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diff --git a/39243.txt b/39243.txt new file mode 100644 index 0000000..c5526cf --- /dev/null +++ b/39243.txt @@ -0,0 +1,4197 @@ +The Project Gutenberg EBook of Six One-Act Plays, by Margaret Scott Oliver + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org/license + + +Title: Six One-Act Plays + +Author: Margaret Scott Oliver + +Release Date: March 24, 2012 [EBook #39243] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK SIX ONE-ACT PLAYS *** + + + + +Produced by David Edwards, David E. Brown and the Online +Distributed Proofreading Team at http://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive) + + + + + + + + + + _American Dramatists Series_ + + SIX + ONE-ACT PLAYS + + _The Hand of the Prophet_--_Children + of Granada_--_The Turtle Dove_--_This + Youth-Gentlemen_--_The Striker_--_Murdering + Selina_ + + MARGARET SCOTT OLIVER + + + BOSTON: RICHARD G. BADGER + TORONTO: THE COPP CLARK CO., LIMITED + + + Copyright, 1916, by Margaret Scott Oliver + + All Rights Reserved + + +These plays in their printed form are intended for the reading public +only. All dramatic rights are fully protected by copyright, and any +performance--professional or otherwise--may be given only with the +written permission of the author. + +MADE IN THE UNITED STATES OF AMERICA + +THE GORHAM PRESS, BOSTON, U. S. A. + + + + + To + L. S. O. + + + + +CONTENTS + + + PAGE + +The Hand of the Prophet 11 + +Children of Granada 27 + +The Turtle Dove 53 + +This Youth-Gentlemen! 73 + +The Striker 81 + +Murdering Selina 103 + + Notes pertaining to the plays 127 + + Music used in plays 128 + + + + +THE HAND OF THE PROPHET + +AN ARABIAN EPISODE + + +CAST + + KODAMA, _A Merchant of Riad_. + HALIMA, _His Bride_. + SINDIBAD, _A Young Sheykh, Cousin to Kodama_. + SLAVE, _To Kodama_. + SLAVE, _To Sindibad_. + A SINGER. + A DANCING GIRL. + WEDDING GUESTS, SLAVES AND DESERT MEN. + + +_Scene--A room in the home of Halima._ + + + + +The Hand of the Prophet + + +_From between the parted curtains two desert men in white costumes, with +red sashes and turbans appear. They wear scimiters in their sashes, and +are smoking very long cigarettes. They bow to one another, and walk to +the two sides of the stage, where they remain until first curtain, then +go behind. This is repeated before and after each part of the play._ + +_Scene--A room in the home of Halima. Music and laughter are heard, and +as the curtain is drawn, a slave girl is seen finishing a wild dance. As +she sinks exhausted to the floor there are applause and sounds of +approval, in which the merchant Kodama leads. He is seated beside his +bride, Halima, on a dais. In the room are slaves, attendants and members +of the two families. The wedding celebration is in progress, and all are +in festal mood and dress. Rose petals are strewn on the floor, platters +heaped with fruits are at the front and side of the stage, and incense +is burning in two braziers._ + +KODAMA--Thy slave dances with the grace of a startled gazelle. Command +her again before night comes. I am pleased with her! + +HALIMA--I am glad she is fair in thine eyes, my husband. She knows many +magic dances that will delight thee.... But the wedding feast has +continued four days, my lord, and thy kinsman from the desert not +appeared. + +KODAMA--Four days more shall the feasting last. There is yet time. + +HALIMA--I am eager for the jewels, and cloths of gold he was to bring. +Thou didst promise my father-- + +KODAMA--Enough, enough! Art thou a child that patience is not in thee? +Before the feast has ended he will come. I weary of these murmurings. + +HALIMA--(_Claps hands._) Music for my lord. + +(_Slave sings. As the song ends a slave appears before Kodama._) + +SLAVE TO KODAMA--The young Sheykh Sindibad is here. + +(_Sindibad appears L. with some men from his caravan, and a young slave, +who is carrying three bundles tied in silken cloths. He walks airily to +the dais._) + +KODAMA--Sindibad! + +(_Sindibad and Kodama embrace. Halima, with a coquettish gesture, puts +her veil before her face._) + +SINDIBAD--Let forgiveness for my tardiness be granted, cousin, when thou +seest what I have brought. Many treasures have I found thy lady, before +whom I prostrate myself. + +(_Sindibad kneels and kisses Halima's hand and then his own. His slave +boy quickly opens the bundles, and the contents are eagerly examined._) + +KODAMA--I had thought to see thee sooner; the wedding is four days old. + +SINDIBAD--I had thought to come sooner, but there was a maiden.... Never +have I seen such stars as were her eyes, and her lips, the blood of +pomegranate. + +KODAMA--Thou wast ever led easily by starry eyes. + +HALIMA--(_Holding out scarf._) See, it is a wondrous cloth, with threads +of gold and silver. + +SINDIBAD--Thy loveliness will enhance its beauties a thousand times. + +HALIMA--My loveliness did not tempt thee to hasten. + +SINDIBAD--I have never seen thy face, and there was a maiden.... + +KODAMA--There was a maiden. Have done with thy raving! (_To Halima._) +Let thy slave dance! + +HALIMA--Dance! + +(_As the slave dances, all watch eagerly save Sindibad, who gazes at +Halima._) + +SINDIBAD--Thy voice is soothing as the sound of water in the heart of +the desert. Let me see thy face. + +HALIMA--Look at these fabrics rather. + +SINDIBAD--Nay, but an instant, while they watch the dancer, unveil, and +let me see thy face. + +HALIMA--I may not. + +SINDIBAD--It is not forbidden. I am thy husband's kinsman. Let me see +thy face! + +(_Halima drops veil. Sindibad prostrates himself._) + +SINDIBAD--I am thy slave forever, oh fairer than the day at dawn. + +HALIMA--Arise! they will see thee! + +SINDIBAD--And thou hast married the merchant Kodama! Awah! Awah! + +HALIMA--Arise! Arise! + +KODAMA--Why cryest thou awah? This is not a time for wailing. Dost +lament for the maiden of the desert? + +SINDIBAD--Her image has changed ... as sand upon the desert's face. + +(_CURTAIN_) + + +_Scene--The same. Kodama and Halima are seated on the dais as before. +Two slave girls are in the room. Kodama's slave enters C. and stands +before Kodama._ + +SLAVE TO KODAMA--The merchant from Baghdad awaits. Shall I bring him to +have audience here? + +KODAMA--I will speak with him in the myrtle court. Keep watch over my +wife and the women. (_Exit C._) + +(_Sindibad enters L. as a slave comes from R. The slave is carrying +coffee, and reaches Halima as Sindibad approaches._) + +SINDIBAD--I drink to thine amber eyes. + +HALIMA--Thou must not. + +SINDIBAD--Send thy women away. + +HALIMA--I dare not. + +SINDIBAD--Send thy women away! I have words they must not hear. + +HALIMA--(_To attendants._) Go! + +(_Kodama's slave stands motionless._) + +SINDIBAD--(_To Slave._) I am cousin to thy master. Go with the women. + +(_Slave goes slowly C. from the room. Halima has risen from the dais, +and seated herself on a rug in the centre of the room. She is humming +coquettishly and is admiring herself in a mirror. Sindibad watches her +eagerly for an instant._) + +SINDIBAD--My blood has changed to leaping flame. + +HALIMA--If thou comest nearer I shall call my women back. + +SINDIBAD--Unbind thy wondrous hair. It is a fountain of living gold. + +HALIMA--Thou must not sit so close. + +SINDIBAD--I love thee, and shall stay until thou sayest, "I love thee." + +HALIMA--(_Stopping her song._) I am thy kinsman's wife. + +SINDIBAD--By Allah! Thou art no man's wife but mine! + +HALIMA--I am but a dream. Awake, lest the Prophet smite thee! + +SINDIBAD--Oh, beautiful dream, I am mad for thee. To-night thou shalt +fly with me into the desert. + +(_Kodama enters C. unnoticed, and listens._) + +HALIMA--I am thy kinsman's wife. My father gave me to him. + +SINDIBAD--The fire of youth has gone from his blood. He is old. Thou +canst not love him. + +KODAMA--Allah! + +HALIMA--(_Slowly._) I am his wife. (_Exit R._) + +(_Sindibad starts to follow her, but is arrested by the sound of +Kodama's entrance._) + +KODAMA--Alone? + +SINDIBAD--With a dream. + +KODAMA--The beautiful maiden who delayed thy progress hither? + +SINDIBAD--I tell thee I have forgotten her. + +KODAMA--Thy heart is fickle surely. + +SINDIBAD--I have seen one more beautiful. + +KODAMA--The dancing slave? + +SINDIBAD--Yea ... even the dancing slave. + +KODAMA--Thou shalt have her. She is like the little moon when it first +peeps above the date palms. Thou shalt have her. + +SINDIBAD--Thy wife is young.... I will not have the dancing slave. + +KODAMA--How now! + +SINDIBAD--Thy wife is young. Her skin is of pearl, her eyes twin amber +pools where men may--oh fool, oh blind, thy wife is young and beautiful. +Canst thou not see? + +KODAMA--It is written: The blind man avoids the ditch into which the +clear-sighted falls. + +SINDIBAD--Thy heart is a dried grape. Thy wife is-- + +KODAMA--My wife! Art thou an honest Arab that she should so dwell in thy +thoughts? Take the dancing slave, and begone. + +SINDIBAD--Thy words are crystal dewdrops quivering on a leaf. + +KODAMA--Thou art young--tempt me not too far. + +(_Slave enters immediately C. with a tray on which is wine._) + +SINDIBAD--By the beard of the Prophet, wine! The Koran forbids it. + +KODAMA--It shall turn to milk in the throat of the true believer. + +SINDIBAD--Thou hast said it. + +(_Kodama and Sindibad drink, and look at one another searchingly._) + +KODAMA--Thy black angel is ever at thy left side in the city. It will +persuade thee into mighty wrong. Young cousin, it is wise that thou +shouldst return to thy people. Go quickly, lest evil come. I will give +thee rich presents for thy father. As for thee, choose one of the slave +girls-- + +SINDIBAD--I will take with me nothing--but a dream. (_Exit L._) + +KODAMA--Allah send him swift away.... There shall be no returning. + +(_CURTAIN_) + + +_Scene--The same. A slave is singing. Kodama is seated on the dais, +while Halima comes in slowly and gazes anxiously at him. It is the next +day._ + +HALIMA--Thy brows are still lowered. In what have I offended thee, my +husband? + +KODAMA--Amber pools where men may--what do men find in thine eyes? + +HALIMA--I know not, unless thou sayest. + +KODAMA--And thy skin is of pearl, is it not so? + +HALIMA--Shall I send away the women, oh my lord? + +KODAMA--I am not loving thee. Let the women and the lights remain. + +HALIMA--I had hoped-- + +KODAMA--Thou hadst hoped! Am I a fledgling to faint under thy beauty? + +HALIMA--Thou didst marry me. + +KODAMA--It was a wise bargain with thy father, whose hands will help +carry my trade into the desert, and beyond. + +HALIMA--I thought thy kinsman Sindibad would do that. He is a son of the +desert. + +KODAMA--I like not my kinsman. He is a fool and a magpie. + +HALIMA--He is young and handsome, full of fire and poetry. + +KODAMA--Full of deceit and treachery, with honeyed words that mean +nothing. But yesterday he raved of a maiden whom he met in the desert. +To-day he is mad for thy-- + +HALIMA--For my--? + +KODAMA--For thy dancing slave. To-morrow he will go to the desert with +another nightingale piping at his elbow. He knows not constancy, but +flies from one deluded maiden to another. + +HALIMA--Surely thou wrongest him. + +KODAMA--I wrong him not. We shall not talk of him.... Thy shimmering +hair has hidden thine ear. Let me put it back. + +HALIMA--Oh, Kodama, thou hast never praised my hair before. See, it is a +fountain of living gold! + +KODAMA--(_Quickly._) Who told thee that? + +HALIMA--My ... women. + +KODAMA--What other pretty things do they say to swell thy vanity? + +HALIMA--They say--thou lovest me not. + +KODAMA--As thou art a woman, and beautiful, I love thee ... no more ... +no less. Thou art a woman. I have said it! + +(_Kodama puts Halima from him, and leaves abruptly R. Halima for an +instant puts out her hands pleadingly to Kodama's retreating back, and +then with a hopeless little gesture drops her head on the cushions. One +of the women picks up her lute, and sings a plaintive song. The young +slave boy of Sindibad's appears L._) + +SLAVE BOY--The young Sheykh Sindibad leaves for his father's tent in the +desert, and would say farewell to his kinsman's lady. + +HALIMA--Let him come. (_To attendants._) I would be alone! (_Exeunt +attendants C._) + +(_Sindibad enters L. and looks at Halima's despairing figure for a +moment._) + +SINDIBAD--To-night I go to my people. + +HALIMA--Allah, the compassionate, the merciful, guide thy footsteps. + +SINDIBAD--And thou, white rose, wouldst thou be free? + +HALIMA--Free! + +SINDIBAD--A strong mehari is below, and my men are waiting. + +HALIMA--I am afraid. + +SINDIBAD--By the hand of the Prophet, it was written thou shouldst love +me, and I thee. + +HALIMA--His wrath-- + +SINDIBAD--Thou art not bound to him by any law. + +HALIMA--He loves me not, and yet-- + +SINDIBAD--Come to the golden desert, and thou shalt learn the many ways +of love. + +HALIMA--He took me to seal a bargain with my father. But thou, thou wilt +soon tire of me. He said thou lovest any woman. + +SINDIBAD--I will not fail thee, until soul and body part. + +HALIMA--Oh, hungry ears, be not so eager for these words of love. + +SINDIBAD--Thy body is wonderful as a hidden river whereon the moonlight +dances. Rest thou upon my beating heart, oh beloved. + +HALIMA--All of heaven is here. + +SINDIBAD--I drink thy lips like wine. (_Kisses her. Exeunt. Stage is +empty for a very short time._) + +(_The Slave and Kodama enter hurriedly R._) + +SLAVE TO KODAMA--This way, my master, they went but a moment since, and +thou canst get them ere they reach the court. + +KODAMA--(_Drawing scimiter._) Stay! (_Exit C._) + +(_The slave remains motionless on the stage, and there is silence. Then +Kodama returns wiping his blade. He spits on the floor._) + +KODAMA--Allah! + +(_Halima enters C. She rushes to Kodama._) + +HALIMA--Thou hast killed him! + +KODAMA--The babbling fool, to think he could steal thee from me. + +HALIMA--(_Whispering._) Thou hast killed him. + +KODAMA--Go to thy women. + +HALIMA--Bring him back. + +KODAMA--Peace. + +HALIMA--Bring him back. + +KODAMA--Peace, peace, I say. + +HALIMA--Oh, Sindibad, my love. + +KODAMA--Love! + +HALIMA--Thou snarling camel, hast thou lost thine ears? Age has dried +thy bones, and turned thy blood to dust. I'll none of thee. + +KODAMA--(_Claps hands. Slave appears L._) Bring him here. Go! + +(_Slave carries in the body of Sindibad, and puts it on the dais. Halima +sinks beside it with a little cry of distress._) + +HALIMA--He was Allah's shadow upon the earth. Thou canst buy a woman, +but not hold her. Let me go with him. + +KODAMA--Oh, amber pools where men may find oblivion, close ... close +(_chokes her._) + +(_The body falls beside Sindibad's._) + +KODAMA--Allah has left no calamity more hurtful to man than woman. It +was written in the stars. (_To Slave._) Bring the women. Let music be +played, and let there be dancing. + +(_Slaves and attendants enter, and there is music._) + +KODAMA--(_To the body of Sindibad._) Dost hear the music for thy wedding +feast? Thou art dead, honey babbler, and gone to the desert of forgotten +desires. Thou art dead! + +(_Slave dances. As dance ends, Kodama's slave kneels before him._) + +SLAVE--Master, thou hast killed a true believer. + +KODAMA--I have killed-- + +SLAVE--In mistake, oh master. + +KODAMA--And art thou a true believer? + +SLAVE--Even as thou sayest. + +KODAMA--Then I make thee free that the blood-wit be paid! Go forth, thou +art free! (_Suddenly and hoarsely to the musicians._) Break your lutes! + +(_Music stops._) Let there be lamentations! This is a house of sorrow! + +(_CURTAIN_) + + + + +CHILDREN OF GRANADA + +A SPANISH PLAY + + +SPANIARDS + + GENERAL DON FERNANDO DE LERMA. + LIEUT. DON RODRIGUEZ--_His Son_. + PEDRO--_An Officer_. + LAGRIMAS--_The Daughter of a Bull-Fighter_. + FELICIANA--_A Dancer_. + +MOORS + + HAFIZ BEN ALI. + HASSAN AKBAR. + CAFOUR--_A Wife of Hafiz ben Ali_. + TARIK, _Son of Hafiz and Cafour_. + SPANISH SOLDIERS AND MOORISH PRISONERS. + +_Time--Spain during the reign of Philip III, about 1609._ + +_Place--Courtyard of Alhambra in Granada._ + + + + +Children of Granada + + +_Scene--The back-drop shows mountains in the distance. Along the entire +back of stage is a stone bench against a low wall which overlooks the +Valley of the Darro River. The tops of one or two trees show above it. +At right back is a little turret, with entrance toward the audience. +Entrance at front right, through Moorish gateway. Entrance at left front +from garden._ + +_Don Rodriguez and Lagrimas are discovered sitting together on the +bench. The soft tinkle of guitars is heard. Don Rodriguez is looking +straight out towards the audience with his hands clasped. Lagrimas is +gazing over the wall._ + +RODRIGUEZ--I tell thee it would be the easiest thing in the world to +capture Hafiz the Moor. I could creep through the Darro, for the thirsty +sun swallows the little river with one gulp in summer, and it is dry as +the road to Cordova. No one would see me until I reached the Mosque, +where Hafiz will be at his infidel prayers. Hafiz the Moor! The greatest +enemy to our King in all Spain, and I, I have found a way to capture him +with a handful of men. I think my father will call me a soldier then, +and thou wilt smile on my love, Lagrimas. No maiden can resist a +victorious soldier. + +LAGRIMAS--Look at the swallows building in the little turret. It must be +nesting time. + +RODRIGUEZ--Lagrimas! + +LAGRIMAS--Don Rodriguez! + +RODRIGUEZ--I have been telling thee my plans to take Hafiz the Moor, and +of my love for thee, and thou answerest with some nonsense about +swallows, and nesting time. + +LAGRIMAS--I am very wise at times. + +RODRIGUEZ--Surely it's not unwise to hear of my love and bravery? + +LAGRIMAS--I have heard thee speak much of both, Don Rodriguez. + +RODRIGUEZ--I am a fool to think I could ever win thee. Thou dost make +sport of my affection, one minute cold, one minute hot. I never know how +to take thee. + +LAGRIMAS--Do not take me at all, Don Rodriguez. + +(_They sit silently a moment, Rodriguez in despair. At last Lagrimas +peeps provokingly at him._) + +LAGRIMAS--There is a caballero wooing his inamorata. Listen to the +guitar. Music is very soothing in the cool of the evening. How rich and +soft his voice is! I would find it hard to flout such a seductive lover. +Dost thou not hear him? + +RODRIGUEZ--No! + +LAGRIMAS--I can hear him plainly. What has stopped thine ears? + +RODRIGUEZ--The beating of my heart. + +LAGRIMAS--A soldier's heart should not beat so loudly. + +RODRIGUEZ--Mine does. + +LAGRIMAS--Poor soldier! + +RODRIGUEZ--I'll not have thy scorn.... When I'm killed by the Moriscoes, +thou mayest repent thy coldness. + +LAGRIMAS--Little soldier, thou wast to _conquer_ the Moriscoes; and +capture Hafiz, the enemy of King Philip. + +RODRIGUEZ--I shall conquer nothing. Deeds of valor are possible only +because a lady smiled. + +LAGRIMAS--I smile always when with thee. + +RODRIGUEZ--Have thy jest. Broken lives mean nothing to a coquette. + +LAGRIMAS--Timid lovers mean less.... Why rail against fate? + +(_Pedro and Feliciana enter with a rush._) + +FELICIANA--Dance! Dance! I _will_ dance whenever I please. + +PEDRO--And have the commonest fellow in the ranks praise thine alluring +ankles and twinkling feet. Hast thou no modesty? + +FELICIANA--If my ankles were thick, and my feet clumsy, I'd be modest as +a nun, and keep them chastely for thine eyes alone. Why should I hide +them when they are beautiful? + +PEDRO--They tempt men to foolishness. + +FELICIANA--Foolishness is wonderful. + +PEDRO--Well, they are not so bewitching as I have said. I have praised +them in moments of weakness, but they are only so-so. + +FELICIANA--Don Rodriguez, I appeal to thee! Thou givest many an admiring +glance when I dance the zambra in the orange grove. Thine eyes betray +thee, now say, are they but so-so? (_Raises skirt._) + +RODRIGUEZ--I--well--that is-- + +LAGRIMAS--Why dost thou not answer? Feliciana's feet are small, but not +invisible. Look at them, and pronounce judgment. + +RODRIGUEZ--I grieve for thee, Pedro. They will often dance on thy heart, +I fear, but in all truth and honesty, they are not so-so. + +FELICIANA--Brave Don Rodriguez! I shall dance for thee to pay for thy +gallant approval. + +(_Feliciana dances with castanets, while the others keep time with +hands. Before the dance has finished, General Don Fernando comes upon +the scene, and surveys it with much displeasure._) + +GENERAL--Is it in this fashion the soldiers of Philip protect their +country? + +PEDRO--One must relax sometime, General. + +FELICIANA--Caramba! Am I a relaxation? I thought thou didst take love +more seriously, Lieut. Pedro. Seek new amusements for thine idle hours. + +(_Exit Feliciana--Pedro runs after her._) + +PEDRO--Feliciana, I swear by the stars-- + +(_Exit. Pause._) + +GENERAL--Does my son court shame behind my back? + +RODRIGUEZ--I love Lagrimas, I have asked her to be my wife. + +GENERAL--Thou hast asked her? + +RODRIGUEZ--I offer my hand, where I have given my heart. + +GENERAL--Dost thou not owe me the courtesy of knowledge? Am I to stumble +on thy secret like any outsider? + +RODRIGUEZ--I would have told thee to-day. + +GENERAL--To-day is too late. Thou hast not my permission to marry. + +RODRIGUEZ--I am old enough to know when, and whom I shall marry. + +GENERAL--And if the door of my home is closed to thee? + +RODRIGUEZ--If Lagrimas will marry me, I shall make a home of my own. + +GENERAL--Fool! If she will marry thee? Dost think she will allow thee to +slip through her fingers? + +LAGRIMAS--I shall marry no son of thine, General Don Fernando de Lerma. + +(_Exit Lagrimas._) + +RODRIGUEZ--Lagrimas! + +GENERAL--The daughter of a bull-fighter! + +RODRIGUEZ--My grandfather fought the bulls. + +GENERAL--Thy grandfather! The most gallant gentleman of the Spanish +court, who rode into the arena on his own steed, and defied the bull in +the name of his lady love. To-day her father prods a sorry hack to its +death, and fights ... for a handful of silver! + +RODRIGUEZ--She is poor, I grant, but no word of scandal has ever +tarnished her name. Why dost thou oppose? + +GENERAL--Canst thou blot out thy life, and the traditions of thy race? +Wilt thou not sicken of this girl's people? + +RODRIGUEZ--I marry Lagrimas, not her family. + +GENERAL--Oh, blindness of youth! + +RODRIGUEZ--I have heard thee say Spain must look to the people for her +salvation. + +GENERAL--Spain must look to her soldiers. Infidels are in the realm. +Help the King crush them out. Fight, fight and put love aside. + +RODRIGUEZ--I may fight, but I will not give up Lagrimas. + +GENERAL--Thou must decide. + +RODRIGUEZ--I have decided. + +GENERAL--If thou goest from me to-day, thou goest forever. + +RODRIGUEZ--I am a man. + +GENERAL--When thou tirest of her, do not beat on my door. Lock thy +bitterness in thine own breast, for mine will none of thee. (_Exit._) + +(_Rodriguez walks up and down._) + +RODRIGUEZ--He is hard, he is unjust. But I have defied him ... I have +defied him. + +(_Lagrimas enters and goes to the bench against the wall._) + +LAGRIMAS--I left my fan. + +RODRIGUEZ--Thy fan? + +LAGRIMAS--It is enough, Don Rodriguez. (_Starts to go._) + +RODRIGUEZ--Hast found it? + +LAGRIMAS--It is of no consequence. Do not let me keep thee from thy +father. + +RODRIGUEZ--Ah, he hurt thee with his cruel speech. + +LAGRIMAS--Nay, he was right. I can give thee nothing. + +RODRIGUEZ--Thou canst give me what I most lack, faith in myself. I am a +make believe soldier, a boy decked out with a sword at my side, and a +plume in my hat. Until this day I never questioned his bidding, and now +I have defied him, I have defied my father. + +LAGRIMAS--Will he forgive thee? + +RODRIGUEZ--I know not. Pride of birth, pride of position, pride of +power, these are his gods. I have dared to attack his power. + +LAGRIMAS--Make him proud of _thee_. Capture Hafiz. He will forgive thee +then. + +RODRIGUEZ--Capture Hafiz? That may not be so easy. + +LAGRIMAS--Thy plan will succeed because of its very daring. I know thou +canst do it. (_Slowly._) I believe thee to be a brave man. + +RODRIGUEZ--And thou? + +LAGRIMAS--I shall be proud also. + +RODRIGUEZ--I must have thy promise. What else is there to inspire me? + +LAGRIMAS--Thy name as a soldier of Spain, thy devotion to thy father, +thy loyalty to holy church. + +RODRIGUEZ--Church, country, my father, these do not count, if I have not +thee. + +LAGRIMAS--I stand between thee and thy father. + +RODRIGUEZ--Between me and life itself. + +LAGRIMAS--The sin of separating thee shall not be on my head. Make peace +with thy father, fight as a soldier fights, and forget-- + +RODRIGUEZ--Thee? + +LAGRIMAS--Make peace with thy father. + +RODRIGUEZ--Now I _know_ thou dost not love me. + +LAGRIMAS--(_Slowly._) I do not love thee! + +(_Rodriguez looks at her an instant, then walks quickly away._) + +LAGRIMAS--I came for something. (_Takes fan from bosom._) My fan? No, +no! I do not love thee? Maria, forgive the lie! + +(_CURTAIN_) + + +THE FOLLOWING MORNING + +(_A group of Moorish prisoners, five men and two women are on the stage. +The men and women are standing a little apart, the women veiled, all are +motionless. Two Spanish soldiers are stationed at either end of the +stage. The muezzin is heard from the Valley calling to prayer. The Moors +prostrate themselves with face to East, then assume original position. +There is silence for a moment, and birds are heard singing._) + +(_Pedro enters, and goes to the group to look them over._) + +PEDRO--Hafiz! He did get thee! Well, thou art a prisoner worth taking, +and if I can read the temper of our General, thy infidel soul and body +may part company before the sun sets to-night. + +(_Moors remain silent. Pedro leaves laughing._) + +HAFIZ--What manner of brutes are these Christians! + +HASSAN--What manner of fools are we to be prisoners. + +HAFIZ--No man could have forseen the trick of the Spanish Rodriguez, may +his forehead be blackened with mud! + +(_Cafour sways back and forth, moaning._) + +HAFIZ--Soldiers everywhere. There is no chance to escape, unless we go +over the wall. + +HASSAN--(_Looking over wall._) We would perish. + +CAFOUR--(_To Hafiz._) What have they done with my son? + +HAFIZ--The boy has gone the way of death. + +CAFOUR--Death! And thou his father, stand calmly by, and know him dead! + +HAFIZ--Have I not other sons to avenge him? + +CAFOUR--The sons of other mothers, but not of my blood! + +HASSAN--The Spanish General-- + +(_The Moors again are silent. General enters with Pedro._) + +GENERAL--When were they taken? + +PEDRO--Last night, General. We tried to get thee, but thy house was +closed and dark. + +GENERAL--They said eight prisoners. I count but seven. + +PEDRO--There was a lad who flung himself over the wall into the Darro. + +GENERAL--A brave lad! + +PEDRO--We have not looked for the body. + +CAFOUR--Oh, my son! + +GENERAL--Why are these women here? + +PEDRO--They followed the prisoners. The Lieutenant would not have them +harmed. + +GENERAL--Thy victorious lieutenant hath a tender heart. + +PEDRO--Tender? He has proved there is no braver soldier in Spain. Don +Rodriguez will be an idol now. + +GENERAL--(_Amazed._) Don Rodriguez! + +PEDRO--The men who went with him say he did it all as--(_To Cafour._) +Back there to thy place. + +GENERAL--My son! + +CAFOUR--I would speak! + +PEDRO--Speak when spoken to. Get back to thy place. + +CAFOUR--I would speak to him. (_Pointing to General._) + +GENERAL--Remove thy veil. + +(_Cafour hesitates a moment, then throws back her veil. The Moors turn +their backs, that they may not see her face._) + +GENERAL--Thou art not a Moorish woman. + +CAFOUR--I am Cafour, the Abyssinian, third wife of Hafiz the Moor. + +GENERAL--What dost thou desire of me? + +CAFOUR--I want to know of my son. + +GENERAL--Thy son? + +CAFOUR--It was he who jumped, there. (_Points over the wall._) + +PEDRO--The boy who would not be a prisoner. + +CAFOUR--Thou saidst "brave." Send down and see if he lives. + +GENERAL--He could not live. + +CAFOUR--He could not die. He is young, strong, happy,--he could not die. + +GENERAL--If he lives, I will have him shot for trying to escape. + +CAFOUR--Thou saidst "brave," thou wouldst not kill him? + +GENERAL--As I would kill all infidels who fight against Spain and our +holy religion. + +CAFOUR--I do not fight against thy country, or thy God. I beg for the +life of my boy. He is not dead. I know he is not dead. Perhaps he fell +into a tree, and is only hurt. Send down the soldiers and see. + +GENERAL--(_To Cafour._) Go! + +CAFOUR--Send down the soldiers and see, Allah will put a blessing on thy +house. He will give thy son his delight. He will make his children to +rule over men. + +GENERAL--Infidel! I care not for thy blessing. (_To Pedro._) Take her. + +CAFOUR--Oh, heart that is dead to pity! As my child is lost to me, so +thy child shall be lost to thee! Allah will make it so. + +GENERAL--Take her away! + +(_Cafour is led out by a soldier._) + +GENERAL--(_To Hafiz._) A boy to capture thee! Surely Allah slept while +thou didst pray in the Mosque, Hafiz! + +HAFIZ--He will not sleep forever. + +GENERAL--Ye serve a God who betrays. Renounce thy false Mohammed, thy +futile faith-- + +HAFIZ--Is faith so lightly changed? + +GENERAL--Believe in the holy church. + +HAFIZ--Is there but one road to Paradise, but one God who points the +way? + +GENERAL--There is the true God of the Christians. + +HAFIZ--(_Bitterly._) Shall I measure the depth of his mercy by--thine? + +GENERAL--Beware lest thy tongue cut thy throat. + +HAFIZ--I shall give it fair chance. + +GENERAL--Thou art too wise to throw thy life away. A man of thy cunning +could be of value to the King. + +HAFIZ--The King! A weakling whose brain's befogged with the ignorance +and bigotry of women and priests. Hafiz has not fallen so low he can +serve such a one. + +GENERAL--The King will give thee freedom and safe passage to Africa if +thou wilt but place in his hands the plans of those Moriscoes who head +this uprising. + +HAFIZ--Yea, turn traitor to serve a traitor, and after I betray my +people, be traitorously killed. + +GENERAL--Philip does not forget those who work for the welfare of the +crown. + +HAFIZ--Am I a miserable animal that experience has not taught me how +short is the memory of Kings? Have I not heard of that Italian who found +land beyond the farthest seas, and gave Spain a greater glory than she +had ever known? Unhappy voyager, he sailed to a death of obscurity and +neglect! Thy Kings are destroyers, and we who build, fear the jackals +who tear down. + +GENERAL--I warn thee, Hafiz, tolerance will not stretch much further. + +HAFIZ--Tolerance! Spain does not know the word. Thou hast banished the +Jews, thou hast given the rack, the gibbet and the stake to the +Christian heretics, thou wilt kill and exile the Moors. But beware, we +are the growers of rice and sugar, of cotton and silk, how will Spain +live when these fail? + +GENERAL--Enough! Cool thy Moorish spleen in the dungeon. When fasting +brings discretion, thou mayest talk more soberly. + +HAFIZ--Glut thy pious hatred as the priests and fanatic Kings dictate. +Spain's life is the price! Her glory will go with the going of the +Moor. + +GENERAL--Away with him. + +(_The guards march the Moors off the stage._) + +PEDRO--He hath an evil tongue. + +GENERAL--The honor of Spain is not to be attacked. (_To Pedro._) He must +have no food until I give thee word. + +(_Exit Pedro. Enter Rodriguez._) + +RODRIGUEZ--Father, I tried to see thee last night, and thy door was +closed to me. I craved but thy blessing. + +GENERAL--I know of thy bravery. All Spain will praise thee. + +RODRIGUEZ--I want no praise. + +GENERAL--Thou hast chosen thy way. Is it bitter so soon? + +RODRIGUEZ--Can it be aught but bitter when thou hast turned against me? +Am I not of thy blood, flesh of thy flesh? + +GENERAL--Why dost thou come back to me? + +RODRIGUEZ--Last night when I faced the Moor, Death stood grinning at my +side, and I was afraid. Suddenly I thought of thee and my childhood. I +forgot everything that success or failure might bring, I fought only to +win thy love. My arm grew strong, and the grim spectre at my side faded, +for Love was stronger than Death! + +GENERAL--Hast thou given up this girl? + +RODRIGUEZ--(_Slowly._) No! + +GENERAL--(_Coldly._) It shall be my duty to report to the King and ask +for thy promotion. Thou art a brave soldier, and Spain will not be slow +to honor thee. + +RODRIGUEZ--I seek no honor from my country-men. I beg only for thy +love. + +GENERAL--(_Sneering._) Art thou a soldier or a troubadour that love is +always on thy lips? + +RODRIGUEZ--I am thy son. + +GENERAL--I speak to Lieutenant don Rodriguez de Lerma. + +RODRIGUEZ--Thy son. + +GENERAL--(_Slowly._) I have no son! + +(_CURTAIN_) + + +LATER IN THE SAME DAY + +(_Lagrimas is discovered leaning far over the wall._) + +LAGRIMAS--Brave little lad, brave little lad, the limb of the tree will +hold thee, and then my hand. Come, steady, steady.... + +TARIK--My arm! + +LAGRIMAS--Did I hurt? Steady, little lad. (_Tarik climbs over the +wall._) Brave little lad-- + +LAGRIMAS AND TARIK--(_Together._) Thou art an infidel! + +LAGRIMAS--I thought thou wast a Spanish boy. + +TARIK--I thought thou wast my mother. The blood was in my eyes, I could +not see. Now, I must throw myself down again. + +LAGRIMAS--Little fool, is not once with death enough? + +TARIK--I am Tarik, son of Hafiz the Moor, and Cafour his wife. I will +not live to be the slave of a Christian. + +LAGRIMAS--I won't eat thee, dirty infidel! (_Shakes Tarik and he all but +faints on her hands. She is smitten with remorse and stanches the blood which flows from his +head._) + +LAGRIMAS--If thou wouldst not be a slave, why didst thou come back? + +TARIK--There are soldiers in the valley. + +LAGRIMAS--There are soldiers here, hundreds of them. + +TARIK--(_Half sobbing._) I--I wanted my mother. + +LAGRIMAS--(_Tenderly._) Little lamb, little lamb. + +(_General and Pedro enter, closely followed by Feliciana. Lagrimas tries +to get away with Tarik whom she shields with her dress. They escape to +the turret._) + +FELICIANA--Pedro, thou art unveiled! + +PEDRO--Sh! + +FELICIANA--Unveiled, and not an hour since thou didst swear-- + +PEDRO--I swore only to please thee. + +GENERAL--Is the dancer always at thy side? + +PEDRO--She is a dancer no longer, General. + +FELICIANA--I am not so sure, Pedro. There was thy part to the bargain. +If thou failest, I shall not answer for my feet. + +PEDRO--I pray thee, Feliciana,-- + +FELICIANA--Do not attempt to silence me, a bargain's a bargain. I +promised to cover my feet, only if thou wouldst cover thy face. Where is +the veil I gave thee? + +PEDRO--Why must thou shame me before the General? + +FELICIANA--(_Fumbling in Pedro's coat and bringing forth a veil._) +There, put it on. + +GENERAL--Why art thou veiled, Pedro? + +PEDRO--I never meant to wear it. It is a whim of hers because I spoke +against her dancing. + +FELICIANA--Thou must learn not to break hearts. Handsome men are +dangerous to be adventuring through the land in these days. It were +better to veil them all, than have maidens' hopes go smashing. + +GENERAL--Who will succumb to Pedro? + +FELICIANA--There are women among the Moorish prisoners. Pedro will +flaunt his tempting face before them every day. It were sinful if they +should love a Christian, and die of hopeless affection. + +PEDRO--(_Contemptuously._) Moriscoes! + +FELICIANA--In the city, Senora Jacinta is pining for him already, and +Lagrimas, the bull-fighter's daughter, will singe her wings on the altar +of his beauty. + +GENERAL--(_Aside._) Lagrimas! + +PEDRO--Curse my alluring face! + +FELICIANA--Nay, Pedro, thou canst show it to me at intervals, and I will +let thee have a little peep at my ankles. It will refresh us in our +modesty. + +(_General withdraws to side of stage._) + +PEDRO--Tsch! It is all an invention of thine to make me suffer for +scolding thee. These tales of succumbing maidens are false. Thou dost +know Senora Jacinta is a child of ten, and Lagrimas hath bestowed her +heart ... elsewhere. + +FELICIANA--Jacinta will grow up, and Lagrimas is free. She must be +protected from thy subtle charms. + +PEDRO--Lagrimas is not free. She hath a lover who is mad for her. + +FELICIANA--The lover hath been discarded, Lagrimas will none of him. + +GENERAL--(_Aside._) Santissima Maria, my son! + +FELICIANA--Now, I will not have thee create havoc. Thou must hide thy +loveliness behind a veil, or thou too shalt be discarded, and the city +can mock thee also. + +(_General arises in silent rage and walks back and forth._) + +PEDRO--(_To Feliciana._) The lover of Lagrimas is-- + +FELICIANA--I know! + +PEDRO--This discussion! The General's pride! + +FELICIANA--It is time he understood that people do not lie in the road +to keep his haughty feet free of dust. + +(_Enter Rodriguez. Lagrimas again attempts to steal off with Tarik--but +is discovered by the General._) + +GENERAL--Who goes there? + +PEDRO--(_Stops them._) Santa Maria, a miracle! + +GENERAL--Who is this boy? + +PEDRO--It is the boy who was killed! + +RODRIGUEZ--Killed? + +PEDRO--The woman's boy who flung himself over the wall. He must have +been killed. It is a miracle. + +GENERAL--Hold him! (_To Lagrimas._) Thou, what art thou doing here? + +LAGRIMAS--I came to help the boy. I saw him struggling up the face of +the wall. He is hurt, let me care for him. + +GENERAL--(_Sternly._) He is a prisoner. + +LAGRIMAS--Surely thou dost not fight against children, as well as women? +Let me care for him. + +GENERAL--Lieutenant Don Rodriguez, wilt thou explain that our King deems +it a crime against holy church to aid or shelter the infidels? + +RODRIGUEZ--My word will have little weight. + +GENERAL--Love should make thy tongue eloquent. + +RODRIGUEZ--(_To Lagrimas._) Do not bother with the child, let Pedro take +him. + +LAGRIMAS--(_Bitterly._) Has success withered thy brave heart, soldier? + +RODRIGUEZ--Wilt thou not understand? Interference may spell death. + +LAGRIMAS--Better my body, than my soul to die. (_To General._) Is there +no pity in thee? Does thy lust for conquest extend to babies? + +GENERAL--It is for thy safety he pleads. + +LAGRIMAS--I do not need his pleading. + +GENERAL--Is it thus thou showest love for Don Rodriguez? + +LAGRIMAS--I have not said I love Don Rodriguez. + +GENERAL--Hast thou not promised to marry him? + +LAGRIMAS--No, no, no! + +RODRIGUEZ--I have no power to either make her love or marry me. + +GENERAL--No power! The man who captured Hafiz the Moor, to have no power +with a woman! + +RODRIGUEZ--A woman is difficult. + +GENERAL--Dost thou not know, the people in the streets say she flouts +thee, and mock thee for a sorry lover? + +RODRIGUEZ--They will talk anyway. + +GENERAL--Where is thy pride? Wilt thou have them jest at thee? + +RODRIGUEZ--What have I to do with pride? + +GENERAL--If thou wouldst be a son of mine, marry her out of hand. Marry +her, I say! Scorn Don Rodriguez, the jade! It is intolerable. + +(_Exit._) + +FELICIANA--Thy father must be a terrible care, Don Rodriguez. + +RODRIGUEZ--He is not always easy to understand. + +FELICIANA--Thou dost not manage him right. Bring his Castilian nose +nearer the earth. There are wholesome smells he is missing. + +PEDRO--(_Shocked._) Feliciana! + +FELICIANA--Pedro, I'm going to dance, I feel I'm going to dance. Throw +thy veil away. Beauty should never be hidden. + +(_Pedro throws the veil over the wall._) + +PEDRO--Feliciana! + +(_Pedro and Feliciana exeunt laughing._) + +LAGRIMAS--(_Shyly._) The little fellow is hurt. + +RODRIGUEZ--He is faint. Let me get some wine. + +TARIK--(_Sobbing._) I will not drink wine. It is forbidden.... I want my +mother.... She will make me well.... I want my mother. + +(_Lagrimas and Rodriguez catch him as he faints._) + +LAGRIMAS--See, his eyes are open again. + +TARIK--I am well. Let me stand alone. + +RODRIGUEZ--Thou art a brave lad despite thy brown skin. + +(_Enter soldier._) + +SOLDIER--The General says the boy prisoner is to go with his mother. + +(_Tarik looks at Lagrimas, then stoops and kisses the hem of her +dress._) + +TARIK--Allah will bless thee, and thy little children. It is written. +(_Exit with soldier._) + +(_Lagrimas and Don Rodriguez sit as they were in the opening scene._) + +LAGRIMAS--It is just as it was last night. + +RODRIGUEZ--(_Quietly._) But I have captured Hafiz. + +LAGRIMAS--And thou speakest neither of thy bravery nor thy-- + +RODRIGUEZ--I am getting wisdom. + +LAGRIMAS--Too much wisdom will make a monk of thee. + +RODRIGUEZ--(_After a pause._) I think the stars will shine to-night. + +LAGRIMAS--(_Piqued._) Oh, dost thou? + +RODRIGUEZ--The air is blowing up a little sharp. + +LAGRIMAS--Maria be adored, there is always the weather. + +RODRIGUEZ--Of what else shall I speak? + +LAGRIMAS--Of thee and--oh anything! + +(_Silence. Guitars tinkle in the valley._) + +LAGRIMAS--Dost hear the guitars? + +RODRIGUEZ--No. + +LAGRIMAS--I can hear them plainly. The senor is a constant lover; she +will yield to him soon.... What has stopped thine ears? + +RODRIGUEZ--The beating of my heart. + +LAGRIMAS--A soldier's heart--(_stops suddenly._) + +RODRIGUEZ--Hast thou lost something? + +LAGRIMAS--It is no matter. I do not want it back. + +(_Looks fixedly at his coat until he fidgets._) + +RODRIGUEZ--Why dost thou stare? Is my coat--? + +LAGRIMAS--What I lost, it has gone inside thy breast. I saw it. + +RODRIGUEZ--(_Bewildered._) I--oh--what is it? + +LAGRIMAS--My heart, most beautifully stupid, my heart! + +RODRIGUEZ--(_Clasping her._) Lagrimas! + +(CURTAIN) + + + + +THE TURTLE DOVE + +A Chinese Play + + +CAST + + CHORUS. + CHANG-SUT-YEN, son of CHANG-WON-YIN, the GREAT, _ruler of the Province + of Canton_. + THE MANDARIN. + KWEN-LIN, _His daughter_. + THE GOD OF FATE. + THE PROPERTY MAN. + THE GONG BEARER. + + + + +The Turtle Dove + +_The play is acted in the Chinese manner, without stage setting. The +back drop is painted to represent a Willow plate. Chorus is present at +the left side of the stage throughout the action, to explain the story, +announce the characters as they appear, and thank the audience for its +interest. The Property Man, in a black costume, remains at the back of +the stage. At various specified times, he hands the necessary properties +to the several characters, from a small box beside him. When not +occupied with stage work, he spends the time reading a Chinese paper, +and smoking a pipe or cigarette._ + +_All the persons in the play are in blue and white costumes, to make the +plate picture. The Gong-Bearer may be in royal yellow, and Chorus in +emerald green._ + +_The Curtain is drawn slightly open, and the Gong-bearer appears, +strikes the gong three times very slowly and ten times rapidly, then +walks to the right side of the stage, and stands there throughout the +play. Chorus appears between the parted curtains, holds up his left hand +while the Gong-bearer strikes once, then addresses the audience in a +very suave manner._ + +CHORUS--Most illustrious friends, I deliver the three bows to Heaven, +Earth, and Man, (_bows ceremoniously to right, left, and centre_) and +obtrude myself on your exalted vision that you may know the meaning of +our poor play. The story deals with the always new love of youth for +maid, the abrupt tempering of a father's wrath to forgiveness, and the +immutability of Fate. + +Our hero, Chang-sut-yen, (_Chang-sut-yen appears between the curtains, +bows to right, left and centre, then disappears behind the curtains_) +will come before you as a servant, but in reality he is none other than +the son of Chang-won-yin, the Great, ruler of this province of Canton. +(_Gong-bearer strikes the gong._) The God of Fate decreed that he should +be known as a turtle dove, and have his image forever emblazoned on the +shining surface of a Willow plate. To avert this calamitous ending to +his august life, Chang-sut-yen has fled the home of his father, and +entered the service of a rich and powerful Mandarin, where he hopes, by +virtue of his obscure position, to escape the notice of the God. But, as +we have said, Fate is immutable, what the God plans must ever be, +despite the efforts of puny man. + +You will see the Mandarin, (_Mandarin appears, bows, and disappears_) +rich, proud, majestic, with eyes for everything that may tend to make +him more powerful, but superbly blind to virtue and worth in the humble. + +Kwen-lin, his daughter (_Kwen-lin appears, bows, and retires_) is swayed +by love alone; a dangerous practice usually, but in this story, one +begging your approval. Do not judge her harshly, in that her heart leads +her. Remember she is a woman. Much may be forgiven women. + +(_The Property Man appears, bows, and looks inquiringly at Chorus, who +hesitates an instant, and then, as if fulfilling a rather unpleasant +duty, proceeds._) I would I might ignore the Property Man. He composed a +version of this poetic tale, putting in all the ugly truths, and +serenely forgetting all the possible flower like episodes. As artists we +could not consider it. (_Property Man with a slight shrug leaves +stage._) The Property Man is not sufficiently large minded to accept our +ripe and impartial opinion. He is superbly indifferent to the luminous +fruit from his successful rival's quill, and will probably sulk through +his duties. That you may not be disturbed by his presence, we have +clothed him invisibly in black, and you will therefore be spared the +pain of seeing him at all. + +I fear I have kept you all too long from the feast prepared for your +delectation. If my brothers behind the curtain show not that histrionic +merit you so rightly demand, I pray you be lenient, and listen with +ears, and see with eyes, not too critical. I conduct you at once to the +moon-lit garden of the wealthy Mandarin, where Chang-sut-yen is +loitering, hoping to meet there the Mandarin's beautiful daughter, +Kwen-lin, who smiles on him. Is it not traditionally the fashion of +women to adore most that youth who is forbidden? + +I bow to you for your attentively honorable ears. I bow. I bow. +(_Gong-bearer strikes gong. Chorus walks to left of stage, and curtains +are pulled apart, revealing Chang-sut-yen standing before the back +drop._) + +CHANG-SUT-YEN--(_Singing._) _Bor lo un doy, bor lo un doy, chin lo, chin +lo, bor lo un doy._ Kwen-lin will know that song. It is nothing, it +says nothing, therefore it is pregnant with meaning, and my Bright +Water-lily will understand. (_Singing._) _Bor lo un doy, bor lo un doy, +chin lo, chin lo, bor lo un doy._ She will come, dancing like sun-rays +on the flowers of my mind, and I will press my honorable lips to hers, +and our solemn breaths will mingle. Though I seem but a servant, I am +Chang-sut-yen, son of Chang-won-yin, the Great, ruler of this province. +(_Gong-bearer strikes gong._) I am also the most glorious lover the Gods +have made. My soul was fashioned from the wind of Heaven, and the purple +fire of the mountain peak. My illustrious body is the sturdy tree to +which maidens will ever sigh their timid love. + +CHORUS--It is the Mandarin who walks this way. + +CHANG-SUT-YEN--(_Singing._) _Bor lo un doy, bor lo un doy, chin lo, chin +lo, bor lo un doy_,--who comes? Alas, not Kwen-lin the fragrant, but my +master. He will spit anger that I linger in the garden. I must summon my +snake tongue to puzzle his cow-brain, lest he suspect I wait for her. I +will divest myself of my honorable senses, and speak with an empty head. +I will be gloriously fool possessed. (_Singing._) _Bor lo un doy, bor lo +un doy, chin lo, chin lo, bor lo un doy._ + +(_Enter Mandarin._) + +MANDARIN--The night is full of chill. If the God of Frost bites his +sharp teeth into my fruit trees, they will perish. Br-r-r, cold! + +CHANG-SUT-YEN--(_Clasping Mandarin in his arms._) August one, the white +moon lady slumbers in the chamber of Heaven, while I wait for you to +light the path of my dreams. + +MANDARIN--Ancestors, save me! + +CHANG-SUT-YEN--We will make loud prayers to the tablets of our +magnificently worthy ancestors after we embrace. Let me pluck you, and +wear you across my heart, before your flower beauty fades. + +MANDARIN--(_Recognizing him._) Miserable three footed dog, what maiden +did you think to greet? + +CHANG-SUT-YEN--I press to my superb breast only your lily feet, +honorable Cherry Blossom. + +MANDARIN--I am no Cherry Blossom. + +CHANG-SUT-YEN--You are all the Cherry Blossoms in the Garden of Earth, +shedding perfume and petals with every sighing breeze. + +MANDARIN--I shed nothing but the light of Truth and Justice. + +CHANG-SUT-YEN--My heart cracks with love for you, and your tasks. At +night when sleep seals the minds of other servants, I journey forth to +count again your dazzling possessions. Your peach trees bend before me, +and I am blinded. I beg to work for you until Death sews a black seam in +my brain, and I go to my ancestors. + +MANDARIN--You have departed your unhappy wits. I give you to-morrow to +offer gifts to the gods. Pursue sleep, and think not of my possessions, +but rather of your venerable poverty. Your august brain is not large +enough for Death to waste thread on. Thread is costly. Away with you, +and rest. + +CHANG-SUT-YEN--May your golden finger nails grow, and grow, and grow, +until they grasp all wealth and honor. (_Singing._) _Bor lo un doy, bor +lo un doy, chin lo, chin lo, bor lo un doy._ + +(_Exit Chang, singing._) + +MANDARIN--He is a faithful dog, who begs but a kick to make him lick my +hand. I have given him too many tasks. He is bereft of his toad mind. I +dislike a man who sings as he works. Life does not plan it so. + +CHORUS--Kwen-lin, Bright Water-Lily, comes to meet her lover. + +(_Enter Kwen-lin, singing. Property Man hands her a branch of +blossoms._) + +KWEN-LIN--(_Singing._) _Bor lo un doy, bor lo un doy, chin lo, chin lo, +bor lo un doy._ + +MANDARIN--The mad one croaked that. (_Turns back and sings._) _Bor lo un +doy, bor lo un doy, chin lo_,-- + +KWEN-LIN--(_Clasping him._) Supreme lover! The happy breezes dance when +your voice is the lute. + +MANDARIN--My important ears to be so assailed! The world box collapses, +and tumbles round me. + +KWEN-LIN--Noble father! I thought it was my-- + +MANDARIN--Your? + +KWEN-LIN--My singing bird. + +MANDARIN--A Cherry Blossom, and a singing bird! An illustrious choice +for a man of high position. + +KWEN-LIN--You sound very like a singing bird. + +MANDARIN--Something has broken in their heads. Spring has tangled the +brain threads. It must be Spring! + +KWEN-LIN--It is Spring, and soon it will be superb Summer, then Fall, +then Winter. The year gone pff! like that, and miserable life flower +desolated. + +MANDARIN--Before the honorable year goes pff! like that, you will be an +exalted wife. + +KWEN-LIN--A wife! I, a wife? + +MANDARIN--For seventeen years of moons, your nurses and teachers have +polished you into a state of passable excellence. You are very wonderful +as foolish little girls go. You are something of a somebody. + +KWEN-LIN--But to what impressive man are my charms to be presented? + +MANDARIN--(_Looking at invisible garden._) This late frost will surely +steal the jewels in my garden. The servant Chang must cover the iris. I +can trust Chang. + +KWEN-LIN--You marry me to Chang-sut-yen? + +MANDARIN--Do I throw my child of five thousand and one delectable graces +into the arms of a servant? I was speaking of my garden. + +KWEN-LIN--If I am to wed, let us speak of husbands. + +MANDARIN--Ah, many men have sought to wed you, but I have turned their +eyes away, until the sublime one should ask. + +KWEN-LIN--To whom do I go? + +MANDARIN--To the greatest of all! To be dazzled, to be petted, to be +surrounded by every superior luxury. + +KWEN-LIN--(_Impatiently._) To whom do I go? + +MANDARIN--There is honor and eminence the alliance will give me, and +money it will add to my already considerable store. We will not, as a +matter of policy, show we are flattered. We will be proud, we will be +haughty, we will drive a shrewd bargain when the wealthy Ta-yin of +Canton would make you his bride. + +KWEN-LIN--The Ta-yin of Canton! I will not marry the Ta-yin of Canton! + +MANDARIN--What strange words do your lips produce? Does my daughter +oppose her insect mind to mine? + +KWEN-LIN--I will not marry the Ta-yin of Canton. He's ugly, he's bold, +he's yellow as-- + +MANDARIN--Gold! + +KWEN-LIN--He shakes when he walks-- + +MANDARIN--He's a-- + +KWEN-LIN--Hundred years old! My heart would crack with grief were I to +marry him. + +MANDARIN--I never yet heard that any maiden died of grief at the +prospect of being a bride. + +KWEN-LIN--Br-r-r-r! + +MANDARIN--(_Jumping._) What was that? + +KWEN-LIN--My heart cracking. Death is clutching for me. + +MANDARIN--(_Wearily._) Go away, Death. Take her, if you must, after she +is wed. The wealthy Ta-yin can better bear the sad expenses. + +KWEN-LIN--I'm dying now, dying, dying. It's quite delicious! (_Lies +down. Property Man puts a blue cushion under her head._) I'm almost +dead! + +MANDARIN--You can't die like this. It's most absurd, besides being +unbeautiful. + +KWEN-LIN--Have no fear, my death will be magnificently beautiful. I +have practiced many times, and know. + +MANDARIN--Get up, fox soul! + +KWEN-LIN--(_Sitting up._) Have respect for my solemnly departing life. +My heart will not throb longer. (_Lies down._) I am dead! + +MANDARIN--(_Prodding her with foot._) Get up, get up, get up! I must +carry her! (_Stoops, and puts arms under Kwen-lin._) Oh, for the strong +muscles of my lusty young arms. We have fed her too well. She weighs +many pounds. (_Stands up, and claps hands. Chang-sut-yen enters._) + +CHANG-SUT-YEN--My serene mind presents itself to you, great master. + +MANDARIN--Sleep should be gathering up the ends of your serene mind, but +it is as well. My daughter's honorable body has persuaded itself to seek +its illustrious ancestors-- + +CHANG-SUT-YEN--(_Kneeling beside Kwen-lin._) Kwen-lin dead, dead! Then +let the lady moon fall from the mighty loft of Heaven, and burn my life +to ashes of wistaria! + +MANDARIN--Your overwhelming grief at my bereavement becomes a servant, +but let not the pockets of your eyes fill with tears. Bear her to the +house. She shall be whipped alive! (_Kwen-lin shudders._) The sublime +wasp shakes at that? + +CHANG-SUT-YEN--(_Bending over Kwen-lin, and looking into her wide open +eyes._) It was a death throe, exalted one. + +MANDARIN--Can your arms support her? + +CHANG-SUT-YEN--I lift a Cherry Blossom with more effort. + +MANDARIN--Speak not of Cherry Blossoms. Pick her up. (_Chang starts to +lift Kwen-lin._) No, no, that is not wise. How shall we do it? + +CHANG-SUT-YEN--(_Craftily._) I can guard the crystal vase of her +departed soul, while you go for help. + +MANDARIN--It had not penetrated my disturbed brain. I go for help. + +(_Exit Mandarin._) + +KWEN-LIN--(_Sitting up._) Superb love mate! + +CHANG-SUT-YEN--(_Hurriedly._) Augustly enter the world of the venerable +dead again, luscious one, your honorable father looks this way. + +KWEN-LIN--(_Lying down._) Do your eyes grow pearls that I am with my +ancestors? + +CHANG-SUT-YEN--The love butterflies are winging in the happy recesses of +my heart. My breath will smother me with joy. + +KWEN-LIN--(_Sitting up._) Joy, when my father is going to marry me to +the Ta-yin of Canton? + +CHANG-SUT-YEN--Exalted joy, because before that can happen my father +will have the Ta-yin beheaded. + +KWEN-LIN--An orphan has no father. + +CHANG-SUT-YEN--I have a celestial now and then father, who does these +necessary but disagreeable things. I think he will dispose of the +wealthy Ta-yin if I ask him. + +KWEN-LIN--It must be a wonderful convenience. We will make a list of all +those superbly annoying persons we do not like, and have your celestial +now and then father, behead them. + +CHANG-SUT-YEN--We will ponder it, Bright Water-lily, when we are not +serenely happy. + +KWEN-LIN--I do not like being whipped alive! My teeth chatter when I +think of it, and I can't be happy. + +CHANG-SUT-YEN--A base whip to touch you! Nay, my lips shall make you +live. (_Kisses her._) I am gloriously versed in lip magic. (_Kisses her +again._) + +KWEN-LIN--Let us fly on our illustrious legs, and be married with the +six ceremonies, before my father returns. I like that lip magic. It +makes singing here. + +(_Kwen-lin touches heart. She and Chang-sut-yen exeunt. The Property Man +looks around the stage slowly, glances in the property box, then +saunters casually off._) + +(_CURTAIN_) + +CHORUS--I bow. + +(_Chorus leaves stage followed by Gong-bearer._) + + +_Scene II_ + +(_Chorus again appears before the closed curtains, and raises his left +hand, while the Gong-bearer, who has walked to his original position at +the right side of the stage strikes the Gong once._) + +CHORUS--Many perfumed months have passed since Chang-sut-yen wedded +Kwen-lin, and each has added a white hibiscus blossom to the garland of +life. But now bitter winter comes, snow is on the paeony hill, the hosts +of evil are abroad. The Mandarin, with never ending rage, has spent the +months searching throughout the Empire to discover their dwelling +place. Now he has learned where it is, and pursues Chang-sut-yen with a +death dealing thong, which he will wield with dire results. It is the +pleasure of the illustrious author that the villain act in a supremely +unpleasant manner, in order to bring out the tenderness of the play. Our +lovers, not knowing this is a comedy, (and therefore must conclude with +smiles and feasting), are overwhelmed with fear. I beg you not to share +this fear, except inasmuch as it may make the after enjoyment of the +happy ending more piquant and superbly satisfying. + +I bow to you, and conduct you to the home of Chang-sut-yen, and +Kwen-lin, his wife. + +(_Gong-bearer strikes gong. Chorus walks to his place at the left of +stage. The Curtains are drawn apart, and reveal Chang-sut-yen, and +Kwen-lin. The Property Man is at the back of the stage, as before._) + +KWEN-LIN--Is my august father yet stamping on the road? Peep out of the +door, heroic one, and show but part of one eye, lest the radiance from +both light the world like stars, and he swoop upon us. + +CHANG-SUT-YEN--(_Looking out of imaginary doorway._) I see not his angry +body. + +KWEN-LIN--I would not face him here. Let us go outside, and sit neath +the eaves of the pagoda. He may miss our presence, and leave without +shattering this temple of our love dreams. + +(_Property Man opens invisible door, they descend two steps and sit +down, and Property Man closes the door._) + +CHANG-SUT-YEN--Little humming bird, your heart wings beat wildly +against my solemn breast. + +KWEN-LIN--His fiery breath will wither our blood. Feel how it scorches +the grey veil of night. He is coming to consume us, he is coming to +consume us! I fear his terrible rage. + +CHANG-SUT-YEN--Nay, tremble not, for I, your lover, shelter you in my +heart. + +CHORUS--The Mandarin comes. + +KWEN-LIN--(_Sadly._) The wine cup is drained, the love songs all are +silenced. + +(_Enter Mandarin._) + +MANDARIN--Base thief and destroyer, at last I have found the hole in +which you hide! + +CHANG-SUT-YEN--A lover seeks only food for his love. If he destroys or +thieves what matter? Love is first. + +MANDARIN--My tongue sends flame into your viper soul. Go to your +ancestors, they beckon you. + +KWEN-LIN--Let us escape across the bridge! + +(_Property Man holds bamboo stick horizontally for bridge._) + +CHANG-SUT-YEN--Why should we flee? + +KWEN-LIN--Why should we perish? To the bridge! We will outrun him. + +(_They run onto bridge._) + +CHANG-SUT-YEN--(_Grasping bamboo._) The bridge shakes. Its ribs are +rotten. We will fall into the water. + +KWEN-LIN--(_Off stage._) I fall, I drown! + +CHANG-SUT-YEN--Bright Water-lily, float upon the water's face. + +MANDARIN--I pull down your star from Heaven's dome. + +CHANG-SUT-YEN--My star dropped to Earth, when the light of hers failed. + +(_Property Man hands whip to Mandarin._) + +MANDARIN--I strike with my exalted whip. By the God of Fate, you die! + +(_Strikes Chang with whip. Chang falls. Gong-bearer strikes gong. The +God of Fate, wearing grotesque mask, enters._) + +FATE--Who calls me to the world of men? + +MANDARIN--What unknown fear are you? + +FATE--I am the God of Fate. + +MANDARIN--I have sent a dog to death. (_Stoops and takes a small red bag +from Chang's breast._) + +FATE--Chang-sut-yen is mine! He must not die. + +MANDARIN--My exulting mind does not record your meaning. + +FATE--(_Stooping over Chang, and putting the red bag back._) +Chang-sut-yen, son of Chang-won-yin, the Great, I give you back your +heart! (_Gong-bearer strikes gong._) + +MANDARIN--Chang-sut-yen, son of Heaven! I bow in the dust three times. +(_Prostrates himself._) + +FATE--(_To Chang._) Arise, and continue your exalted life. + +CHANG-SUT-YEN--(_Rising._) My path is lost in crookedness until I join +her. Let me go. + +FATE--The gods have not yet dried the ink on the pages of your book of +life. You must live, to live upon a Willow plate. + +CHANG-SUT-YEN--And be broken by the heavy hand of august Time, and +unkind Chance. (_Property Man hands knife to Chang._) With this frosty +blade, I cut the circle of life, and press my lips to the jade cup of +nothingness. I am a lover bereft of my mate. + +FATE--You must live! (_Touches Chang's arm with staff. The knife falls +to the ground. Property Man picks it up, and puts it back in the +property box._) + +CHANG-SUT-YEN--Kwen-lin, I leap across the river of Heaven to your arms! + +FATE--She is not dead. She dreams, and smiles upon the bosom of the +water. + +(_To Kwen-lin._) Awake! Awake! + +(_Kwen-lin enters, and goes to Chang._) + +FATE--Your sublime father, Chang-won-yin, has gone to his ancestors. You +are Chang-sut-yen, the Great, ruler of this province. + +(_Gong-bearer strikes gong._) + +CHANG-SUT-YEN--I renounce my rule. I am a lover, not a ruler. + +FATE--You are a turtle dove. (_To Mandarin._) To your home, and set +forth majestic feasting. Chang-sut-yen will honor your house. He rules. + +CHANG-SUT-YEN--I rule not. I am a lover. + +KWEN-LIN--Exalted one, a lover is a turtle dove. + +FATE--It is sometimes given to women to know the truth. Thus Fate is +fulfilled, and Chang-sut-yen, the turtle dove, will live upon a Willow +plate. + +(_Gong-bearer strikes the gong twice._) + +(_CURTAIN_) + +CHORUS--For your eager ears, for your shining eyes, for your smiling +faces, I bow, I bow, I bow. + +(_Chorus followed by the Gong-bearer goes behind the curtains._) + + + + +THIS YOUTH--GENTLEMEN! + +A FANTASY + + +CAST + + A MAN. + A BOY. + + + + +This Youth--Gentlemen! + + +_Scene I--A narrow lane sharply ascending the hill-side. In the distance +a lake shimmers in the sunlight. As the curtain rises the BOY is +discovered sitting on a huge boulder. He curiously watches the +approaching MAN._ + +MAN--The road is narrow. + +BOY--(_Curtly._) I like it so. + +MAN--I have followed you from the valley. + +BOY--(_Moving aside._) I'll follow you up the hill. + +MAN--(_Smiling._) I may wait here. + +BOY--I may play. (_He throws a stone across the waters, and laughs as it +strikes the surface._) + +MAN--(_Sharply._) Now! You have disturbed the frogs and hidden green +things! + +BOY--A ripple on the waters! It's the smile that quick adorns my lady's +face when I tell.... A little ripple--it whispers of spring and youth to +the hidden green things. I am glad I flung the stone! + +MAN--Youth! A braggart word employed by fools and poets who have not +lived. + +BOY--Youth! A magic word, the talisman of those who seek the promised +land! + +MAN--(_Slowly._) I seek the world of yesterday! + +BOY--We left it ... yesterday. Your road lies back in the valley. + +MAN--I carry a chart in my breast, it marks the place where yesterday +stands. This lane leads there. + +BOY--It leads to the land of promise. + +MAN--I carry a chart in my breast.... + +BOY--Your chart, it lies! I'm going on; follow if you like. + +MAN--What shall you, who have not lived, do when we reach the world of +yesterday? + +BOY--Show you my land of promise. + +MAN--Then haste! + +BOY--Never fear. My feet are swift. + + +_Scene II--A ledge between a deep ravine and the mountain. Night._ + +MAN--Dear lad, let us rest here. + +BOY--(_Laughing._) This is the edge of the world. + +MAN--Sit not too near, I beg you. + +BOY--I'll dangle my legs over the cliff, and watch the shadow of the +devil diminish. + +MAN--(_Lying wearily on the ground._) To flutter like a feather from the +wing of a soaring eagle--to lie unseen and forgotten among the dead +leaves of the forest. + +BOY--Come, and see the shadow. + +MAN--I feel it on my heart. + +BOY--The devil made that chart you boast about! + +MAN--And locked it in my breast. + +BOY--It has taken away your peace. + +MAN--Peace! To hear that name on all men's lips, to search and search +and never know its habitation. + +BOY--They say: He that pursueth, never shall overtake! + +MAN--(_To himself._) Desires die, ideals are forgotten, love passes +away. The mantel of eternal snow envelops all men, what shall escape? + +BOY--Youth! + +MAN--Which knows not life. + +BOY--Must one experience to know?... Do I not feel? + +MAN--In all these days we have been together, what have you felt for me? + +BOY--That you sowed wisely, but knew not how to garner. You speak of +ideals lost-- + +MAN--I am not sure I ever had them. + +BOY--Is it work or play, love or life, your ideal of yesterday? + +MAN--Yesterday! Did it ever exist? + +BOY--It died the night of its birth, and vanished in rose smoke, making +incense to the gods who once reigned. + +MAN--Who told you all this? + +BOY--My lady--in the twilight. + +MAN--Your lady? + +BOY--She sent me to find the promised land. She will come when I am +there. My heart is strong, and I can wait for her. + +MAN--My heart was strong and passionate; it pulses no longer like a +man's, but serves to beat out the unconsidered tickings of the ashen +days. + +BOY--Then sit with me, be a child, and laugh at the shadow. So faith may +come again. + +MAN--The day is breaking. + +BOY--(_Whimsically._) Alas, the shadow's gone, +and you have not seen it! Look yonder at the little stream, it leaps +like a white flame down the grey old rocks. + +(_They peer over the cliff together._) + +MAN--I smell the living earth. + +BOY--I want to climb the mountain side. Who knows what treasures may be +there? + +MAN--(_Slowly._) I know the place--the place above. + +BOY--Have you been there? + +MAN--No.... I dreamed and thought to reach it once, but lost the way. + +(_They climb together._) + +BOY--Why do you laugh? + +MAN--My blood has turned to flame. I feel it burning in my body. + +BOY--The morning sun is in your veins. I know.... What do you see? + +MAN--(_Whispering._) Your land of promise! + +BOY--It is not so! My land of promise is more beautiful than anything +one may imagine! + +MAN--This is more beautiful. + +BOY--I would know if this were it. + +MAN--This is the land I say. Laugh with me and shout. The shadow of the +devil has gone. I have found the place and myself. + +BOY--Not so! The place is farther off, and higher. I am not content with +this! + +MAN--Come with me, youth, to the summit! + +BOY--(_Eagerly._) I'll climb with you.... I'll climb ... to the summit! + +(_CURTAIN_) + + + + +THE STRIKER + + +CAST + + JOHN QUINN, _A mortorman on strike_. + MRS. QUINN, _His wife_. + MOLLY, _His daughter_. + BILL MARTIN, _A neighbor, also on strike_. + MRS. MARTIN, _His wife_. + + + + +The Striker + + +_Scene--A dining room in a workman's home. Plain but scrupulously neat +and clean. Door L leads to kitchen. Door R leads to front door. Mrs. +Quinn is seated at centre table darning socks and talking to her +neighbor, Mrs. Martin._ + +MRS. MARTIN--(_Dropping a few pennies into a purse, and shutting it with +a snap._) Seven weeks, and not one cent coming in. I don't know how +we'll live, if it keeps up much longer. + +MRS. QUINN--A strike's a bitter thing Mrs. Martin, and no one knowin' +how it will end. + +MRS. MARTIN--Why can't they talk it out? It seems to me if the motormen +and conductors sent a committee to the company, they might arrive at an +understanding. + +MRS. QUINN--But the company don't take stock in the Union, and a +committee of men would be a Union committee, or nothin'. + +MRS. MARTIN--Let them arbitrate, I say, let them arbitrate. + +MRS. QUINN--It's a nice soundin' word, is arbitrate, but no one wants to +do it, save them as ain't interested. A man hits with his fist first, +and arbitrates afterwards,--in the police court. + +MRS. MARTIN--Men are queer creatures. There's my Bill, a more religious +man never walked, if I do say it myself, and yet he's as bitter as +poison against the company. + +MRS. QUINN--Religion don't always kill bitterness-- + +MRS. MARTIN--This morning I wakened up before five o'clock, and he +wasn't in bed. I went down stairs to see what had happened, and found +him sneaking in the back gate like a thief. Heaven only knows what he +was doing outside at that time in the morning. Mischief, I'll bet. + +MRS. QUINN--Aye, it was mischief, and my old man in it too. I got it out +of John when he came back. They had been out before the dawn, pryin' up +trolley tracks with a crow-bar. + +MRS MARTIN--A fine mess if they'd been caught. + +MRS. QUINN--Locked up, that's what would have happened, nice pair of old +fools that they are! + +MRS. MARTIN--It must be devilish though, to have strike breakers come in +and run the cars, while the men are sticking out for a principle. + +MRS. QUINN--A principle's a fine excuse now and then, for a bunch of men +to fight behind. + +MRS. MARTIN--But this is a principle worth fighting for. + +MRS. QUINN--Maybe it is. + +MRS. MARTIN--I wish you'd go to the lectures at the Lyceum with me. +You'd understand things better. My, I miss your Molly. We heard so many +wonderful men talk, and she was so quick getting their ideas, it was +just great to be with her. + +MRS. QUINN--Well, you know, she'd _tell_ me about them when she got +home. I remember that first man who talked of the virtue of humility and +self-sacrifice. Molly was that full of onselfishness after hearin' him, +that she almost gave her job to Jennie Tubbs, thinkin' _she_ needed the +money more than we did. + +MRS. MARTIN--That was Prof. William Mason. He was a noble character. + +MRS. QUINN--Aye, but he didn't last. He was followed by the moral +uplifter one. Sure, we lived on pins and needles then! After him we had +a course in sanitation, and pure food, and how to feed a fam'ly of six +on $4.00 a week. Oh, them last was wonderful fairy tales. The meals that +woman could manufacture out of an old ham bone! It was past belief. + +MRS. MARTIN--I tried a few of her receipts, but Bill wouldn't eat the +things I made. He said he wasn't a horse yet. + +MRS. QUINN--Aw, she was a joker, I'm thinkin', put in the pack to +lighten the others up a bit. Lectures is an easy way of gettin' scraps +of learnin', but it's done neither of ye lastin' hurt that I can see. + +MRS. MARTIN--I heard the walking delegate talk this afternoon. The men +got pretty excited listening to him. He told them their rights, and +it'll be a wonder to me, if they don't do a good bit of damage to the +Company's property before this thing ends. + +MRS. QUINN--The walkin' delegate's a smart lad, from all I hear. + +MRS. MARTIN--He's smart enough to get paid for the work he does. + +MRS. QUINN--He gets paid for startin' strikes, is it? + +MRS. MARTIN--He goes all over the country telling the men when to +strike, and what to strike for. He gets paid for that. + +MRS. QUINN--But the men don't get paid for strikin'. + +MRS. MARTIN--That's a silly idea, Mrs. Quinn. + +MRS. QUINN--You can have it for what it's worth. Molly used to say I had +more ideas than a dog has fleas, but I fancy she was just slatherin' me +over with the blarney. + +MRS. MARTIN--Well, I believe the walking delegate's right. The men must +fight this out to a finish. + +MRS. QUINN--It's likely to be our finish, alright, alright. + +MRS. MARTIN--(_Unconsciously imitating the delegate._) It's not only for +ourselves, but for our children that the war must be waged. + +MRS. QUINN--Our children! Sure, it shouldn't be a bequeathment job, this +trolley business. + +MRS. MARTIN--He says our children will be saved a fight for their +rights, if we conquer now. + +MRS. QUINN--Whist darlin', our children will have their own notion of +rights and fights by the time they grow up. They can blow on their own +broth when it bubbles over. + +MRS. MARTIN--But the noble way is to consider the ones who come after +us. + +MRS. QUINN--Maybe that's so, me dear Mrs. Martin, but I'm after lookin' +out for the man of to-day. The better off we are, the better off our +kids'll be. + +MRS. MARTIN--The walking delegate says that's a very selfish way of +looking at it. + +MRS. QUINN--The walkin' delegate's got the fine words in his mouth. + +(_Silence._) + +MRS. MARTIN--Have you heard from Molly lately? + +MRS. QUINN--Poor darlin', I got a letter from her this mornin'. She's +comin' home. + +MRS. MARTIN--Does Mr. Quinn know? + +MRS. QUINN--I'll have it out with him to-night. + +MRS. MARTIN--He's a pretty stubborn man. + +MRS. QUINN--I'll bring him around, never fear. + +MRS. MARTIN--I think you're a wonderful woman, the way you manage him, +Mrs. Quinn. + +MRS. QUINN--Sure it's just me knowledge of that, keeps me goin'. When I +lose conceit of meself, I'll be fit for no place but--Heaven. + +MRS. MARTIN--(_Listens, with finger uplifted._) Sh! That's Bill slamming +the back gate. I'll go put the kettle on. A cup of hot tea soon takes +all the ugly kinks out of him. + +MRS. QUINN--It's an upliftin' beverage, is tea. It does miracles for my +old man, when he has his back up. + +MRS. MARTIN--(_Going to door L. then hesitating._) I'm not a specially +religious woman, Mrs. Quinn, and I've never heard you say much about it, +but I think now that everything else has failed and the strike seems no +nearer an end, we might as well take it to God in prayer. As Bill says, +we've tried every other way. + +MRS. QUINN--(_Slowly._) Well, I guess Gawd's used to bein' the last on +the list, so I'll join ye in yer prayers, Mrs. Martin. Good-night to +ye. + +(_Exit Mrs Martin door L._) + +(_Mrs. Quinn pulls down the blind and fusses about the room. There is a +sharp bang on the front door. She leaves room R. and returns with the +evening paper. Looks out the window again, raising the blind ever so +little, then sits at table, and opens the paper._) + +MRS. QUINN--(_Reads--then._) Nothin' but strike, strike, strike, +wherever ye look. A few cents an hour more, a few hours a week less, +what a little to fight for, and yet they won't get it, they won't get +it. + +(_Quinn enters door L. Hangs hat and coat on rack near kitchen door. +Sits in chair at side of table, and is noticeably nervous._) + +QUINN--(_After a pause, during which they both steal furtive glances at +one another._) Well? + +MRS. QUINN--I see yer home again. Anything doin'? + +QUINN--Nothin'. + +MRS. QUINN--(_Tartly._) Well, it's a fine husky way for a man to be +makin' a livin' for his wife, throwin' up his good job as a motorman, +and walkin' the streets. + +QUINN--(_Moodily._) Good job,--hell! + +MRS. QUINN--I don't see what way ye'll pay for shoe leather, if ye don't +get some money soon. + +QUINN--We'll live. The Union won't see us go under for the lack of a +dollar or two. + +MRS. QUINN--I don't like livin' on the Union. + +QUINN--We ain't beggars yet. + +MRS. QUINN--We're not far from it, Gawd knows. + +(_Picks up paper, and again reads. A pause._) + +QUINN--(_Irritably._) Can't ye stop rattlin' that paper? + +(_Mrs. Quinn glances at him casually, and calmly proceeds with her +reading. It is the sort of calm that arouses temper in a jumpy person._) + +QUINN--(_Springing up._) Stop that infernal noise! Seems like a man +might have peace in his own house. Here I am walkin' the streets all +day, with me legs and head that tired I'm ready to drop, and when I get +home at night, a clatter that would wake the dead, in me ears. + +MRS. QUINN--Yer blood may be Irish, John Quinn, but yer nerves are +American.... I never saw such a changed man in me life. It's bad enough +to have ye walk out on strike-- + +QUINN--Now see here, I didn't walk out on strike, and ye know it. I'd be +workin' yet if the Union hadn't told us to lay off until we got our +rights. + +MRS. QUINN--Ye'll rot before ye get yer rights, I'm thinkin'. + +QUINN--Maybe, maybe so. + +(_Silence again._) + +MRS. QUINN--(_Putting down paper._) I see the walking delegate discussed +the strike at an elegant banquet at the Hotel Hoffman last night. Ye +know, _he_ don't seem to suffer no privation. Mrs. Martin says he gets a +princely wage for orderin' strikes all over the country. No wonder he's +in earnest about his job. + +QUINN--Some one has to lead the men. + +MRS. QUINN--I fancy he wouldn't lead far, if his wage stopped. + +QUINN--(_Shortly._) Aw, don't be a fool. + +(_Silence again. Quinn moves uneasily in his chair._) + +MRS. QUINN--What's on yer mind? Can't ye sit still? + +QUINN--What should be on me mind? + +MRS. QUINN--I haven't lived with ye five and twenty years without +knowin' when ye've done somethin' ye're ashamed of. + +QUINN--I've done nothin' I'm ashamed of. + +MRS. QUINN--Out with it. + +QUINN--(_After a slight hesitation._) I walked down town to-night to see +the sights. Bill Martin went with me. + +MRS. QUINN--(_Content to get her knowledge by Quinn's roundabout way of +telling it._) Were the streets crowded? + +QUINN--Nothin' like they are up here.... D'ye know they have the State +Constabulary on the Avenue now? + +MRS. QUINN--I saw them this mornin'. Big hulkin' brutes they are, +chargin' into groups of women and children like as if they were +offenders agin the law. + +QUINN--It's makin' the men see red. + +MRS. QUINN--If the men are wise, they'll give them a wide berth, and not +start any ructions, or they'll get smashed heads for their pains. + +QUINN--Well, we can smash heads, too. + +MRS. QUINN--And be put in the lock-up for it. + +QUINN--Am I in the lock-up? + +MRS. QUINN--(_Quickly._) Whose head have _you_ smashed John? + +QUINN--To-night while we stood at the corner of Fourth and Marion, a +trolley came along with passengers in it, a woman and two men. + +MRS. QUINN--John, ye didn't-- + +QUINN--The dirty scab who ran the car must have come from New York with +that last bunch of strike breakers. + +MRS. QUINN--What did ye do? + +QUINN--(_Defiantly._) I picked up a brick, and let it fly through the +window. Maybe the company can starve us, but we'll teach the public it's +a damned unsafe thing to ride in the cars, while we're bein' starved. + +MRS. QUINN--Did ye do any hurt? + +QUINN--Well, I guess I damaged the woman's arm, if ye want to know. She +let out a yell ye could hear a mile, and flopped over. Then I took to me +heels. + +MRS. QUINN--(_In a rage._) Ye fool, have ye quite quit yer senses? Ye'll +be caught and locked up fer this. + +QUINN--(_Glad that he has gotten the story out._) Not much. + +MRS. QUINN--Yer temper'll do fer ye, one of these days, me man. I +suppose that's what ye call seem' red? Seein' red! Gawd'll get ye by the +scruff of the neck when yer not lookin', and shake the ugly devil of a +temper out of ye. Ye'll face the consequence for it, sooner or later. + +QUINN--Aw, stop yer blather, and get me a cup of tea. + +MRS. QUINN--Tea! I'm tempted to put a pink bean in it, and make ye +croak before the gallows gets ye, ye ruffian. + +(_There is a knock at the front door. Mrs. Quinn exits R. and returns +with the Martins._) + +QUINN--Hello Martin, what's up now? + +MARTIN--Have ye seen the papers? + +QUINN--No. + +MARTIN--It's in them already. + +QUINN--What's in them? + +MARTIN--Listen, (_reads_) "Just at dusk this evening a mob of strikers +attacked a west bound car at Fourth and Marion Streets, and did +considerable damage to the car and occupants. The only woman passenger +was seriously injured in the right hand and arm, and was taken to the +Lester Hospital, where"-- + +QUINN--(_Interrupting._) Do they know who done it? + +MARTIN--(_Reads._) "No clue to the man has been found, but Chief of +Police"-- + +QUINN--(_Shortly._) Aw, cut it, Martin. They'll never find the man who +did it, unless your tongue wags. I'd like to break the arms of ev'ry one +who runs or rides in the cars till we win our fight. + +MARTIN--(_Somberly._) Maybe the only way _is_ to do a little damage, +break a few bones, show them we've got some spunk ... and yet it is +written if a man smite thee on the right cheek-- + +Mrs. QUINN--I thought the plan this time was to keep the confidence of +the people? + +QUINN--We've tried that for seven weeks, and it's taken us nowheres. + +MRS. MARTIN--We've tried most everything I guess, but prayer. Maybe we'd +do more if we prayed over it. + +QUINN--(_Slowly._) Do ye say pray over it? + +MARTIN--(_Diffidently._) If we could all get together on it. I know it's +hard to talk religion to the boys, they all think different about it. It +takes some courage for a man to come out and say he's a Christian, but +I'm willing to do it. Think--if all the men and women and children would +pray for a settlement, it would have some weight with the Lord. + +MRS. MARTIN--(_Eagerly._) He'd give an answer, I know. I heard a +minister say once, if we'd ask for _anything_ with all our hearts and +souls the Lord wouldn't deny us. + +MRS. QUINN--What a mix-up we'd have then! + +QUINN--Well, I've not much use for prayers when there's a fight on--but +if ye-- + +MRS. QUINN--Ye know, I had a mad sort of a dream tother night. + +QUINN--(_Impatiently._) Whist woman, with yer dreams! + +MRS. QUINN--(_Undeterred._) I dreamed I was after havin' a nice easy +talk with Gawd, and he sez to me, "Mary Ann Quinn, I want ye to sit up +here with me in Heaven on me right hand side. For sure," sez he, +pleasant like, "_you've_ never pestered me with requests since ye've +been a woman grown." "Well Gawd," sez I, "I've been that mortal busy +tendin' to the bodily comforts of me man John, and me daughter Molly, +that I've had me mind fair occupied, and I apologize for not comin' to +ye oftener." "Oh, Mary Ann," sez he, "can't ye see I like it? I'm fair +sick of havin' to stand sponsor for all the mistakes of me numberless +Christian children. They go along in their headstrong ways doin' the +things they _want_ to do, right or wrong, and when they run amuck, they +up and come to _me_ with prayers and supplications, cryin' and pleadin' +for help, when a slight use of their own wits and decency and common +sense would have kept them from difficulties in the first place." + +"Oh, Gawd," begins I, but he smiles at me and sez he, "get up wid ye on +me right hand side, and keep that grin on yer face Mary Ann Quinn, while +I tend to me regular customers." + +QUINN--(_Shocked._) I can't help ye bein' heathenish in yer views, but +I'll not have ye outspoken voicin' them. + +MARTIN--(_Puzzled._) It was a very odd dream to have. + +MRS. MARTIN--It certainly was. + +MRS. QUINN--The meanin' of it's mortal clear, I'm thinkin'. But, that's +not gettin' the tea, is it? + +(_Exit to kitchen L._) + +QUINN--Martin, I don't know about yer prayers, but fer meself I'm in +this fight till the finish, and man nor devil'll make me yield an inch. + +MARTIN--Then I'm with you, Quinn. (_To Mrs. Martin, who goes to him +protestingly._) No, Bessie, its no use. We can _pray_ after we've won. + +(_Molly enters door R. She is in hat and coat, and carries a muff._) + +MRS. MARTIN--Molly! + +(_Molly does not answer, but stands and looks at Quinn._) + +MARTIN--(_Taking Mrs Martin by the arm, and going to door R._) I guess +you'd rather be alone with her. + +(_Exeunt Martins door R._) + +MOLLY--Father. + +(_Quinn rises and looks at her, but does not speak._) + +MOLLY--Father. + +QUINN--(_Slowly._) Two years ago when you married that damned fiddler, I +told ye never to come here again. + +MOLLY--Father. + +QUINN--(_Sternly._) I meant it then, and I mean it now. Get out! + +MOLLY--Won't you let me speak to you? + +QUINN--There's nothin' you can say to me, I gave you yer choice of us +long ago, and ye stuck to him. Stick to him now, I don't want ye. + +MRS. QUINN--(_Enters door L with tea things._) Molly, my dear little +Molly. + +MOLLY--Mother! + +MRS. QUINN--(_Ignoring Quinn._) Sit down now, and I'll give ye a dish of +tea. + +QUINN--She'll not sit down in this house. + +MRS. QUINN--(_Easily, tho her heart is beating rapidly._) Will she not? +Here, take off yer hat and coat, and drink this while it's hot. I'll +bring another cup for yer father. + +(_Exit to kitchen. Molly remains standing, and faces her father. She +makes no attempt to remove her wraps._) + +MOLLY--Won't you let me come back to you and mother? Won't you forgive +me? + +QUINN--(_Slowly._) Why are ye so eager to be back? + +MOLLY--I need you and mother, now I'm alone. + +QUINN--(_Quickly._) Alone? He's left ye, has he? + +(_Molly unable to answer for her tears, nods head._) + +QUINN--The things I told you about him were true then? He was no fit man +to marry a decent girl! + +MOLLY--Father, father, don't say that! + +(_Mrs. Quinn enters._) + +QUINN--(_Working himself into a rage._) The fine gentleman has left +Molly. All his grand love makin' to end in two years, tho Gawd knows I +didn't expect it to last that long. (_To Molly._) Why hadn't ye sense +enough not to be gulled by him? Didn't I tell ye, he was a rogue and a +scoundrel? Chucked aside for another woman, I suppose ye were! Left ye, +left ye-- + +MRS. QUINN--Ye blunderin' idiot, last Tuesday the boy died. + +QUINN--(_Helplessly._) Died? I--I thought--(_to Molly._) Sit down--drink +the tea.... Is--is there an egg for her? + +MRS. QUINN--There's no eggs here. The hens went on strike with the +trolley men. Let me help you off with yer coat, Molly. What have ye done +to yer arm? What's that bandage on yer arm for? + +MOLLY--You remember, I told you in my last letter, mother-- + +QUINN--(_Sourly._) So ye've been writin', hev ye? + +MRS. QUINN--D'ye think a mother will let her only child slip easily out +of her heart and life? + +MOLLY--(_Pleading._) Mother, father! + +QUINN--(_With poor grace._) Aw, well, let it go. + +MOLLY--(_Sitting at back of table, Quinn and Mrs. Quinn at either +side._) When I settled up everything, after--after his death, I planned +to go back to my old job. I went to the office and saw Mr. Bowen, and he +said the place was still open for me. + +MRS. QUINN--(_Admiringly._) I don't wonder he's glad to get ye back. +There ain't many stenographers clever as you are Molly. + +QUINN--Be quiet mother, and let the girl talk. + +MOLLY--I knew if I could work, and bring good wages into the house, +father could afford to stay out on strike until the men had won. + +QUINN--Molly! + +MOLLY--I _did_ plan for that father, I did plan for that, and now-- + +MRS. QUINN--Well, go on, go on. + +MOLLY--To-night at the Lester Hospital when they fixed my arm, the +doctor said I couldn't use it before a month. + +MRS. QUINN--What happened to it? How did ye hurt it? + +MOLLY--I did the wrong thing, and I guess I deserve what I got, but I +was dog tired and the walk here is endless. I took a car at the ferry, +everything went all right till we got to Fourth and Marion Streets-- + +QUINN--(_Startled._) Fourth and Marion! + +MOLLY--There was a crowd of strikers there, and one of them threw a +brick into the car, and it struck my arm at the elbow. Crushed it pretty +badly, I guess. + +QUINN--My Gawd! + +MOLLY--(_Misunderstanding his emotion._) I'm not going to live on you, +father. I know you and mother are hard enough pushed as it is. + +MRS. QUINN--What's ours is yours now. Ye'll stay here with us. + +QUINN--(_Dazed._) I wonder can I get a job at Newton's? They needed men +last week. + +MOLLY--Father, he ... left insurance, and we can use that until you +start again, or until I'm able to go back to the office. + +QUINN--The strike's a mistake, I'm thinkin'. I'll go to the barn +to-morrow and take me car out, if the boys kill me for it. + +MRS. QUINN--(_Quickly, and unconsciously imitating Mrs. Martin's +imitation of the walking delegate._) Ye'll do no such thing. The +strike's on till it's settled. Yer fightin' fer a principle, and ye'll +not give in till ye win. This is not a war for us only, but for our +children. _They'll_ be saved a fight fer their rights if we conquer now. +We'll go at the company in the way that that walking delegate says. (_As +she becomes conscious she is quoting the quoted delegate._) The walking +delegate? Well, he's alright, we'll do things his way, and we'll win. + +MOLLY--Of course we'll win. Public sympathy is with the men this time. + +QUINN--Well, it won't be fer long, if the men see red, and go about +bustin' up perfectly good arms of innocent bystanders. Me mind's made +up, violence must stop. + +MRS. QUINN--And mine's made up too, the strike must be won. + +(_Quinn goes to wail rack, and takes down hat and coat._) + +What are ye doin' with yer coat? + +QUINN--I'll go and have a talk with the boys. I've some power with them. +Violence must stop. I'll try to make them listen to reason, and if they +won't, I guess I'm good for a job at Newton's. + +(_As he leaves room he is heard muttering._) Violence must stop! + +MOLLY--I never knew father so set against a fight. What's he want to +work in a coal yard for? + +MRS. QUINN--Never fear, he won't work in a coal yard. Ye see Molly he's +awful mad at the man who smashed yer arm. It makes him wild to think a +fellow is free to go about harmin' innocent people, just because he +thinks he sees red. + +MOLLY--I hope he never finds the man. + +MRS. QUINN--D'ye know, I think he has a hunch who did it. Oh, he won't +hurt him! Father's been gettin' close to some hard home facts this day, +and a good walk in the fresh night air will help him to digest them. + +(_As curtain descends._) I'm so sorry about yer poor arm. Tell me, does +it hurt you much?--etc. + +_CURTAIN_ + + + + +MURDERING SELINA + + +CAST + + KING, _Editor of the Gazette_. + BART, _A Reporter_. + AN OFFICER. + A BOY. + A GENTLEMAN. + SELINA. + MISS BROWN. + +TIME--_The Present._ + +PLACE--_A Little Cafe in the Park, Managed by Miss Brown._ + + + + +Murdering Selina + + +_Scene--Interior of a frame restaurant in the park. At the left side, +running almost the entire width of the room, is the counter at which one +may buy soft-drinks, peanuts, pop-corn, newspapers, etc. A talking +machine and telephone are on counter. Against the wall, at centre back, +is a screen, behind it is a door to another room. At the right side, +back, a table and couple of chairs. Small table and two chairs near +front of stage, left. When curtain rises, Miss Brown and The Boy are +discovered. Miss Brown is a red haired, good-hearted, sharp tongued old +maid of uncertain years; positive in her opinions, quick in bodily +action--giving one the impression of great nervous energy. The Boy is +the typical roguish, rather fresh, "newsy" of fifteen, or thereabout._ + +_A fox trot is being played on the victrola, and The Boy is teaching the +steps to Miss Brown, whom he is pulling around with spirited +good-nature._ + +BOY--(_In time with music._) _Slow, slow, slow, slow, now fast, fast, +fast, fast, fast, fastie, fastie, fast._ + +MISS BROWN--Oh, wait until I get me breath. + +BOY--You gotta dance without it, see? + +MISS BROWN--How can I dance with me wind all gone? Let go of me while I +rest. + +BOY--Aw, come on, and be a sport. All the girls is doin' the fox trot. + +MISS BROWN--(_Pathetically._) My heavens, I ain't no girl. + +BOY--Yer learnin' it fine. I bet if ye had a couple lessons ye'd put it +all over that bunch at the pavilion. + +MISS BROWN--(_Trying to stop._) Let go of me, will you? + +BOY--_Slow, slow, slow_,-- + +MISS BROWN--Ye young snipe, can't ye see I'm ready to drop? + +BOY--Aw, stop coddlin' yerself! Yer good for a mile yet. + +MISS BROWN--(_Pulling herself free._) You run and get the papers. It's +almost dark, and there ain't one here yet. + +BOY--(_At victrola._) Well, I'm goin,' ain't I? + +MISS BROWN--(_Out of breath._) Quit foolin' with that machine, and go +get yer papers. + +BOY--I won't be three minutes, and then we can try it again. + +MISS BROWN--I think I've had enough. It ain't no game for an old hen. + +(_Boy puts on sweater and cap._) + +MISS BROWN--Is it four slow, and four fast? + +BOY--No, that ain't right. Four slow, eight fast, then two turnin' +steps. See? (_Shows steps, then exits._) + +MISS BROWN--(_Meditatively._) If I get goin' I suppose I'll be dotty, +like the rest. This dance craze is certainly worse than hittin' up the +booze. They say that Lizzie Smith, the hussy, roped that poor misguided +Jones boy into marrying her with her dancing, though heaven knows I +never saw nothin' in her grace or beauty. Oh, for ten years of my +misspent youth. If I'd only learned the blamed thing before I lost my +figure! (_Puts record on machine, and dances hesitatingly, counting +"one, two, three, four," etc. Bart, much dishevelled rushes into room. +He is well dressed, but mussy looking, as if he had slept on a park +bench for a night or two, and had not had recent acquaintance with hair +or clothes brush. He bumps against the peanuts on the edge of the +counter, and scatters them all over the floor._) + +MISS BROWN--Can't ye see where yer goin'? + +BART--(_Fumbling in pocket._) Here. Sorry. + +MISS BROWN--A dollar! Ye never can tell a millionaire by looks these +days. + +BART--(_Sinking into chair._) Am I doomed to blight everything I touch? + +MISS BROWN--Are ye sick, mister? Can I help ye? + +BART--Get out, get out, let me alone, and stop that machine! + +MISS BROWN--(_Commiseratingly._) Poor fellow! (_Stops machine._) He's +got the Willies. + +BART--Don't talk to me, for Heaven's sake; I can't stand it! + +MISS BROWN--(_Sarcastically._) Oh, I was just communin' with me other +nuts. + +(_She stoops to gather up the peanuts, but catches a glimpse of Bart's +side face, and sits on floor, looking at him intently._) + +To think of that profile bein' wasted on a man! It's terrible the way +good looks is chucked around where they ain't needed! + +(_Boy enters with an armful of newspapers. King is close behind him. +Bart rushes to King, knocking against the Boy as he does so, and sending +the papers flying._) + +BOY--Ye big stiff, what ye doin'? + +BART--King, I thought you'd never come! + +BOY--Look at me papers, will ye? + +BART--(_Impatiently._) Oh, shut up! + +(_Boy, grumbling and muttering to himself, helps Miss Brown pick up the +peanuts and papers._) + +KING--(_With great displeasure._) This is a nice out of the way place to +bring a man to. What's wrong with you anyway? Drunk? + +BART--(_Grimly._) I haven't been sober for three days. + +KING--Don't boast about it. + +BART--Boast, good heavens! + +KING--What do you think a newspaper is, a day nursery? Here's Billy +Sunday in town, the war, the Mexican situation, everything at boiling +point; the Gazette short of men, and you off on a three days' jag! I've +a good mind to fire you. + +BART--(_Miserably._) I'm up against it, King, don't rub it in. I don't +know which way to turn. + +BOY--(_To Miss Brown, as they seat themselves behind counter._) I wish +those ginks would clear out, so we could trot again. + +MISS BROWN--They'll beat it to a free lunch counter soon. + +(_She gets the Boy to hold a skein of worsted, which she unwinds and +rolls into a ball. During the conversation between Bart and King, Miss +Brown and the Boy now and then glance at them with a show of irritation, +Miss Brown because they are not buying any of her wares, and also +because she cannot hear enough of their talk to make sense of it._) + +KING--What have you done, a second story job? + +BART--(_With much humility, and some pride._) I've broken a girl's +heart. + +KING--(_Utterly disgusted._) Oh, hell! + +BART--I tell you, I've broken a girl's heart, and ruined her life. + +KING--Rubbish! Sober up, and go back to work. + +BART--I can't. She has threatened to do something desperate. There will +be a scandal. + +KING--Forget it! + +BART--I wish I could, but suppose she shoots herself, or takes poison? + +KING--That sounds pleasant. + +BART--I didn't know she loved me, I protest I didn't. + +KING--Cut out the heroics. + +BART--She's mad about me, and I didn't understand till too late. + +KING--(_Firmly._) Too late! You scuttle back to town, get a license, and +marry her. + +BART--I came to the city to earn money to marry a girl back home, and +I'll marry her, or no one. + +KING--Winning a girl's love, and throwing her over, is cheap sport. I'm +disappointed in you, Bart. I didn't know you were that kind of a chap. + +BART--I'm not that kind. It's all a horrible mistake. She misunderstood +my--my attentions. I was just nice and friendly to her, and she, well +she-- + +KING--That's right, put the blame on her. + +BART--(_Hotly._) Well, I'm not going to blame myself. If women see fit +to fall in love with me, it's not my fault. + +KING--You conceited pup! + +BART--I don't care. I've suffered enough these last three days, and I've +just about gone to pieces. It's not my fault, I don't care what you say, +it's not my fault. + +KING--Every cad says it's not his fault. + +MISS BROWN--(_To Boy._) What in the name of common sense are they +gassin' about? + +BOY--Aw, they're holdin' hands, I guess. + +BART--(_To King._) I asked you here for advice, not abuse. + +KING--(_Shortly._) You have my advice, marry her. + +BART--And I tell you I won't. I don't love her, and I do love Lucy. + +KING--Lucy. The girl up home, I suppose? + +BART--Yes. + +KING--What will she think of this mess? + +BART--She need never know that Selina existed. + +KING--(_Starting._) Selina! + +BART--That's her name. + +KING--Selina, what a coincidence! + +BART--I thought you'd understand, and help me out. + +KING--Tell me, I'll try to understand. + +MISS BROWN--(_To Boy._) My Gawd, ain't they never goin'? + +BOY--Talk about yer cheap skates! + +BART--(_To King._) I've been kind of lonely down here in the city, and +she was a regular oasis in the desert. I took her to a good many first +nights, and the opera pretty nearly every week, and she-- + +KING--(_Gently ironical._) Gazette passes, I presume? + +BART--You don't think I could pay for them out of my salary, do you? +I've not had a cent from father since I left home.... She always gets +herself up well, and wears good-looking clothes, and I felt proud to +take her around. Besides, she's older than I am, and I thought I was +safe. + +KING--I had no idea you were so irresistible. + +MISS BROWN--(_To Boy._) It's time to give them the acid test. (_She +turns a sign advertising Coca Cola, with its face to the wall. On the +back is printed in large letters, "This ain't no free rest room. Buy +something, or get out." King turns around, glances at the sign casually, +then gives his attention to Bart._) + +BOY--Hully gee! The big boob can't read! + +MISS BROWN--What's a poor girl to do now? + +BART--(_To King._) Why, I never even kissed her, although once or twice, +I think she wanted me to. + +KING--With such a platonic background, how did you manage to break her +heart? + +BART--That's the queer part. Tuesday night after Tosca, we had a little +supper at her apartments. We were talking about friendship, and I told +her what a bully little pal she had been, and how I'd miss our good +times when I went home and married Lucy. + +KING--You mentioned Lucy? + +BART--Why shouldn't I? + +KING--_I_ should call it a strategic error. + +BART--I suppose it was a mistake. + +KING--It's rank idiocy, my boy, to tell one woman you love another. + +BART--It seemed to break her all up. She declared I'd led her to believe +I was going to marry _her_, that she had given her heart unreservedly to +me-- + +KING--(_Quickly._) She had "given her heart unreservedly to you?" Did +she use those words? + +BART--I'm not apt to forget them, especially as she repeated everything +half a dozen times. She made me feel as if I'd deserted her at the +altar. I tell you, I never went through such an awful hour in my life. + +KING--Didn't you explain to her? + +BART--Explain to a weeping woman? She was lost in an ocean of tears, I'd +have had to use a foghorn. I got so rattled I began to cry myself. Then +she flung herself in my arms, and said if I jilted her (jilted her, mind +you!) she'd blow her brains out. And she'll do it, too, she'll do it. +That's what I'm afraid of. If Selina kills herself for love of me, it's +all up with Lucy; she'll never marry me. + +KING--Does anyone know of this scene? + +BART--Her maid came in while she was sobbing in my arms. I tried to +shake her off, but she clung like a leech. + +KING--Her maid, that's bad. + +BART--(_Moodily._) I know it's bad. + +KING--Are you sure you never made her think you loved her? + +BART--I protest on my word of honor, I never even hinted at love. + +BOY--(_To Miss Brown, as he yawns over newspaper._) There's nothin' +worth readin' except this blame suicide. + +MISS BROWN--(_Looking up from her newspaper._) It certainly gets my goat +the way some fool women go dippy over men. + +(_King glances at Miss Brown suddenly, as she raises her voice during +her last remark, then turns to Bart._) + +KING--Have you seen the papers? + +BART--I've been afraid to look at them for fear of reading something +about her. + +KING--(_Turning to counter._) Bring me a Gazette, boy. (_Hands coin._) +No change. Go along. + +BOY--(_Impudently._) The woods is full of 'em. + +KING--(_Looking at paper._) I guess you're in for it, Bart. + +BART--(_In a stifled voice._) What--what is it? + +KING--This suicide. I never connected it with you. The body of an +unknown woman was found at the Riverton dam this afternoon. She was +about thirty-eight years old, five feet five, had light brown hair--does +that fit your Selina? + +BART--I don't think Selina was more than five feet three or four, and +she can't be thirty. She told me herself she was only twenty-six. (_Puts +out a shaking hand for the paper._) Let me see. + +KING--(_Holding paper._) The newspaper description may not be accurate +Bart, but all her underclothing was marked with initials. That is the +clue the police are working on. + +(_Hands paper to Bart, pointing out the place._) + +MISS BROWN--(_Reading her newspaper._) Poor soft soul, it's certainly +awful. + +BART--(_Clutching his head._) Great heavens! She left a note. "I did it +for love, _he_ will understand. S. W." She's dead, she's dead, there's +blood on my hands. + +KING--Pull yourself together. Don't make a scene here. + +BART--I've killed her just as surely as if I'd thrown her into the water +myself. I'm a murderer, that's what I am. I've murdered Selina! + +KING--Sit down, and listen to me. + +BART--Murderer, Selina's murderer! + +KING--Sit down! We must work this out together quietly. + +BART--(_Bitterly._) Be quiet with a murder on my conscience. + +MISS BROWN--(_To Boy, folding up her newspaper._) Well I ain't seen the +man, I'd kill myself for. + +KING--(_To Bart._) I'm going to tell you something no one in all the +world knows except me, and a poor heart broken old woman in New +Hampshire. + +BART--Don't talk to me. I'm a murderer. + +KING--(_Whispering._) So am I! + +BART--(_Jumping._) What! + +KING--That's what I want to tell you about. + +BART--You too! + +KING--Eight years ago, I trifled with a woman, just as you have done. I +was more to blame than you, for I made her think I loved her. She loved +_me_, there was no doubt about that, but I thought she was after my +money, and that of course, ended everything. I quarrelled with her, and +went about my business. She left the city. A month later I received a +letter from her mother. She told me her daughter had died in her arms of +a broken heart. Her last words were, "I have given my heart unreservedly +to him." My name was the last she ever breathed. And the poor old lady +was left alone and penniless. I would have gone to her at once, but she +could not bear the shock of seeing her daughter's murderer. + +BART--What a coincidence! + +KING--It does not end there, for she was called Selina! + +BART--(_Amazed._) Selina! + +KING--A tragic coincidence. + +BART--Both of us murderers! + +KING--Murderers, yes, we have murdered our Selinas. + +MISS BROWN--(_To Boy._) Merciful heavens, they've killed someone! +(_Takes down telephone, and calls._) Main 674 ... 674 I said. Say +operator, you get me Main 674 will ye? Oh, stop polishing yer nails, you +ain't no society dame.... Is this 674? Send a cop quick to Miss Brown's +restaurant. Someone's been murdered, and the men who done it ... here in +my restaurant. I ain't stringin' ye ... right away. I don't like bein' +alone with them. (_Hangs receiver up, and watches Bart and King +closely._) + +BART--(_To King._) What did you do? + +KING--What could I do? From the day of her death until now, I've kept +her mother. It's the only reparation I can make, and I have done it for +eight years. + +BART--(_Tragically._) My Selina was alone in the world. With her death I +have blotted out an entire family. + +KING--(_Humbly._) We possibly can't help being handsome and fascinating, +Bart. + +BART--But we must learn to be careful with women, and not lead them on. + +MISS BROWN--(_To Boy._) Now you sit tight, and if they come over here, +brain them with a soda water bottle.... (_Looks out of doorway._) + +BOY--(_Dancing with excitement and pleasure._) Ain't this some picnic! + +KING--(_To Bart._) I have never dared look at a woman since then. + +BART--I can't imagine Lucy killing herself for me. She will never love +me as Selina did. + +KING--(_Sighing._) Selina. + +BART--Mine? + +KING--Mine. + +(_Enter a plain clothes Officer, and a Policeman, breathlessly._) + +OFFICER--(_To Miss Brown._) Now, which one of them done it? + +MISS BROWN--It's that young one, I think. You could spot his ugly mug +for a crook anywhere. + +(_Officer goes up to King, and turns him around suddenly, while the +Policeman does the same to Bart._) + +KING--What do you want? + +OFFICER--(_Slipping handcuffs on._) Come along peaceful. + +(_Policeman handcuffs Bart._) + +BART--Stop that! What are you doing? + +OFFICER--Keepin' you safe. The lady just phoned to headquarters what +you've been doin'. + +BART--(_Angrily, to Miss Brown._) I gave you a dollar, what more do you +want? + +OFFICER--Hush money won't go, boss. + +KING--Take these things off, or I'll brain you. + +(_The Boy dances around the stage in glee, getting into everyone's +way._) + +BOY--Keep the nippers on 'em, Casey, or they'll muss up the shop! + +OFFICER--I'm running no risks with murderers. + +BART AND KING--Murderers! (_they collapse. King drops his cane, and Miss +Brown makes a dive for it, and shakes it at him._) + +MISS BROWN--I heard ye, ye bloodthirsty thug. + +KING--(_To Officer._) Now see here, don't be a fool. I'm George King, +editor of the Gazette-- + +OFFICER--Can it, boss, everything you say will be used against you at +the trial. + +BART--(_Despairingly._) It only needed this! + +KING--Is Lieut. Mason in the guard house? + +OFFICER--Maybe he is, maybe he ain't. I ain't sayin'. + +KING--Take us to him at once. He'll identify us. You can't run men in +like this, on a pink headed old maid's say so. Where's your warrant? + +OFFICER--The warrant's comin'. We hadn't time to wait for it, while you +skinned out. + +KING--Take us to Lieut. Mason at once. + +OFFICER--Well, come along, and none of your funny tricks, or I'll wing +you. + +(_Takes out revolver._) You too, Miss Brown, the chief'll want your +testimony. + +MISS BROWN--(_To Boy._) Watch the Cafe, while I'm gone, and don't you +give nobody nothin'. + +(_Exeunt Bart, King, Miss Brown, Officer and Policeman. Boy puts record +on machine, and before starting it, says, "Gee, life's great!" then +dances to the music, stopping when Selina and Gentleman, in evening +attire, appear at the door._) + +GENTLEMAN--It's too bad the tire's punctured. + +SELINA--(_Graciously._) I really don't mind it in the least. + +GENTLEMAN--Really? + +SELINA--Really. + +GENTLEMAN--A car's such a rotten nuisance. Always something wrong with +it; much rather ride in a hack. + +SELINA--(_Coquettishly._) Even a hack would have no terrors with you, +though I confess, I prefer the machine. + +GENTLEMAN--We'll be late for dinner, too. It will take Thompson half an +hour to put on that tire. + +SELINA--Then let's sit here, look at the moon, and talk. + +GENTLEMAN--About the moon? + +SELINA--Oh dear no,--about you and me. + +GENTLEMAN--About you, you're such a ripping sort. Maybe I can get +something to drink while we wait. + +SELINA--Do, I'm chilled to the bone. + +GENTLEMAN--Boy, let us have two cups of fresh hot coffee. + +BOY--You gotta wait. + +GENTLEMAN--Wait, why? + +BOY--The lady's out. I can't make cawfee. I'm just mindin' the shop. + +GENTLEMAN--You get us something to drink. + +BOY--Aw, this is a temperance joint. + +(_Grins impudently at the Gentleman, who stares at him with great +disdain for an instant, then turns to Selina._) + +GENTLEMAN--Botheration! I suppose we might as well stay out of the cold +until Thompson is ready. + +SELINA--There's a draft along there. Don't sit too near the wall. + +GENTLEMAN--I'll fix the draft with this screen. (_Places screen across +one corner of room._) That will keep that fresh kid from seeing us, too. + +SELINA--Why don't you want the boy to see? What are you going to do? + +GENTLEMAN--Well, for one thing, kiss you, if I get the chance. + +SELINA--(_Severely._) I think you are forgetting yourself. + +GENTLEMAN--(_Confusedly._) I beg your pardon. My tongue slipped. I +wanted to ask you to, to--I'll take a look at Thompson. + +(_Exit Gentleman. Boy makes a smacking noise with his lips._) + +BOY--Um, honey! + +SELINA--(_Behind screen, exultingly._) It'll be easy enough to work him. +He's ready to drop into my hand now, like a ripe plum. Lord, what fools +men are! + +(_Boy puts on record, and starts machine. Selina listens a moment, then +picks up her skirt, and does a few steps behind screen. Bart and King +enter._) + +KING--Stop that infernal racket. + +BOY--Big stiff. (_Does not stop machine._) + +KING--Where's my cane? + +BOY--You gotta wait till Miss Brown comes back. + +KING--You get my cane. + +BOY--(_Picking cane up from counter, and hiding it behind him._) I don't +know where she put it. You gotta wait, see? + +KING--(_To Bart._) I'd like to jump that cop. Nice fix for us if Mason +hadn't been there. + +BOY--(_Stopping machine._) Say, didn't you do it? What did they let you +come back for? + +KING--Of course we didn't do it. + +BART--(_To King._) And yet we _are_ guilty of murder. + +KING--Luckily for us, the law won't see it that way.... I'll double my +allowance to her mother. + +BART--And I'll put flowers every week on my Selina's grave. + +KING--We are bound together by ties of death. We must be brave, and face +the world serenely. + +BART--(_Clasping King's hand._) And no one must know. + +SELINA--(_Peeping around screen._) George King and Bart! My gosh, what a +pickle! (_She hurriedly enters the little room back of the screen. Bart +and King just catch a glimpse of her as she disappears._) + +KING--Sh! + +BART--Great heavens, an apparition! + +KING--She has come to haunt me. + +BART--I shall throw myself at her ghostly feet, and crave pardon. + +BART AND KING--(_With outstretched hands._) Selina! + +KING--(_Tragically._) That was the spirit of the Selina whom my coldness +killed. + +BART--It was the spirit of my Selina, who drowned herself for love of +me. + +KING--How terrible is the vengeance of heaven! It makes the one woman +haunt us both. + +BART--I shall go mad now. + +KING--Bart, I feel my reason tottering. + +(_They sit at little table, heads on hands, backs to the entrance door. +Gentleman enters, and goes behind screen._) + +GENTLEMAN--It will take about ten minutes more--hello, where have you +gone? + +SELINA--(_Peeping from room off stage._) Sh! + +GENTLEMAN--Why, what's the mystery? + +SELINA--Did you see two men in there, as you came in? + +GENTLEMAN--Didn't notice, but I'll take a look. + +(_Bart and King hide behind counter when Gentleman appears._) + +GENTLEMAN--Not a soul but the boy. (_Returns to Selina, who comes into +the room, but remains behind screen. Bart and King stay behind counter, +but listen intently to Selina and Gentleman._) + +KING--Something queer about this. + +SELINA--(_To Gentleman._) Flatterer! + +GENTLEMAN--I remember the first time I saw you at the opera. By the +way, who's that chap you always go with? + +SELINA--(_Lightly._) Oh, that! + +BART--Her voice! + +GENTLEMAN--He interests me. Seems very sweet on you. + +SELINA--Think so? + +GENTLEMAN--I have eyes. + +SELINA--He's just a boy. + +GENTLEMAN--It's these young cubs who always run off with the prizes. Are +you in love with him? + +SELINA--I do not think you have any right to question me. + +GENTLEMAN--I beg your pardon for seeming impertinent. I merely ask, so I +may know where I stand. + +SELINA--Do you think _he_ is the type of man I could love? Frankly, he +bores me to death. + +BART--Great fish! + +GENTLEMAN--I don't think you bore him. + +SELINA--(_Sadly._) Poor boy! + +GENTLEMAN--He's gone on you, isn't he? + +SELINA--(_Pleadingly._) Please don't think me a heartless coquette. He's +alone here in the city. I was just nice and friendly to him, and the +poor fellow's fallen desperately in love with me. + +GENTLEMAN--(_Gallantly._) I don't blame him. + +SELINA--That's quite sweet of you, but it's made me very unhappy. He was +engaged to a girl up the state, and I'm afraid she will blame me. Women +are so cruel in their judgments. + +GENTLEMAN--(_Soothingly._) Well if you don't love him-- + +SELINA--How can I? Yet I'm worried sick, for he has threatened to kill +himself if I don't marry him. + +BART--(_Springing up hysterically._) Liar! + +KING--(_With deep conviction._) She's no ghost. + +SELINA--(_To Gentleman._) Do you wonder I am unhappy? + +GENTLEMAN--You certainly couldn't throw yourself away on a young puppy +like him. + +BART--(_Clenching fists._) Oh! + +KING--Sit down! + +SELINA--He hasn't been at his office since I refused him. I'm afraid +he's done something desperate. + +GENTLEMAN--Don't worry about him. What you want is a man with position +and wealth. Now, if _I_ should say I loved you, and wanted to marry you? + +SELINA--(_Quietly._) But you have not. + +GENTLEMAN--(_With an embarrassed laugh._) I'm trying to hard enough. + +SELINA--Shall I say, "this is so sudden?" + +GENTLEMAN--Heavens, no, not that stuff! Say "yes." + +SELINA--But I'm not used to this sort of proposal. + +GENTLEMAN--I don't mind being romantic, I'll get down on my knees, if +you like. + +SELINA--Don't don't, the floor's dirty. + +GENTLEMAN--Well then, say "yes." + +SELINA--But you've known me scarcely two weeks. + +GENTLEMAN--And loved you the first time I saw you. + +SELINA--I wish I'd known it. + +BART--(_Heartily._) So do I. + +GENTLEMAN--I'm telling you now, isn't that enough? + +SELINA--I've no family, no money save a small allowance from my mother's +estate. I'm really a very poor girl. + +GENTLEMAN--Don't worry about that, I've money enough for two. + +SELINA--The little income I get barely keeps me, but I've managed to +live on it for eight years. + +KING--(_Grimly._) You've got your last check from me, mother dear! + +GENTLEMAN--Poor little woman, what a struggle you must have had to keep +up appearances. (_Horn blows outside._) Come, there's Thompson. We can +announce our engagement at the dinner. + +(_The Gentleman helps Selina into her wraps, while Bart and King again +hide behind counter. Miss Brown enters. She is in a fine rage._) + +MISS BROWN--The way law's handed out in this town's a crime, a howlin' +crime! + +BOY--What's eatin' ye now? + +MISS BROWN--Lieut. Mason let them murderers off. He's a fool, that's +what he is, a soft pie-eyed fool! + +BOY--Aw, forget it! + +MISS BROWN--Don't tell me to forget it, or I'll slap your face for ye, +ye rat. + +(_Chases Boy behind counter, and bumps into King._) Holy cats! + +KING--(_In a whisper of suppressed rage._) Woman, give me my cane. + +MISS BROWN--(_Goes to door and shrieks._) Police, police! + +(_Selina and Gentleman are about to leave, but Selina pulls Gentleman +behind screen again._) + +SELINA--(_To Gentleman._) Come back! + +BART--What's she going to do now? + +BOY--Better leave her be, she's got her dander up. + +(_Enter Officer._) + +OFFICER--What do ye want now, Miss Brown? + +MISS BROWN--Call 'em innocent, if you like, but I got a hunch they're +crooks, and I want you to clear them out of my cafe, see? + +OFFICER--You got me in wrong once. I ain't huntin' trouble. + +SELINA--(_To Gentleman, who urges her forward._) No, no, stay here till +they go. + +KING--I came back for my cane, and I'm not going to leave without it. + +(_Horn blows again._) + +GENTLEMAN--Hang it all, we'll be dreadfully late. + +SELINA--(_In an ecstasy of fear._) No, no, stay here till they go. +(_Leans against screen, which shakes, and almost falls over._) + +MISS BROWN--What's back of that screen? I saw it move! + +(_Goes toward screen. Bart and King make a bolt for the door, and +Officer stops them._) + +MISS BROWN--(_Discovering Selina and Gentleman._) Pipe these two dolls, +will ye? + +(_Selina draws scarf over face, and hurries toward door._) + +OFFICER--(_Detaining her._) Not so fast please, I want to see you first. + +GENTLEMAN--We're all right officer, just waiting here out of the cold, +while my car was being-- + +OFFICER--(_With easy familiarity to Selina._) Hello kid, where did you +hook the gown? + +GENTLEMAN--Officer! + +OFFICER--Easy, boy, easy. + +SELINA--Let me pass, you have no right to detain me. + +GENTLEMAN--This is an outrage. I'll report you. + +OFFICER--(_To Selina._) Some style to you now, kid. Who you workin'? +Must have money to rig you out like that! + +SELINA--Let me pass, I tell you, let me pass! + +OFFICER--You're a wonder, Lena. Your own mother wouldn't know you. + +BART--My gosh! + +GENTLEMAN--How dare you insult this lady? + +OFFICER--Say, what are you buttin' in for? Who are you anyway? What's it +matter to you? + +GENTLEMAN--Everything. I'll not let you bulldoze a lady who's going to +be my wife. + +OFFICER--She's not going to be your wife while I'm alive, Clarence. + +GENTLEMAN--What do you mean? + +OFFICER--I don't believe in divorce, and-- + +SELINA--(_In suppressed rage._) Keep quiet, will you! + +OFFICER--(_Coolly._) And she happens to be _my_ wife. + +(_General consternation._) + +GENTLEMAN--Good heavens! + +BART--Great fish! + +KING--I'll be darned! + +MISS BROWN--They're all dotty. The whole fool ranch is dotty. + +GENTLEMAN--(_Tensely, to Selina._) Is this true, tell me, is this true? + +SELINA--(_Shrugging shoulders._) Oh, what's the use! + +OFFICER--Sure, it ain't any use, Lena, but if you're havin' a good time, +go to it. Gawd knows I don't want any more of ye. + +(_Horn blows again._) + +GENTLEMAN--I must be going. + +SELINA--Would you mind dropping me at my apartments? + +GENTLEMAN--(_Coldly._) Certainly not, if you wish. + +(_Exeunt Selina and Gentleman. Bart, King and Officer bow to her with +mock courtesy as she passes them._) + +OFFICER--She's got her nerve, all right. Knew I picked a pippin' when I +married her. She'll cook up some story to hoodwink him before they get +to her apartments. (_Stands in doorway, meditatively._) + +KING--Died in her mother's arms! And I've been keeping the fictitious +old lady eight years. + +BART--I'll put no flowers on her grave, the siren. + +KING--She worked us all very nicely, didn't she? + +BART--(_Suddenly._) King, our hands are bloodless. We have not murdered +Selina! + +(_King and Bart fall into one another's arms, overcome with emotion. +Miss Brown watches them a moment in supreme disgust._) + +MISS BROWN--(_To Boy._) Put on a fox trot, Jimmie, maybe it'll bring +them to, the poor prunes! + +(_Boy puts on record._) + +(_CURTAIN_) + + + + +NOTES + + +THE HAND OF THE PROPHET was written February, 1913. It was first +performed March 8, 1913, at Artsman's Hall, Rose Valley, Pennsylvania. + +The three songs used are from "A LOVER IN DAMASCUS," words by Charles +Hanson Towne, music by Amy Woodforde-Finden. In the order of their +singing in the play, they are "Far Across the Desert Sands," "How Many a +Lonely Caravan," and "If in the Great Bazaars." The songs are published +by Boosey & Co. + +The first dance is from Saint Saens' "Samson and Delilah." Melody is +included in this volume. The second dance is the "Dance Arabe" from +Tchaikovski's Casse-Noisette (Nut-cracker) Suite. The melody of the +third dance is included in this volume. + +CHILDREN OF GRANADA was written March, 1914. It was first performed May +2, 1914, at Artsman's Hall, Rose Valley, Pennsylvania. + +Music of Muezzin's Call to Prayer included in this volume. + +THE TURTLE DOVE was written February, 1915. It was first performed April +6, 1915, at the MASQUE OF PRIMITIVE PEOPLES, Horticultural Hall, +Philadelphia, Pennsylvania. + +Music of the Chinese Song is included in this volume. + +THIS YOUTH--GENTLEMEN! was written February, 1909. It was published in +THE BUTTERFLY QUARTERLY, Winter 1908-1909. + +THE STRIKER was written January, 1915. It was first performed March 5, +1915, at Artsman's Hall, Rose Valley, Pennsylvania. + +MURDERING SELINA was written January, 1915. It was first performed March +5, 1915, at Artsman's Hall, Rose Valley, Pennsylvania. + + + [Music: Children of Granada + + El Salamalek Sleakoum El Salam El Salam + Allah ouakbar + iales Salah la Allah ou Mohammed rassol Allah + Allah ouakbaria + les Salah + + MUEZZIN'S CALL TO PRAYER] + + + [Music: The Hand of the Prophet + + FIRST DANCE + + THIRD DANCE] + + + [Music: The Turtle Dove + + CHINESE MELODY + + Bor lo un doy Bor lo un doy chin lo chin lo + Bor lo un doy.] + + + + +TRANSCRIBER'S NOTES: + + + Text in italics is surrounded with underscores: _italics_. + + Obvious typographical errors have been corrected. + + + + + +End of Project Gutenberg's Six One-Act Plays, by Margaret Scott Oliver + +*** END OF THIS PROJECT GUTENBERG EBOOK SIX ONE-ACT PLAYS *** + +***** This file should be named 39243.txt or 39243.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/9/2/4/39243/ + +Produced by David Edwards, David E. 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