MISS IVORY. Oh! Come on, Robert, say any_Fifty Contemporary One-Act Plays

[_They sit at table again._]

INKWELL. Ahem!

MISS IVORY. Wi--wi--will you have some more t--tea?

INKWELL. I don't want tea! I want you! I love you! Oh! My darling--it is

a wonderful feeling--this one--that--which I have for you--indeed--that

one which I have for you--put your hand in mine--for a woman like you

never before fr--fr--never before have I seen a woman such as you--

[_Again he has brought Miss Ivory down center._]

SUD. My stars! Leave out the h's. That--which--such!--Get it clear for

to-morrow's rehearsal.

INKWELL [_puts paragraph in his pocket--hesitatingly, doubtfully,

sarcastically_]. I ought to have my name on the program as co-author.

[_Exit left._]

SUD [_jumps forward_]. You ought to have it cut out of the program when

you forget to act! [_Raps on floor and cries out._] Mr. Ruler--Mr.

Ruler--Pay some attention to your cues, please!--

[_Sud goes off stage center over bridge into pit._]

RULER [_pokes head in from left_]. Beg pardon, sir--I didn't hear my

cue!

SUD [_at right of center_]. It's your business to listen for it.

RULER. But they didn't give me the cue!

SUD. Well, what is your cue?

RULER [_not seen_]. What is it?

SUD. I asked you what your cue was?

RULER [_appears_]. What is it?

SUD. Is your hearing perfectly clear?

RULER. Perfectly.

SUD. Then will you kindly tell me what your cue is?

RULER. What is it?

SUD. I shall go mad! I'm dealing with lunatics! Lunatics--Once again I

ask you, Mr. Ruler--if you can _hear_--[_Yells._] Kindly read from your

book and tell me what your cue is--

RULER [_yells furiously and is now down stage_]. I've been trying to

tell you my cue is "WHAT IS IT!"

[_During this scene all the other players come in to see the fight

and grin._]

SUD [_wipes perspiration from brow_]. Heart disease! Heart disease--I

shall die of it! That line was cut long ago!!! [_Sud walks back and

forth across the pit._] The trouble with you actors is you can't forget.

Oh! If you could only forget!

WOULDBY [_meekly_]. I always thought actors had to remember.

SUD. Any fool can remember--

RULER. See here, Mr. Sud--I don't take abuse! In fact, it's my first

experience taking it from authors. In all the other companies I've been

in the manager kept the playwright out. He wouldn't have him meddling

about!

[_Sud stops short during this speech--turns--straightens up--buttons

coat--adjusts tie--faces Ruler._]

SUD. Mr. Ruler, I am backing the show. I haven't engaged you because you

can act, but because you were born good-looking, which is scarcely a

compliment to your own efforts. [_Other players retire now laughing at

Ruler._] If you please we will proceed. I'll find a line here somewhere

in my treasure note books.

[_He goes upstairs and stands near border lights aside to hunt

through many books he has in his pockets. Ruler sits left of table

to rest and smoke. Mr. Ivory and Mrs. Pencil play cards out of

character up stage._]

MISS IVORY [_talks out of character and gets light from Ruler for her

cigarette_]. Did you see the advance notices in the paper this morning,

Jack--saying the Pot-Boiler is sold out three weeks in advance?

RULER. Bill told me there's a steady line outside of the box office.

MISS IVORY. I have visions of rehearsing all night outside the night

before the opening.

RULER. I'm used to doing that, my dear. What gets me is the story of the

plot the Sunday edition printed. How can the newspaper know the plot

before the playwright does?

MISS IVORY. Doesn't Mr. Sud know his own plot?

RULER. Why! No, my part's not written after the second act.

MISS IVORY. My part isn't either, but it doesn't worry me. These

authors--[_She points to her forehead._] I don't memorize until dress

rehearsal night. What's the _use_. _They don't know themselves_ by that

time what lines they told you to keep in or put in or take out. The next

morning the critics re-write it _anyway_ for the manager--_I_ don't

begin to memorize really--until we're settled for a _run_.

RULER [_worried_]. You'll throw me all out if you give wrong cues--

MISS IVORY [_rises and strolls about_]. Oh! When I can't use my tongue,

I let my eyes talk. The public doesn't know the difference. _I_ don't

have to act, just be myself. They engage _me_ for my _eyes_.

SUD. Ah! Here's a precious line [_Goes up to Ruler._], take it down, Mr.

Ruler. "I was in the neighborhood looking for some real estate." [_All

the players suppress a laugh._] Now, Mr. Ruler, you enter in time--[_Sud

goes down the stairs again._] You enter in time to interrupt Mr.

Inkwell's declaration of love to Miss Ivory. They spring apart--spring!

Mr. Inkwell! [_Inkwell springs._] No, the house is not on fire!--I

didn't say jump.

INKWELL. Spring is the same as jump!

[_Ruler enters from left. Inkwell goes right, Miss Ivory comes

center._]

SUD. There is no time to discuss synonyms. Go on, Miss Ivory.

MISS IVORY. Oh! Jack--hello!--where'd _you_ come from?

RULER. I was in the neighborhood looking at some real estate--Hello,

Inkwell--how's the strike?

[_Miss Ivory and Ruler cross to give Ruler the center._]

INKWELL. If you could persuade Mr. Ivory to--

RULER. No--Inkwell--I'm not converted to your view! I have my own

theories!

SUD [_at left speaks across in delight to Wouldby_]. Now we are coming

to the kernel of the play's success. The new viewpoint--Use all the

stock character and situations you want, but add a new twist.

WOULDBY. What does Ruler think?

SUD. Listen.

RULER. I believe sternly in justice--righteous expiation of sin--only in

that way can we progress to higher things.

SUD. Forms, not things.

RULER. Beg pardon, forms--the position I hold to-day is the result of my

desires in my previous life--when the trumpet calls me into the

next--there I shall reap the harvest of what I have sown here. Why

should we help the brick-layers?

[_Miss Ivory interrupts, "Mr. Sud."_]

SUD [_waves her silent_]. Sch!

RULER. If they chose in their past life to be born brick-layers here,

have we the right--

[_Miss Ivory interrupts several times. Miss Ivory is on stage

left._]

SUD. Sch!!

RULER. I ask you--have we the right to tear down the building they

designed when they were here before? Have we the right to say to them

how they shall lay the bricks in the foundation for their next life?

Have we the right--

MISS IVORY. Mr. Sudd!!!

SUD [_at last in desperation_]. Well, what is it, Miss Ivory?

MISS IVORY. Excuse me, Mr. Sud--but all this time--while Ruler is

talking--I don't know what to do with my _hands_! Couldn't you _cut_ his

lines?

RULER. I protest! Mr. Sud, I would resent having a part shortened on me

because the leading lady doesn't know what to do with her hands. I

really think in this speech of mine you have shown your talent. To cut

one word of it would do you a great injustice!

SUD [_smiles at Ruler_]. Thank you! Quite so! Quite so! Miss Ivory,

during this scene you might be--you might be--be--fanning yourself--to

keep yourself the heroine, cool and white.

WOULDBY. How well you understand human nature. The play is really more

important than the players--isn't it?

SUD [_aside. Goes back on stage and sits next to Wouldby_]. Of course,

but actors are so superbly conceited.

WOULDBY. I know--poor things!

SUD. Mr. Ivory's entrance.

WOULDBY. The girl's father?

IVORY [_enters_]. I could not find the papers in the safe, Inkwell.

Ah--how-do-you-do, Jack.

POSITIONS

_Inkwell_ _Miss Ivory_

_Mr. Ivory_ _Ruler_

[_Ivory has crossed to Ruler and is between Miss Ivory and Ruler._]

RULER. Good morning, Mr. Ivory.

IVORY. Daughter, dear--do you know anything about the papers in the

safe?

SUD. Keep up the suspense--Inkwell.

INKWELL. I have no lines here.

SUD. A villain should sustain the suggestion of villainy whether he has

lines or not. Look uneasy--tremble--

[_Inkwell looks uneasy and trembles._]

IVORY. But if I see him tremble, Mr. Sud, wouldn't I ask him if he had a

chill?

SUD. It's not your business to be looking his way just then. Again,

Inkwell.

[_Inkwell trembles, etc._]

SUD [_yells to Ivory_]. Don't catch his eye!

IVORY [_to Inkwell_]. Will you tremble again please?

[_Inkwell does so patiently._]

SUD. Count five for the tremble. Again please, "Daughter dear, do you

know anything about the papers in the safe?"

IVORY. Daughter, dear, do you know anything about the papers in the

safe?

SUD [_excitedly_]. Everybody look away. Tremble, Inkwell--Now, Inkwell,

count five--now look at Inkwell--Again, please.

IVORY. Daughter, dear, do you know anything about the papers in the

safe?

SUD [_claps his hands_]. One--two--three--four--five--

IVORY. Those valuable papers!

SUD. That's it, go ahead!

MISS IVORY. I don't even know the combination, father. Could they have

been stolen?

WOULDBY. Did Inkwell really take them?

SUD. He's the villain, isn't he? I couldn't let the hero do it.

IVORY. What shall I do? Where shall I look? Where, oh where?

[_Ivory goes up stage back of Miss Ivory to table and knocks off a

revolver._]

MISS IVORY. Oh! Revolvers!

RULER. Let me, sir. [_Picks them up._]

MISS IVORY [_in terror_]. Where did they come from?

WOULDBY [_hands to ears_]. Are they going to use them?

SUD. Of course. I had to show the audience the revolvers are there, so

Ivory had to knock them down.

IVORY [_is up stage. Places one revolver on table_]. I have to have

these near by when a strike is on, one never knows what to expect.

RULER [_places other revolver on table_]. Even I have one in my pocket.

INKWELL [_slaps his side pocket_]. And I in mine--

MISS IVORY. Oh! dear, how dreadful! Suppose one of them should go off!

Oh! Do be careful!

INKWELL [_insinuatingly_]. Have you changed your mind, Mr. Ivory? Have

you decided to accept my proposition?

MISS IVORY. What is your proposition, Mr. Inkwell?

INKWELL [_goes left to Ruler_]. I believe your father wishes to discuss

it with you. Mr. Ruler, will you have a smoke with me in the orangerie?

SUD [_corrects him with great disgust_]. Orangerie!!!

[_Inkwell and Ruler exeunt right._]

MISS IVORY [_crosses right--anxiously_]. What does he want to know--

IVORY [_almost breaking down. Sinks into chair left of table_]. Oh! My

daughter--how can I tell you--how can I--I am ruined--ruined!

[_Sud rises, and beats time in rhythm like a conductor to their

"Ohs."_]

MISS IVORY [_a little up and left of table_]. _You_--_ruined_--_Oh!_--

IVORY. Oh!

MISS IVORY. Oh!

SUD [_turning to Wouldby and whispering audibly_]. When you are hard up

for conversation use Oh's--

[_Sits quickly._]

IVORY. We have lived beyond our means--Oh!--my child--I have only

brought you misery--

MISS IVORY [_goes to father, stands back of his chair and caresses

him_]. Poor father--don't take it that way--I _love_ you--we must live

differently--anything you say--

WOULDBY [_to Sud_]. How sweet and sacrificial!

SUD [_enthusiastically_]. Ah! She's pure Ivory--a chip off the old

block!

IVORY. That is not all. Inkwell represents the brick-layers; he will

continue the strike unless I can buy him off.

[_Sud goes up right, to be behind them. Faces them. Follows every

line in his manuscript._]

MISS IVORY. And you can't raise the money?

IVORY. He doesn't want money. He wants to marry you! He will stop at

nothing to get me into prison--any place to crush me--he has power. I

have cause to fear him.

[_Ivory at right._]

MISS IVORY [_at left. In distress_]. Oh! Oh!--How terrible--how

terrible--what am I to say! Oh--father--and I can save you? And I

hesitate? Yes--yes--I will--father!

[_Rushes to Ivory's arms._]

IVORY. Oh! My daughter! My child! My child!

MISS IVORY. Yes, father, I will, cost me what it may. I will.

[_She reads last line flatly._]

SUD. Miss Ivory! Show some feeling! Think how you feel when you read

those lines!

MISS IVORY. I know how I feel [_impudently. Then with some feeling._]

Yes, father, I will. Cost me what it may, I will, Mr. Inkwell!

SUD. Abandonment, Miss Ivory--abandonment--

MISS IVORY [_nods intelligently_]. Mr. Inkwell! Mr. Ink--we--all--!

IVORY [_rushing after Miss Ivory_]. Wait--think--consider--

[_Inkwell and Ruler enter right._]

INKWELL [_takes her hand_]. Ah, My dear!

IVORY [_with bowed head_]. Oh!

RULER [_in alarm, to Miss Ivory_]. My dear--what is it?

SUD. Now, there's your line of "what is it?" I tucked it in there.

MISS IVORY [_goes left to Mr. Ruler. Ivory is up center. Inkwell is

right_]. I can't keep my promise to you--Mr. Ruler--please don't ask for

an explanation.

RULER [_excited, rushing up to Mr. Ivory_]. What is it, Mr. Ivory?

IVORY [_in despair, taking Ruler's arm for support_]. Oh--I--am

broken-hearted--she is going to marry Inkwell!

RULER. No!--no!--not while I live!

IVORY. It must be! Come with me--I'll tell you--alone!

RULER. Not while I live!

SUD [_excitedly_]. Mr. Ruler! Mr. Ruler! You go out too easily! Wait! I

remember a precious line I cut out of one of my last year's plays. It is

perfectly fresh! No novelty worn off and incontestably original! "I am

coming back."

RULER [_deferentially Ruler writes the line_]. I am coming back--yes,

sir. I am coming back.

SUD. There is no, "yes, sir," in it.

RULER. No, sir.

SUD. Do you wish to retire for a few minutes and commit to memory?

[_Ruler repeats the line._] Now that we are reaching the climax I want

as few interruptions and references to the book as possible--

RULER. I think I have it. [_All resume former positions. Sud climbs on

his stool._] Cue please, Mr. Ivory.

IVORY [_drags Ruler across to go out right_]. Come with me--I'll tell

you!--alone!

RULER. Not while I live! I am coming back! I am coming back!!!--I am

coming back!

[_Exeunt Ivory and Ruler right. Sud tiptoes up center to make sure

Mrs. Pencil is ready for her cue._]

INKWELL [_to Miss Ivory_]. Now that they have left us alone--my

darling--let me tell you how I have waited for this moment--

MISS IVORY [_in despair and tears she tries to rush by to right, but he

catches her_]. No, let me pass--now, now. I have said yes, let it go at

that--I cannot talk now--not now--

[_Exit right weeping._]

MRS. PENCIL [_in fury of jealousy opens door and enters in rage_].

Coward! Villain!--I have been listening behind that door--all your false

vows to me!

INKWELL [_he tries to choke her_]. Don't yell so!

MRS. PENCIL [_in ordinary tone_]. I will yell!

SUD [_delighted_]. Of course, she will! Shriek good, Mrs. Pencil.

MRS. PENCIL [_shrieks_]. Ah! Ah! Ah! Ah!

INKWELL [_they struggle. Grabs Mrs. Pencil to put his hand over her

mouth_]. Stop--! Stop!

SUD. Tussle! Tussle! The audience loves it!

[_They fight._]

WOULDBY. But what did Inkwell do?

SUD [_talks fast over shoulder to Wouldby like a man in a fast auto

talks to another passing_]. Can't you tell. Haven't decided yet!

Explanation in last act. No time now. Reaching climax of play. Keep it

up! Keep it up!

MRS. PENCIL [_yelling_]. Oh! The treachery--perjury--You are not fit to

live! I'll have my revenge--Revenge! Bing! Bang! [_She grabs revolver

from table and shoots Inkwell. He falls back and obligingly lies upon

the table._] I hate you! I hate you! I hate you!

MISS IVORY [_having heard the shot and shrieks, runs in from the wing_].

Oh--who's hurt?

MRS. PENCIL [_turning and aiming revolver at Miss Ivory_]. Don't come

near him or I'll shoot you!

RULER [_enters from right_]. What's the matter?

MISS IVORY [_screams at Ruler_]. _Don't_ move or she'll shoot _you_.

RULER [_taking a revolver out of his pocket aims it at Mrs. Pencil_].

Harm her and I'll shoot _you_!

INKWELL [_who has come to in the meantime, manages to get his own

revolver out of his pocket, he half raises himself from his lying

position on the table and aims at Ruler, crying hoarsely_]. You thought

you could be my rival--the girl said she would be mine! If you shoot the

woman she'll kill the girl. I'm going to save the girl. Shoot and I'll

kill _YOU_!

MR. IVORY [_he enters from right and, hearing these desperate

words--takes revolver from his pocket and aims at Inkwell! Screams in

fear and rage_]. Stop! Save him or I'll shoot to kill! I'll shoot to

kill! I'll shoot to kill!

WOULDBY [_thrilled and excited, cries out_]. Who shoots?

SUD [_overcome with sudden realization, jumps up, grabs his forehead_].

My God! It's a deadlock!!! I don't know who shoots!

OTHERS. Oh! Shoot the _AUTHOR_!!

[_Curtain._]

ENTER THE HERO

A COMEDY

BY THERESA HELBURN

ENTER THE HERO was first produced in San Francisco by the St. Francis

Little Theater Players, on January 16th, 1918, with the following

cast:

RUTH CAREY _Ruth Hammond_.

ANNE CAREY _Helene Sullivan_.

HAROLD LAWSON _Arthur Maitland_.

MRS. CAREY _Julia Deane_.

Reprinted from No. 4, of the "Flying Stag Plays," published by Egmont

Arens, by special permission of Miss Helburn. The professional and

amateur stage rights on this play are strictly reserved by the author.

Applications for permission to produce the play should be made to

Egmont Arens, 17 West 8th St., New York.

ENTER THE HERO

A COMEDY BY THERESA HELBURN

[_The scene presents an upstairs sitting room in a comfortable

house in a small city. The wall on the spectator's left is broken

by a fireplace, and beyond that a door leading into the hall. At

the back of the stage is a deep bay window from which one may have

a view up and down the street. A door in the right wall leads to

Anne Carey's bedroom. The sitting room, being Anne's particular

property, is femininely furnished in chintz. A table desk with

several drawers occupies an important place in the room, which is

conspicuously rich in flowers._

_The curtain rises on an empty stage. Ruth Carey, a pretty girl of

eighteen years, enters hurriedly, carrying a large box; she wears

a hat and coat._]

RUTH. Oh, Anne, here's _another_ box of flowers! Anne, where are you?

VOICE FROM ANNE'S BEDROOM. In here. I thought you had gone out.

RUTH [_opening door left_]. I was just going when the expressman left

these--and I wanted to see them. [_Looking into the bedroom._] Oh, how

pretty your dress is. Turn round. Just adorable! May I open these?

THE VOICE. Yes, but hurry. It's late.

RUTH [_throwing her sister a kiss_]. You dear! It's almost like having a

fiance of my own. Three boxes in two days! He's adorably extravagant.

Oh, Anne, exquisite white roses! Come, look!

[_Anne Carey appears in the bedroom door. She is a girl of

twenty-two. Her manner in this scene shows nervousness and

suppressed excitement._]

ANNE. Yes, lovely. Get a bowl, Ruth. Quickly.

RUTH. I will. Here's a card. [_She hands Anne an envelope, goes to the

door, then stops._] What does he say, Anne? May I see?

[_Anne, who has read the card quickly with a curious little smile,

hands it back to her without turning._]

RUTH [_reading_]:

"The red rose whispers of passion

And the white rose breathes of love;

Oh, the red rose is a falcon,

And the white rose is a dove.

"But I send you a cream-white rosebud

With a flush on its petal tips,

For the love that is purest and sweetest

Has a kiss of desire on the lips.

Oh, how beautiful! Did he make that up, do you suppose? I didn't know he

was a real poet.

ANNE [_who has been pinning some of the roses on her dress_]. Any one in

love is a poet.

RUTH. It's perfectly beautiful! [_She takes a pencil and little notebook

out of her pocket._] May I copy it in my "Harold Notebook"?

ANNE. Your _what_?

RUTH. I call it my "Harold Notebook." I've put down bits of his letters

that you read me, the lovely bits that are too beautiful to forget. Do

you mind?

ANNE. You silly child!

RUTH. Here, you may see it.... That's from the second letter he wrote

you from Rio Janeiro. I just couldn't get over that letter. You know I

made you read it to me three times. It was so--so delicate. I remembered

this passage--see. "A young girl seems to me as exquisite and frail as a

flower, and I feel myself a vandal in desiring to pluck and possess one.

Yet, Anne, your face is always before me, and I know now what I was too

stupid to realize before, that it was you and you only, who made life

bearable for me last winter when I was a stranger and alone." Oh,

Anne--[_Sighing rapturously._] that's the sort of love letters I've

dreamed of getting. I don't suppose I ever shall.

ANNE. [_still looking over the notebook with her odd smile_]. Have you

shown this to any one?

RUTH. Only to Caroline--in confidence. [_Pauses to see how Anne will

take it._] But really, Anne, every one knows about Harold. You've told

Madge and Eleanor, and I'm sure they've told the others. They don't say

anything to us, but they do to Caroline and she tells me. [_Watching

Anne's face._] You're not angry, are you, Anne?

ANNE. Yes, rather. [_Then eagerly._] What do they say?

RUTH. Oh, all sorts of things. Some of them horrid, of course! You can't

blame them for being jealous. Here you are having just the sort of

experience that any one of them would give their eye teeth to have.

_I'd_ be jealous if you weren't my sister. As it is, I seem to get some

of the glory myself.

ANNE [_pleads, but disparaging_]. But every girl has this experience

sooner or later.

RUTH. Oh, not in this way. Everything that Harold does is beautiful,

ideal. Jane Fenwick showed me some of Bob's letters. They were so dull,

so prosaic! All about his salary and the corn crop. I was disgusted with

them. So was she, I think, when she saw Harold's letters.

ANNE. Oh, you showed them to Jane, too?

RUTH [_a bit frightened_]. No, really I didn't. Caroline did. I lent her

my notebook once overnight, and she gave Jane a peek--in the _strictest_

confidence. Jane really needed it. She was getting so cocky about Bob.

Girls are funny things, aren't they?

ANNE [_who has been keenly interested in all of Ruth's gossip_]. What do

you mean?

RUTH. It isn't so much the man, as the idea of a man--some one to dream

about, and to talk about. When I think of getting engaged--I suppose I

shall get engaged some day--I never think of being really, really kissed

by a man--

ANNE. What do you think of?

RUTH. I always think of telling Caroline about it, showing my ring to

her and to Madge. Oh, Madge is green with envy. I believe she thought

Harold sort of liked her. [_Anne turns away._] She was so excited when

she saw him in New York. She said she would have got off the bus and

chased him, but he went into a house.... Anne, why didn't you tell

us--me, at least--that Harold was back from South America, before we

heard it from Madge?

ANNE. Just because.... I wanted to avoid all this.... It was hard enough

to have him within a few hours' distance and know he could not get to

me. But it was easier when no one else knew. Don't you understand?

RUTH. Yes, dear, of course I do--but still--

ANNE [_impatiently_]. Now, Ruth, it's quarter past four. You promised--

RUTH. I'm going ... right straight off ... unless--Oh, Anne, mayn't I

stay and have just one peek. I won't let him see me, and then I'll run

straight away?

ANNE. Oh, for heaven's sake, don't be naughty and silly! Clear out now,

quickly, or--[_Changing her tone suddenly._] Ruth, dear, put yourself

in my place. Think how you would feel if you were going to see the man

you loved for the first time. That's what it really is. Think of it! Two

years ago when he went away we were just the merest friends--and now--

RUTH. And now you're engaged to be married! Oh, isn't it the most

romantic thing! Of course you want to be alone. Forgive me. Oh, Anne,

how excited you must be!

ANNE [_with rather histrionic intensity_]. No, I'm strangely calm. And

yet, Ruth, I'm afraid, terribly afraid.

RUTH. Why, what of?

ANNE [_acting_]. I don't know ... of everything ... of the unknown. All

this has been so wonderful, if anything should happen I don't think I

could bear it. I think I should die.

RUTH. Nonsense, dear, what can happen? You're just on edge. Well, I'll

be off. I'll join Mother at Aunt Nellie's. Give my love to Harold. You

know I've never called him anything but Mr. Lawson to his face. Isn't

that funny? Good-by, dear. [_Throwing Anne a kiss._] You look so sweet.

ANNE [_her hands on Ruth's shoulders for an impressive moment_].

Good-by, Ruth. Good-by.

[_They kiss. Ruth goes. Left alone, a complete change comes over

Anne. She drops the romantic attitude. She is nervously

determined. She quickly arranges the flowers, takes out the box,

etc., straightens the room, and surveys herself rapidly in the

mirror. There is a sound of wheels outside. Anne goes to the bay

window and looks out. Then she stands erect in the grip of an

emotion that is more like terror than anticipation. Hearing the

sound of footsteps on the stair she is panic-stricken and about to

bolt, but at the sound of voices she pulls herself together and

stands motionless._]

MAN'S VOICE [_outside_]. In here? All right!

[_Harold Lawson enters, a well set up, bronzed, rather commonplace

young man of about twenty-eight. He sees no one on his entry, but

as he advances into the room, Anne comes down from the bay

window._]

HAROLD. Hello, Miss Carey, how are you? Splendid to see you again, after

all this time. [_Anne looks at him without speaking, which slightly

embarrasses him._] You're looking fine. How's your mother--and little

Ruth?

ANNE [_slowly_]. Welcome home.

HAROLD. Oh, thanks. It's rather nice to be back in God's country. But

it's not for long this time.

ANNE. Are you going away again?

HAROLD. Yes. I've another appointment. This one in India, some big salt

mines. Not bad, eh? I made pretty good in Brazil, they tell me.

ANNE [_nervously_]. Sit down.

HAROLD. Thanks. Hot for September, isn't it? Though I ought to be used

to heat by this time. Sometimes the thermometer would run a hundred and

eight for a week on end. Not much fun, that.

ANNE. No, indeed.

HAROLD [_settling back comfortably to talk about himself_]. You know I

loathed it down there at first. What with all the foreigners and the

rotten weather and the bugs--thought I'd never get into the swing.

Wanted to chuck engineering for any old job that was cool, but after a

while--

ANNE. How long have you been home?

HAROLD. About three weeks. I'd really been meaning to come out here and

have a look round my old haunts, but there was business in New York, and

I had to go South and see my family--you know how time flies. Then your

note came. It was mighty jolly of you to ask me out here. By the way,

how did you know I was back?

ANNE [_after a pause_]. Madge Kennedy caught sight of you in New York.

HAROLD. Did she really? How is little Madge? And that odd brother of

hers. Is he just as much of a fool as ever? I remember once he said to

me--

ANNE. Oh, I didn't ask you here to talk about Madge Kennedy's family.

HAROLD [_taken aback_]. No ... no, of course, not. I--I've been

wondering just why you did ask me. You said you wanted to talk to me

about something.

ANNE [_gently_]. Weren't you glad to come?

HAROLD. Why, of course I was. Of course. And then your note fired my

curiosity--your asking me to come straight to you before seeing any one

else.

ANNE. Aren't you glad to be here with me?

HAROLD. Why surely, of course, but--[_Pause._]

ANNE. You see, people seemed to expect you would come to see me first of

all. I rather expected it myself. Don't you understand?

HAROLD [_very uncomfortably_]. No.... I'm afraid I don't....

ANNE. From the way you acted before you went away I thought you,

yourself, would want to see me first of all.

HAROLD. Before I went away? What do you mean?

ANNE. You know well enough what I mean. The parties those last

weeks--the theater we went to--the beautiful flowers you sent

Mother--the letter--

HAROLD. But--but--why, I was going away. You and your people had been

awfully nice to me, a perfect stranger in town. I was simply trying to

do the decent thing. Good Lord! You don't mean to say you thought--

ANNE [_watching him very closely_]. Yes, it's true, I thought--and every

one else thought--I've been waiting these two years for you to come

back.

[_She drops her face into her hands. Her shoulders shake._]

HAROLD [_jumping up_]. Great Heavens! I never imagined--Why, Miss Carey,

I--oh, I'm terribly sorry! [_She continues to sob._] Please don't do

that--please! I'd better go away--I'll clear out--I'll go straight off

to India--I'll never bother you again.

[_He seized his hat, and is making, in a bewildered way, for the

door, when she intercepts him._]

ANNE. No. You mustn't go away!

HAROLD. But what can I do?

ANNE [_striking a tragic attitude_]. You mean to say you don't care at

all--that you have never cared?

HAROLD. Really, Miss Carey, I--

ANNE. For heaven's sake, don't call me Miss Carey. Call me Anne.

HAROLD. Miss Carey.... Anne.... I.... Oh, you'd better let me go--let me

get away before any one knows I'm here--before they think--

ANNE. It's too late. They think already.

HAROLD. Think what? What do you mean?

ANNE. Oh, this is terrible! Sit down, Harold, and listen to me. [_She

pushes him into a chair and begins to talk very rapidly, watching

intently the effect of her words upon him._] You see, when you went

away, people began to say things about us--you and me--about your

caring. I let them go on. In fact I believed them. I suppose it was

because I wanted so much to believe them. Oh, what a fool I've been!

What a fool!

[_She covers her face with her hands. He gets up intending vaguely

to comfort her, but she thinks he is making another move to go,

and jumps to her feet._]

ANNE. And now you want to clear out like a thief in the night, and leave

me to be laughed at! No, no, you can't do that! You must help me. You've

hurt me to the very soul. You mustn't humiliate me before the world.

HAROLD. I'll do anything I can, Miss Carey.

ANNE. Anne!

HAROLD. Anne, I mean. But how?

ANNE [_after a moment's thought, as if the idea had just come to her_].

You must stay here. You must pretend for a few days--for a week at most,

that we're engaged.

HAROLD. I can't do that, you know. Really, I can't.

ANNE [_going to him_]. Why not? Only a little while. Then you'll go away

to India. We'll find it's been a mistake. I'll break it off,--it will

only be a pretense, of course, but at least no one will know what a fool

I've been.

HAROLD [_after a moment's hesitation_]. Miss Carey--Anne, I mean, I'll

do anything I can, but not that! A man can't do that. You see, there's a

girl, an English girl, down in Brazil, I--

ANNE. Oh, a girl! Another! Well, after all, what does that matter?

Brazil is a long way off. She need never know.

HAROLD. She might hear. You can't keep things like this hid. No. I

wouldn't risk that. You'd better let me clear out before your family

gets home. No one need ever know I've been here.

[_Again he makes a move toward the door. Anne stands motionless._]

ANNE. You can't go. You can't. It's more serious than you imagine.

HAROLD. Serious? What do you mean?

ANNE. Come here. [_He obeys. She sits in a big chair, but avoids looking

at him. There is a delicate imitation of a tragic actress in the way she

tells her story._] I wonder if I can make you understand? It means so

much to me that you should--so much! Harold, you know how dull life is

here in this little town. You were glad enough to get away after a year

of it, weren't you? Well, it's worse for a girl, with nothing to do but

sit at home--and dream--of you. Yes, that's what I did, until, at last,

when I couldn't stand it any longer, I wrote you.

HAROLD [_quickly_]. I never got the letter, Miss Carey. Honor bright, I

didn't.

ANNE. Perhaps not, but you answered it.

HAROLD. Answered it? What are you talking about?

ANNE. Would you like to see your answer? [_She goes to the desk, takes a

packet of letters out of a drawer, selects one, and hands it to him._]

Here it is--your answer. You see it's post-marked Rio Janeiro.

HAROLD [_taking it wonderingly_]. This does look like my writing.

[_Reads._] "Anne, my darling--" I say, what does this mean?

ANNE. Go on.

HAROLD [_reading_]. "I have your wonderful letter. It came to me like

rain in the desert. Can it be true, Anne, that you do care? I ask myself

a hundred times what I have done to deserve this. A young girl seems to

me as exquisite and frail as a flower--" Great Scott! You don't think

_I_ could have written such stuff! What in the world!

ANNE [_handing over another letter_]. Here's the next letter you wrote

me, from the mine. It's a beautiful one. Read it.

HAROLD [_tears it open angrily, and reads_]. "I have been out in the

night under the stars. Oh, that you were here, my beloved! It is easy to

stand the dust and the turmoil of the mine without you, but beauty that

I cannot share with you hurts me like a pain--"

[_He throws the letter on the table and turns toward her,

speechless._]

ANNE [_inexorably_]. Yes, that's an exceptionally beautiful one. But

there are more--lots more. Would you like to see them?

HAROLD. But I tell you, I never wrote them. These aren't my letters.

ANNE. Whose are they, then?

HAROLD [_walking up and down furiously_]. God knows! This is some

outrageous trick. You've been duped, you poor child. But we'll get to

the bottom of this. Just leave it to me. I'll get detectives. I'll find

out who's back of it! I'll--

[_He comes face to face with her and finds her looking quietly at

him with something akin to critical interest._]

HAROLD. Good Lord. What's the matter with me! You don't believe those

letters. You couldn't think I wrote them, or you wouldn't have met me as

you did, quite naturally, as an old friend. _You understand!_ For

heaven's sake, make it clear to me!

ANNE. I am trying to.... I told you there had to be ... answers.... I

was afraid to send my letters to you, but there had to be answers.

[_Harold stares at her._] So I wrote them myself.

HAROLD. You wrote them yourself?!?

ANNE. Yes.

HAROLD. These? These very letters?

ANNE. Yes. I had to.

HAROLD. Good God! [_He gazes at the litter of letters on the desk in

stupefied silence._] But the handwriting.

ANNE. Oh, that was easy. I had the letter you wrote to Mother.

HAROLD. And you learned to imitate my handwriting?

ANNE [_politely_]. It was very good writing.

HAROLD [_in sudden apprehension_]. No one has seen these things,--have

they?

ANNE. They arrived by mail.

HAROLD. You mean people saw the envelopes. Yes, that's bad enough....

But you haven't shown them to any one? [_At her silence he turns

furiously upon her._] Have you?... Have you?

ANNE [_who enjoys her answer and its effect upon him_]. Only

parts--never a whole letter. But it was such a pleasure to be able to

talk about you to some one. My only pleasure.

HAROLD. Good heavens! You told people I wrote these letters? That we

were engaged?

ANNE. I didn't mean to, Harold. Really, I didn't. But I couldn't keep it

dark. There were your telegrams.

HAROLD. My telegrams?!?

[_She goes to desk and produces a bundle of dispatches._]

ANNE [_brazen in her sincerity_]. You used to wire me every time you

changed your address. You were very thoughtful, Harold. But, of course,

I couldn't keep those secret like your letters.

HAROLD [_standing helplessly, with the telegrams loose in his fingers_].

My telegrams! Good Lord! [_He opens one and reads_.] "Leaving Rio for

fortnight of inspection in interior. Address care Senor Miguel--" _My_

telegrams!

[_He flings the packet violently on the table, thereby almost

upsetting a bowl of roses which he hastens to preserve._]

ANNE. And then there were your flowers. I see you are admiring them.

[_Harold withdraws as if the flowers were charged with

electricity._]

HAROLD. What flowers?

ANNE. These--these--all of them. You sent me flowers every week while

you were gone.

HAROLD [_overcome_]. Good God!

[_He has now reached the apex of his amazement and becomes

sardonic._]

ANNE. Yes. You were extravagant with flowers, Harold. Of course I love

them, but I had to scold you about spending so much money.

HAROLD. Spending so much money? And what did I say when you scolded me?

ANNE [_taken aback only for a moment by his changed attitude_]. You sent

me a bigger bunch than ever before--and--wait a minute--here's the card

you put in it.

[_She goes to the same fatal desk and produces a package of

florists' cards._]

HAROLD. Are all those my cards too?

ANNE. Yes.

HAROLD [_laughing a bit wildly_]. I'm afraid I was a bit extravagant!

ANNE. Here's the one! You wrote: "If all that I have, and all that I am,

is too little to lay before you, how can these poor flowers be much?"

HAROLD. I wrote that? Very pretty--very. I'd forgotten I had any such

knack at sentiments.

ANNE. And then, right away, you sent me the ring.

HAROLD [_jumps, startled out of his sardonic pose_]. Ring! What ring?

ANNE. My engagement ring. You really were very extravagant that time,

Harold.

HAROLD [_looking fearfully at her hands_]. But I don't see.... You're

not wearing...?

ANNE. Not there--here, next to my heart. [_She takes out a ring which

hangs on a chain inside her frock and presses it to her lips. Looking at

him deeply._] I adore sapphires, Harold.

[_A new fear comes into Harold's eyes. He begins to humor her._]

HAROLD. Yes. Yes. Of course. Everyone likes sapphires, Anne. It is a

beauty. Yes. [_He comes very close to her, and speaks very gently, as if

to a child._] You haven't shown your ring to any one, have you, Anne?

ANNE. Only to a few people--One or two.

HAROLD. A few people! Good heavens! [_Then he controls himself, takes

her hands gently in his, and continues speaking, as if to a child._] Sit

down, Anne; we must talk this over a little,--very quietly, you

understand, very quietly. Now to begin with, when did you first--

ANNE [_breaks away from him with a little laugh_]. No, I'm not crazy.

Don't be worried. I'm perfectly sane. I had to tell you all this to show

how serious it was. Now you know. What are you going to do?

HAROLD. Do? [_He slowly straightens up as if the knowledge of her sanity

had relieved him of a heavy load._] I'm going to take the next train

back to New York.

ANNE. And leave me to get out of this before people all alone?

HAROLD. You got into it without my assistance, didn't you? Great Scott,

you forged those letters in cold blood--

ANNE. Not in cold blood, Harold. Remember, I cared.

HAROLD. I don't believe it. [_Accusingly._] You enjoyed writing those

letters!

ANNE. Of course I enjoyed it. It meant thinking of you, talking of--

HAROLD. Rot! Not of me, really. You didn't think I am really the sort of

person who could write that--that drivel!

ANNE [_hurt_]. Oh, I don't know. After a while I suppose you and my

dream got confused.

HAROLD. But it was the rankest--

ANNE. Oh, I'm not so different from other girls. We're all like that.

[_Repeating Ruth's phrase reminiscently._] We must have some one to

dream about--to talk about. I suppose it's because we haven't enough to

do. And then we don't have any--any real adventures like--shop girls.

HAROLD [_surprised at this bit of reality_]. That's a funny thing to

say!

ANNE. Well, it's true. I know I went rather far. After I got started I

couldn't stop. I didn't want to, either. It took hold of me. So I went

on and on and let people think whatever they wanted. But if you go now

and people find out what I've done, they'll think I'm really mad--or

something worse. Life will be impossible for me here, don't you

see--impossible. [_Harold is silent._] But if you stay, it will be so

easy. Just a day or two. Then you will have to go to India. Is that much

to ask? [_Acting._] And you save me from disgrace, from ruin!

[_Harold remains silent, troubled._]

ANNE [_becoming impassioned_]. You must help me. You _must_. After I've

been so frank with you, you can't go back on me now. I've never in my

life talked to any one like this--so openly. You _can't_ go back on me!

If you leave me here to be laughed at, mocked at by every one, I don't

know what I shall do. I shan't be responsible. If you have any kindness,

any chivalry.... Oh, for God's sake, Harold, help me, help me!

[_Kneels at his feet._]

HAROLD. I don't know.... I'm horribly muddled.... All right, I'll stay!

ANNE. Good! Good! Oh, you are fine! I knew you would be. Now everything

will be so simple. [_The vista opens before her._] We will be very quiet

here for a couple of days. We won't see many people, for of course it

isn't announced. And then you will go ... and I will write you a

letter....

HAROLD [_disagreeably struck by the phrase_]. Write me a letter? What

for?

ANNE [_ingenuously_]. Telling you that I have been mistaken. Releasing

you from the engagement ... and you will write me an answer ... sad but

manly ... reluctantly accepting my decision....

HAROLD. Oh, I am to write an answer, sad but manly--Good God! Suppose

you don't release me after all.

ANNE. Don't be silly, Harold. I promise. Can't you trust me?

HAROLD. Trust you? [_His eyes travel quickly from the table littered

with letters and dispatches to the flowers that ornament the room, back

to the table and finally to the ring that now hangs conspicuously on her

breast. She follows the look and instinctively puts her hand to the

ring._] Trust you? By Jove, no, I don't trust you! This is absurd, I

don't stay another moment. Say what you will to people. I'm off. This is

final.

ANNE [_who has stepped to the window_]. You can't go now. I hear Mother

and Ruth coming.

HAROLD. All the more reason. [_He finds his hat._] I bolt.

ANNE [_blocking the door_]. You can't go, Harold! Don't corner me. I'll

fight like a wildcat if you do.

HAROLD. Fight?

ANNE. Yes. A pretty figure you'll cut if you bolt now. They'll think you

a cad--an out and out cad! Haven't they seen your letters come week by

week, and your presents? And you have written to Mother, too--I have

your letter. There won't be anything bad enough to say about you.

They'll say you jilted me for that English girl in Brazil. It will be

true, too. And it will get about. She'll hear of it, I'll see to

that--and then--

HAROLD. But it's a complete lie! I can explain--

ANNE. You'll have a hard time explaining your letters and your

presents--and your ring. There's a deal of evidence against you--

HAROLD. See here, are you trying to blackmail me? Oh, this is too

ridiculous!

ANNE. They're coming! I hear them on the stairs! What are you going to

tell them?

HAROLD. The truth. I must get clear of all this. I tell you--

ANNE [_suddenly clinging to him_]. No, no, Harold! Forgive me, I was

just testing you. I will get you out of this. Leave it to me.

HAROLD [_struggling with her_]. No, I won't leave anything to you,

_ever_.

ANNE [_still clinging tightly_]. Harold, remember I am a woman--and I

love you.

[_This brings him up short a moment to wonder, and in this moment

there is a knock at the door._]

ANNE [_abandoning Harold_]. Come in. [_There is a discreet pause._]

MRS. CAREY'S VOICE [_off stage_]. May we come in?

ANNE [_angrily_]. Yes!

[_Harold, who has moved toward the door, meets Mrs. Carey as she

enters. She throws her arms about his neck and kisses him warmly.

She is followed by Ruth._]

MRS. CAREY. Harold! My door boy!

RUTH [_clutching his arm_]. Hello, Harold. I am so glad.

[_Harold, temporarily overwhelmed by the onslaught of the two

women, is about to speak, when Anne interrupts dramatically._]

ANNE. Wait a moment, Mother. Before you say anything more I must tell

you that Harold and I are no longer engaged!

[_Mrs. Carey and Ruth draw away from Harold in horror-struck

surprise._]

MRS. CAREY. No longer engaged? Why.... What...?

HAROLD. Really, Mrs. Carey, I--

ANNE [_interrupts, going to her mother_]. Mother, dear, be patient with

me, trust me, I beg of you--and please, please don't ask me any

questions. Harold and I have had a very hard--a very painful hour

together. I don't think I can stand any more.

[_She is visibly very much exhausted, gasping for breath._]

MRS. CAREY. Oh, my poor child, what is it? What has he done?

[_She supports Anne on one side while Ruth hurries to the other._]

HAROLD. Really, Mrs. Carey, I think I can explain.

ANNE. No, Harold, there's no use trying to explain. There are some

things a woman feels, about which she cannot reason. I know I am doing

right.

HAROLD [_desperately_]. Mrs. Carey, I assure you--

ANNE [_as if on the verge of a nervous crisis_]. Oh, please, _please_,

Harold, don't protest any more. I am not blaming you. Understand,

Mother, I am not blaming him. But my decision is irrevocable. I thought

you understood. I beg you to go away. You have just time to catch the

afternoon express.

HAROLD. Nonsense, Anne, you must let me--

ANNE [_wildly_]. No, no, Harold, it is finished! Don't you understand?

Finished! [_She abandons the support of her mother and Ruth and goes to

the table._] See, here are your letters. I am going to burn them. [_She

throws the packet into the fire._] All your letters--[_She throws the

dispatches into the fire._] Don't, please, continue this unendurable

situation any longer. Go, I beg of you, go!

[_She is almost hysterical._]

HAROLD. But I tell you I must--

ANNE [_falling back in her mother's arms_]. Make him go, Mother! Make

him go!

MRS. CAREY. Yes, go! Go, sir! Don't you see you are torturing the child.

I insist upon your going.

RUTH. Yes, she is in a dreadful state.

[_Here Mrs. Carey and Ruth fall into simultaneous urgings._]

HAROLD [_who has tried in vain to make himself heard_]. All right, I'm

going, I give up!

[_He seizes his hat and rushes out, banging the door behind him.

Anne breaks away from her mother and sister, totters rapidly to

the door and calls down gently._]

ANNE. Not in anger, I beg of you, Harold! I am not blaming you. Good-by.

[_The street door is heard to bang. Anne collapses in approved

tragedy style._]

ANNE [_gasping_]. Get some water, Ruth. I shall be all right in a

moment.

[_Ruth rushes into the bedroom._]

MRS. CAREY. Oh, my dear child, calm yourself. Mother is here, dear. She

will take care of you. Tell me, dear, tell me.

[_Ruth returns with the water. Anne sips a little._]

ANNE. I will, Mother--I will ... everything ... later. [_She drinks._]

But now I must be alone. Please, dear, go away ... for a little while. I

must be alone [_Rising and moving to the fire._] with the ruin of my

dreams.

[_She puts her arms on the chimney shelf and drops her head on

them._]

RUTH. Come, Mother! Come away!

MRS. CAREY. Yes, I am coming. We shall be in the next room, Annie, when

you want us. Right here.

ANNE [_as they go out, raises her head and murmurs_]. Dust and ashes!

Dust and ashes!

[_As soon as they have gone, Anne straightens up slowly. She pulls

herself together after the physical strain of her acting. Then she

looks at the watch on her wrist and sighs a long triumphant sigh.

Her eye falls on the desk and she sees the package of florists'

cards still there. She picks them up, returns with them to the

fire and is about to throw them in, when her eye is caught by the

writing on one. She takes it out and reads it. Then she takes

another--and another. She stops and looks away dreamily. Then

slowly, she moves back to the desk, drops the cards into a drawer

and locks it. She sits brooding at the desk and the open paper

before her seems to fascinate her. As if in a dream she picks up a

pencil. A creative look comes into her eyes. Resting her chin on

her left arm, she begins slowly to write, murmuring to herself._]

ANNE [_reading as she writes_]. "Anne, my dearest.... I am on the train

... broken, shattered.... Why have you done this to me ... why have you

darkened the sun ... and put out the stars ... put out the stars?...

Give me another chance, Anne.... I will make good.... I promise you....

For God's sake, Anne, don't shut me out of your life utterly.... I

cannot bear it.... I...."

[_The Curtain

has fallen slowly as she writes._]

THE SHEPHERD IN THE DISTANCE

A PANTOMIME

BY HOLLAND HUDSON

THE SHEPHERD IN THE DISTANCE was first produced by the Washington

Square Players, at the Bandbox Theatre, New York City, on the night

of March 26, 1915, with the following cast:

THE PRINCESS _Frances Paine_.

THE ATTENDANT _Beatrice Savelli_.

THE SHEPHERD _Robert Locher_.

THE WAZIR _Arvid Paulson_.

THE VIZIER _John Alan Houghton_.

GHURRI-WURRI [_the Beggar_} _Harry Day_.

THE GOAT _E. J. Ballantine_.

SLAVES OF THE PRINCESS { _Josephine Niveson_.

{ _Edwina Behre_.

THE MAKER OF SOUNDS _Robert Edwards_.

Produced under the direction of William Pennington. Scenes and

costumes designed by Robert Locker.

PROGRAM

THE PERSONS:

THE PRINCESS.

THE ATTENDANT.

THE SLAVES.

THE WAZIR [_her guardian_].

THE VIZIER.

THE NUBIAN.

THE SHEPHERD.

THE GOAT.

GHURRI-WURRI.

THE MAKER OF SOUNDS.

THE SHEPHERD IN THE DISTANCE is published for the first time. The

editors are indebted to Mr. Holland Hudson for permission to include

it in this volume. The professional and amateur stage rights on this

pantomime are strictly reserved by the author. Applications for

permission to produce the pantomime should be made to Frank Shay,

Care Stewart & Kidd Company, Cincinnati, Ohio.

THE ACTION:

I. The Princess beholds The Shepherd in the Distance and goes in

quest of him.

II. Ghurri-Wurri, enraged by the Princess' meager alms, swears

vengeance.

III. He reveals her destination to the Wazir.

IV. Pursuit ensues.

V. The Princess meets The Shepherd in the Distance. Her capture is

averted by the faithful Goat.

VI. The Goat's long head evolves a means of rescuing The Shepherd

from the cruel Wazir.

VII. The Princess joins The Shepherd in the Distance.

THE STORY.[1]

Of the Princess, we know only that she was fair and slender as the lily,

that somehow the fat and stupid Wazir became her guardian, and that he

neglected her utterly and played chess eternally in the garden with his

almost-equally-stupid Vizier. Is it any wonder she was bored?

One afternoon the Princess called for her ivory telescope, and, placing

it to her eye, sought relief from the deadly ennui which her guardian

caused. In the Distance she discerned a Shepherd, playing upon his pipe

for the dancing of his favorite Goat. While he played the Princess

marveled at his comeliness. She had never seen before a man so pleasing

in face and person. At the end of his tune it seemed to her that the

Shepherd turned and beckoned to her. She dared watch him no longer, lest

her guardian observe her.

When the Wazir, the Vizier and the Nubian were deep in their afternoon

siesta, the Princess stole out of the garden with her personal retinue

and her small, but precious hope chests, and set forth toward the

Distance.

Now on the highway between the foreground and the Distance lived a

wretched and worthless beggar who had even lost his name and was called

Ghurri-Wurri because he looked absolutely as miserable as that. He

pretended to be blind and wore dark spectacles. The greatest affliction

of his life was that his dark spectacles prevented him from inspecting

the coins that fell in his palm, and he received more than his share of

leaden counterfeits.

When Ghurri-Wurri observed the approach of the Princess and her retinue

he reasoned from the richness of their attire that alms would be

plentiful and large and he fawned and groveled before them. The Princess

was generous, but she was also in haste, so bade her attendant give him

the first coin that came to hand, and hurried on.

Ghurri-Wurri's rage knew no bounds. He wept, he stamped, he shook his

fists, he railed, and he cursed. Then, perceiving the Princess'

destination, he made haste to notify her guardian. The Wazir would not

believe him at first and the beggar would have lost his head if he had

not happened on the Princess' telescope and placed it in the Wazir's

hand.

Gazing toward the Distance, the Wazir saw the Princess and her retinue

nearing their destination. He lost his temper and did all of the

undignified things which Ghurri-Wurri had done. Then, with the Vizier

and the Nubian, he set forth in pursuit, forcing the reluctant

Ghurri-Wurri to guide them. They ran like the wind, till the beggar

gasped and staggered, only to be jerked to his feet and forced on by the

implacable Vizier, who was cruel as well as stupid.

Meanwhile the Princess arrived in the Distance. The Shepherd, who was as

wise as he was comely, had proper regard for her rank and danced in her

honor to his own piping. They had scarcely spoken to each other when the

faithful Goat warned them of the furious approach of the raging Wazir.

The Goat carried the Princess to a place of safety on his back while the

Shepherd stayed to delay her pursuers. Of the Nubian he made short work

indeed, but the Vizier overcame him with his great scimiter and they led

him captive to the garden, leaving Ghurri-Wurri cursing on the sands.

Arrived at the garden, the Wazir ordered the Shepherd bound in chains

and went on with his chess game. The Shepherd, in a gesture of despair,

came upon the Princess' telescope and, seeking some ray of hope, gazed

into the Distance. Here he saw the Princess and his faithful Goat, who,

he perceived, had invented a plan for his deliverance.

Soon the Princess returned to the garden, disguised as a wandering

dancer. She danced before the Wazir and pleased him so much that he bade

her come nearer. She did so, and bound the Vizier's arms with a scarf,

which so amused the Wazir that he laughed loud and long. Then she bound

the Wazir's arms in the same manner and it was the Vizier's turn to

laugh. Into their laughing mouths she thrust two poisoned pills so that

in another instant they fell over, quite dead, amongst the chessmen.

The omnivorous Goat delivered the Shepherd from his chains with his

strong teeth and they all returned to the Distance, where they still

dwell in more-than-perfect bliss and may be discerned through an ivory

telescope any fine afternoon.

[1] A synopsis for readers only.

CONCERNING THE SCENERY.

In the original production by The Washington Square Players, THE

SHEPHERD IN THE DISTANCE was played in front of backgrounds of black

velvet. The garden scene consisted of a black velvet drop about half-way

between the curtain and back-wall, upon which a decorative white design

merely suggesting the garden and its gate was appliqued. This drop was

made in three sections, the middle one hung on a separate set of lines

so that it could be raised to show the "Distance" (as seen through the

telescope) without disturbing the rest of the scene.

The "Distance" consisted of a velvet drop hung slightly behind the

middle section of the garden scene, on the middle of which two large,

white concentric circles were appliqued around a circular opening about

five feet in diameter. The bottom of the opening was about eighteen

inches above the stage. Behind this stood a platform just large enough

to hold four characters at one time. Black masking drapes were provided

at both sides of the stage and behind the platform.

The Prologue, Scenes II, IV, V, the first part of Scene VII and the

Epilogue were all played before a plain velvet drop hung a few feet

upstage of the curtain line.

THE SHEPHERD IN THE DISTANCE has also been produced in colors very

effectively by the Hollywood Community Theatre, at Hollywood,

California. There is no reason why any highly decorative treatment of

scenery and costuming will not enhance the production if it be well

planned and consistent throughout.

IMPORTANT PROPERTIES.

The properties consist principally of a small chess table with most of

the chessmen glued on, two stools, a telescope, a balloon and papier

mache chain which are employed as a ball and chain, a very large Chinese

crash cymbal for the stage manager's use, and such personal properties

as occur in the text.

COSTUMES AND MAKE-UP.

Whatever scheme is selected for the scenery, the costumes and make-up

should be consistent with it. In the original production, all of the

characters but the Nubian were made up completely with clown white or

"Plexo," the eyebrows and eyes outlined in black and mouths rouged but

slightly. No unwhitened flesh was visible at all.

The Princess wore a white satin pseudo-Oriental costume with stiff ruffs

at the collar, wrists and knees, the trousers not gathered at the

ankles, a flat close-fitting turban with a number of ornaments and a

hanging veil, and white slippers. In the dance in Scene VI she used a

long black gauze scarf and a white one. Her attendant wore a similar

costume of cheaper material, an unornamented turban and black slippers.

Her slaves were also similarly garbed, in cotton, but with bulkier

turbans, and baggy trousers, gathered at the ankles.

The Wazir, armed with a preposterous "corporation," wore baggy white

trousers, gathered at the ankles, a sleeveless vest with wide,

horizontal black-and-white stripes, a white cloak hanging from his

shoulders which terminated in a large black tassel, a turban, a beard

made of several lengths of black portiere cord sewed to white gauze, and

white pointed shoes. His bare arms were whitened, his eyebrows were

short, thick and high up on his forehead, and he carried a black

snuff-box.

The Vizier's white trousers were not so full as the Wazir's; his tight

white vest had tight white sleeves; his cloak was shorter and without a

tassel. His white turban, however, was decorated with antennae of white

milliner's wire. He affected high arching eyebrows, a long pointed nose,

a drooping mustache, a disdainful mouth, carried a white wooden scimiter

about four feet long with a black handle and wore bells on his pointed

white shoes.

The Nubian wore black tights and shirt, black slippers and a white skull

cap and breech-clout. The rest of him, excepting his eyes and mouth,

which were whitened, was a symphony in burnt cork.

The Shepherd wore white, knee-length trunks, frayed at the ends, a

little drapery about the upper man, slippers and a cap. His body was

whitened profusely and he carried a tiny flute.

The Goat wore a white furry skin, horns, and foot and hand coverings

resembling hoofs. His make-up approached the animal's face as nearly as

possible.

Ghurri-Wurri wore tattered white baggy trousers, vest and cloak, a

turban and black goggles.

The Maker of Sounds was garbed in an all-enveloping white burnous and a

white skull cap.

A FEW STAGE DIRECTIONS.

Left and right, in this text, refer to the actor's, not the spectator's,

point of view. The action of the piece is meant to be two-dimensional;

the actors are to perform in profile as far as possible; except when

registry of facial expression is important the action should be parallel

with the back drop.

The entire action must be rhythmical and the rhythms should be used as

definite themes, one for the Princess and her retinue, another for the

Wazir, etc. The performance should be extremely rapid and must never

drag. The cast should direct special attention to the comic features,

and the director to the pictorial elements of the piece. The director

may consider the performance as an animated poster which moves rapidly

from design to design.

THE SHEPHERD IN THE DISTANCE

A PANTOMIME BY HOLLAND HUDSON

PROLOGUE.

[_The curtain rises on a plain drop curtain. The Maker of Sounds

enters with his arms full of instruments, crosses the scene and

sits with his back against one side of the proscenium, outside the

curtain line. He tries out all his instruments, wind, string,

percussion and "traps." He yawns. He becomes impatient and raps on

the stage._]

Cymbal Crash The lights go out

The drop is lifted in the darkness

Cymbal Crash The lights are turned on

SCENE I.

[_The Wazir's garden. Discovered left to right, the Nubian,

standing with folded arms, the Vizier, seated at the chess table,

playing with the Wazir. At the other side of the stage, the

Princess, her attendant, her two slaves. All stand motionless

until set in action by the Maker of Sounds._]

_The Music_ _The Pantomime, etc._

Tap--on Chinese wood _Nubian_ unfolds his arms

block

Tap He salaams

Tap Resumes original pose

Tap _Vizier_ moves a chessman

Tap _Wazir_ moves a chessman

Tap _Vizier_ moves a chessman

Tap _Wazir_ picks up snuff-box

Tap Opens it

Tap Offers Vizier snuff

Tap _Vizier_ takes a pinch

Sand blocks Sniffs it

Drum crash _Vizier_ sneezes

Drum crash Sneezes again

No sound Sneezes again

_Nubian_ sneezes synchronously with Vizier's

paroxysms

Tap _Vizier_ returns snuff-box

Tap _Wazir_ puts it away

Bell _Princess_ yawns

Tap Signals her attendant

Tap _Attendant_ picks up telescope

Tap Hands it to Princess

Wind instrument _Princess_ uses telescope

[The middle portion of the back drop is

lifted to show the "Distance" in which

the _Shepherd_ is discovered piping

for the _Goat's_ dancing.]

Stringed instrument _The Shepherd_ sees the Princess, stops

piping, and declares his adoration across

the distance. He beckons her to join him.

_Princess_ promises to do so.

[The lifted portion of the drop is

lowered again. The "Distance"

vanishes.]

Tap _Princess_ signals to her retinue

Tap _Attendant_ relays the signal

Tap _Slaves_ stoop.

Tap Lift the hope chests to their shoulders

Bass chord on _Princess and retinue_ take one step

stringed instrument downstage

Treble chord All lean forward, watching Wazir

Drum crash _Wazir_ and _Vizier_ stand up

Drum crash They glare at Princess

Tap on wood block They sit

Bass chord _Vizier_ yawns

Bass chord _Wazir_ yawns

Bass chord _Nubian_ yawns

Bass chord _Vizier_ nods

Bass chord _Wazir_ nods

Bass chord _Nubian_ drops on one knee

Treble chord _Princess and retinue_ lean forward

Bass chord They take one step

[A continuation of this business takes

them off at the left]

The lights go out

Cymbal crash [In the darkness. _Princess and retinue_

cross to right of stage, ready for

Scene II]

The plain drop is lowered

Cymbal crash The lights come up

SCENE II.

_The Music_ _The Pantomime, etc._

Tambourine jingles _Ghurri-Wurri_ discovered above at center,

with his dark glasses pushed up on his

forehead, counting his money.

Tap on piece He finds a bad coin

of crockery

Sand blocks Bites it

Tap crockery Throws it away

Begins the Princess Hears the _Princess and retinue_ approaching

rhythms on Chinese

wood block

[Telegraphically He pulls glasses over his eyes

expressed it is ... ...

... ... Musically,

accented triplets,

common time, _presto_] He grovels

Princess rhythm _Princess and retinue_ enter from the right

continues They pass by Ghurri-Wurri without pause

Drum crash _Ghurri-Wurri_ runs ahead and prostrates

himself before the Princess

Tap _Princess' retinue_ halts

Tap _Princess_ signals to attendant

Tap _Attendant_ signals to nearest slave

Tap _Slave_ proffers chest

Tap, Tap, Tap _Attendant_ opens it, takes coin, closes it

Tap Gives coin to Princess

Tap on crockery _Princess_ drops coin in beggar's hand

Princess rhythm _Princess and retinue_ exit at the left

Begin drum roll _Ghurri-Wurri_ looks at coin, scrambles to

_pp. cresc. to ff._ his feet, looks after Princess, shakes

his fists, starts to the right, turns,

shakes his fist again, exits at right,

raging

Cymbal crash Lights out

In the darkness Ghurri-Wurri crosses to

left of stage, ready for Scene III

The drop is lifted

Cymbal crash Lights up

SCENE III.

[The Wazir's Garden as in Scene I]

_The Music_ _The Pantomime, etc._

Bass chords _Wazir_, _Vizier_ and _Nubian_ asleep as

before

Tap on drum _Ghurri-Wurri_ enters at the left

Tap on drum Prostrates himself before Wazir

Bass chord _Wazir and court_ sleep on

Tap on drum _Ghurri-Wurri_ again prostrates himself

Bass chord _The Court_ sleeps on

Drum crash _Ghurri-Wurri_ slams himself down hard

Drum crash _Wazir_, _Vizier_, _Nubian_ awake

Drum roll _Wazir_ shakes his fist at the beggar

Wood-block tap Signals Vizier

Sand blocks _Vizier_ runs thumb along his scimiter

blade

Tap _Ghurri-Wurri_ retreats to the right

Tap He stumbles over the telescope

Tap, tap He picks it up and hands it to the Wazir

Tap _Ghurri-Wurri_ points to the "Distance."

Tap _The Wazir_ uses the telescope

Princess rhythm The "Distance" is revealed as in Scene I

_Princess and retinue_ are seen traveling

[across the platform from right to left]

Tap _The Wazir_ lowers the telescope

The "Distance" vanishes as in Scene I

Drum crash _Wazir_ stamps his foot

Drum roll He shakes his fists, first at the distance,

then off left

Tap Points at Ghurri-Wurri

Tap _Vizier_ seizes Ghurri-Wurri by the scruff

of the neck

Tap _Vizier_ points off left with his scimiter

Wazir rhythm on _The Court_ _and_ _Ghurri-Wurri_ begin to

wood-drum run, _Nubian_ first, then _Ghurri-Wurri_,

[Telegraphically then _Vizier_, then _Wazir_. The running

stated ... ... etc. is entirely vertical in movement, no

ground being covered at all.

Musically, accented Lights out

eighth notes in 2/4 [In the darkness, the runners move downstage

time, _presto_] without losing step. A plain drop is lowered

behind them]

Cymbal crash

Cymbal crash Lights on

SCENE IV.

_The Music_ _The Pantomime, etc._

Wazir rhythm, The runners increase their speed throughout the

_crescendo_ and scene

_acceleramento_ _Ghurri-Wurri_ slips to his knees,

_Vizier_, without losing a step, jerks him back on

his feet

_Ghurri-Wurri_, pointing left, resumes running

_Wazir_ points left

When the runners have reached their maximum speed

Cymbal crash The lights go out

In the darkness the _Wazir's court_ and

_Ghurri-Wurri_ exit and take their places

at the right ready for Scene V

_The Shepherd_ and _Goat_ take their places

Cymbal crash Lights up

SCENE V.

_The Music_ _The Pantomime, etc._

Wind instrument [A plain drop]

_The Shepherd_ is discovered well to the left,

piping for the Goat

_Goat_ is dancing

Begin Princess _Goat_ stops to listen, looks off to the right

rhythm _Shepherd_ looks to the right

_Goat_ crosses to extreme right, bows

_Princess and retinue_ enter

Tap They halt

Tap _The Shepherd_ kneels to the Princess, then dances

for her

Stringed instrument

Drum roll _pp. _The Goat_ becomes alarmed

crescendo_ _All_ turn and look to the right

_Goat_, on all fours, offers his back to the

Princess

_Shepherd_ induces

_Princess_ to sit on Goat's back

Princess rhythm _Goat_ exits, followed by Princess and retinue

Tap _Shepherd_ folds his arms

Wazir rhythm _Wazir's Court_ and _Ghurri-Wurri_ enter from the

right

Tap They halt

Tap _Wazir_ points to Shepherd

Tap _Vizier_ brandishes his scimiter

Drum roll _Nubian_ approaches Shepherd

Drum crash _Nubian_ falls

Drum roll _Wazir_ shakes his fists

_Crescendo_ Points at Shepherd

to _Vizier_ attacks Shepherd with scimiter

_Shepherd_ grasps scimiter

They struggle, conventionally, one, two, three,

four, five, six

Drum crash _The Shepherd_ falls

Drum roll _The Vizier_ waves his scimiter aloft

Drum roll _Wazir_ exults

Tap _Nubian_ rises

Tap _Wazir_ points to the right

Tap _Vizier_ points at Shepherd with scimiter

Tap _Nubian_ seizes the Shepherd

Wazir rhythm _Wazir's Court_ and _Shepherd_ exit at the right,

ignoring Ghurri-Wurri, Nubian and Shepherd

first, then Vizier, then Wazir. [All cross

behind the drop to left of stage ready for

Scene VI]

Drum crash _Ghurri-Wurri_ stamps his foot

Drum roll Shakes his fists after them

Drum roll Runs to left and shakes his fists at the Princess

Drum roll Runs to right and shakes them at the Wazir

Runs to center and shakes them at the audience

Cymbal crash Lights out

_Ghurri-Wurri_ exits

The drop is raised

Cymbal crash Lights on

SCENE VI.

[The Wazir's garden. No characters on scene]

_The Music_ _The Pantomime, etc._

Wazir rhythm _Nubian_ enters from left, holding the Shepherd

The _Wazir_ and _Vizier_ follow

Tap _Wazir_ takes his seat, smirking

Tap _Wazir_ orders Shepherd thrown down at the right

Drum crash _Nubian_ complies

Tap _Vizier_ orders Nubian off right

Wazir rhythm, fast _Nubian_ hurries out

Wazir rhythm, slow Reenters, staggering under a ball and chain [the

chain of papier mache and the ball a balloon]

Drum crash Drops these beside the Shepherd

Clank, clank Rivets chain to Shepherd's leg

Tap Rises

Tap _Vizier_ orders Nubian off, left

Wazir rhythm _Nubian_ exits left

Tap _Vizier_ sits

Tap _Wazir_ moves a chessman

Tap _Vizier_ moves a chessman

Tap _Shepherd_, in a gesture of despair, finds the

telescope

He looks into the "Distance"

[The "Distance" is shown as in Scene I]

Stringed music _Princess_ and _Goat_ discovered in conference.

Goat has an idea. He points to the Shepherd,

then to the Wazir, then to the Princess and

executes an ancient dance movement which is

contemporaneously described as the "shimmy"

_The Princess_ claps her hands and exits,

followed by the Goat

Tap _Shepherd_ lowers the telescope

[The "Distance" vanishes]

Tap _Shepherd_ is puzzled

Stringed music _Princess_ enters from the left, veiled and

carrying a scarf in her hands

_Goat_ enters with her, goes at once to the

Shepherd

_Princess_ poses at center

_Wazir_ and _Vizier_ turn, smirking

_Princess_ dances

_Wazir_ leers and strokes his beard

_Princess_ ends dance beside Vizier

Chords, agitato She ties his arms with her scarf

Sand blocks _Wazir_ is convulsed with laughter

Chords _Princess_ binds Wazir's arms with her veil

Sand blocks _Vizier_ is convulsed with laughter

Princess rhythm on _The Attendant_ enters from the left with a box

wood drum on which a skull and cross-bones are conspicuous

Tap _Princess_ takes two pills from the box

Tap She pops them into her prisoners' open mouths

Princess rhythm _The Attendant_ exits as she came

Sand blocks _Wazir_ and _Vizier_ swallow vigorously

Drum crash They lay their heads upon the chess table and die

Tap _Princess_ beckons to the Shepherd

Tap _Shepherd_ points to his fetters

Tap _Goat_ attacks the ball and chain

Drum crash He "bites" the ball [bursts the balloon]

Tap He "bites" the chain.

String music _Princess_, _Shepherd_ and _Goat_ dance in a

circle

Cymbal crash Lights out

_Princess_ and _Shepherd_ and _Goat_ ready at left

for next scene

The drop is lowered

Cymbal crash Lights up

SCENE VII.

_The Music_ _The Pantomime, etc._

String music _Princess_ and _Shepherd_ dance across followed

by the _Goat_, who is playing on the Shepherd's

pipe

_Princess_ and _Shepherd_, behind the drop take

their places on the platform

Cymbal crash Lights out

[The drop is lifted]

Cymbal crash Lights on

[The Wazir's garden with the middle

section of the drop lifted to show

the "Distance"]

String music _Shepherd_ and _Princess_ discovered in the

"Distance" posed in a kiss

Cymbal crash Lights out

[The drop is lowered]

Cymbal crash Lights on

The Maker of Sounds rises, yawns cavernously,

bows very slightly and exits

[_Curtain._]

BOCCACCIO'S UNTOLD TALE

A PLAY

BY HARRY KEMP

PERSONS OF THE DRAMA.

FLORIO [_a poet_].

OLIVIA [_Florio's mistress_].

VIOLANTE [_a Florentine noblewoman_].

LIZZIA [_Florio's serving-woman_].

DIONEO [_a member of Boccaccio's party_].

ONE VOICE.

ANOTHER VOICE.

VARIOUS PROCESSIONS BEARING THE DEAD.

TIME: _The year of the Great Plague, A. D. 1348_.

PLACE: _Florence_.

Published by permission of and special arrangement with Harry Kemp.

Applications for the right of performing BOCCACCIO'S UNTOLD TALE must

be made to Mr. Harry Kemp, in care of Brentano's, New York.

BOCCACCIO'S UNTOLD TALE

A PLAY BY HARRY KEMP

[SCENE: _A lower room in Florio's house. It is wide and simply

furnished._

_In the center, at back, is a large doorway, hung with great black

arras. In the right-hand extreme corner is a small altar to the

Virgin._

_In wall, at back, high up on left, a small window._

_A smaller doorway, hung with arras of black, is on the left, well

toward the front. This doorway gives on the study of the poet._

_At rise of curtain the stage is lit with the uncertain light of

tapers._

_Lizzia, the old servant, is discovered kneeling at the altar._

_Soon she rises, crossing herself devoutly._

_Demurringly and with deprecating shakes of the head, she begins

hanging wreaths about the walls of the room._

_After the hanging of each wreath she crosses herself, and, with

agitated piety verging on superstition, she bends the knee briefly

before altar._

_Now the wreaths are all in place.... Through the small window the

grayness that comes before dawn begins to glimmer in._

_One by one Lizzia snuffs out the tapers._

_For a moment everything is left in the gray half-darkness._

_But now Lizzia draws aside the large black arras in the back.

There is revealed a magnificent panoramic view of medieval

Florence, flushing gradually from pearl-gray to soft, delicate

rose, then to the full gold of accomplished sunrise._

_Again the old woman kneels at the altar._

_Enter, through the open doorway at back, Violante--rather tall,

good-looking, quite dark._

_Violante stands silent for a moment. One can see that it is in

her thought to wait till Lizzia finishes her devotions ... then

she becomes impatient and breaks in on them._]

VIOLANTE

Lizzia, where bides your master, Florio?

I sped a servant hither yesterday,

To bid him come to me, and now, this morning,

I come myself.

LIZZIA

For three days he has looked upon no one.

Even I, who wait upon him, have not seen him.

VIOLANTE

Where keeps he, then?

LIZZIA [_indicating the small doorway_].

Yonder, within that arras.

VIOLANTE

Summon him forth!

Say the Lady Violante waits his presence.

LIZZIA

He will grow wroth with me--nor will he greet you.

VIOLANTE

Fears he, then, the Plague so? Is he too such

As dare not walk abroad nor breathe the air

Lest he should drink infection?

LIZZIA

Not so, Lady, but he--

VIOLANTE

Tell him, then,

Our friend Boccaccio, the story-teller,

Has shaped a brave device against the Plague....

Before the sun climbs higher into day

And the night's Dead are heaped up in the streets

For buriers and priests to draw away,

A group of goodly ladies and gentlemen

Go forth to a sequestered country place

Remote from Florence and invisible Death.

There, in green gardens full of birds and leaves,

The blue, cloud-wandering heaven spread above,

We shall beguile the time with merriment,

Music and song and telling of many tales,

Trusting that Death, glutted with multitudes,

Will pass us by.... We need but Florio

To bring our perfect pleasure to the brim.

LIZZIA [_obstinately_]

But he will see no one, Lady, not even you.

He is--he is--

VIOLANTE

Not smitten by the Plague?

LIZZIA [_hesitating_]

Nay, he has taken a vow of close seclusion.

VIOLANTE [_confidently_]

But he knows not I am here--the Lady Violante! [_A pause_.]

[_Impetuously_] Go, tell him it is I,--

Nor take upon yourself such high command!

LIZZIA [_somewhat resentfully_]

I am a servant,

I only do as he commanded me....

[_Barring way_.]

VIOLANTE [_distractedly_]

Strange that he should so change in ten days' space.

[_With passionate abandonment_]

Old woman, go this instant--summon him!

I will abide your crabbed ways no longer.

LIZZIA [_stung to retaliation_]

Lady, he would not look upon your face

If you made him ruler of the world for it.

VIOLANTE [_flaming_]

What new freak of his is this?

He is as full of moods as any woman....

But I had never thought--

[_Determined_]

I will go to him!

LIZZIA [_again barring way_]

I could tell you many things,

But I would spare you.

VIOLANTE

Spare me!... you insolent, presumptuous old woman,

What have I,

I, the Lady Violante Ugolini,

To do with your good master, Florio,

Beyond a fostering friendship for his song!

Else he were nothing to me....

You are presuming on your age and service--

He shall rebuke you for this....

LIZZIA

Very well, Lady, if you must know--

He has sworn that he will look upon no one

Till he behold--Olivia!

VIOLANTE [_startled_]

Olivia!... who is Olivia?

LIZZIA

She is a girl who came from Padua

Hither, to flee the Plague ... and fled in vain.

He has loved her just ten days ... since first she came....

She came to him, a stranger, singing songs--

His songs!

VIOLANTE

And flattering him so--he loved her!

LIZZIA

Nay, she was beautiful, my noble lady,--

Surpassing wonderful.... "His shining dream

Of ivory and gold," he called her....

VIOLANTE [_coldly_]

What has all this to do with me?

[_Relapsing into forgetful eagerness._]

Tell me, where, then, is his Olivia now?

LIZZIA

The Plague! He gave her to a doctor's care,

Beggaring himself therefor, as one who loves!

VIOLANTE

And now he shuts himself away for grief

Because she died!... But, if she be dead,

Wherefore these garlands?--

Or does he think she will come back, alive?

LIZZIA

The learned doctor swears if she survives

Three days, she shall not die.

VIOLANTE

Not die, in sooth!

Who is this man who resurrects the Dead?

Why, folk whose nerves and sinews sing with life

Sicken, fall down, and seethe with death and worms

Within an hour, and they, the few who live,

Living, curse God because they did not die....

He would best think of the Living, and forget

The Dead.

LIZZIA

Half-crazed with love, he dreams she will return....

This is the morning after the third day--

This is the very hour she would return.

Suppose the learned doctor keep his word?--

Hence have I hung these garlands.

[_The sounds of a funeral procession heard approaching.... The

procession passes the large doorway, going by, along the street,

without. The people bear candles.... They pass slowly by the open

door ... bodies being carried in shrouds._]

ONE VOICE

We bore the son ... and now we bear the father....

ANOTHER VOICE

And I or you, mayhap, will be the next.

LIZZIA [_continuing_]

These wreaths, they seem a mockery of Heaven.

I pray that God will smite me not--I do

What I am bid!...

VIOLANTE [_half to herself_]

She will not come!...

[_To Lizzia_]

Is there nothing will cure his madness?

LIZZIA

Even if she die they are to bring her hither....

VIOLANTE

Hither? And all corrupt? Then Death will strike you both!

LIZZIA

Lady, I am so old I'd rather sleep

Than walk this sinful, weary world; and be--

He will unshroud her, kiss her lips, and die!

VIOLANTE [_with great bitterness_]

Fie, this our Florio--he has loved before,

And he will love again, and yet again....

Women's beauty he loves, not any woman!

LIZZIA

What you have said were true ten days ago--

Do I not know him, Lady?... But a change

Has come upon him that I marvel at--

So great a change in such a little while....

Ah, looked you on them when they were together,

Saw you how he is caught up in her face

And all the beauty of her, you would say

"Here is a love, at last, that climbs from earth to heaven!"

VIOLANTE [_laughing harshly_]

It is her beauty he loved; not she

The thing he loved! A poet, he!...

[_A pause._]

It were as well you tore these garlands down:

If, by a miracle, she should return,

The Plague will have marked her with such ugliness

That even you will shine like Helen of Troy beside her!

Much will he care, then, if she sing his songs!

Had she a voice like a garden of nightingales

He could not listen to her without loathing....

[_Sounds of approach of another funeral procession._]

VIOLANTE [_continuing_]

Pray draw the arras, Lizzia, and close out

The things that they bring by.... They have begun

To move the night's innumerable Dead.

[_Lizzia draws the large arras.... From now on, till the very

last, just before climax, sound and murmur of processions are

continually heard._]

VIOLANTE [_persistently_]

I think she will not come--

But, if she does, she should be spared the cruelty

Of his heart's change,

And he, her marred, plague-broken face!

Stand aside--let me pass....

LIZZIA [_barring way again_]

He took his oath

Before that altar, to the most high God!

You shall not break his vow....

VIOLANTE

Let me go to him--here are my jewels!

FLORIO [_calling from within_]

Who is it speaks without? Whose voice is this

Wrangling and breaking in upon my peace?

LIZZIA

The Lady Violante Ugolini!

FLORIO

To-day, of all days, must I be alone....

[_Florio pushes out arras from small doorway and stands before it,

so that he remains unseen to Violante and Lizzia._]

FLORIO [_to Lizzia_]

Go, Lizzia, I will speak with the Lady....

Have you the wreaths hung, Lizzia?

LIZZIA

Aye, master Florio!

FLORIO

Have you the table heaped with delicacies

In the green space by the fountain-shaken pool?

LIZZIA

I go to set the viands now, my master.

[_Lizzia goes out._]

FLORIO

Violante, if you would speak with me,

Stay where you are--I cannot look upon you.

VIOLANTE

Not look upon me?

FLORIO

Nor must you look on me.... I have vowed a vow!

VIOLANTE

How strange you are!...

I had thought to rush into your arms!...

Have you forgotten so soon the oaths you took?

[_She starts toward him._]

FLORIO [_hearing the rustle of her garment._]

Move one step further and I draw the arras!

VIOLANTE [_halting and hesitating_]

Have you forgotten the first time you saw my face

And sent a sonnet to me?... It seems but a day

Since you were awed by my nobility....

And when I let you press your burning lips

Against my hand, you swore it made you God!

[_Sadly_]

From that time it was not far to my mouth....

And, after that, what with the shining moon,

And nightingales beginning in the dusk,

And songs and music that you made for me--

In a little while I was entirely yours!...

FLORIO

Remember that young nobleman who died

For love of you?... I was your pastime, merely that!

And so I sipped what honey came my way.

But why do you come now?

Did you not leave me without a word?

VIOLANTE

My father....

[_Sombrely_] My father whom the Pestilence has smitten--

FLORIO [_quickly_]

You sent me no message.

VIOLANTE

Every door was watched ... he might have had you slain....

He bore me off to Rome....

FLORIO

You loved me, then?

VIOLANTE

And did not you love me?

FLORIO

I could have sworn I did.

VIOLANTE

O Florio!...

Where is my pride of rank, my woman's shame.

That I should come like this to you!

FLORIO

Speak not so, Violante--I pray you go!

VIOLANTE

You love another, then?

FLORIO [_ecstatically_]

I have loved beauty, beauty all my life!

VIOLANTE

We are not metaphors and pale abstractions,

We women ... nor would we be prized alone

For smooth perfections.... [_Low and intense_] Say that you loved a

woman

Smitten with the Plague, say, further, that she lived--

One among ten thousand--that she came back to you,

[The one thing sure] hideous and marred--

FLORIO

You try me sorely!

Violante, I pray you, go!

VIOLANTE [_persistently_]

I have come hither

To bid you come away with me.

FLORIO

It may not be.

VIOLANTE [_slowly_]

The other one--there is another one!--

I pity her!

FLORIO

You need not.

VIOLANTE

Ah, then, there is another?

FLORIO

Have you no pride, my Lady Violante?

VIOLANTE

That I have not,

For shameless is the heart that loves.

FLORIO

Then shamelessly I love

Another face, another heart and body,

Another soul, unto eternity--

She is all beauty to me, and all life--

So shall she be forever!

VIOLANTE

Forever? That is what you swore to me.

FLORIO

I have not sworn a single oath to her,

And yet she made earth heaven in a day,

And earth continues heaven.... Go, noble Lady!

VIOLANTE

You have no pity on me?...

You see

How humbly I've become....

FLORIO

To pity you, Lady, would be cruel to her!...

In a month you will be glad.

VIOLANTE

You have slain me, Florio!

FLORIO

Farewell, Violante!

[_Violante affects to go. But she stops quickly at large door in

back and reenters on tiptoe. Florio withdraws to his study again,

after listening for a moment_.]

LIZZIA [_reentering_]

You have not gone, my Lady Violante?

VIOLANTE

I will not go

Till I have looked upon this woman's face!

[_As she finishes these words, the great black arras in the back

is listed and a hooded and veiled woman enters. She stands

regarding the two other women in silence._]

VIOLANTE

Ah!

LIZZIA

The miracle has come to pass!

[_Crosses herself._]

VIOLANTE

Do they call you Olivia? Speak, woman!

OLIVIA

Yea, I am she--but where is Florio?

[_Violante straightens, proud and erect, as if she had been struck

an invisible blow._]

LIZZIA

He waits for you within.

OLIVIA

So he had faith I would not die?

LIZZIA

He had these garlands hung for your return.

He has lived beneath a holy vow, the days

You were not here: shut in his room,

Yours must be the first face

He sees, on his return to light and life.

He must have fallen asleep from weariness

Or he had heard your voice.

[_To Violante._]

Now, Lady Violante, you must go!

VIOLANTE [_indignant_]

How? I must go?

LIZZIA

You would not stay?

VIOLANTE

Yea, I would stay to see this love grow dark

And shrink to hate.

OLIVIA [_astonished_]

And shrink to hate?

VIOLANTE

When you remove your veil

Behind which ugliness that beggars hell

Lies hidden--

OLIVIA [_dazed_]

Ugliness?

VIOLANTE

Cast by your veil!...

Well may you shrink from your own hideousness

Since the foul plague has withered up your face

And seared it till you die....

There shines your mirror, wrought of polished brass--

How many hours you have dallied at it

Only the beauty that you once possessed

Can tell.

You will no longer find a use for it.

OLIVIA [_recovering herself_]

I trust I shall!

LIZZIA [_to Olivia_]

Alas, dear God! And is it true, Olivia?

OLIVIA [_to Lizzia_]

Would he not love me still if it were true?

LIZZIA [_to Olivia_]

I am old and wretched and full of woe.

I have known life too long.

VIOLANTE [_to Olivia_]

He whose one cry is beauty! How could _that_ be?

OLIVIA [_almost singing in speech_]

Then, God be praised, I need not try him thus!

For God has wrought two miracles with me:

I live, and I am beautiful!

VIOLANTE

Unveil your face, then--give yourself to sight.

OLIVIA

His must be the first eyes that look on me.

VIOLANTE

Ah, so you trust that you, with fond deceit,

May find some magic way to cozen him?

LIZZIA [_with great emotion_]

Go, Lady--I see darkness in the air,

I thrill to some strange horror, yet unguessed....

Go, Lady Violante, I pray you, go!

[_Lizzia lifts arras in back for Violante's exit. Violante does

not move from where she stands._]

VIOLANTE [_persistently, to Olivia_]

Woman it is your beauty that he loved,

And that alone ... just as he loves a flower

Or sunset.... That gone, lo, his love is gone!

OLIVIA

Strange woman, there is evil in your voice!

And yet I know he loves me for myself,

Taking my beauty, none the less, in gladness

Like any transitory gift from God.

VIOLANTE

And yet you dare not put him to the test?

OLIVIA

What test?

VIOLANTE

To make him first believe

That you are ugly!

OLIVIA

I would not toy with such a splendid gift

As a man's love.

VIOLANTE [_mocking_]

Ah ... in sooth?

OLIVIA

How strange you look ... yet stranger is your speech.

VIOLANTE

Before you came--whom loved he then?

OLIVIA

I do not think he was like other men.

VIOLANTE

Like other men he took and tossed aside,

Deceived and lied and went from heart to heart

Reaping the richness of each woman's soul.

OLIVIA

Go, lest I strike you!

VIOLANTE

Poor, fond, believing child--

Now I would not have you test his love!

OLIVIA [_stirred_]

By all the saints, I'll put him to the test!...

[_As Violante steps closer to her_]

Nay, I'll not let you look upon my face....

He must, as I have vowed, look on it first,

Nor will I break that vow--[_Her vanity conquering_]

But lift yon mirror

And you shall look in it and see me there

Reflected!...

[_Violante lifts mirror so she and Lizzia can see reflection_.]

OLIVIA [_with simplicity_]

Keep your backs so!

[_Unveiling briefly, then drawing veil again_.]

There! Have I lied?

VIOLANTE

He always worshiped beauty.... You are fair!

OLIVIA

Soon will you know our love has mighty wings

Outsoaring time into eternity!

VIOLANTE

I'll have him forth--are you ready for the trial?

OLIVIA

Do you persuade him of my ugliness....

If he loves me not I shall go forth and die--

Then life will be far too like death to live!

LIZZIA [_agonized_]

My little children, you must not do this thing!

Love is too high a gift to play with so.

God only has the right to put the heart

Of man to trial!

VIOLANTE [_to Lizzia_]

Will you be quiet, old woman!

OLIVIA [_to Lizzia_]

I would not hold him if he only loved

My beauty, and not me. The test is just....

VIOLANTE [_to Lizzia_]

Go you, inform him of her return....

But tell him that that flower which was her face

Is shriveled up and lean as any hag's.

LIZZIA

Now God forbid I should deceive him so!

VIOLANTE

Not even for gold?

LIZZIA

Have you no fear of God?

[_A stir is heard within._]

VIOLANTE

Hush!... I will do it, then.

[_Going up to small arras over study door, she calls._]

Florio!... Florio!...

FLORIO [_from within, after a brief space_]

Who is it calls me?

VIOLANTE

It is I, Violante!

FLORIO

Why have you come again?

VIOLANTE

I have returned, Florio,

In strange times, bearing strange news.

FLORIO

My soul is full of death--I pray you go!

VIOLANTE

It could not be--aye, it is passing strange!--

She said her name was "Olivia."

FLORIO

Olivia, ah, she lives!

VIOLANTE

Then, it is true? You love this shriveled woman?

FLORIO

Shriveled woman?

VIOLANTE

Ugly and bent and gray--a woman

Who says in as few words she is your mistress.

FLORIO

Has she come? Is she here?... Go, Violante--

Go, leave us two alone!

VIOLANTE

She walked as one bewitched in a dream.

She seemed to fear.... I bade her wait without....

Florio, could it be true you loved this woman?

FLORIO

Has all the brightness fallen from her eyes,

The glory and the wonder from her face?

VIOLANTE

She _lives_! How few have had the plague and _lived_!

FLORIO

Alas, woe, woe is me!

VIOLANTE [_triumphantly, to Olivia_]

You heard?

[_To Florio._]

Come forth--she's at the threshold.

FLORIO

Bid her wait.

Give me space for thought ... a little space....

This is almost as horrible as her death....

[_Long silence. The women wait.... Groaning within. Olivia starts

forward to go to Florio._]

VIOLANTE [_to Olivia_]

Do you flinch now? I knew you would not dare!

[_Olivia stops. Proudly she remains still._]

VIOLANTE [_as arras stirs_]

Now bear _your_ part--continue the deceit.

OLIVIA [_in a frightened voice_]

I know he loves me. Yet a little while

And I will draw my veil!

[_Another groan. Olivia starts forward again._]

Oh, I cannot!

VIOLANTE [_mocking_]

I knew you would not dare!

[_Again Olivia stops still. Now, after a long pause, during which

death processions are heard to pass, the arras over the smaller

doorway is slowly put aside. Florio enters, swaying. He holds his

cloak about his brow._]

FLORIO

Where is Olivia?

OLIVIA [_feigning with an effort_]

Florio, God pity you and me--

I had rather died!...

FLORIO

Oh, speak not so!

OLIVIA

My "beauty clean and golden as the sun,"

As once you sang it, has become so gross

And fearful, that I veil it, broken with shame,

From eyes of men.... [_A pause._] 'Tis well you cloak your eyes,

For should I drop my veil through which I glance--[_Another pause._]

Shall I go?

FLORIO [_breathing heavily_]

No ... for I love you ... bide with me....

[_With great effort_] ... Though you be foul, Olivia!

[_As he still stands muffled, Olivia grows more and more

frightened at what she is doing, and now, in complete surrender to

terror, gives over the deceit and speaks the truth._]

OLIVIA

Florio, my Florio--draw down your arm....

No longer need you fear to look on me--

It was a test, my love, a cruel test!

[_She draws aside her veil, the other women in back of her, Florio

obliquely in front. Her face is seen to be one of surpassing

loveliness._

_Florio, groaning, keeps his face cloaked and does not speak._]

OLIVIA

Look, my beloved, or I shall go mad!

[_Olivia tugs at his arm. He lowers it. He exposes a sightless

face._]

LIZZIA [_breaking in on the awful pause_].

Self-blinded, my poor master!

VIOLANTE

Oh, Florio, what is this that I have done!

[_Olivia has dropped slowly back, stricken dumb with voiceless

terror. Her throat works convulsively with a scream which now

rushes forth._

_Florio falls to his knees, again covering his face and bowing his

head. Olivia comes and kneels, grief-stricken, beside him, putting

one arm about him in support._]

OLIVIA [_sobbing_]

There is ... no one ... that's ... uglier ... than I!

FLORIO [_convulsively_]

You were the glory of the world, Olivia!...

And now ... your beauty ... that is ... dead ... will always be ...

to me ...

The glory of ... the world!... forever and forever!...

OLIVIA

Oh, if you could but see my ugliness--

I think there's nothing like it in the world!

O God, why did I not die an hour ago!

VIOLANTE [_crazed anew with jealousy_]

Florio, Florio--Olivia lies!

Her beauty floods the very room with light--

You are deceived most horribly!

OLIVIA

Command that woman hence;

She is the source and cause of all our ill.

FLORIO

What does this mean? My soul is sick to death!

VIOLANTE

I tell you, Florio, that she lies to you.

[_To Lizzia._]

Tell him the truth, old woman, and beware,

As you have fear of Hell, belief in God,

And hope of Heaven, to perjure not your soul!

LIZZIA [_at first frightened and irresolute, then quietly determined._]

God help me--she is surpassingly--ugly!

[_Returning Violante glare for glare._]

Her ugliness--!

[_Breaking down, she goes to altar and drops on knees before it._]

FLORIO

Go, Violante!

VIOLANTE

I could curse God for this!

[_Violante staggers toward the great black curtain in doorway,

where she supports herself by clinging to it._]

FLORIO

Olivia, come back to me from the great Dark--

All life is but a ghost. Where are you, Olivia?

OLIVIA

I am here--close to you, Florio!

FLORIO

What have you women done to me!

[_To Olivia._] Your face!

An evil dream is in my heart!

[_He gropes, catches her quickly on each side of the head with

both hands. He draws her down to him. He runs his fingers

flickeringly over the smooth, rosy beauty of her face...._

_Then, with an eyeless, uplifted countenance which reveals

complete understanding and an abyss of horror and madness, he

slowly pushes Olivia away...._

_He lifts his fingers up grotesquely in the air, each distinct and

widespread--painfully, as if fire spurted out of the ends of them.

Olivia weeps...._

_Lizzia intones prayers...._

MISS IVORY. Oh! Come on, Robert, say anything.