will become dearer and more precious to you every day--you will realize that she could have given you wings--that her temperament, her beauty, her passion, would have been the inspiration of your work-- all this you'll realize when she has slipped away. You could have become a master--a giant! Not by loving your art, but by loving her--but you won't know it till it is too late--too late. [_He now takes the shawl with which_ OLGA _had draped her shoulders._ This shawl has touched her bosom-- [_Throws one end over_ KARL'S _shoulder, forcing him to see it._ KARL _clasps the shawl and touches his lips to it_. Think what you might have been to one another! What divine happiness, not because she is beautiful--no, but because you-- KARL, _throws shawl L. of couch_ Be quiet! Be quiet! Do you want to drive me mad? DEVIL, _rises and goes to head of couch_ A life that has not been squandered--has not been lived-- KARL Why do you tell me all this? Why? What do you want? [_Throws himself face down on couch._ What do you want? [_Horrified, turns to him._ Who sent you? DEVIL, _darkly_ Nobody! No one! I am here. [_Touches_ KARL'S _forehead_. KARL No! And a thousand times no. [_Throws himself face down again on couch. Screams very loud._ No! Do you hear me? No! I have known her all these years, and we've been good friends only--and we'll remain good friends, nothing else. I don't want the found sovereign! [_Moving to end of couch._ DEVIL, _coming down L. of couch; very emphatically_ And if it slips away? [_Silence. Then quickly:_ If another man runs away with it--? KARL, _suddenly jumping at a conclusion_ Who? [_Looks at the_ DEVIL. DEVIL, _triumphant_ I. (_Silence_.) KARL You? [_Laughs and turns from him._ DEVIL Tonight! This very night she'll be mine! [_Laughs_. Oh, what joy! What exquisite joy. For ten thousand years I have had no prettier mistress! KARL, _turning to him_ What do you say? DEVIL, _sitting L. head of couch_ Mistress, I said. Come tonight--to her house--when the lights are burning--when the air seems to be filled with music and perfume. You'll see--before day dawns. KARL Enough! Enough! DEVIL How you will run after your lost sovereign! Every hour when you wonder where she is, she spends with me. A carriage passes: your heart stands still. Who's in that carriage? Shall I tell you? We! You see a couple vanish around a corner, clinging lovingly to one another. Who were they? We! Always we. A light goes out in some window. Who put that light out? We! We sit in every carriage, we vanish around every corner--clinging lovingly together; we stand behind every window curtain in close embrace, looking into your tortured face, your maddened eyes--and we cling closer--closer--and we laugh---we laugh! [_Laughs long._ KARL [_Throws himself face down, back to audience, on couch, in terrible state of excitement, screaming at top of his voice:_ You fiend! [_Reaches for revolver with R. hand._ DEVIL _grabs his hand and holds revolver._ KARL _draws away and sits staring straight ahead_, DEVIL _rises, leaves revolver on table, lights cigarette, then comes below table._ [HEINRICH _enters the room noiselessly, carrying a lighted candle, goes behind the DEVIL and helps him to put his fur coat on_. [DEVIL _puts his silk hat on, gives a tip to_ HEINRICH, _takes up the revolver, puts it into his pocket, and says to_ KARL _with a sad smile, in a warm tone like a father speaking to his son_: DEVIL You see, my boy, one may draw a revolver for a lost sovereign. [_Goes to the door. As he opens the door, a look of devilish satisfaction comes into his eyes._ ACT II SCENE.--_A conservatory in Zanden's house. The L. side of the stage as well as the whole back of the stage is taken up by large bay windows, through which one sees into the garden. In the distance the wall surrounding the house, and some trees in the garden. It is winter. Bright weather, but it has been snowing. In the garden as well as in the street, electric lamps. On the R. side of the stage there are two doors, one quite near to the footlights, leading into the apartment--one in the rear, leading to the hall. There is a platform about two yards long and two yards wide, between these two doors. Five steps lead from this platform towards the footlights, and five steps on the side of the platform to the middle of the stage. On the top of the platform a door leading to the ball-room. When this door is opened, one generally hears the ball music. At the foot of the stairs, about three yards from the footlights, two square columns having a brass ornament with eight electric lamps attached. There are heaps of plants and flowers about the room. Two chairs and a table stand on the R. side of the stage, about three yards from the footlights, two chairs and a table on the L. side of the stage, about five yards from the footlights. There are two settees, L. and R. On the table L. writing material. It is about one o'clock at night._ [_Guests in fancy costumes are moving about as the Curtain goes up._ FIRST LADY GUEST, _sitting L. of table R._ Who is the dark man you left so suddenly in the ball room? SECOND LADY GUEST, _enters and comes down stairs to back of table L._ I don't know his name. FIRST LADY GUEST A most disagreeable man. SECOND LADY GUEST, _crosses to group L. C._ Oh, dreadful! He behaved shockingly to my husband. He told him that it will be so cold tonight that his teeth will shiver in their box. FIRST LADY GUEST Olga tells me he is a friend of Herr Karl's, and she only invited him as a compliment to him. SECOND LADY GUEST (_stout_) He insisted on telling me of a remedy for obesity. I don't consider myself stout--do you? ELSA, _C., laughingly_ No! I think I'm just right. He sounds interesting--I'd like to meet him. FIRST LADY GUEST You'll be sorry if you do. ELSA Oh, indeed. SECOND LADY GUEST He'll be very disagreeable, I assure you. ELSA I'm not afraid of him. [_Wants to go up steps._ FIRST GENTLEMAN GUEST,_ L. C._ Miss Elsa, I really think you had better not. SECOND LADY GUEST If Miss Elsa wants to speak to him let her do so. I think she is the only one really capable of putting him in his place. THIRD LADY GUEST, _seated L. of table R._ Oh, she'll make him sit up. ELSA Thanks, awfully. Oh, I know what you call me--the blue-stocking--sassy Elsa-- SECOND LADY GUEST Elsa, I never said you were a blue-stocking. FIRST LADY GUEST I never called you Sassy Elsa. ELSA But I am--you know I am-- [_Pointing at herself._ That's why nobody dares to tell me how to get thin. SECOND LADY GUEST The impertinence! ELSA Well--you asked for it. SECOND LADY GUEST, to FIRST LADY GUEST It will serve her right if-- ELSA, on the stairs I'd just like to see him-- [_The_ DEVIL _is standing in front of her. Everybody is silent._ DEVIL, _in evening dress, red carnation in buttonhole; after some silence_ I never dreamed how quiet it could be when seven ladies are not talking. [_Protesting movement on the part of the_ GUESTS. Oh, I know--you have been very merciful to me in my absence. ELSA, _on stairs_ You needn't think I am afraid to say what I think to your face. I was just about to-- [_She makes a movement showing that she wanted to look for him._ DEVIL You did well to stay. They would have said much worse things about you--they would have spoken about your approaching engagement to Karl. ELSA What! [_Astonished_. You know? DEVIL To my friend Karl--they want to throw you into his arms. [_The_ OTHERS _laugh_. [_In a low voice to_ ELSA: I'd like to speak to you--alone. ELSA Here? [_Gesture that she thinks this impossible in a crowded room._ DEVIL We'll be alone in no time. [ELSA _goes to sofa and sits L. of table L._ FOURTH LADY GUEST, _crosses to him; to_ DEVIL I'm very glad you spoke that way to Elsa. You have quite won me over, and I don't mind telling you I came very near having to pick a bone with you. DEVIL, _R. C., to_ FOURTH LADY GUEST, _who is very thin_--_looking at her from head to foot_ By the way, speaking of bones-- FOURTH LADY GUEST What! Again!--oh! [_Walks off highly offended._ FIRST GENTLEMAN GUEST, _very effeminate, smiling to the_ DEVIL Bravo! I couldn't do that--not that I lack courage. I am famous for my courage--I just love a fight--I once slapped the face of an athlete who dared to insult a lady. DEVIL You coward! FIRST GENTLEMAN GUEST What--coward? DEVIL Yes, coward. If you dared to slap the face of a cripple I might admire your courage. [FIRST GENTLEMAN GUEST _starts to answer, but afterwards makes a gesture seeming to say nothing can be done with the_ DEVIL--_going off slowly up the stairs._ SECOND GENTLEMAN GUEST, _after a few seconds talking quietly to the_ DEVIL Oh-h-h! You are a free-thinker. So am I! DEVIL, _as if astonished_ You think? SECOND GENTLEMAN GUEST I do. DEVIL What with? [_Exit_ SECOND GENTLEMAN GUEST, _angrily_. [_To_ SECOND LADY GUEST, _the stout one, seated R. of table L._ A pity you _don't_ dance--there's nothing like it for reducing the figure. [SECOND LADY GUEST _rushes of._ DEVIL, L. _to the_ THIRD LADY GUEST, _pointing at_ FOURTH _Her_ husband must be in the furniture business. THIRD LADY GUEST Yes, who told you? DEVIL Her dress--it is the very latest pattern for arm-chairs and settees--but please don't say I said so. THIRD LADY GUEST, smiling Certainly not. [_Goes to chair of_ FIRST LADY GUEST. Jane-- DEVIL, _joins_ ELSA. _To_ ELSA Look--she's telling her. THIRD LADY GUEST, _to_ FIRST LADY GUEST But promise me not to be angry. DEVIL She promises. FIRST LADY GUEST I promise. THIRD LADY GUEST He said that-- DEVIL Look out for the explosion. FIRST LADY GUEST, _rises_ Oh, I never-- DEVIL Now--watch her go. FIRST LADY GUEST I never! [_Goes off over the staircase._ THIRD LADY GUEST, _going after her_ But, Jane, you promised me-- [_Exit_. DEVIL Voilà! I am now at your disposal. ELSA, _on settee L._ Aren't you surprised I haven't gone? You insulted me, too. I only stay because I want to speak to you. DEVIL, _L. C., ironically_ Charmed, I'm sure. ELSA Oh, don't try to be polite--just be yourself. I'm not afraid of you. DEVIL I know it. ELSA, _crosses up to C._ Perhaps you know my nickname--Saucy Elsa? [DEVIL _nods his head._ DEVIL Yes. ELSA Politeness would only embarrass me--and I have chosen you to deliver a message to that crowd --only because you can be so delightfully rude. DEVIL I am at your entire disposal. ELSA Now, how can I be saucy when you talk like that? DEVIL I am your devoted servant. ELSA You're impossible. DEVIL Shall we end this conference? [DEVIL _starts up C._ ELSA, _goes to table R. C. and leans against it_ Not yet, please. You informed me just now that I am the girl they want to throw into the arms of your friend Karl. DEVIL Yes. ELSA You forget to say I am the girl who _allows_ herself to be thrown in your friend's arms. Is that right? DEVIL Yes. ELSA, _stands and pushes forward chair_ Please sit down. [DEVIL _bows, but remains standing._ ELSA, _in a very loud voice. Crosses and sits_ Please sit down. I don't ask you out of politeness, but because I want to set you right in this matter--and it is much easier for me to set you right when you sit down and I stand up. I don't want people to make fun of me--I know what they say--do you understand me? DEVIL, _gets up_ I do. ELSA Sit down, please. (_He does so._) I don't want people to smile and congratulate me to my face, and laugh behind my back. I won't have it--and as you started this subject I shall entrust you with the mission of enlightening our friends out there. DEVIL Your confidence honors me. ELSA Don't think for a moment that I have taken these people seriously--I have no more interest in them than I have for yesterday's newspaper. But I don't choose to have them think that they have fooled me into marrying Karl. And-- DEVIL, _starts to rise. She stops him_ Pardon me. ELSA I see through their scheme. But I shall marry him just the same, if he will have me. Do you understand me? I shall marry him-- DEVIL Pardon me. I don't think you will. ELSA You will see. DEVIL You have been kind enough to honor me with your confidence, and now I will be quite frank with you. This marriage cannot come off. [_Stands up._ ELSA, _points to chair_ Please sit down. DEVIL, _takes her hands and swings her into chair_ No! You will sit down now because I am going to set you right. I know the reason of this marriage--but you-- [A MAN SERVANT _crosses stage_; DEVIL _calls him._ You will find in my overcoat a small leather satchel--bring it here. [MAN SERVANT _goes off._ [_Continuing to_ ELSA: But you don't know the reason--or you don't want to know it. And you are about to consent to-- ELSA, _interrupting_ To what? To marry a man who is not madly in love with me--any more than I am with him. What of it? We are two perfectly sane people about to make a serious contract with our eyes wide open, instead of blinded by infatuation like crazy lovers in magazine stories. What other contract made by crazy people would be valid for one minute--and this is for a life-time-- [Enter SERVANT _and hands bag to_ DEVIL and exits. DEVIL, _smiling_ True--for a lifetime. ELSA You are a man of the world? DEVIL, _gravely_ Of many worlds. ELSA [_Looks up quickly as if about to ask the_ DEVIL _what he means, but checks herself and continues_: Well, in this world--is it the man chooses the woman, or the woman who chooses the man? DEVIL, _smiling_ _We_ are the weaker sex. ELSA Answer me! Which chooses? DEVIL The man _sometimes_ chooses the engagement ring-- ELSA, _holding up her head proudly, and looking her very prettiest, straight into his eyes_ Look at me, please. [_The_ DEVIL _looks into her eyes._ ELSA, _proudly_ Now tell me, can I or can I not choose the man I will marry? DEVIL, _leaning on table R., in a courtly manner_ It is written in your eyes--but--I never thought this subject would excite you so. _ELSA_, _seated L. of him, with animation_ I won't be laughed at--I don't care what those people think (_becoming excited_). I know what I am doing, and in spite of everything I _choose_ to become his wife. DEVIL, _takes out little red satchel and opens it_ Why? ELSA, _beginning to lose control of herself_ Because--because-- [_Breaks down._ --because I love him. [_Begins to sob bitterly._ DEVIL Allow me-- [_Takes a little handkerchief out of the satchel and gives it to her._ I always carry this with me--it's my weeping satchel--everything a woman needs for weeping. ELSA, _weeps a little harder; sobbing, wiping her eyes with the handkerchief_ I love him. [_During the following dialogue the_ DEVIL _takes out of the weeping satchel a little looking-glass, small comb, powder and puff, and gives her one after another._ DEVIL And _this_ is Saucy Elsa! ELSA No. Until tonight I was a young girl afraid of nobody--now I feel like an old woman. [_Takes mirror._ _What_ am I to do? [_Looks, smiles quickly._ DEVIL Don't be discouraged. You will have to fight--you must attack the enemy. But first you must be pretty. ELSA, _takes puff and powder from him_ I shall try to. [_Reaches out for it._ DEVIL You must show a bold front--you will perhaps feel that it is hard for a young girl to fight a woman--your weapons are not quite so numerous as those of the married woman--who knows love already--who understands--may I say something shocking? [_During this speech_ ELSA _hands back or the_ DEVIL _takes all the articles except the handkerchief._ ELSA, _looks at him, opening her eyes widely_ Do you ever say anything that isn't? [_Gives him handkerchief, rises._ DEVIL Well, I won't. But remember, you have one weapon which will deal the death blow to the most attractive woman--to the woman who knows every card in the game of love--that one weapon is purity. ELSA This sounds strange from _you_! DEVIL All the same--it may do you some good. And now--go dance with Karl--but don't try to be a woman, be a girl. Don't try to be saucy. ELSA, _L. C._ I'm not really saucy--I'm afraid it's only a pose-- DEVIL _Don't_ pose. Be yourself--be bashful--look at the young man as if you were only waiting for a pirate to steal you away from girl-land--and show you the way into Woman's Land. Head high, my little girl---that's it--and if anybody dares to call you saucy again, tell him that you once met a gentleman at a ball to whom you thought to give a piece of your mind, that would make him feel very, very small--and instead you left with a piece of his mind, that made you feel very, very small--and made him feel--as if he were the greatest Scoundrel in the world-- [_Taking a few steps to the footlights._ which _perhaps_ he is. [ELSA _goes up the stairs, when_ KARL _appears on the top of the stairs_, DEVIL _is standing at this moment behind one of the columns unseen by_ KARL--_but quite near_ ELSA. ELSA _turns towards the_ DEVIL, _showing her back_ to KARL. [Illustration: Elsa and Karl] ELSA So you don't want me to be saucy? DEVIL, _whispering_ No. [ELSA _goes up one step._ KARL, on top step Oh, Elsa, there you are! ELSA, _dropping her eyelids_ Yes. KARL Why aren't you in the ball-room? ELSA I wanted to be alone. If anybody wants me he can find me. [_To_ DEVIL, _whispers_: Is that better? KARL You look sad. Are you worried? DEVIL, _whispering to_ ELSA Say no. ELSA, _leaning against pillar R._ No. KARL, _coming down_ What has happened? [_Sees the_ DEVIL, DEVIL _comes from behind pillar between them, meets_ KARL _on lower step._ Oh, I understand-- DEVIL, _finishing_ KARL'S _sentence_ --nothing. [_Goes up stairs._ KARL, _nearing_ ELSA You look lovely, Elsa. Do you know, this pensive air is very becoming to you--you've always been so cold and--haughty--it's like finding a little white flower under the deep snow; you want to pick it up and kiss it-- [_Takes both of_ ELSA'S _hands in his._ This is the Elsa for me! ELSA, _ashamed_ Karl! DEVIL You will excuse me. I must pay my respects to our hostess. [_He goes off quickly_. KARL _and_ ELSA _sit down on the L. side of the stage._ ELSA I don't like that man. Who is he? [_Sits R. of table L._ KARL, _sits on sofa L._ A casual acquaintance who insists upon posing as my friend. Don't let us talk about him. I'm glad I found you here--something natural in this stifling artificial atmosphere. Doesn't it seem close to you? ELSA Yes, as if some hot wind had passed through these rooms--it seems to take my breath away. KARL I've never heard you speak like that before. Why have you tried to hide--your real self from me? [DEVIL _appears on the platform, with_ OLGA. _They come down the steps._ OLGA Hadn't we better leave the young couple alone? DEVIL You are much too considerate. ELSA, to KARL Olga--I suppose you'd like to speak to her? KARL I much prefer to talk to you. [_They continue talking._ [DEVIL _and OLGA come down. She sits on sofa R._, DEVIL _in chair R._ OLGA They seem to have found each other. DEVIL Possibly. Are you sorry? OLGA Oh, no. DEVIL Shall we leave? OLGA No, I like to see my plan bearing fruit. [_They continue speaking slowly._ ELSA They are speaking about us. KARL What do we care? Let's be happy--Elsa! I feel as if I had never known you before tonight. ELSA, _moves chair so she can hide_ OLGA _from_ KARL. DEVIL _repeats business_ Why do you keep looking over there? KARL Oh, that's only--I was quite unconscious-- [_They continue speaking slowly._ OLGA Let's talk about something else. You are very naughty. You have come here in spite of my-- DEVIL, smiling Invitation. I would have respected your wish but for one very good reason--I made a bold wager this afternoon. OLGA What? DEVIL I made a bet that you would fall in love with me this evening. OLGA Made a bet that _I_ would fall in love with you? And with whom did you bet? DEVIL Karl. OLGA Karl? (_Quickly_.) And what did he say? DEVIL His answer was curious. I had better not tell you--I am afraid it would hurt you. OLGA No, it won't. Please tell me. [_Turns and looks at_ KARL. DEVIL, _following her glance_ Well, perhaps later. Your little plan bids fair to succeed. OLGA, _looking away quickly_ I had forgotten their existence. [_Changing quickly the conversation._ [DEVIL _pats_ OLGA'S _hands_. You have fascinating eyes [_During the following few words between_ ELSA _and_ KARL, _the_ DEVIL _whispers into the ear of_ OLGA, _stroking her hand gently in order to arouse_ KARL'S _jealousy_. KARL I never saw you look so charming. ELSA I feel as if I had changed, perhaps you have something to do with it. DEVIL You seem like a different woman this evening--there is something about you-- OLGA It is because I am with somebody I don't quite understand--but who seems to me a man in every sense of the word. [_This last a little louder, for_ KARL'S _benefit_. DEVIL Your confession is charming. But I should be more ready to believe it, if you hadn't made it. [DEVIL _kisses_ OLGA'S _hand_. KARL Our first love is generally our last, but our last love always our first--don't you think so? ELSA I don't know. I've never been really in love before--but have twice been disillusionized. DEVIL Love at first sight-- [_The following eight sentences are spoken very rapidly, almost at the same time._ OLGA, _distraite_ You are right--for the first sight--that is to say-- KARL [_Now always looking at_ OLGA--OLGA _always looking at_ KARL; _the_ DEVIL _looking pleased_, ELSA _looking furious._ Disillusions--well--yes, disillusions are--disillusions. DEVIL I should hate to have to give an account of myself. OLGA Yes, indeed--but, of course--it's all a matter of taste. ELSA The way girls are brought up nowadays-- KARL Exactly! Our bringing up--that is--I mean to say--of course--of course. OLGA We mustn't forget-- KARL I quite agree with you--if--if you know what I mean. ELSA, _getting up quickly and slapping her hand on the table_ No, I don't know what you mean. [_Crosses to stairs._ Take me to the ball-room--I'm engaged for the next dance. KARL, _also rising_ Well,-- ELSA, _almost crying, insisting_ Let us go--I wish to go-- [_She goes towards the stairs_; KARL _follows her, goes up side stairs, meeting her at the top as she passes_ OLGA. OLGA Oh! you are not in the ball-room. ELSA, _saucily_ Can't you see? OLGA You'd better hurry, dear. ELSA I hate dancing, but I shan't miss one single dance tonight, just to spite some people. I shall dance to the last step. [ELSA _looks at_ OLGA _in a very impertinent way_. OLGA _steps forward as if to give a reply, when_ KARL _comes between them; offers his arm to_ ELSA. [_Exit_ ELSA _and_ KARL _up the staircase_. OLGA, _angry_ Did you hear that? DEVIL I did. OLGA, _rises, goes C._ What language! How dare she--she must think he loves her! DEVIL, _rises, goes to her C._ Wait! I'll tell you now what Karl said to me this afternoon. OLGA When you wanted to bet? DEVIL When I bet you would fall in love with me. [_After a short silence._ He wanted to shoot me. OLGA, _trying to hide her joy_ Karl! DEVIL Karl, with his own hands--with this pistol-- [_Takes revolver out of his pocket._ I took it away from him. OLGA Karl wanted to kill you--why, Doctor Miller-- DEVIL, _patting revolver_ Yes, with this simple prescription--six pills. [_Puts revolver back in pocket._ OLGA This afternoon, when you only spoke about me--he wanted to kill you--and now when he saw us here--saw you whisper in my ear--saw you take my hand-- [_Goes L. to where_ KARL _and_ ELSA _had sat._ he _must_ be in love with her. DEVIL, _crossing to L. C._ Don't you think a man's a fool to try to shoot his friend on account of a woman? OLGA Oh! Karl's not a fool--he thinks the world of me. And you must have said things--but there is no doubt--that he and Elsa--like--perhaps love each other. DEVIL, _very cold, leaning over chair at table L._ Strange! Your being so annoyed at the apparent success of your pet scheme. OLGA You think it will succeed? DEVIL I don't know. But it's easy enough to find out. OLGA How? DEVIL This afternoon, when I told him I'd make you fall in love with me, he wanted to shoot--that's love--don't talk to me about respect-- and thinking the world of you--they may fire cannons out of respect, but pistols--no--that's love every time. [OLGA _protesting silently as if the matter was not quite important enough._ Of course, I know--this only interests you because it was you who planned the marriage, and after all you take a pride in the success of your scheme. Am I right? OLGA, _C. near him_ Yes, yes. DEVIL, _behind pillar C._ Karl shall tell us himself which was the real thing --the attempted murder of this afternoon, or this little--flirtation with Elsa. OLGA You don't mean to ask him-- [DEVIL _shakes his head slowly, smiling._ you don't mean to _listen_? DEVIL Certainly not. OLGA What then? DEVIL Very simple. But you must take my advice unconditionally--ask for no reasons--do exactly what I tell you. OLGA, _after careful reflection, slowly_ Y-e-s. DEVIL I think I remember having seen you once at the Opera in a very beautiful cloak--fur--was it not?--and cloth-- OLGA Yes. DEVIL With a long train? You must put that cloak on--close it as high as you can--and wrap yourself in it as if you were feeling cold. Only show the tips of your shoes--then come back here-- [_She starts towards him_. OLGA _looks at the_ DEVIL, _as if she wanted to ask the reason_. no questions. OLGA, L. _of pillar C._ It's all very, very mysterious, but when you look at me that way, I--I--can't refuse ... your eyes seem to have all the world's wisdom behind them. DEVIL,_ R. of pillar C._ You have a poor opinion of me. OLGA, _turns from him_ Shall I go at once? DEVIL At once. And if anyone remarks on it, say you felt cold in the conservatory. OLGA, _doubtfully_ But suppose he says.... DEVIL, _interrupting_ Quick! He's coming. [KARL _is coming down the stairs towards the footlights._ [OLGA _has gone to the side stairs so that_ KARL _cannot see her. She rushes off when he is down the stairs._ KARL [_Who has not seen her--hears the rustling of the silk and runs to the side stairs and looks off R._ Who was that? DEVIL Who? KARL, _coming down to C._ Somebody just ran out--does she want to avoid me? DEVIL, _goes R., lights cigarette_ Nobody ran away from me. A very pretty girl, Miss Elsa! KARL, _goes to window L._ Yes. [_Silence._ DEVIL What's the matter? KARL Oh, nothing--I am not in particularly good humor--but why should I be? DEVIL, _lights a cigarette; offers one to_ KARL Will you have one? KARL, _roughly_ No, thank you. [_Uncomfortable silence._ DEVIL You seem annoyed-- KARL, _comes back C., as if in a mood to quarrel_ Do you want to know why? DEVIL No. KARL, _nervous_ Well, I'll tell you-- DEVIL [_As if he wanted to go away and evade the conversation._ Better keep it to yourself. KARL But I will tell you. I'm astonished at the change that has come over you since this afternoon. I admit it upsets me, but don't imagine it is on Olga's account--if you don't mind, we'll leave her out of the discussion. DEVIL By all means. KARL I've made up my mind to propose to Elsa. DEVIL, _holds out his hand in an approving tone, takes_ KARL'S _hand and shakes it_ I am very, very glad. KARL You are glad? DEVIL I am indeed. [KARL _stares at him._ What's the matter with you? KARL, _approaching the_ DEVIL _threateningly_ Look here, that was Olga who ran away just now. DEVIL Don't be absurd. [_Looking at floor as if his secret was discovered._ Why should she run away from me-- KARL You behave like a school boy. DEVIL What do you mean? KARL I mean, my dear Doctor--that you are not a gentleman. DEVIL I don't quite follow you. KARL When a gentleman would be discreet--he even conceals his discretion. DEVIL Very thoughtless of me--but since you have found me out--By the way, what you said about your marriage--is it settled? KARL, C. It is. DEVIL You will not change your mind? KARL I shall not. [_Crosses to settee L. and sits._ DEVIL, _sits in chair L._ Very good. Now I can tell you in confidence about--look here, you are quite sure you won't change your mind? KARL No fear. What is it you want to tell me--tell me everything. I'd like to learn some of the tricks of the trade. I may need them-- DEVIL Tricks of the trade? This from a man about to marry? I'm shocked. KARL, _ironically_ You look it. What did you want to tell me about her? DEVIL About her? KARL About Olga. DEVIL, _looks to the ground as if he were ashamed_ Oh, nothing. KARL Look here, I don't mind telling you her husband is? DEVIL Deaf, blind, dumb. [_Indicating ears, eyes, mouth and forehead._ KARL, _concealing his pain very badly_ And to think--and this afternoon--at my house--was the first time-- DEVIL, _goes back of settee_ She's a wonder! believe me, Karl, she's a wonder. It's just possible she's good--a dash of goodness won't hurt a pretty woman--but I hope not. I should then have to attribute my conquest to hypnotism--and that doesn't flatter my vanity. What do you think? We had agreed--just now when she ran away--ah-- [_Checks himself_ So it _was_ Olga! DEVIL Well, yes, it was--I hardly know how to tell you--It was a mad impulse. I proposed, just for fun, without the least idea she would take it up; it means risking her reputation and social position--everything--not to mention the risk of catching cold-- DEVIL KARL, _startled_ What do you mean? DEVIL Well, this evening--before all her guests--there are a hundred and thirty I believe-- KARL, _impatient_ Yes, go on. DEVIL --before the élite of Vienna I may say--she will walk through the ball-room on my arm--in (_suggestive pause_)--an opera cloak. KARL, _not quite grasping it_ An opera cloak? DEVIL, _suggestively_ That's all. KARL You mean to tell me--she-- DEVIL She will be here in a moment--and then--before all Vienna--amid the bacchanalian ecstasy--of music, perfume, dancing--I will escort her through the ball-room like a classic goddess--like a modern _Mona Vanna_--in an opera cloak-- KARL You liar! DEVIL, _apparently frightened_ But, Karl-- KARL It's a lie. It's a damnable lie. DEVIL You tried to catch me--and I have caught you. You love this woman. KARL, _L. C., very loudly_ Yes, I love her. I have listened to all your lies--I have seen you as I've seen a hundred like you--steal a good woman's reputation and call it success, social success--and boast about it as you drag her in the mud. You have trapped me, it's true--but you will suffer for it. It is my turn now--and I'll put you out of this house, you blackguard--get out before I kick you out. DEVIL, _C. backs up onto second step; stands_ Wait! She is coming now. [_Points to door down R._ KARL Get out, I said. [_The_ DEVIL _goes back slowly up the stairs._ KARL _is about to follow him up as_ DEVIL _is on third step_, OLGA _comes on in her opera cloak and comes down__ stairs to R. The_ DEVIL _goes behind her._ KARL _backs over L. Long silence,_ KARL _stares at_ OLGA _and the_ DEVIL, _speechless_. OLGA Karl, you have not spoken to me once tonight. DEVIL, _stands very near to_ OLGA, _cynically_ The opera cloak-- OLGA Everybody is gay, the girls dance as if it were their first ball--the young men as if it were their last. DEVIL Strange! that amidst all this gaiety Karl should be so sad. OLGA Sad? KARL, _with forced gaiety_ Oh, _no_--never felt happier in my life. OLGA I am glad to hear it. KARL I feel like--like a boy--of twenty--like a fool. DEVIL, _coming down to C._ No! No! KARL I am going to take your advice from this on--I'm going to get drunk tonight. OLGA, _shocked_ You, Karl? You drunk? KARL, _L._ Yes. I am doing things today that I never did before. I've never been engaged before. OLGA,_ R._ And tonight? KARL Tonight I shall become engaged. DEVIL I have already offered him my congratulations--she's a charming girl. KARL A splendid girl. Much too good for me--but marrying is something new to me--I want to try it. It is a sensation I have never had. DEVIL You don't seem very gay for a bridegroom. KARL That's only the last drop of single bitterness--the dregs of bachelorhood--I'll soon get rid of that and then-- OLGA Bravo, bravo! KARL Oh spare yourself. I'm only thinking of my own pleasure. OLGA Karl, I am afraid you have been drinking already. KARL You are at liberty to think what you please. DEVIL He is in a bad humor to-day. I told you. KARL, _cannot keep himself any longer_ You will catch cold. Why don't you take off your cloak? [_Goes C._ DEVIL, _very quiet_ Perhaps Madame _is_ feeling cold. OLGA, _wrapping herself tighter in her cloak_ Yes, I feel cold. DEVIL Any one not knowing you might think you wear this cloak just to show it off. OLGA Don't let us speak about the cloak. [_To_ KARL _in a different tone; crosses to_ KARL _L. C._ You seemed to get on very well with Elsa? KARL Did I? DEVIL It was really charming to watch them. OLGA I feel very cold. DEVIL I thought you would. KARL Cold. I find it hot in here. OLGA, _crosses back R._ I feel cold. DEVIL Perhaps your dress is thin. The way lovely woman flirts with pneumonia--she wears her lung upon her sleeve. OLGA Everything sweet in life comes through carelessness. KARL, _L. C., very excited_ And do you find boldness sweet? OLGA What's that to you? Were you ever bold? KARL, _crosses to C., losing his self-control completely_ Aren't you afraid of me--you two? [OLGA _shivers_. DEVIL, _R. C., coldly_ I? Not even of the legitimate husband--much less a moralising bridegroom. [HERMAN _enters quickly from above stairs, comes down L., stands next to_ KARL. HERMAN, _banteringly_ Ah, Olga! I see you are well taken care of. DEVIL, _bowing_ It is a privilege. HERMAN, _taking_ KARL _aside_ Well, how are you and Elsa getting along? [_Goes with_ KARL _towards the back of the stage._ OLGA, _quickly to the_ DEVIL What have you said to him about my cloak? DEVIL About your cloak? Why should I speak of your cloak? OLGA You must have said something about my cloak--I felt it he moment I came in. DEVIL What do you mean? OLGA The way he seemed to look through me. It was almost as if he imagined--what did you say? What did you insinuate? DEVIL Just what you are thinking. OLGA, _her hands dropping, her head falling backwards with closed eyes, shivering_ Oh! How _could_ you? DEVIL, _cynically_ Come now, don't pretend to be shocked. You admitted you felt it the moment you came in. The thought seemed to please you. OLGA How dare you speak to me like that! Oh! if I had known. DEVIL Then why didn't you take off your cloak? When you saw--you didn't even open it. Why don't you open it now? The idea seems to please you still. KARL, _re-enters, angrily._ Olga! OLGA [_A little scream._ Your arm, Doctor. [DEVIL _gives her his arm. As they are about to go upstairs,_ KARL _comes back from R._ OLGA, _looking coldly over shoulder at_ KARL Are you going to stay here? KARL Yes; and you, too! OLGA What do you mean? KARL You stay here. DEVIL What's that? [OLGA _tries to go away with the devil into the ball-room, but_ KARL _steps into their way on the stairs._ KARL Olga, you shall not go into the ball-room! [DEVIL, _as if about to leave them alone, is held off by_ KARL, _who steps in front of him now_. You shall not leave--it concerns you, too. OLGA Doctor, give me your arm. Doctor! KARL, _in tone of command_ Stop! We'll settle this thing now--right here! OLGA Are you mad? DEVIL, _goes up stairs below_ KARL If I didn't think he was mad-- KARL Take off that cloak. OLGA, _at L. foot of stairs firmly_; No KARL Take, off that cloak. OLGA, _to_ DEVIL Please, Doctor, protect me. KARL, _half maddened_ Then I'll make you! [KARL _rushes down stairs_, DEVIL _catches him before he reaches the bottom and holds him back_. OLGA, _standing very erect, to_ DEVIL Why did you stop him--? [DEVIL _lets_ KARL _go_. DEVIL, _at foot of stairs, in a very low voice as if ashamed_ Really, Madame, for all I know-- [_Feigns embarrassment._ OLGA, _to_ DEVIL Will you please help me off with my cloak? DEVIL, _starts to help, then crosses to L. of her, with gesture of refusal._ Madame! Ah! KARL, _comes down to her, C._ I will. OLGA, _very loud_ No. [_Wraps herself closer in the cloak._ [DEVIL _and_ KARL _stare at each other. The_ DEVIL _shrugs his shoulders_, OLGA _goes up the stairs._ HERMAN, _coming through the door_ Oh! There you are. My dear! His Excellency is looking for you. He is about to leave. OLGA, _as if very tired_ All right. Please help me off with my cloak. HERMAN All right, darling. [_Takes off her cloak and puts it over his arm_. [OLGA _stands in the same gown as she had on at the beginning of the act, with her back to the audience._ OLGA, _looking at_ KARL _and_ DEVIL, _and speaking with ironical courtliness, taking_ HERMAN'S _arm_. Gentlemen. [_Exit_ HERMAN _with_ OLGA. [KARL _has been standing on one side of the stage as if dreaming, suddenly runs to the other side of the stage as if to choke the devil who stands there_. KARL, _crossing to_ DEVIL, _L. C._ What have you done? [DEVIL _thrusts revolver into_ KARL'S _hand_. DEVIL Look out! It's loaded! [KARL _stands absolutely still, holding revolver._ [_To_ KARL, _insolently_: If I hadn't given you that pistol you might have slapped my face. Believe me, there's nothing like turning the other cheek--if you turn it quickly enough--your enemy will miss both cheeks. [KARL _turns away angrily, lays revolver on table R._ [DEVIL _goes down and takes revolver from table R._ [KARL _stands absent-minded, when_ ELSA _enters with her cloak ready to leave._ ELSA Karl, I wanted to say good-bye to you. KARL, _as if the tone of her voice was awakening him_ Oh! my dear, dear Elsa! [_About to go towards her to kiss her._ [_The_ DEVIL _comes back and steps between them._ [MAN SERVANT _enters from behind stairs and speaks to_ ELSA. MAN SERVANT Your mother is waiting for you in the hall, Fräulein, KARL May I see you to your carriage? [_Offers_ ELSA _his arm and they go off_. DEVIL, _to_ MAN SERVANT Will you accompany Miss Elsa to her carriage? It is slippery outside, she might fall. [_Exit_ MAN SERVANT, _following_ KARL _and_ ELSA. OLGA, _enters from R., agitated_; _sits at table L._ Your scheme was a great success. DEVIL What are you going to do? OLGA, _writes on an envelope_ I'm going to write to him. DEVIL, _crosses to her, reads the envelope_ To Karl--but what will you write? OLGA He wanted to settle my account. I will settle his. I will never see him again. Oh! To have thought me capable--of.... How could he? I despise him! DEVIL _Pour quoi_, Madame? OLGA Because--because-- DEVIL Because you love him? OLGA, _frightened_ What! [_Tries to get her thoughts together._ After what has happened, I hate him. And I shall tell him so. DEVIL I am very sorry. [_Takes pen from her._ OLGA Don't be sorry. I have much to thank you for. You have rendered me a service. I shall feel better when I have sent this letter off. DEVIL You'd better make it plain. OLGA I shall speak my mind--there shall be no mistake. DEVIL That's it; express your real feelings. [_With ironical emphasis._ Cold. Harsh. OLGA Cold? Harsh? DEVIL Make an end of it--once for all. [_Dipping pen._ OLGA, _taking pen_ Once for all. DEVIL Now write. [OLGA _speaks the first sentence as she writes it. At the word "longer" the devil takes it up, finishing the sentence with a different meaning, and dictates rest of letter walking up and down._ [Illustration: Dr. Miller (The Devil)] OLGA, _in hard voice, speaks while writing_ Sir, your behavior of this evening has shown me that you are no longer-- DEVIL, _continuing_ --able to keep up the wretched farce of mere friendship. I read your inmost thought tonight and--Karl--the knowledge that you love me has made me unspeakably happy. Dearest-- [OLGA _looks up at the_ DEVIL, _who is standing now at her L. He repeats "Dearest" and points to letter. She resumes writing_. --why should we struggle any longer against the resistless tide that is drawing us together? My strength is gone. [OLGA _looks up again. The_ DEVIL _repeats "My strength is gone" by motion of lips, making no sound. She writes:_ --without you I am lost in the black waters--save me, Karl. With your strong arms about me--with your lips to mine--I care not where we drift. I am yours, all yours. You are the master of my soul. Do not leave me, Karl; I love you, I cannot live without you. God bless you! [OLGA'S _head falls forward on her arm_ OLGA, _as if awakening_ What have I written? DEVIL, _folding letter_ What was in your heart! OLGA, _laughs hysterically_ I have written everything I had meant never to say. DEVIL, _taking up letter_ If women wrote time tables, they would tell all the hours that the trains didn't start and all the places you mustn't stop at to get to your destination. [DEVIL _puts the letter into envelope._ OLGA, _horrified_ What are you doing? DEVIL, _coldly_ I will deliver the letter. Women sometimes do not write what they want, but they always want what they write. OLGA He must not. He _shall_ not see it. [HERMAN _comes down stairs_ HERMAN Good! You're the kind of guest I like--when all the rest have deserted the ship you stay and keep the hostess company. DEVIL, _crosses to C., putting letter into his pocket_ Madame has been so entertaining, that I-- HERMAN, _crossing to bell R._ Well, let's have another cognac before you go--quite _en famille_. DEVIL Thank you very much, but I have an important call very early in the morning. Madame,-- [_Goes to_ OLGA, _kisses her hand._ [_To_ HERMAN: I have spent a very pleasant evening at your house. HERMAN, _coming to him C., they shake hands_ The pleasure is mine. [DEVIL starts to go. OLGA utters a suppressed cry. DEVIL Madame? OLGA, _frightened to death, with a forced smile trying to appear undisturbed_ There was a piece of paper here. Did you perhaps take it by mistake? [_She is almost crying from fright._ DEVIL, _coming down stairs, taking the letter out of his pocket_ [_Going towards_ HERMAN _as if he was going to give him the letter._ Do you mean this? OLGA, _deathly pale_ No, no It was not that. [_Laughing bitterly._ DEVIL, _bowing_ Madame. [_Bows to_ HERMAN. _Goes off upstairs. Bows low to both and goes out._ HERMAN _crosses to_ OLGA Well, I'm glad it's over. You look tired, dearie. OLGA, _standing by table L._ I am tired. HERMAN You look flushed. But it's very becoming, you never looked prettier. [OLGA _is leaning backwards over the table, he takes her hand._ My darling wife. [_Goes to kiss her._ OLGA, _unkind_ Please, please don't. HERMAN, _crosses to C. Looks at his watch_ It is after four o'clock, Olga. [_Tries to kiss her again._ OLGA Please, please don't. I feel so nervous. HERMAN Your cheeks are burning. [_Pats her cheeks._ OLGA, _nervous, impatient_ Please-- HERMAN All right, all right, I'm going. [_He goes towards the door on the R._ Are you going to stay here? OLGA, _at table L._ Let me rest a minute. HERMAN As you please. [MAN SERVANT _comes in above platform, and goes up side stairs._ OLGA, _to servant_ What do you want? MAN SERVANT The lights, Madame. OLGA Turn off the lights. [_The_ MAN SERVANT _puts all the lights out. The lamps in the street and the garden are lighted, but the room is dark_. HERMAN It would be wiser to sleep, my dear. [_He waits a minute, shrugs his shoulders, then goes out R._ OLGA, _stands leaning on the table_ To go to sleep.... [_The_ DEVIL _can be seen outside in his fur overcoat, crossing through the garden. As he passes a lamp in the garden his shadow reaching up to the ceiling is thrown on the white wall of the room_, OLGA _is crossing to R. He takes his hat off, at which moment she sees the shadow on the wall,_ OLGA _shrieks_. No! [_She drops into a chair_. CURTAIN ACT III SCENE.--_Like Act I. The afternoon of the next day, about three o'clock. When the curtain rises, the_ DEVIL _is seated in a big chair. Bell rings off stage R._ HEINRICH _enters R._ DEVIL, _rising from chair_ What do you want? HEINRICH There is a lady, sir. DEVIL What kind of a lady? HEINRICH A real lady, sir. DEVIL What does she want? HEINRICH She wants to see my master. I told her he was not up yet, but she said she would wait. DEVIL Do you know who the lady is? Have you seen her before? HEINRICH Never. DEVIL Ask her to step in here. [HEINRICH _goes off, shows_ ELSA _in_. [DEVIL _bows_. Ah! ELSA You seem to be everywhere. What are you doing here? Are you his secretary? DEVIL No, merely a good friend. Nothing else. I just happened in. By the way, how do you do? ELSA How do you do? [_Crosses to couch, sits._ I didn't know there was anybody in this room or I would not have come in. But as it is only you I don't mind. [ELSA _sits down, intentionally turning her back to the_ DEVIL. DEVIL Karl is expecting you, then? ELSA Oh, no. DEVIL Will you permit me to prepare him for this pleasant surprise? ELSA No, thank you. Don't disturb him. I can look around while I'm waiting. I have never been here before. DEVIL I know it. ELSA Who told you? DEVIL The man--a lady might come every day and escape notice--but coming for the first time she would be sure to attract his attention. ELSA I feel embarrassed coming here alone. DEVIL I know that, too. ELSA From the same source? DEVIL Yes; he said you were a real lady. ELSA He is the only one here who has spoken to me like a gentleman. DEVIL He must have thought you were a model. ELSA, _rises; angrily_ How dare you? DEVIL A servant can only speak like a gentleman to--his equals. ELSA, _sits down again; sarcastically_ Then I was mistaken--it is not Heinrich who is the servant. DEVIL Who knows--perhaps he is a clergyman. ELSA I don't understand you. DEVIL Only two people in the world may open the door of a bachelor's apartment to a young lady--the man servant, or a clergyman with a marriage certificate --you can take your choice. ELSA Let me tell you I was once left alone with a gentleman who tried to kiss me, and I slapped his face. DEVIL Indeed? I was once left alone with a lady who tried to slap me and I _kissed_ her face. [_Enter_ HEINRICH. ELSA, _controlling herself with difficulty_ Oh! DEVIL Heinrich! There's a little leather satchel in the pocket of my overcoat. [HEINRICH _goes out_. ELSA Don't be afraid. This is not my day for crying. DEVIL It's when a girl laughs that I'm most afraid. [HEINRICH _brings the satchel, puts it on the table L. C. and goes into studio_. Why did you come here? ELSA I intend to sit for my portrait--to do that, I must come every day. DEVIL You intend to come here every day, and to do that you must have your portrait painted. ELSA You are clever at twisting words. DEVIL Perhaps you know there is another lady coming every day to have her portrait painted? ELSA Yes, I know. That's why I want mine painted--we'll see which will be the better likeness. DEVIL Come now--you must let me sit down--this time I want you to be right. [_Raises her and swings her in front of him._ [DEVIL _sits on couch, ELSA leans on table._ Are you aware-- ELSA This is awful--you question me like a judge. DEVIL It is you who answer like a prisoner. Do you know that Karl is in love with Olga? ELSA, _bitterly_ Do I know it! DEVIL And you still mean to fight? ELSA Yes, I mean to fight--you gave me good advice. DEVIL That was yesterday. ELSA Well--this is to-day. DEVIL, _impressively_ Yesterday was your winning day. Yesterday it was written that you, Elsa, would succeed in whatever thing you made up your mind to do, with the whole strength of your will. ELSA Last night I made up my mind to-- DEVIL, interrupting gravely --to dance every dance-- [_Pause_ You danced every dance. ELSA, _defiantly_ Karl asked me to marry him last night. DEVIL --and you refused. ELSA Yes--but to-day I shall-- DEVIL To-day is not your winning day--yesterday you chose--to-day you will have no choice. ELSA I won't give him up--I can't--I don't know how. DEVIL You will have to learn--let me see--I think I know some one who has learned the lesson and can teach it to you-- [_Goes to hall door which he opens._ Why, Mimi! Why do you wait out there? Come in here where it's warm! [MIMI _comes in_--DEVIL _seats_ MIMI _C. He regards them both with a satanic smile--begins to hum a tune and exits L., singing as he gets out; he laughs--his laugh dies away outside._ MIMI, _sitting on small chair C. After a silence_ Are you waiting for the painter, too, Madame? ELSA, _seated on couch_ Yes. MIMI Yes-- [_Pause_. He must have been on a spree last night. [_Smiling_. When he goes on a spree he always sleeps late. ELSA, _somewhat embarrassed_ Yes? MIMI, _making conversation_ Yes. If you haven't slept for a long time, then--you must sleep a long time. ELSA Yes? MIMI Yes. Madame-- [_Silence_. Is Madame going to have her portrait painted? ELSA Yes. MIMI Yes, Madame--I know all the ladies that come here-- [_Quick look from_ ELSA. I'm quite at home here--I'm his model [_Explaining_. I don't pay for my portraits. [_Regarding_ ELSA. You have a splendid profile, Madame. ELSA You always say "Madame"--I am not married. My name is-- MIMI, _interrupting_ I know your name. I've heard it often. You belong to a very rich family. I know what that means, I used to be well off, too. I wasn't always obliged to work for a living. ELSA No? MIMI I was a chorus girl, but I had bad luck. ELSA I am so sorry for you. MIMI [_Silence_. I know all about you and Herr Karl. [_Rises, goes C._ ELSA From whom? MIMI I know everything that goes on in this house. I told you I was his model--I sew on buttons and count the laundry. [_Importantly_. ELSA Does the laundry-woman steal? MIMI No. But she uses strong blueing--I know everything Herr Karl thinks of. [_Pointing at_ ELSA. ELSA, _as if she was getting interested_ And does that interest you? MIMI Yes, indeed it does. But that's all over now ELSA Why so? MIMI Because he is going to get married ELSA But he will paint just the same--he will want models. MIMI Yes, but-- [_Ingeniously_. you know, when one has sewn on buttons--and counted the laundry--then to be--just a plain model--that hurts. [_Goes up C._; ELSA _crosses_. ELSA And you like Herr Karl? MIMI, _repressing her feelings_ Yes--I--I like him--he's such a dear boy. ELSA Does he paint you now? MIMI, _coming to head of couch; sadly_ No. He only paints landscapes and--bank presidents. ELSA Then you did not come to pose to-day? MIMI A model always comes to pose. It's tiring work, too, I can tell you--and if the artist wants to make love --it isn't her fault--and-- [_Sighs_. Oh, it's such a rest. ELSA Oh, please. [_Draws herself up stiffly, offended._ MIMI Now I've offended you--I ought to have known better--my people are all refined--I wasn't born a model. ELSA I'm sorry I showed it--but--I--I'm nervous to-day. MIMI, _brightening_ Oh, I know what it is--I used to suffer dreadfully from nervousness when I was in the chorus. ELSA Come over here, Mimi; I want to talk to you. MIMI, goes over and sits on the couch You can talk to me about everything, I'm not a bad sort, really I'm not. I've known all along about Herr Karl and--and you--he's such a kind man. I was crying when I went away yesterday, and he felt sorry for me and he came to see me on his way to the ball--in his evening clothes--but I didn't receive him. If it's over, it may as well be over. ELSA Was he fond of you? MIMI I loved him, but what's the use? It's like the railway --the station is there and the train comes and then the train goes away, and the station cannot run after it; if the station is small, the train only stops a minute, and-- [_Sighs_. one must wait until another train comes ELSA You loved him and can speak like that? MIMI Yes, I loved him, but it's all over now. I was foolish to come here again when I'd made up my mind I wouldn't, but now I'm sensible again; I'll go away and try to forget him, I hope he will be--hap-hap--happy! [_Begins to cry, looks for handkerchief in muff, but can't find it_. ELSA _takes handkerchief out of "weeping satchel," and gives it to her._ ELSA Poor Mimi! Poor Mimi! MIMI, _wiping her eyes with handkerchief, then returning it to_ ELSA. I--hope--you will be--hap--happy--too! ELSA I--happy? MIMI You are going to marry Karl-- ELSA No--no--I'm not. MIMI But it's you he's in love with-- ELSA No, Mimi; I'm not the one--it's some one else. MIMI You don't mean Mrs. Zanden--it can't be--why, she's your friend. ELSA She was. MIMI I don't believe it--it's not love--it's a madness--a-- ELSA, _jumping at the idea_ An infatuation? MIMI Yes, that's it--he's not in love with her--he's not himself. ELSA You think so? MIMI Yesterday he acted as if he were under some strange-- [_Rises_. [MIMI _looks nervously behind her on both sides_, ELSA _follows her example_. under some strange-- ELSA Influence? MIMI Yes. [_The two girls look at each other in silence---for what seems like a minute._ ELSA Mimi, who is that man? MIMI, _looks behind her again nervously_ I don't know--I _hate_ him. ELSA, _after looking behind her_ So do I. [_They grasp each other's hands across the table._ [_A pause._ MIMI, _holding_ ELSA'S _hand_ I'm glad I came, I feel better already for having seen you. I'm going to be sensible now. I'm going away--and I'm never coming back! [_In altered voice._ What time is it? ELSA It's almost three o'clock. MIMI Three o'clock! Then I must hurry. I have an appointment at half past--he's an illustrator--such a talented boy; he's just had a picture accepted by the _Fleigende Blatter_. ELSA And you are posing for him? MIMI Oh, yes; but tonight he goes to the artists' dinner, and I have to find his dress studs, and iron a tie for him, and trim his cuffs. [_Makes gesture of cutting with scissors outside the edge of her cuff._ Good-bye. [_Goes out quickly._ ELSA [_Looks after_ MIMI, _then around the room, suddenly begins to sob, and calls in frightened voice_: Mimi! Mimi! [_Runs off._ [DEVIL _enters just_ _as_ ELSA _leaves_. [DEVIL _rings bell on table_. HEINRICH, _entering_ Did you ring, sir? DEVIL Where is my tea? Have you any rum in the house? HEINRICH Yes, sir. DEVIL I'll have some with my tea. Is your master getting up? HEINRICH Yes, sir. DEVIL Has anyone called to see him this morning? HEINRICH Mrs. Zanden's maid has been here three times. DEVIL What did she want? HEINRICH She inquired whether Mrs. Zanden could see my master. I told her I had strict orders not to call him before three. DEVIL Hurry with the tea. [_Door bell rings._ I'll have it in here. [DEVIL _goes into studio._ [HEINRICH _goes out to hall, door slams,_ OLGA _speaking outside_. OLGA Is your master at home? HEINRICH Yes, Madame. OLGA, entering My maid told me I could not see him until three--it is three o'clock now. HEINRICH I am very sorry, Madame, but you will have to wait a few minutes longer. I will tell him that you are here. OLGA Thank you. [HEINRICH _crosses to studio door_. Wait! Has anyone called to see your master this morning? HEINRICH No, Madame. OLGA Didn't anyone leave a letter for him? HEINRICH No, Madame. OLGA, _aside_ Thank God! Please tell him I'm here. HEINRICH I'm afraid, Madame, you will have to wait a moment; but I will tell the doctor---- OLGA, _quickly_ What doctor? HEINRICH The gentleman who was here with you yesterday. OLGA, _aside_ Dr. Miller? _He_--is--in--there? HEINRICH Yes, Madame. OLGA, _aside_ Then I'm too late. [_To_ HEINRICH, _reluctantly_ Did you see Dr. Miller give a letter to your master? A piece of paper? HEINRICH Possibly, Madame, but I don't remember. OLGA Tell Dr. Miller to come at once. Say a lady wishes to speak to him, but don't give him my name. [HEINRICH _goes out_. [OLGA _walks up and down terribly agitated_. [DEVIL _enters_. DEVIL Are you the lady who wishes to see me at once? OLGA Oh, tell me--did you--have you...? DEVIL, _nods_ Yes--delivered. [OLGA _sinks into chair, clasping her hands tightly._ [_Enter_ HEINRICH, _busy with tea things._ Put it here. Thank you. OLGA [_Without looking at the_ DEVIL. Did he read it? DEVIL Yes. [_Is busy with his tea._ [_Silence_. OLGA My God! DEVIL [_Now standing behind OLGA, tea cup in his hand._ After he read it, he buried his face in the pillow and cried. OLGA He cried? DEVIL I hate men who cry. OLGA I did not want him to have that letter. I wanted to speak to him first. I wanted to ask him to give me my letter back unopened I am too late. DEVIL You were not too late. It's I that was too early. OLGA He cried? DEVIL From joy. OLGA I haven't the courage to speak to him, and yet I feel that I must. I would like to go away, but something holds me; something I cannot--I cannot--oh, what will become of me? HEINRICH, _at door_ My master will be here in a moment, sir. [HEINRICH _goes out._ DEVIL I must be going. OLGA Don't go! Please stay. I don't want to be alone with him. DEVIL But if I am here you cannot speak to him about the letter. I shall only be in the way. OLGA, _very weak_ Very well, then, I shall speak to him quite frankly. I shall ask him for the last time-- KARL, _voice from the studio_ Heinrich! DEVIL, _quick_ There he is. OLGA, _very weak_ Please stay. DEVIL,_ pointing to the small door at L._ I shall be here. If you need me, call. [DEVIL _goes out_. [KARL _comes in from the studio._ KARL, _kisses_ OLGA'S _hand passionately_ Olga! I ought to go on my knees and beg your pardon for what I did last night. OLGA Speak low--Dr. Miller is in there. KARL Olga--can you ever---- OLGA No, no; it is I who should ask forgiveness I was to blame. I lost control of myself. After what happened, I wanted to know--I wanted to make sure--but, you understand now, my letter has told you everything. KARL What letter? OLGA, _reproachfully_ Karl, I understand. You want to spare me--you're being discreet; but you don't know me; I mean every word of that letter, I'm glad I wrote it---- KARL But I didn't get any letter. OLGA Didn't Doctor Miller give you a letter? KARL No, no; really. [Illustration: Olga and Karl] OLGA [_Angry and almost crying, crossing to door._ Doctor Miller. [DEVIL enters. My--my letter. DEVIL Ah, pardon me, Madame, a thousand pardons, I quite forgot. The only excuse I can offer is that there are some letters which ought never to be delivered. [_Takes letter out of his pocket_ OLGA [_Takes a step towards_ KARL, _looks at_ DEVIL _over her shoulder, shivers slightly_. Who is that man? [_Silence_, KARL _looks at_ DEVIL, OLGA _is terrified_. [DEVIL _crosses, gives the letter to_ KARL _with a smile_. [OLGA, _quickly, to_ KARL. Tear that letter up. [KARL _tears up letter_. Put it in the fire. [KARL _crumples up the pieces and throws them in the fire. As he does so,_ OLGA _makes an involuntary movement with her hand as if to stop him, but he does not see it as his back is turned. The_ DEVIL _sees it, however, and smiles_ DEVIL I sincerely regret if my forgetfulness has caused any inconvenience KARL, _at alcove, pointing to door R_ [_Offensively_. Pray don't let me detain you-- DEVIL My train doesn't leave for an hour. Once more a thousand pardons. [_Crossing to C., turning to both._ If I could have foreseen what terrible distress the non-delivery of this letter---- KARL, _firmly_ You may be quite sure it contained nothing--er--nothing-- [_At a loss for a word._ DEVIL, _looking at_ OLGA Nothing. KARL, _at large chair_ You will miss your train. DEVIL, _to_ OLGA, _bowing_ Madame-- [_To_ KARL, _offering hand._ [KARL _turns his back_. Good-bye, a thousand pardons. [_Exit_ DEVIL _at door to hall._ OLGA I would have given anything in the world if you had not burned that letter. KARL Why--you told--me-- [OLGA _shrugs her shoulders as if to say, "What can one expect of a man?"_ What does it matter anyway, whatever it is? I would rather hear it from your lips. OLGA, _firmly_ No! The letter is burned; it is nothing but ashes--it is dead--no human power can bring it back to life. KARL But, Olga! OLGA A moment ago I would have given all I possessed to save it from the fire--and now-- KARL What has happened? OLGA I can't tell you. I only know I am glad--I'm glad. [OLGA _here seems to have suddenly become composed, almost happy, as if something had been settled, though not as she had wished, still it is a relief_. KARL, _takes her hand_ Olga, do you mean you will never-- OLGA, smiling I mean _you_ will never know what was in that letter--it is as if it had never been written--it has ceased to exist, and we are past the day of miracles. KARL, _impatiently_ Miracles? OLGA No, no! Only the devil himself would re-create that letter from its burnt ashes. Good-bye, Karl. I'm going now--I shan't see you again. [_Shakes hands naturally._ [_At word "Devil" the_ DEVIL _enters silently from hall door. He has his fur coat on. He smiles wickedly, and at_ OLGA'S _words "re-create that letter," pulls_ OLGA'S _letter out of his pocket, and stands so that the chair hides him from_ KARL _and_ OLGA, _who are close to studio door._ KARL Olga, you are afraid of something. What is it? OLGA I'm afraid of--myself--good-bye! KARL Good-bye, Olga. [_They turn and see the devil._ [_To_ DEVIL, _angrily_. I thought you'd gone! [_Goes abruptly into the studio,_ OLGA _stands as if hypnotized._ DEVIL, _to_ OLGA I _beg_ your pardon, I am so upset to-day-- [_Holding out letter._ I made a mistake--I gave you my tailor's bill instead of your letter--here is your letter! [DEVIL _gives the letter to_ OLGA, _who snatches it from him in a frightened manner and tears it open. She recognizes her letter._ OLGA Karl! my letter! I have my letter-- [_She runs into the studio._ [The DEVIL _goes to the door of the studio, smiles diabolically, listens a minute at the door and rubs his hands as if he was very pleased with himself._ DEVIL Voilà! CURTAIN. End of the Project Gutenberg EBook of The Devil, by Ferenc Molnar *** END OF THE PROJECT GUTENBERG EBOOK 46185 ***