THE DEVIL
by FERENC MOLNAR
adapted by
OLIVER HERFORD
by exclusive arrangement with
the author
NEW YORK
MITCHELL KENNERLEY
1908 (Copyright by Henry W. Savage)
[Illustration: Olga and Dr. Miller (The Devil)]
As originally produced by
HENRY W. SAVAGE
at Hartford, July 6th, 1908
Staged by Robert Milton, with the assistance of
Julius Herzka, Director-General of the
Volks-Theatre, Vienna
CAST OF CHARACTERS
IN ORDER OF APPEARANCE
Karl Mahler, an artist Paul McAllister
Heinrich, his valet W. Chrystie Miller
Mimi, his model Marion Lorne
Olga Hofmann, the banker's wife Dorothy Dorr
Herman Hofmann, a banker Frank Monroe
The Devil (calling himself Dr. Miller) Edwin Stevens
Elsa Berg, an heiress Marguerite Snow
Madame Zanden Nan Lewald
Madame Reineke Jane Murray
Madame Schleswig Guests at the Theodosia de Cappet
Madame Lassen Hofmanns' ball Tina Marshall
Herr Grosser John McKee
Herr Besser Arthur Hoyt
Man Servant Franklin Bixby
SYNOPSIS OF SCENES
ACT I.--Karl Mahler's Studio, Vienna. (Afternoon.)
ACT II.--Conservatory Reception Room at the Hofmanns'.
(Evening.)
ACT III.--At Karl's Studio. (The next morning.)
STAGE DIRECTIONS
_Up._ away from audience
_Down._ toward audience
_Up C._ centre of stage, away from audience
_R._ right of stage
_L._ left of stage
_C._ centre of stage
_R. C._ to right of centre
_L. C._ to left of centre
THE DEVIL
ACT I
SCENE.--_Room next to_ KARL'S _studio. At the back of the
stage to the L. is a glass door with portière towards the
stage. When this door is opened one can see the studio.
Bach of the stage to the R. a fireplace with burning
fire. Round the fireplace an elevation about half a yard
high reaching into the middle of the room. This elevation
is bordered by a wooden railing with an opening on each
side--in the middle of the railing an ancient Gothic chair,
with back towards the public; the back of the chair must be
so high that a person sitting in it cannot be seen by the
public. On the R. a door leading into the entrance hall of
the apartment. There is a little invisible door covered as
the rest of the room, with wall paper, on the L. near the
footlights. About a yard from this door, a settee with the
head end towards the glass door of the studio. Next to this
settee a small, ancient table, about one yard high. On the
L. a curio cabinet (small); next to it a hall stand with
some shawls of different colors. On L. next the settee a
large, gilded, stand-up candelabra, as used in churches._
_There are many sketches, framed and unframed, about the
room--some statues, some heads, and a very elegant electric
candelabra hanging in the middle of the room. The whole
thing unharmonious but artistic. Down stage on the R. a
medium-sized table littered with books, magazines and
bric-à-brac; a large palette lies on the top of some books
and scattered among the other things some tubes of paint
and paint brushes._
(_When the Curtain rises the stage is empty for a
few minutes._)
KARL, _comes in with hat and overcoat which he takes off_
Heinrich! Heinrich!
[HEINRICH, _coming from studio_.
KARL
Where were you?
HEINRICH
Nowhere, sir.
KARL
The door is wide open; anybody could have walked in.
[HEINRICH _goes into the studio and comes out
with a velvet house-jacket. Calling after him:_
Where's today's paper?
[_He finds the newspaper._
Well, hurry up.
[HEINRICH _comes back and helps_ KARL _put on his
jacket._
KARL, _lights a cigarette_
Did you take my dress suit to be pressed?
HEINRICH
Yes, sir: he will bring it back in an hour.
[_Starts R._
KARL
Good! Here's a crown. Get me a white tie, same as the last
one.
[HEINRICH _starts R._
Hold on! Put out a dress shirt on the bed, then look for my
pearl buttons--they are probably in the top drawer--in a
match-box. Stop! Give me that crown. Take this.
[_Gives him a bill._
Get me a pair of white gloves, seven and a half. Oh! and
Heinrich, before you go, put the Venetian chair next to the
window. At three o'clock Mrs. Zanden will be here to have
her portrait painted, and I shall be at home to nobody.
[_Reclines on the settee._
Give me an ash tray.
[HEINRICH _gives it to him._
All right; go along.
HEINRICH
Beg your pardon, sir--
KARL, _seated on couch L._
What is it?
HEINRICH
Mimi is here.
KARL
Where?
HEINRICH
Waiting in the studio.
KARL, _indifferent, reading newspaper_
Send her away.
HEINRICH, _goes to the glass door_
Fräulein, Herr Marler does not need you today.
[_Exit L._
MIMI, _coming in_
Hallo.
[KARL _is silent, continues reading his paper._
[MIMI _comes down L._
Don't you want to work today?
KARL
No.
[_Continues reading paper._
[HEINRICH _goes into the studio._
MIMI, _in bad humor, crosses to C._
Good-bye.
[_Turns around._
And tomorrow?
KARL
No.
MIMI, _sad_
Good-bye. (_Wipes her eyes._) You don't love me any more
... you don't love me any more.
KARL
Oh! It's going to start again!
MIMI
Ever since last fall you've been different. I knew it right
away when you started to paint landscapes. When you are in
love you paint Venuses. I know what it means when you start
to paint trees.
KARL
You're silly, Mimi.
MIMI
I know it. With her hat and coat on every model is silly.
KARL
Go home, Mimi.
MIMI, _goes to head of couch_
Yes, yes. Go home! Be a good girl. For a week now you've
sent me home without my even taking my gloves off. I'm no
use any more.
[_Begins to cry but stops it at once._
Look here: I know everything.
KARL
Really?
MIMI
[_From behind him, raises his head._
Look at me! Look at me! You want to get married? Tell me
No--you don't dare.
KARL
No.
MIMI, _comes to L. of him_
Oh, you tell me anything you want to my face; but I know
you're going to marry a girl named Elsa--the wife of your
friend Mr. Zanden has arranged everything--look at me
and deny it, if you dare. After all, what's the use! you
wouldn't tell me the truth anyway.
KARL
You little mind-reader.
MIMI
She's a nice one, Mrs. Zanden! Instead of taking you on
herself, she marries you to a friend of hers. But I don't
care; you don't love me any more--doing landscapes all the
time.
KARL
Well, what do you want?
MIMI, _crosses to R. of him and kneels_
Tell me you do love me. (_Pouting_.)
KARL, _bored_
Yes, yes--of course.
MIMI, _imitating him_
Yes, yes, of course. Is that the best you can do?
KARL
Well, what shall I say?
MIMI
Oh! You painters! It's always the same. First you say:
"What an angel! What a Madonna! What a Venus! What color!
What hair! What lines!" Then all of a sudden, it's: "Oh, my
dear! Why, you've gone yellow." The next day you're green,
and then it's: "I have no time today." And, first thing you
know, you're--pooh! Landscapes. (_Scornfully_.)
[_She goes to him above table at head of couch,
takes his head in her hands._
Don't you _like_ me?
KARL, smiling
Why, yes.
MIMI
If you were really nice, you would at least promise to
marry me. All the other artists promised. They weren't so
mean as you are! Oh yes, I know I am annoying you. I'm
absolutely boring you.
KARL
If you were not such a dear little nuisance-- [_Reaches up
and draws her down to him._ --I would have done with you a
long time ago.
[_Kisses her._
And now, run away, little girl: go home.
MIMI
Don't you want me tomorrow? or the day after tomorrow?
KARL
No.
MIMI, _crossing to him at couch_
You will never have me pose any more for you at all?
KARL, _rises; crosses with her to door R._
I'll look in on you this evening on my way to the Zandens'.
MIMI
But you can't work in my house. I've only a lamp!
KARL
Ha! Ha! Ha! Well, we'll put that out!
[_Has taken her to the door._
MIMI
Oh, will we!
[_Laughing._
Maybe _you'll_ get put out.
KARL
Bye, bye!
[_MIMI exits._
[_Lights another cigarette--the bell rings
sharply. Calls, somewhat excited._
Heinrich! Heinrich!
HEINRICH, _comes in from studio_
Yes, sir.
[_Runs through the door on the R., which he
leaves open, and goes off to open the hall door._
KARL
[_Fixes his tie nervously, puts away newspaper,
puts out his cigarette in ash tray, and arranges
his hair. He goes towards the door through which_
HERMAN _and_ OLGA _enter_, HEINRICH _closes the
door from the outside_, KARL _bows_.
Madame!
[_Bows silently to_ HERMAN.
HERMAN, _in a hurry_
I only came to bring Olga, my boy: I must go back at once.
[OLGA _has been looking around._
OLGA, _going to C. and over to L._
So this is the famous studio.
KARL, _looking around_
Funny, isn't it? More like a junk shop.
HERMAN
We might have chosen another day to begin Olga's
portrait--we have waited six years, so we could just as
well have waited until tomorrow; but the preparations for
tonight's ball made Olga so nervous that I thought it
best to bring her here. You know this ball is a kind of
house-warming.
[_Crosses over to C._
OLGA
We were obliged to invite such a _lot_ of people, to clear
off our social obligations.
HERMAN
I wish it was over. I hate these functions. Old Freebody,
in whose business I started, was worth ninety millions, and
he never gave a party in his life--or anything else, for
that matter. When do you want me to call for Olga?
KARL, _R. C._
Well, it gets dark very early now: in three quarters of an
hour we won't be able to see any more.
HERMAN
Well, then--
KARL, _looking at his watch_
Let's say four o'clock.
OLGA, _after looking at a picture L. very closely_
Who is that?
KARL
Oh, some model.
OLGA
Wasn't that the girl we just met on the stairs?
HERMAN _crosses quickly to L._
I must have a look at her.
[_Looks at picture._
[OLGA _stands so as to hide picture._
Oh, better not.
[_Makes a gesture as if he had seen something
indecent._
Well, every minute counts--I must be off.
[_Shakes his finger at_ KARL.
You'll have to stop that sort of thing, now, Karl. You know
you are one of the reasons of tonight's ball. Isn't he,
Olga?
OLGA
Yes--tonight Karl is to fall in love with his future wife.
KARL, _goes L. C._
I shall do my best.
[_To_ HERMAN.
Sentenced to marry! Well, I'm prepared to meet my doom.
OLGA, _seated on couch, with a little sigh_
At last! I shall be glad.
HERMAN
So shall I. So will the girl. So will Karl.
KARL
I hope so. She's a charming girl.
OLGA
Wait till you--
KARL
I know--I know. I shall adore her. But I have till this
evening, you know.
HERMAN, _crossing to_ OLGA
Well, I'm off. My agent may telephone any minute.
[_He kisses_ OLGA'S _hand_.
I shall call for you at four o'clock, my dear. And don't
worry about tonight: the caterer has his instructions.
[_Crossing to R., shaking hands with_ KARL, _who
holds him back._
KARL, _shaking_ HERMAN'S _hand_
Aren't you afraid to leave your wife?
HERMAN
Shall I tell you the truth? I'm hurrying because I'm afraid
of changing my mind and taking Olga away with me.
OLGA
You're not jealous?
HERMAN, _at door_
If I wasn't afraid of appearing ridiculous, I would say: Be
good! And now, good-bye.
[_He goes off_, KARL _bringing him to the door of
entrance hall._
KARL
[_Coming back, closes the door, stands still for
a minute--when he comes back_, OLGA _shivers
slightly and touches her forehead with her hand._
[_Crosses to L. C. by_ OLGA.
What is it?
OLGA, _with a nervous, soft laugh_
Nothing--nothing at all.
KARL, _tenderly_
Are you frightened?
[OLGA _does not answer._
Tell me.
OLGA, _nervous, confused, as if she was afraid of him_
I don't know, but--I feel as if--as if--
KARL
What do you mean?
OLGA, _trying to laugh, but very nervously_
I had the same feeling once in Dresden, when my mother took
me to a boarding-school and left me there. I felt as if I
were quite alone in this wide, strange world--and now--you
know yourself. I have fought against coming here for six
years.
[_Looks around._
What a queer place. I don't think I like it. [KARL _crosses
C. and up laughing._ Strange monsters, cut off heads, and
you in the middle of all this like a wizard. While my
husband was here I did not feel it, but now these heads
seem to stare at me.
[_She shivers._
KARL
Don't be nervous--every woman I paint comes here.
OLGA, _seated on couch, quietly_
And do you paint every woman that comes here?
KARL
No.
[_Silence._
OLGA
Did you understand my husband just now?
KARL
I think I did.
OLGA
He has often pretended to be jealous, but this time there
was a ring in his voice that made me feel that there was
something behind it.
KARL
You don't really think he's jealous?
OLGA, _crosses to chair_
No. But this is the first time I've been alone with you.
KARL
Now we can talk things over. I've wanted to for a long time.
OLGA, _leans against R. back of chair_
We've done well to avoid it all these years. A good
conscience is like a warm bath--one feels so comfortable in
it.
KARL
Last Thursday, when we spoke about my painting your
portrait, you seemed embarrassed.
OLGA, _looks at him; their eyes meet_
Don't let us talk about it. I don't want to.
KARL
Don't be afraid of me. If I were not I, your fear might be
justified; but as it is, surely we can trust ourselves to
talk things over quietly. To think that seven years ago I
was a teacher in Herman's family--and I was there the day
your engagement was announced--it was the evening of the
day we--
OLGA, _puts her hand on his, softly reproaching him_
Karl.
KARL
--We kissed each other for the first time. Oh, I know. I
was only a drawing teacher--but you--what were you? Just
a poor little friend of Herman's sisters. Sometimes you
were asked to tea in their grand house. And there we met--a
beggar boy and a beggar girl at the rich man's table. Do
you wonder? And then, just as we realized what we were to
each other, one fine day Herman up and proposed to you.
Such a dazzling offer--who could blame you?
OLGA, _hurt_
Please--please, Karl.
KARL
We were two poor little souls who found one another in the
wilderness of wealth--only to lose each other. Even the
memory of that one little kiss....
OLGA
Dear Karl, don't. We have grown up to be sensible
people--we have put it out of our thoughts.
KARL
Oh, I know it's all over. To-day I'm--(_humorously_) the
famous painter, your husband is my friend, and though we
see one another every day, we have never spoken of it
again. I wouldn't even have the courage to ask you to sit
for your portrait. I was afraid, and I think you were
afraid. And so was your husband. And that is why until this
day--
OLGA, _steps down one pace from chair, gives him her hand_
You _are_ a real friend.
KARL, _goes to her, gently_
There's nothing to be afraid of.
OLGA
Oh, it was only my husband's voice--something in his manner
that frightened me. He must know what we were to one
another, though he has never made the slightest allusion
to it, not one single word in all these years. But when he
left us here alone, he seemed to feel--
[_Breaks off._
But there is no reason for it, is there? We are not in love
with one another, are we? And it's just lovely to think
that we have not entirely forgotten old times. Don't you
think so, Karl?
KARL, _goes to chair_
Of course I do.
OLGA
Because if we still loved one another, you would not marry,
would you?
[_Taking off gloves._
KARL
Of course not.
OLGA
So you will be married and you will be very, very
happy--and I shall be happy, too, because it is my own
idea, and I have picked out a nice girl for you--pretty and
clever--
[KARL _bows silent acquiescence._
And now--
[_Goes up and knocks on back of chair--business
of entering imaginary door, etc. She speaks in
an everyday voice, in marked contrast to former
tone._
How do you do, Professor? I have come to have my portrait
painted.
KARL, _quite enthusiastic, R. C._
Last night I made a sketch of you from memory.... Oh, I've
made lots of sketches of you; but now, now I see you in
another light.
OLGA, _R._
How do you mean?
KARL
Yesterday I looked upon you as a model. To-day you are a
motif--you are a revelation...? there is something in your
eyes....
OLGA
Please, please, Karl, we agreed that--that--
KARL
Pardon me, I'll try to remember.
[_Goes up on platform._
OLGA
Let's go to work now--it's getting late.
KARL
Whenever you are ready--
OLGA
What am I to do?
KARL, _steps behind her to take hat pins out of her hat_
Take off your hat and your coat, please.
OLGA
Thanks, I can do that myself.
[_She takes her hat and coat off. KARL takes her
coat up on platform._
KARL, _passing her chair as he goes up_
Do you use perfume in your hair?
OLGA
I? Never!
[_At chair up in alcove._
KARL
Oh, then it is the natural perfume of your hair.
[_She looks at him reproachfully._
Pardon me: I stood too near.
[_Looks at her in silence. She crosses back
of large chair to couch L., and sits facing
audience._
OLGA, _nervously, turns her head to him_
What is it?
KARL, _leaning against big chair, looking at her dress_
I was just thinking--didn't your husband say an evening
frock?
OLGA
Yes. Herman wants me painted décolletée--in an evening
gown; just a head and shoulders, you know. I would have
preferred a street dress.
KARL
I'm afraid I agree with Herman on that point. But have
you?... Didn't you?... Where is the dress?
OLGA
Oh, I thought you would only be painting my face the first
sitting.
KARL, _comes C., laughs_
So you thought I began at the top of a portrait and painted
down?
OLGA, _hesitating_
Yes.
KARL
Why, the drawing of the shoulders is almost more important
than the head in the first sketch.
OLGA
Oh, dear. How stupid of me.
KARL, crossing L.
I'll tell you what--
[_He selects some draperies from those hanging in
the corner._
I have some draperies here--
OLGA
Well--
KARL
You can arrange one of these around your shoulders
like--like an evening gown.
OLGA, _mechanically_
Yes.
KARL, _hanging drapery on cabinet L._
You will have to be quick because it will soon be dark.
Here are the draperies--you'll find some pins over here,
and I'll go into the studio while you--until you--
[_Goes to door of studio._
OLGA, _seated_
Until when? Why?
KARL
Why, if I'm to paint your shoulders--well--
[_Turns away towards studio._
--your blouse?
OLGA, _terribly embarrassed_
Of course--
KARL
Do just as if you were at home. I'll close this door.
[_Goes to door R. to entrance hall and locks it._
And now I'll go into the studio ... and you can lock this
door yourself.
[_He has opened the door of the studio and has
made one step into studio, and now says in a low
tone:_
Oh! It's snowing.
[_He looks at Olga._
OLGA
Snowing?
KARL
Snowing hard.
[_Silence_.
OLGA
Hadn't we better?--perhaps--perhaps--tomorrow--or--or--
[_She has been saying this very slowly, as if
afraid, but now suddenly regains confidence, as
if she had had a saving idea._
Tomorrow I could bring my maid.
KARL
Oh, no, no. Your husband would certainly want to know the
reason, and really--if this door is closed--
[_He goes back to his studio._
It's too bad! This snow takes all the light away. But never
mind--never mind; the snow shovellers will be glad of it.
[_He has spoken the last few sentences in a very
low voice, as if the situation was painful to
him. He goes backwards into the studio and now
closes the door._ [OLGA _is standing with her
back towards the studio, staring in front of her.
She now shrinks together, shivers, turns around.
Sudden resolution, she turns the key, locking
the door to the studio. Slowly unbuttons her
blouse, looks at the shawls, of which she chooses
one, afterwards takes her blouse off quietly,
putting the shawl around her shoulders. She has
put the blouse on the settee before she arranges
the shawl. She now picks up the blouse and wants
to put it on the chair in front of the fireplace;
her arm is already stretched out when she
suddenly drops the blouse, utters a suppressed
shriek, dropping blouse by chair, and crosses
quickly to foot of couch._
[_The_ DEVIL, _in fashionable frock coat, a
crimson carnation in buttonhole, a man of from
thirty-five to thirty-eight years old, resembling
in face classical Mephisto, very elegant, picks
up the blouse and offers to_ OLGA _in a most
polite manner._
DEVIL
Pardon, Madame.
[_Comes C. a little._
I think you dropped something.
[OLGA takes the blouse mechanically and looks at
him frightened.
I must beg your pardon, Madame. I came from lunch. Karl
was not at home. I waited and I fell asleep in this very
comfortable chair.
[_He rubs his eyes._
Forgive me, Madame, for opening my eyes at a moment when,
for propriety's sake, I should have at least kept one eye
shut.
OLGA,_ puts blouse on couch and goes L., horrified and
disgusted_
Oh!
DEVIL, _Right of couch L._
I am aware this is a base insinuation--of course you only
come here--
[_Ironical_.
OLGA
To have my portrait painted.
DEVIL
I once had a similar encounter at a dentist's; and the
lady, to prove that my insinuations were false, did not
hesitate to sacrifice a perfectly good tooth.
OLGA
I tell you, I--
DEVIL, _very polite_
Oh, I know--you speak the truth. I am even at liberty to
believe it, though _your_ truth is only partly in style.
_Truth_ should have nothing on at all, you know.
OLGA
The insolence! What right have you to speak to me? Who are
you? What are you doing here? Karl!
[KARL _tries door outside_.
Karl!
[_She opens the door of the studio_, KARL
_appears on the threshold and looks surprised at
the_ DEVIL.
DEVIL, _crosses up R. C. very quickly_
How do you do?
KARL, _taken aback_
How do you do?--er--how are you?
DEVIL, _quickly_
You don't seem to remember me--we met at Monte Carlo--
KARL, _up L. C._
Oh, yes.
DEVIL
Quite an eventful day it was.
KARL, _comes down a little_
Yes, yes, I remember. It was last fall, and I had just lost
all my money at roulette. As I turned from the table, I
caught sight of a stranger frowning at me.
[_Pointing to_ DEVIL.
It was you. I was startled, because only a moment before I
had seen you next to the croupier, and I thought I heard
you laugh when I lost. But now I remember--you stood behind
me, and when I had lost everything, you offered me, a total
stranger, a handful of louis d'or.
DEVIL
You refused--beggingly.
KARL
Yes, but--
DEVIL, _continuing_
You took them--protestingly.
KARL
In five minutes I had won everything back, and 20,000
francs besides. Your gold seemed to have magic power, I
remember. When you gave it to me it seemed to burn.
DEVIL
But you paid me back and invited me to supper. I had to
refuse, because I was obliged to leave for Spain the same
evening, but I promised to look you up the next time you
needed me--
[_Crosses to R._
and here I am.
KARL
Well, I'll be--
DEVIL, _interrupting quickly_
Don't mention it. I took a little nap in your chair.
[_Goes up to back of big chair._
OLGA, _goes C., pointing to big chair. Frightened_
It's very strange--this chair was empty; there was nobody
there.
DEVIL, _stepping towards her, bowing; in a tone allowing no
contradiction_
Then I was mistaken, Madame.
[OLGA _goes over behind couch L. Silence._
[OLGA _and_ KARL _look at the_ DEVIL
_suspiciously_.
KARL, _L. C., embarrassed_
Won't you please sit down? Allow me to introduce you. I
quite forget your name....
DEVIL, R. C.
Call me anything you like: we only call names when the
party is absent; but I am here now--call me Miller, or
Brown, or Black.
[_Start from_ KARL. DEVIL _stops him._
If you think Doctor sounds better, why not call me Doctor
Miller?
KARL, _very much embarrassed_
Doctor Miller--
[_Crosses to R. C. The_ DEVIL _kisses_ OLGA'S
_hand devoutly at foot of couch_.
Under ordinary circumstances, I should now take my hat and
leave;
[_Goes up C.; turns._
but my infinite tact compels me to force my presence upon
you in this disagreeable situation.
[_Sits down in chair C._
OLGA, _crossing to_ KARL; _to the_ DEVIL
How dare you! Karl! This man has the insolence to--
DEVIL, _seated C. Very quickly_
Your husband has been dead some time?
OLGA, _R._
I'm not a widow.
DEVIL, _very quick_
Oh, divorced?
OLGA
No.
DEVIL
Well, if you think that I have insulted you, I should say
the proper person to refer me to would be your husband.
[_Rises_; _to_ KARL:
Of course, if you wish, I am at your disposal also.
[_To_ OLGA:
But, Madame, this would be admitting--
KARL
What's it all about? I don't understand you. You come in
here, I don't know how or where from, and you--you act as
if you had trapped us--
OLGA, _goes to_ KARL _R. C._
The idea!
DEVIL
Say what you like: I cannot go.
OLGA
Why not?
DEVIL
If I were to go now, it would be as much as to say: "Pardon
me, I fear I intrude." But if I remain, I show that I
suspect nothing.
KARL
We don't need your assurance.
[OLGA _crosses to L. below couch._
DEVIL, _bows politely; embarrassing silence_
Suppose we talk about something else. I think we are in for
a snowstorm.
[_Standing R. of studio door. Silence._
[OLGA _stands near the door leading to the
studio, quite astonished._
Are you sending anything to this year's exhibition?
KARL, _uncomfortable_
Perhaps--I may send something.
[_Silence. The_ DEVIL _lights a cigarette at
table L. C._
DEVIL,_ puffs cigarette. On second puff_
Permit me, Madame.
[OLGA,_ picking up blouse, as if suddenly
awakened and realizing her position, goes into
the studio, closing the door behind her._
Full of temperament--full of temperament. And pretty, too.
[KARL _starts to light cigarette at table L. C._
KARL, _dropping cigarette, crosses to chair
up C., sits and looks at the_ DEVIL _without
speaking_
DEVIL
Too bad she doesn't love her husband.
[KARL _turns quickly towards the DEVIL. Quick_:
How do I know? The way she turned to you just now when she
fancied herself insulted--it didn't escape me.
[KARL _takes up the ash tray and throws it
angrily on table._
No; she doesn't love her husband. He must be either a
genius or a very common man. Marriage with them is always
unlucky. Believe me, common men live so low that women are
afraid somebody will steal in at night through the window
which they forgot to lock. And Genius, well! That lives on
the top floor--so many stairs, no elevator. Her ideal is--
[_A motion of the hand, wanting to express an
even, middle position._
--the second floor.
[KARL _looks impatiently at his watch and goes
towards the door of the studio. The_ DEVIL
_leans back blowing the smoke of his cigarette,
indifferently._
This is the second time I have seen her shoulders.
KARL, _coming down left of couch_
What do you mean?
DEVIL
The first time I saw them was in Paris--
[_Start from_ KARL.
at the Louvre--only they were on the _Aphrodite_. Am I
right?
KARL, _crossing to large chair R. C. In bad humor_
How should I know?
DEVIL, _lifting himself upright, cynically_
Which shoulders have you not seen?
KARL, _angry_
I've seen the Aphrodite.
DEVIL, _seated on couch_
Well, you may take my word. I have seen them both. And,
believe me, since Alcamenes, I have only known one sculptor
who could model such shoulders.
KARL
Who's that?
DEVIL
Good living. Such tender, soft lines are only possible for
a woman who lives exquisitely well. I take it she is the
wife of a millionaire?
[KARL _goes again towards door of studio
impatiently._
Is she dressing?
KARL, _nervously_
I suppose so.
DEVIL
Is there a looking-glass in your studio?
KARL, _comes down L. of couch_
Yes.
DEVIL
She must be very respectable.
[KARL _looks at him astonished._
If a lady takes as long as that to dress before a
looking-glass, she's not a--model--anyway.
KARL, _crosses around foot of couch to table L. C._
Look here! I think your remarks are, to say the least, in
very bad taste.
DEVIL, _standing erect_
Do you mean that?
KARL, _aggressively_
I do.
DEVIL, _patting_ KARL'S _cheek_
Then _you_ must be respectable, too.
[_Crosses to big chair, KARL stares at him
astonished._
In a situation like this, only a very respectable man can
be so infernally stupid.
[KARL _crosses to R._ OLGA _opens door of studio,
goes towards_ KARL _without looking at the_
DEVIL, _who is hidden in chair._
OLGA, _dropping shawl on couch_
What's the time?
[_Crosses to_ KARL, _R._
DEVIL, _looking up over back of chair_
He'll be here in ten minutes.
OLGA, _angry_
Who?
DEVIL
Your husband.
OLGA
Oh! So you weren't asleep after all.
DEVIL
Oh, yes, I was.
[_Rises._
But "What's the time?" always means the husband. A woman's
intuition invariably anticipates her husband's coming by
ten minutes. If it wasn't for that ten minutes, there would
be more divorced women--
[_He goes and unlocks the door of the hall._
--and less locked doors.
[KARL _crosses to L. C._
OLGA, _taking her hat_
Will this never stop!
DEVIL
I tried to change the subject. I started to speak about the
weather--the Exhibition--but Karl wouldn't have it.
OLGA
Karl!
KARL
I? I haven't said a single word.
DEVIL, _crosses to big chair_
But your actions fairly shouted. The way you jumped up,
looked at your watch, went to the door--
[_To_ OLGA:
He was afraid, the poor fellow.
KARL
Afraid of what?
[_L. C._
DEVIL, _to_ OLGA
That your husband would come before you had finished
dressing. I don't blame him.
OLGA, _R._
What, again!
[_Goes up to hat._
KARL, _L. C._
Can't you--
DEVIL
Come now! Let us be logical--let us look the situation in
the face. Enter your husband--
[OLGA _comes down R._
"Well, here I am: where is the picture?" "The picture?"
[_Shrugs his shoulders._
"There is no picture. Karl hasn't even touched a brush."
Your husband is astonished--he tries to speak--the words
stick in his throat--he gasps: "Well, if you didn't
paint, why is she dressing?" Imagine the situation! You
look at one another horribly embarrassed; Karl stammers
something, but that only makes it worse. Nothing has
happened--and yet the mischief is done. What mischief?
Appearances--appearances. They're like fly-paper. There's
no getting away from them.
[_Speaking to OLGA:_
You go home with your husband, and he doesn't speak--and if
you ask him: "Why don't you say something?" his blood seems
to boil. If you ask him to take a cab, he suspects that you
want to avoid meeting somebody--every word that you utter
tortures him. And if--
KARL, _C._
And if it _were_ so, we are not alone, you are here.
DEVIL, _icy and cynical_
Just so, I am here--one word from me would save the
situation--but--I know myself--I'm a strange, whimsical,
almost cruel man--and I'm afraid I won't say the word.
Tableau! Embarrassing silence! Then I say: "I regret that
I should have come at such an inopportune moment." I take
my hat and walk out discreetly. If necessary, I can even
stammer my excuses.
OLGA
If this is a jest, it's a cruel one.
DEVIL, _bowing low_
Possible, Madame--but I can do better still. Of course, if
you prefer it, I can make conversation--when your husband
comes in, I can tell him that the portrait has not been
touched and ask his pardon--
OLGA
Pardon? Pardon for what?
DEVIL, _bowing_ For having--quite accidentally--seen your
shoulders.
OLGA, _horrified_
Who are you?
DEVIL
I am one who always comes at the right moment--I come from
Nowhere.
[_Very bitingly._
I am here--
[_Touching_ OLGA'S _forehead_.
OLGA
What do you want with me? You turn everything to evil. I
have scarcely known you five minutes, and I seem to feel
your fingers at my throat.
DEVIL
That's because I like you. With most pretty women I take
longer.
KARL, _furiously, starts towards him_
Look here: this has gone far enough!
[_Makes a few steps towards the_ DEVIL, _who
stands erect without moving. At the same time_,
HEINRICH _comes to the door, which he opens, and
starts speaking at once._
HEINRICH
The tailor has sent an evening suit, but it is not yours,
sir.
DEVIL
Put it on the chair in the bedroom.
KARL
But it's not mine.
DEVIL, _gives a sign to_ HEINRICH _to go out and do as he
was told. Speaking to_ KARL
It's mine.
KARL
Yours?
DEVIL, _makes motion to_ HEINRICH, _who goes out_
[_During speech_ OLGA _goes up and gets her hat._
KARL _walks back and forth L. C._
I had to have it pressed. I told the tailor to send it
here. I must dress for tonight. I'm going to a ball the
prettiest woman in Vienna is giving at the house of the
Duke of Maranse.
OLGA, _coming down R., frightened_
But the Duke does not live there now--he's Ambassador in
Madrid; he has sold his house--to us.
DEVIL
I know. I met him in Paris. He told me--
OLGA
We are living there now--we are giving the ball.
DEVIL
Am I mistaken? Am I not invited?
OLGA, _in a very low voice, dropping her head_
Yes--yes, you are.
DEVIL, _very polite_
Madame, you asked me a little while ago what I wanted.
That's what I wanted. Thank you.
[_Bows and turns towards C. Silence._
OLGA
But my husband--
DEVIL, _turning to her_
Will be delighted. I've just come from Odessa. I have good
news. Wheat is rising--this year's crop turned out worse
than they thought it would.
OLGA, _greatly pleased_
Yes? The crop is bad?
[_The_ DEVIL _goes to big chair and kneels on it
L._
DEVIL
So you do love your husband? You're glad the crop is a
failure?
OLGA
Of course I am.
[_As if she was somewhat ashamed about her
husband's speculations._
We want the wheat to be bad because that will drive the
price up.
KARL
What of that?
OLGA
My husband will make lots of money.
DEVIL, _to_ OLGA
And you will get that new gown.
OLGA
How do you know I want a new dress?
DEVIL
You have a new hat--a very pretty one--and you will
certainly want a new dress to wear with it.
OLGA
You must be married.
DEVIL
Married? Not the least--but I have an eye for feminine
vanities. Oh, no! A wife is like a single eyeglass--it
looks very nice, but one is better off without it.
OLGA, _R._
You seem to have strong views against marriage. May I ask
why?
DEVIL, _shaking his finger_
Because you are plotting matrimony against Karl, and I want
to save him.
KARL, _starts toward him; stops C._
I beg your pardon--
DEVIL
An artist ought never to marry--his wife will swear on the
wedding day to stand by his side all through life. The day
after the wedding she will stand in his way.
OLGA
Not the real wife.
DEVIL
The real wife is always the other man's wife.
OLGA
You're a cynic.
DEVIL
Oh, no, not cynical, only careful. A tigress who has
married--I mean eaten--a man, is no longer dangerous--you
can ride on her back through the jungle. But, you must wait
till she has married--I mean eaten--somebody; then she is
quite safe.
KARL
Better to keep away from the tigress--and stay at home.
DEVIL
Then why didn't _you_ stay at home P Why did you refuse
a legitimate position--good, everyday morals--a decent
occupation at so much a week? You wanted to go into the
jungle--and there you are. Now fight your battle--hunt
tigers--but don't get married!
[_He now changes his tone, goes into the church
chair, on whose back he leans his two arms,
speaking as if from a pulpit. It is almost dark,
and during this scene it becomes darker yet._
And yet--what a splendid couple you two would make.
[OLGA, _standing quite near the_ DEVIL _but not
looking at him, buries her face in her hands._
Wake up!
[To KARL:
You, with your talent, your splendid youth!
[To OLGA:
You, with your temperament, and beauty and longing!
KARL _crosses to R._
Stop! Stop! I beg you--
[OLGA _backs to R. of back of chair, as though to
protect_ DEVIL.
--for years we have been just good friends.
DEVIL
[_He now begins to speak in almost a whisper, but
getting warmer and warmer, the more embarrassed_
KARL _and_ OLGA _become._
You may say what you like, but I can read your eyes; they
say to me: "Don't believe him, he lies."
[_Goes to fire and warms his hands_, KARL _stands
below_ OLGA.
KARL
Don't interrupt me. For six years we have been --good
friends, nothing else. Olga cares nothing for me--and
I--and I--
DEVIL, _quickly_
What will you give me to interrupt you now?
OLGA
I don't know what you, who profess to know everything, know
about us, but anyone who thinks Karl capable of one base
thought must be very low and contemptible himself.
DEVIL
[_Goes behind_ OLGA _and whispers into her ear.
At the end of the speech he is a little to the L.
of them by the big chair_.
It's not a base thought: it's a great thought--a thought
that brings joy and warmth and light into your wretched
little lives. But joy has its price--and you must pay it,
you misers! The drunkard dies of drink, but while he is
drunk angels in heaven sing to him. The poet dies in the
ecstasy of his sweetest song. It is a coward's bravery that
turns away from the wine, the song--and the lips of woman.
The smallest candle-end shows you it is worth while to burn
up for the sake of a little warmth--a little light. The
only end of life is to burn--to burn yourself up. You must
flame and blaze like a torch and toss the fire about you.
I know: your moralists tell you to love one another--don't
believe them--your grubby little earth with its paltry
million years is not ripe for such a love as that. It can
only breed monks, madmen, Methodists. Don't be a fool, be
a rogue--but be a jolly rogue--and the world is yours!
Look at me! I own the earth. Here is the key of life--Love
yourself--only yourself. Dress yourself in the softest
garments--kiss the sweetest lips--drink of the wine of
Life--Drink! Drink! Drink!
[_Bell rings sharply--nobody moves._
OLGA, _after a pause, in a low voice_
My husband--
DEVIL
[_Steps down from the chair, crossing C., snaps
his fingers angrily, and says afterwards, in a
cold, cynical tone_:
Mr. Wheat.
[HEINRICH _opens the door, and_ HERMAN _comes
in._ HEINRICH _follows him, but stops short at
the door._
HERMAN
I'm afraid I'm late. My agent hasn't telephoned me yet, but
I didn't want to make you wait too long. Rather dark in
here!
[HEINRICH _touches a button, lighting the lights,
and exits._
HERMAN, _sees the_ DEVIL, _presenting himself_
I'm Herman Zanden, of Zanden Brothers & Wilde.
[DEVIL _mutters something and shakes hands with
him C._
OLGA, _coming down R._ KARL _goes behind big chair_
Strange man.
HERMAN
Pleased to meet you.
[_Converses with_ KARL _a few moments; then to_
OLGA:
Well, my dear, where's the picture? Mayn't I see it?
KARL, _in the big chair, leaning over back_
There's nothing to see--there is no picture.
HERMAN, _looking at his watch_
What have you been doing?
KARL
Nothing. (_Silence_.) It's been dark for the last hour.
HERMAN
Yes, but I've been gone two hours.
DEVIL, _steps to the front L. C. very politely_
It was all my fault. We have been chatting. We've had a
very interesting discussion. And Madame was kind enough to
invite me for this evening.
HERMAN
Oh! I'm very pleased.
DEVIL, _crosses to couch L. and sits_
Thank you. I have just come from Odessa. I had a talk with
the Russian Wheat King. He tells me--
HERMAN
Yes, I've heard; wheat's going up.
OLGA, _frightened_
Isn't that good for us?
HERMAN
No, dear. I did not tell you this is the first year I am
short on wheat.
KARL
What does it mean to be short on wheat?
DEVIL,_ seated on couch L._
It means digging a ditch for others and falling into it
yourself.
[_To_ HERMAN:
I don't think you've any cause for uneasiness. I have
inside information that the American crop will be excellent.
HERMAN, C.
If that is the case, I shall be safe.
DEVIL
You will be quite safe.
HERMAN
Do you also deal in wheat?
DEVIL
Yes and no. I dabble in everything. And always at improper
moments. (_Rises_.)
KARL, _has been talking to_ OLGA, _but now goes over to_
HERMAN
I'm afraid I can't come before eleven o'clock this evening.
[_Continues talking to_ HERMAN, _and both go to
fire._
OLGA, _crosses and meets_ DEVIL, _C._
I must speak to you at once--alone.
[_Looks around as if she wanted to say that her
husband and_ KARL _were in the way_.
DEVIL
Alone? Delighted!
[_Crosses by her and goes up C._ OLGA _goes
behind couch and_ DEVIL _addresses_ HERMAN.
By the way, if you want to see something delightfully bad,
you ought to take a look at the sketch Karl made yesterday
of your wife.
HERMAN, _coming down_
Where is the sketch?
DEVIL
In the studio.
[HERMAN _takes_ KARL'S arm _and walks to door of
the studio; in going into the studio speaks to_
KARL.
HERMAN
I'm sorry you didn't start Olga's portrait today. What were
you talking about all the time?
[_Goes into studio._
DEVIL, _to_ OLGA
I'll wait for you here.
[_He steps back into the room just in time to
see_ MIMI _enter from the hall._
MIMI, _comes right in, crossing to C._ Excuse me--
DEVIL
You want to see the painter?
MIMI, _excited_
Yes, please.
DEVIL, _very gently, pushing_ MIMI _out of the door into
the hall and speaking through the door_
One minute, my dear. There are some visitors here. Sit down
there. I'll call you.
OLGA, _comes quickly from the studio_
I wanted to tell you--to tell you--
DEVIL, _R. C._
It is not true.
OLGA
What is not true?
DEVIL
Whatever you are going to tell me.
OLGA
But believe me.
DEVIL
Surely no woman can expect that.
OLGA
But I am telling you the truth.
DEVIL
Ah! I might believe you if you said you were not speaking
the truth.
OLGA
Must I think and speak only as you wish me to?
DEVIL
Not yet. Now what can I do for you?
OLGA, _very earnestly L. C._
Don't come tonight. Now my husband has come, I am myself
again, and your manner grates upon me. I had begun to
feel as if some strange force--some invisible hand--was
clutching me --holding me in spite of myself. There is a
mystery about you. It frightens me. I thanked God when I
heard that bell ring. He came just in time.
DEVIL
To point a moral and break up a charming party. We were
just beginning to understand each other.
OLGA
Oh please stop!
DEVIL
Are you afraid?
OLGA
No, but I _ask_ you not to come to our house this evening.
DEVIL, _with a very polite bow, then drawing himself up_
I shall come.
OLGA
And if my husband asks you not to come?
DEVIL
Your husband has already asked me to come.
OLGA
And if, in the presence of my husband, I ask you not to
come?
DEVIL
Well, I'll make a compromise with you. If you repeat your
invitation in your husband's presence, I shall accept; if
you do not, I will not come.
OLGA, _breathing freely_
That's nice of you--the first really nice thing you've
said. I like you much better.
[KARL and HERMAN come back from the studio, and
HERMAN starts to talk at once to the DEVIL, KARL
goes toward OLGA, who meets KARL up C.
OLGA, _to_ HERMAN
Shall we go?
HERMAN
Yes, dear; put your coat on.
[_Comes down_ L. DEVIL _crosses to_ HERMAN.
KARL, _meets_ OLGA, _they go up to recess. He helps_ OLGA
_to put her coat on._
I see now how bad the sketch is.
[_Holds mirror for_ OLGA _while she puts her hat
on._
OLGA
Please don't look at me like that.
KARL
Even if I don't look at you, I see you just the same, Olga.
OLGA, _covering her face with her hand_
We must give up the portrait, Karl ... I'm going away ...
away somewhere.
DEVIL, _L., with_ HERMAN.
You don't say? You represent Holman & Co. in London? When I
am in Odessa I am always old Mr. Holman's guest. A charming
old gentleman. No doubt you have heard the rumors. It seems
they've been mixed up with some unfortunate ventures which
have seriously affected their standing.
HERMAN, _seated on couch_
Strange! Another friend of mine spoke to me about it only
yesterday.
DEVIL
Yes, but that isn't all. He's the president of some trust
company, and in order to boom the stocks he--but it's a
long story, I won't bore you with it now.
[_Makes as if he wanted to go._
HERMAN
My dear sir, this concerns me more than I can tell you. The
fact is--I--I am heavily interested.
[OLGA _has her hat on and turns, listening to_
HERMAN _and the_ DEVIL.
DEVIL
You don't say. But it's a long story.
HERMAN
Well, then--tonight.
DEVIL
Oh, I am so sorry. I have excused myself already to Madame,
but I had forgotten all about a call I must pay at the
Russian Embassy this evening.
HERMAN
Well, lunch with me tomorrow?
DEVIL, _with a gesture of regret_
I'm afraid it will be impossible. I leave tomorrow at nine
o'clock for--Spain.
HERMAN, _to himself_
H'm! I must have this information.
[HERMAN _crosses to C., speaking to his wife_
My dear, won't you please ask the Doctor to try and arrange
to come to our house this evening?
OLGA, _somewhat embarrassed_
Well, but if pressing business....
DEVIL, _L. C._
It is not so very pressing. Of course, it would mean a
little sacrifice.
HERMAN, _C., looking at_ OLGA
Well--
OLGA, _R. C._
Much as I would like to see you, Doctor, I cannot ask you
to sacrifice anything for our sake.
DEVIL, _as if suddenly remembering something_
Come to think of it, the Russian Ambassador left town
yesterday, so if Madame--
HERMAN, _goes up C._ DEVIL _crosses to her R. C._
Well, my dear?
OLGA, _in a tone of resignation_
I hope we shall have the pleasure this evening--
DEVIL, _crosses to_ OLGA
Pardon me. You said--
OLGA, _very slowly_
I hope we shall have the pleasure of your company this
evening?
[_Goes to door R._
DEVIL, _ironically_
Madame, I thank you for your invitation; I shall be most
charmed.
HERMAN, _coming down to_ KARL
And you don't come before eleven?
KARL, _by big chair_
No; I expect an art dealer.
HERMAN, _suggestively_
I know your art dealers. Fie! And you going to be married.
OLGA, _curiously, and a bit jealous_
What is it?
KARL
Oh, nothing.
DEVIL, _up C. as if listening_
I think somebody knocked at the door.
HERMAN
I didn't hear anything.
DEVIL
Yes, there it goes again.
[_Cynically_.
Probably the art dealer.
[_Goes to hall door, which he opens, steps out,
speaking into the hall._
Oh, it's you, my dear. Come in. /# [_Swings_ MIMI _into
room past OLGA, landing her C._
MIMI, _as she comes in embarrassed_
Good evening.
[HEINRICH _enters from studio._
KARL, _up C. embarrassed_
Good evening.
[MIMI _goes up L._
DEVIL, _R. C., in a low tone to_ HERMAN
We'd better go.
[MIMI _and_ OLGA _stare at one another._
[_Cynically to_ HERMAN:
The Art Dealer!
HERMAN, _laughing, going to door_
Well, au revoir.
[_Exit_.
DEVIL, _to_ OLGA
Quite a little comedy.
OLGA, _at door R._
You think so?
KARL, _to_ MIMI, _pointing to the studio_
Please step in there, Fräulein; I'll be with you in a
minute.
[KARL _turns to_ OLGA _with hand out-stretched,
as if to say good-bye._ OLGA _pretends not to see
it and bows coldly._
DEVIL, _whispers to_ OLGA
You were good enough to invite me for this evening: I am
now going to repay your kindness. In five minutes I shall
be back here to interrupt this tête-à-tête. Watch me forget
my overcoat.
[_He takes the overcoat which_ KARL _had put on
a chair at the beginning of the act when he came
in._ HEINRICH _helps the_ DEVIL _to put on the
overcoat, but notices that it is his master's._
HEINRICH
Pardon, sir; but this is not your overcoat. This--
DEVIL, _aside to_ HEINRICH
Shut up!
[DEVIL _goes off_; HEINRICH _follows him out._
KARL, _comes C. to_ MIMI
Didn't I promise you I'd come? What do you want?
MIMI, _coming to him_
Were you ashamed to have those people see me?
KARL
I told you, I'd come. What more do you want?
MIMI
I was downstairs in the lunch room and thought it all over.
Dear Karl, don't be mean--don't get married.
KARL
But--Mimi!
MIMI
I never used to care, but now that I've seen those people
I--I can't bear it. Don't get married!
[_Cries_.
KARL
You mustn't cry--it spoils your beauty.
MIMI
Oh, I'm a fool.
KARL
Now, you're talking sense.
MIMI
I've been a silly girl--but it's all over now. I'm sensible
again. You are going to settle down and marry Elsa and be
the most famous portrait painter in all Europe.
KARL
Mimi, child--don't speak of portraits. I feel at this
moment as if I never wanted to hear the word portrait
again. I'd like to run away from everything, Mimi. What do
you say?
[Illustration: Mimi and Karl]
[_Goes to couch L. and sits._
Suppose you and I get married and go away--far away into
the country--or to the United States, where we'd never be
heard of again.
MIMI, _kneels beside him_
Do you mean that?
KARL, _recklessly_
Yes--yes!
MIMI, gives him her hand
That's mighty nice of you, Karl.
[_Rises, goes L. C._
But no! even if you really mean it--which you don't--
[_Makes an effort to control herself._
KARL, _interrupting_
Mimi!
MIMI
No, Karl; I'd only keep you back--you must marry in your
own set.
[_Changes tone._
But don't run away--with--with anybody. Good-bye.-----
KARL
No, don't go! Now you have come, you might as well stay a
while--take your hat off.
[_Helps her off with her hat and jacket._
I'm glad you came back. Now, let's be sensible--and talk
it over. You know I really am fond of you--after all, I am
your best friend and you are my--my--
[_The_ DEVIL _has silently opened the door and
comes in._
DEVIL
My--my overcoat must be somewhere. Your stupid servant gave
me yours.
[_Takes coat off._
It's funny, but every time I come here, you are helping
some lady to take off her things.
[MIMI _goes to couch._
MIMI, horrified
Well, I never.
[_Exit_.
DEVIL
You have every qualification for a ladies' tailor.
KARL
You are very kind.
DEVIL
Don't mention it.
KARL, _impolitely_
I'll fetch your overcoat; I don't want to detain you.
[_Puts out lights and goes towards studio._
DEVIL
The hanger was torn off. I asked your man to mend it and
bring it here when it was done.
[_Sits up C. Silence._
I just saw something very touching.
KARL
What?
[_Goes to C. and sits on arm of chair by_ DEVIL.
DEVIL
The way that woman clung to her husband's arm as if for
protection.
KARL
For protection? (_Sneeringly_.) From you?
DEVIL
Look here, my boy; do you think you are wise to be such a
fool?
[KARL _rises, starts away_, DEVIL _catches him by
hand._
KARL
I don't want to talk about it. You don't seem to understand
my position. I have seen this woman for years every day,
and I never even thought--and if I had thought--I should
have laughed at myself.
DEVIL, _rises, takes both_ KARL'S _hands_
Look at her! She's yours. Think what it means --joy,
unspeakable joy--the most supreme joy one can have. And to
think that you are too lazy to stretch out your hand! Why,
another one would toil day and night, would risk life and
limb for such a prize--and it just drops at your feet--a
windfall.
KARL
I suppose that's why--
[_In a tone as if he didn't think much of it._
--just a windfall.
[_Sits on couch._
DEVIL, _sits on table L. C._
Last fall, on the sixth of September--I shall never forget
the date--something strange happened to me. I put on an old
suit I hadn't worn for a long time, and as I picked up the
waistcoat, a sovereign fell out. God knows how long it had
been there. As I turned this sovereign over to look at it,
it suddenly slipped through my fingers and rolled away.
I looked and looked, but my sovereign was gone. I become
nervous: I can't find the sovereign. I search around for
half an hour, three quarters of an hour, still I can't find
it. I get angry, I get furious. I shift the furniture--no
sovereign. I call my man--we both look everywhere until
it's dark. I'm perspiring and trembling--I have but one
idea: I must get that sovereign back. Suddenly a suspicion
comes into my mind--I get up from my knees. I scream at the
top of my voice to my servant: "You thief, you have found
the sovereign and put it into your pocket." The man gets
angry and answers me disrespectfully. I am about to strike
him when I see the blade of a knife shining in his hands. I
draw my revolver--
[_Takes a shining revolver out of his pocket and
rises._
--and with this revolver I nearly killed a man for a
sovereign--
[_Look from KARL._
--I didn't need and had never missed--just a found
sovereign.
[_Puts revolver on table._
KARL, _embarrassed_
I give found money away.
[_Turns on couch from him._
DEVIL
I would have given it away, but--it slipped through my
fingers, and whatever slips through our fingers, that is
just the one thing we want.
[_Goes to_ KARL.
We break our necks for it: that's human nature. And if it
once slips through your fingers, you will run after your
found sovereign. And then, when it is too late, you will
discover it was worth having.
KARL
To draw a revolver for a found sovereign?
DEVIL, _sitting by him_
And that little woman will become dearer and more precious
to you every day--you will realize that she could have
given you wings--that her temperament, her beauty, her
passion, would have been the inspiration of your work-- all
this you'll realize when she has slipped away. You could
have become a master--a giant! Not by loving your art,
but by loving her--but you won't know it till it is too
late--too late.
[_He now takes the shawl with which_ OLGA _had
draped her shoulders._
This shawl has touched her bosom--
[_Throws one end over_ KARL'S _shoulder, forcing
him to see it._ KARL _clasps the shawl and
touches his lips to it_.
Think what you might have been to one another! What divine
happiness, not because she is beautiful--no, but because
you--
KARL, _throws shawl L. of couch_
Be quiet! Be quiet! Do you want to drive me mad?
DEVIL, _rises and goes to head of couch_
A life that has not been squandered--has not been lived--
KARL
Why do you tell me all this? Why? What do you want?
[_Throws himself face down on couch._
What do you want?
[_Horrified, turns to him._
Who sent you?
DEVIL, _darkly_
Nobody! No one! I am here.
[_Touches_ KARL'S _forehead_.
KARL
No! And a thousand times no.
[_Throws himself face down again on couch.
Screams very loud._
No! Do you hear me? No! I have known her all these years,
and we've been good friends only--and we'll remain good
friends, nothing else. I don't want the found sovereign!
[_Moving to end of couch._
DEVIL, _coming down L. of couch; very emphatically_
And if it slips away?
[_Silence. Then quickly:_
If another man runs away with it--?
KARL, _suddenly jumping at a conclusion_
Who?
[_Looks at the_ DEVIL.
DEVIL, _triumphant_
I. (_Silence_.)
KARL
You?
[_Laughs and turns from him._
DEVIL
Tonight! This very night she'll be mine!
[_Laughs_.
Oh, what joy! What exquisite joy. For ten thousand years I
have had no prettier mistress!
KARL, _turning to him_
What do you say?
DEVIL, _sitting L. head of couch_
Mistress, I said. Come tonight--to her house--when the
lights are burning--when the air seems to be filled with
music and perfume. You'll see--before day dawns.
KARL
Enough! Enough!
DEVIL
How you will run after your lost sovereign! Every hour when
you wonder where she is, she spends with me. A carriage
passes: your heart stands still. Who's in that carriage?
Shall I tell you? We! You see a couple vanish around a
corner, clinging lovingly to one another. Who were they?
We! Always we. A light goes out in some window. Who put
that light out? We! We sit in every carriage, we vanish
around every corner--clinging lovingly together; we stand
behind every window curtain in close embrace, looking
into your tortured face, your maddened eyes--and we cling
closer--closer--and we laugh---we laugh!
[_Laughs long._
KARL
[_Throws himself face down, back to audience, on
couch, in terrible state of excitement, screaming
at top of his voice:_
You fiend!
[_Reaches for revolver with R. hand._ DEVIL
_grabs his hand and holds revolver._ KARL
_draws away and sits staring straight ahead_,
DEVIL _rises, leaves revolver on table, lights
cigarette, then comes below table._
[HEINRICH _enters the room noiselessly, carrying
a lighted candle, goes behind the DEVIL and helps
him to put his fur coat on_.
[DEVIL _puts his silk hat on, gives a tip to_
HEINRICH, _takes up the revolver, puts it into
his pocket, and says to_ KARL _with a sad smile,
in a warm tone like a father speaking to his son_:
DEVIL
You see, my boy, one may draw a revolver for a lost
sovereign.
[_Goes to the door. As he opens the door, a look
of devilish satisfaction comes into his eyes._