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diff --git a/75610-0.txt b/75610-0.txt new file mode 100644 index 0000000..bc4933e --- /dev/null +++ b/75610-0.txt @@ -0,0 +1,9491 @@ + +*** START OF THE PROJECT GUTENBERG EBOOK 75610 *** + + + + + + FASHIONS FOR MEN + THE SWAN + + [Illustration] + + + + + FASHIONS FOR MEN + + AND + + THE SWAN + + TWO PLAYS BY + FRANZ MOLNAR + _Author of “Liliom”_ + + English Texts by Benjamin Glazer + + BONI AND LIVERIGHT + PUBLISHERS NEW YORK + + + + +FASHIONS FOR MEN + +THE SWAN + + + _English Texts Copyright, 1922, by_ + BENJAMIN GLAZER, N. Y. + + _German Texts, Copyright, 1921, by_ + M. BARD, VIENNA. + +_CAUTION_—All persons are hereby warned that the plays published in +this volume are fully protected under the copyright laws of the United +States and all foreign countries, and are subject to royalty, and anyone +presenting any of said plays without the consent of the Author or his +recognized agents, will be liable to the penalties by law provided. +Applications for the acting rights of “Fashions for Men” must be made to +the Modern Theatre Corporation, 17 East 45th Street, New York City. + + _Printed in the United States of America_ + + _First printing, November, 1922._ + _Second printing, November, 1923._ + _Third printing, February, 1924._ + _Fourth printing, May, 1924._ + _Fifth printing, November, 1924._ + +As originally produced by Maurice S. Revnes, November, 1922, New York +City. + +_CAST OF CHARACTERS_ + +(In the order of their appearance) + + _Peter Juhasz_ O. P. Heggie + _Adele, his wife_ Beth Merrill + _Aristocratic Lady_ Edythe Tressider + _Oscar_ Clarke Silvernail + _Unassuming Lady_ Frances Goodrich + _Philip_ Frank Peters + _Young Gentleman_ Fred Burton + _Paula_ Helen Gahagan + _Adolf_ George Frenger + _The Count_ Edwin Nicander + _Delivery Boy_ James Hagen + _Domokos_ George Frenger + _Santha_ Fred Barton + _Mate_ Charles Ellis + _Maid_ Sedonia Elin + _Thorough Young Lady_ Katherine Haden + _Dissatisfied Lady_ Frances Goodrich + _Nervous Gentleman_ John Rogers + _Old Gentleman_ James Hagen + _Patient Lady_ Sedonia Elin + _Cabman_ George Frenger + + _Staged by_ MR. GLAZER + _Settings by_ SHELDON K. VIELE + _Stage Manager_ JAMES HAGEN + + _Scenery painted by_ ROBERT W. BERGMAN + _Costumes by_ ALINE BERNSTEIN + _Act 1, built by_ THEODORE REISIG + _Act 2, built by_ SAMUEL FRIEDMAN + + _General Manager_ JOHN PETER TOOHEY + + + + +FASHIONS FOR MEN + +A COMEDY IN THREE ACTS + +By FRANZ MOLNAR + +English text by Benjamin Glazer + + + + +PERSONS + + + PETER JUHASZ + ADELE, _his wife_. + PAULA + OSCAR + PHILIP + THE COUNT + MATE + DOMOKOS + SANTHA + ADOLF + A DELIVERY BOY + A CABMAN + THE ARISTOCRATIC LADY + THE UNASSUMING LADY + THE INSIGNIFICANT LADY + THE DISSATISFIED LADY + THE PATIENT LADY + THE THOROUGH YOUNG LADY + THE YOUNG GENTLEMAN + THE OLD GENTLEMAN + THE NERVOUS GENTLEMAN + + + + +ACT ONE + + + + +ACT ONE + + + SCENE—_A little shop. Down left is the display window; up left + the entrance from the street; between the two a cashier’s desk + with a cash register upon it. There is a counter along the back + wall and another along the right wall with shelves behind them + and, over them, a little balcony._ + + _A broad space between the counters leads through an archway up + right to a rear room of the establishment. Before the window + down left stands a table, displaying open boxes of cravats, + suspenders, ladies’ girdles, colored scarfs and bottles of + perfume. Near it stands a rack of walking-sticks. There are two + stools in front of each counter._ + + _It is evening. ADELE sits behind the cashier’s desk. OSCAR + stands behind the counter at back speaking in low tones to the + UNASSUMING LADY, who sits on a stool facing him across a heap + of merchandise on the counter. JUHASZ stands in front of the + counter at right, waiting on the ARISTOCRATIC LADY, who sits on + one of the stools with an assortment of summer-weight material + for blouses before her._ + +ARISTOCRATIC LADY—If I remember rightly, Mr. Juhasz, I saw some of this +on Countess Hohensperg at Tatralomnicz. + +JUHASZ—That may be. I must look it up in the book. [_To ADELE._] Tell me, +dear. [_Shows her the material._] Is this the same Agreable we sold to +the Countess Hohensperg a few months ago? + +ADELE—It may be. I am not sure. + +OSCAR—[_To the UNASSUMING LADY._] Excuse me, madame. [_Loudly to JUHASZ._] +Yes, the Countess Hohensperg got some of that.... + +ARISTOCRATIC LADY—I thought so. + +OSCAR—Yes, madame, this Chatterton Agreable comes in twelve different +colors. The countess took five. + +ARISTOCRATIC LADY—Then, of course, I can’t consider it. I am really sorry +to give you so much trouble, Mr. Juhasz. + +JUHASZ—But it is no trouble at all. + +ARISTOCRATIC LADY—You are perfectly charming, Mr. Juhasz. Just as if you +had been born to cater to the caprices of women. You never lose patience—— + +JUHASZ—[_Clearing away the materials._] But that’s what we are here for, +madame. + +ARISTOCRATIC LADY—[_Rummaging through the materials._] This is nice, +but it isn’t becoming to me. This is for a bigger woman ... this for a +thinner woman ... this is too youthful ... and this is too old. This is +nice, but it’s a bit loud ... and this is too dull. Now this is very nice +indeed, but Countess Hohensperg has it. So it is out of the question. + +JUHASZ—Suppose we let the Agreable go, and look at some Biarritz instead. +The fact is, I consider Biarritz a much better grade. It is kept back +here. Will you step this way, or shall I bring it out to you here? + +ARISTOCRATIC LADY—[_Rises._] I wouldn’t think of putting you to so much +trouble. You have turned out half your stock for me already. [_Turns to +ADELE._] Your wife must be impatient to go home. + +ADELE—Not at all. + +ARISTOCRATIC LADY—It’s past seven. You are usually closed by this time. + +ADELE—Oh, we are very glad to serve you. [_Points to OSCAR._] There, you +see ... and there is still another customer in there. + +OSCAR—[_Has approached JUHASZ._] The lady heard us mention the Agreable +that Countess Hohensperg—— + +ARISTOCRATIC LADY—Quite out of the question! + +OSCAR—No, no—[_Low._] The lady heard us talking about it [_meantime +JUHASZ has gone over to the UNASSUMING LADY_] and wants to have a look +at it. [_Takes the material with a pitying smile._] Thank you. She’s from +a different social sphere. + +ARISTOCRATIC LADY—One would never believe that people could be such apes. + +JUHASZ—[_In the archway._] If you will step this way, please. + +ARISTOCRATIC LADY—I shan’t detain him much longer, Mrs. Juhasz. [_JUHASZ +lets her past him, then follows her off through the archway._] + +UNASSUMING LADY—I’ll take this for the sixth. + +OSCAR—[_Counting the patterns._] One, two, three, four, five and the +Agreable makes six. + +UNASSUMING LADY—Will it take long? + +OSCAR—No, indeed, madame. We know that madame goes to Lelle on the +twentieth, and from there to Lake Pusztaban, and later to Post +Berettyo—Saint Peter. [_The UNASSUMING LADY rises._] Is there anything +else I can show you? We have just got in some very beautiful girdles. +[_Reaches for a box on the table._] + +UNASSUMING LADY—Thank you, but it’s too late now. + +OSCAR—But, madame, that’s what we are here for. [_Shows her a bonnet._] +Auto bonnets ... just arrived ... really the newest thing of its kind. + +UNASSUMING LADY—[_Takes it in her hand._] I shall be coming in again +toward the end of next week.... How much is this? + +OSCAR—May I see? [_Looks at the tag._] Seventy kronen. + +UNASSUMING LADY—For this? + +OSCAR—It’s the style that costs, madame. We have some cheaper ones ... +some between forty and fifty. + +UNASSUMING LADY—Thanks.... Next time I come, perhaps. You have my address? + +OSCAR—[_Rapidly._] Forty Nagykorona Street, first floor, apartment two. + +UNASSUMING LADY—That’s right. Now please see to it that my things are +delivered on time. Good night. + +OSCAR—[_Opens the door for her._] You can rely on us absolutely. Thank +you. Good night. [_She exits. He closes the door behind her and returns +to his counter. As he speaks he clears away the materials, folds up those +he sold and makes notes on the tags._] A couple of evening stars ... +those two ... always popping up just as we are about to close ... and +it’s almost impossible to get rid of them. + +ADELE—Philip is still busy with a customer, too. + +OSCAR—[_Glances through the archway._] And your husband is just starting +to climb the ladder. [_Looks at his watch._] This is a nice time. [_ADELE +takes her hat out of the lowest drawer of the desk._] What are you doing? + +ADELE—Getting my hat. + +OSCAR—[_Excitedly._] But, my dear, where do you expect to talk to him? + +ADELE—Now don’t get excited.... And I told you before you are not to call +me dear in the shop. + +OSCAR—[_With a glance through the archway._] He can’t hear me. He’s up on +the ladder. And no matter if he does hear me to-day. You are not going +home with him, are you? + +ADELE—No; I’m only getting my hat. + +OSCAR—You settle everything with him right here ... in the shop. + +ADELE—All right! All right! [_Takes off her hat._] + +OSCAR—[_Excitedly._] I won’t have you go home with him any more. + +ADELE—Don’t get so excited. I’ll talk to him right here. But I have to +wait until the customers are gone, haven’t I? + +OSCAR—Yes, certainly. [_Nervously resumes his task of clearing the +counter._] Forgive me, dear, but I’m awfully nervous. And no wonder. + +ADELE—I’m nervous, too. But I control myself. + +OSCAR—I’ll be right near you, and if you need me I’ll come over. The main +thing is to keep cool. Now, of all times, you must be cool. + +ADELE—Leave everything to me. If I need you I’ll call you in. + +OSCAR—That’s right! That’s right! There’s only one thing I want to +impress upon you. No scandal. + +ADELE—He’d never make a scandal. + +OSCAR—And you have no business going to his house after this. When you +leave here to-day there is only one place for you to go: your mother’s +house. + +ADELE—Now, dear, you’re getting excited again. + +OSCAR—How can you expect me to be calm? I stand at the turning point of +my life. And I’m subject to heart attacks. It runs in our family. I have +to be very careful.... And yet, my God ... [_stops his work_] when I +think that to-night ... this ordinary spring night ... this commonplace +Thursday evening ... you are to be mine ... definitely and forever ... +mine ... body and soul.... Come here! + +ADELE—Be careful. + +OSCAR—Come here, come here! + +ADELE—[_Goes to him._] There now, you are getting all excited again. + +OSCAR—Only your hand, your hand ... for a moment. + +ADELE—But Oscar! + +OSCAR—Your hand! You know I’ve got heart trouble! [_She gives him her +hand. He takes it, looks cautiously through the archway, then speaks, +softly but passionately._] Mine! My own wife! Before all the world! And +together we begin a new and wonderful life. To-night I lead you forth +from your prison.... Don’t take your hand away! I won’t have you take +your hand away! + +ADELE—[_Leaves him; returns to her desk._] You must behave yourself, +Oscar, or you’ll make me nervous, too. + +OSCAR—Your hand, your hand, your mouth.... + +ADELE—But, Oscar!... You know I need all my wits just now. Clear away +that Zephir. + +OSCAR—Clear away, clear away! Now, when I want to explode, I must clear +a lot of Zephir away! [_Gazes at her adoringly._] When I think, you +sweet, slender, white.... [_He looks quickly toward the archway, as if +he heard something there. His voice changes suddenly._] Forty Nagykorona +Street, apartment two. [_He writes on a tag._] First floor. Madame Aurel +Szelenyi. [_PHILIP and the YOUNG GENTLEMAN enter through the archway._] + +PHILIP—This way, Baron. [_Comes in before him._] + +YOUNG GENTLEMAN—Can you still send it to-day? + +PHILIP—[_At the cashier’s desk._] If you must have it, sir. + +YOUNG GENTLEMAN—[_At the cashier’s desk._] As soon as you can, please. + +PHILIP—[_To ADELE._] Three hundred and eighty-eight kronen. [_The YOUNG +GENTLEMAN gives her a banknote._] + +ADELE—[_Rings the cash register, makes change._] Three hundred and +eighty-eight ... twelve ... makes four hundred. Thank you, sir. + +YOUNG GENTLEMAN—You have the address? + +OSCAR—[_In a sing-song tone._] Thirty-two Museum Street, second floor. + +YOUNG GENTLEMAN—[_Staring in surprise at OSCAR._] That’s right. Good day. + +OSCAR—[_Hurries to open the door for him._] Good night, sir. + +YOUNG GENTLEMAN—Good night. [_He exits, pauses a moment outside the +window, then passes on._] + +PHILIP—Thank you, sir. Good night. [_A brief pause._] + +OSCAR—Now if that pest of a woman would only go.... [_To PHILIP._] +Philip, clear those rags away, will you? [_He points to the materials on +the counter at right. PHILIP obeys._] + +ADELE—Didn’t I hear Philip say he had a ticket for Lohengrin to-night? + +OSCAR—[_As he goes up toward the archway._] For what? + +ADELE—For the opera. + +PHILIP—[_Already working at the counter._] That makes no difference. + +OSCAR—It doesn’t begin till seven-thirty. [_He exits through the +archway. There is a brief pause._] + +PHILIP—It begins at seven, but it doesn’t matter. + +ADELE—Leave that stuff, Philip, and run along to your opera. + +PHILIP—Oh, it’s all the same to me now. I’ve been to Lohengrin sixteen +times and was late every time. To-night I’ll be late for the seventeenth +time. + +ADELE—Leave that, then, and go, why don’t you? + +PHILIP—Oh, I might as well be an hour late now. I know all of Lohengrin +by heart. The only reason I accept tickets for it any more is because +I’ve never succeeded in seeing the beginning. The part where the swan +comes on the stage, pulling Lohengrin in a boat. I’d like to see that +just once. But it’s too late now. The swan’s all through by this time, +and has gone home for his supper. [_Continues to fold and put away the +materials._] + +ADELE—My husband will clear that away. Don’t be so obstinate. + +PHILIP—You seem very eager to get rid of me to-night. + +ADELE—I don’t know what makes you think that. + +PHILIP—Just things I’ve noticed. + +ADELE—What have you noticed? + +PHILIP—Maybe I had better keep my mouth shut. + +ADELE—That’s always a good idea. And yet, as long as you mentioned it—— + +PHILIP—Please, please.... I don’t want to know. Just leave me out of it. + +ADELE—Out of what? + +PHILIP—Out of what’s going on around here. I’m just a lonesome old man—— + +ADELE—You are a hateful old man. [_Wrathfully._] You hate Oscar because +he is the heart and soul of the business, because he is young, and +clever, and has nice manners, and knows the business better than you do, +and because the customers like him better. You are jealous of him. + +PHILIP—I consider Mr. Oscar a very ordinary young man. + +ADELE—And I admire his type very much! + +PHILIP—His kind must live, too, I suppose. [_JUHASZ and the ARISTOCRATIC +LADY enter through the archway._] + +ARISTOCRATIC LADY—No, your Biarritz won’t do. I wonder you keep that +grade of material at all. + +JUHASZ—Perhaps madame will be good enough to come in again next week. We +are expecting an entirely new lot from Vienna. We are certain to find +something you like. + +ARISTOCRATIC LADY—[_Goes to the cashier’s desk._] Your patience is +endless, Mr. Juhasz. + +JUHASZ—Patience is a merchant’s first duty. + +ARISTOCRATIC LADY—You are an angel. A perfect angel! [_To ADELE._] I +hope you don’t mind my paying your husband compliments. + +ADELE—Indeed, no. + +ARISTOCRATIC LADY—I daresay you are used to it. Everybody adores Mr. +Juhasz. + +ADELE—Oh, madame! + +ARISTOCRATIC LADY—You are a very fortunate young woman to have such a +husband. + +JUHASZ—It’s I who am fortunate, madame, to have such a devoted little +wife. The poor darling sits here every day from early morning till late +at night. + +ARISTOCRATIC LADY—Has the count been here lately? + +ADELE—Our benefactor? + +ARISTOCRATIC LADY—The guardian angel of the establishment. + +JUHASZ—He was here the day before yesterday. + +ARISTOCRATIC LADY—How is he? + +ADELE—In love with my husband. + +ARISTOCRATIC LADY—You mustn’t joke about that, young lady. Everybody +loves your husband but his heart is for you alone. Good night, Mr. +Angel.... I shall look at that Biarritz again in the daylight and that +... what do you call it ... too. + +PHILIP—[_Angry, but sweetly._] Agreable. + +ARISTOCRATIC LADY—Agreable. Well, good night. + +ADELE AND JUHASZ—[_Simultaneously._] Good night. [_The ARISTOCRATIC LADY +exits._] + +JUHASZ—[_Closing the door._] Why didn’t you say good night, Philip? + +PHILIP—[_Resentfully._] Good night, madame. + +JUHASZ—Well, well. [_To ADELE._] What a handsome woman she is! + +PHILIP—She’s been handsome a long time now. And she owes more than she’s +worth. You are the only merchant in town who gives her credit any more. +You just let her haul the stuff out of here as if it didn’t cost you +anything. + +JUHASZ—What can she do, poor woman? She’s got to keep up her social +position. + +PHILIP—But not with your money. + +JUHASZ—Aristocratic poverty is the bitterest kind. I haven’t the heart to +refuse her. + +ADELE—Philip is in a temper because he has missed the swan again. + +JUHASZ—[_Looks at his watch._] Did you have a ticket for Lohengrin again? + +PHILIP—Yes, and I’ve still got it. + +JUHASZ—Why didn’t you tell me? You know I’d have let you off at +six-thirty. That really makes me angry. I told you long ago—— + +PHILIP—Because you’re good-hearted there’s no need for me to—— + +JUHASZ—There goes my heart again. You all talk about my heart as if it +were some prima donna.... You leave my heart alone. + +PHILIP—[_Mocking the ARISTOCRATIC LADY’S tone._] Everybody adores Mr. +Juhasz! + +JUHASZ—Go on now. What are you waiting for? + +PHILIP—Thanks, but I shan’t go at all to-night. [_He exits through the +archway. There is a pause._] + +JUHASZ—What’s wrong with him to-night? + +ADELE—I don’t know, and I really don’t care. + +JUHASZ—Why, Adele! + +ADELE—[_Comes out from behind the desk._] Don’t be angry, Peter. I am a +bit upset to-night. I’ve come to a very important decision ... and I feel +... I must tell you about it to-day. + +JUHASZ—My dear child ... I didn’t think you had a care in the world. + +ADELE—Yes, I have.... But you are so good ... so much better than anyone +else.... I hardly know how to begin. It’s terribly hard to tell you! + +JUHASZ—Hard? To tell me? There, put on your things ... and you can tell +me all about it on the way home. Or while we are at supper. + +ADELE—No, Peter, I can’t tell you on the way home ... or at supper +either. This is something I must tell you here. + +JUHASZ—Here and nowhere else? + +ADELE—Here ... and now. + +JUHASZ—Urgent as all that! [_Calls through the archway._] Adolf, we’ll +close up now. + +ADELE—You will understand ... when I’ve told you ... that [_PAULA enters +through the archway, a sheaf of letters and invoices in her hand._] + +PAULA—May I interrupt a moment, Mrs. Juhasz? + +ADELE—Certainly. + +PAULA—Semlinger and Weiss have written about those motor robes again ... +the leather-bound ones. They say they are holding two dozen for us. + +ADELE—[_Uneasily._] Let me see. [_She takes the letter._] + +JUHASZ—Didn’t you answer them last week? + +PAULA—Mrs. Juhasz thought we might wait awhile. + +ADELE—How dare you say such a thing? + +JUHASZ—But, my dear.... + +PAULA—[_Coldly._] Mrs. Juhasz instructed me not to answer it. + +JUHASZ—If Miss Paula says you.... + +ADELE—I suppose she _can’t_ be mistaken. + +PAULA—I usually am not. + +ADELE—What do I care about your old motor robes? [_Throws the letter +away._] I have nothing to do with it. [_Walks away from them._] + +JUHASZ—[_Picks up the letter._] My wife’s a bit nervous to-night. Write +Semlinger and Weiss, Miss Paula, that we’ll take the whole two dozen. +[_Gives her the letter; looks at his watch._] But do it in the morning. +Go home now. To-morrow is another day. + +PAULA—Thanks, Mr. Juhasz, but I don’t like to go home while there is work +unfinished. + +JUHASZ—Miss Paula, I’ve warned you before ... you’ll ruin your eyes if +you are not careful. + +PAULA—No fear, Mr. Juhasz.... There was something about waterproof coats, +too, in their first letter. I must look it up. [_She exits through the +archway._] + +JUHASZ—How thorough she is, how orderly! + +ADELE—That’s what she’s paid for. You only see the good side of people. + +JUHASZ—I think that must be the only side they show me. [_ADOLF enters +through the archway, carrying a long pole with a hook on the end of it._] +Close up, Adolf; close up. It’s half past seven. [_ADOLF goes to the +door._] Sit down a moment, Adele. [_To ADOLF._] Pull it down. We’ll go +out the back way. [_To ADELE._] You are a bit agitated. [_ADOLF has gone +outside. First he closes the bronze shutter at the window, then he begins +to pull down the iron grating at the door. When it is half way down he is +interrupted._] + +COUNT—[_Outside._] Ho, there! Wait a minute! [_He dodges under the half +closed grating and enters._] + + JUHASZ—[_Joyfully._] The count! Good evening, } + excellency. } + } + COUNT—Good evening! Good evening! } [_Simultaneously._] + } + ADELE—[_Bowing low._] Good evening, your } + excellency. } + +COUNT—Tell me, do you lock all your customers out like this? + +JUHASZ—If we had known, your excellency. [_To ADOLF._] Raise it up. +[_ADOLF raises the grating and exits through the archway._] + +COUNT—I’ve come to see about those jockey costumes, Juhasz. + +JUHASZ—But they were to be sent by post to-morrow. + +COUNT—I know, Juhasz, but I’m driving down to the farm to-night ... and I +want to take one costume with me ... to show to my brother-in-law before +the Vienna races. + +JUHASZ—The suits are finished, but I’ll have to telephone the cap-maker +about the caps. Just a moment. [_He hurries off through the archway._] + +ADELE—Won’t you sit down, your excellency? + +COUNT—Thanks. I’m going in a moment. What’s new? + +ADELE—Nothing ... much, your excellency. + +COUNT—How’s business? + +ADELE—Well.... + +COUNT—What? Not good? + +ADELE—Not as good as it might be.... Your excellency has been so generous +to us.... I feel I ought to tell you frankly ... it’s quite bad. + +COUNT—Why? + +ADELE—There is no accounting for it. For two years business was splendid, +and now, in the third year, it suddenly stopped. It just won’t go. + +COUNT—But my whole family deals here ... and all my friends ... and all +my acquaintances. + +ADELE—Oh, yes, your excellency. We have you to thank for everything. +Not only for setting us up in business, but for getting us most of our +customers. + +COUNT—I trust that Juhasz isn’t going into debt. [_She nods in the +affirmative._] I daresay he gives his neckties away for nothing. That’s +why you are losing money. + +ADELE—He’d give the whole shop away, if it were left to him. + +COUNT—He had the same weakness when he worked for me. Anybody could get +anything out of him. + +ADELE—It’s largely his fault. + +COUNT—And what about that young man you praised to me so highly? He +was supposed to be a genius. A commercial genius. This ... what’s his +name?... Oscar ... wasn’t it? + +ADELE—Oh, he does all he can, and so do I, but—— + +COUNT—And that nice Miss Paula ... she’s an industrious girl, what? + +ADELE—Your excellency’s favorite. + +COUNT—I am enchanted with her. [_Paula enters through the archway, with +letters in her hand._] + +PAULA—[_With a low bow._] Good evening, your excellency. + +COUNT—Good evening. I was just talking about you. + +PAULA—Very good of you. Excuse me. [_To ADELE._] I was not mistaken, Mrs. +Juhasz. Semlinger and Weiss offered us also twenty waterproof coats. We +have never given them an answer. [_Proffers the letter._] + +ADELE—[_Impatiently._] Show it to Mr. Oscar. + +PAULA—I did. He referred me to you. + +ADELE—[_Crossly._] We don’t want any waterproof coats. + +COUNT—Why not? They are very useful things. They keep the rain out. + +ADELE—If your excellency would like to order one—— + +COUNT—Oh, indeed, no! I can’t bear waterproof coats. [_Looks at Paula._] +Miss Paula is smiling.... Doubtless she’s fond of waterproof coats. + +PAULA—I beg pardon. + +COUNT—Why _did_ you smile then? Just making fun of the old man? + +PAULA—Old man?... Oh! + +COUNT—Well, not exactly old. + +PAULA—I smiled because your excellency has such an aversion for +waterproof coats. But I never thought of you as old. + +ADELE—You may go, Miss Paula. [_Paula bows to the count and exits through +the archway._] + +COUNTs—[_His glance follows her._] Why are you so severe with that nice +young girl? + +ADELE—She is a bit forward. + +COUNT—Not at all. + +ADELE—She is deceitful. I can’t bear her. Ordinarily she is very glum and +serious, but when your excellency puts your foot in the door she suddenly +becomes brisk and cheerful. + +COUNT—Really? I am flattered. + +JUHASZ—[_Comes through the archway, carrying a jockey suit of brown silk +striped in green._] I can’t get the cap-maker on the wire. Oscar is +trying again. But here is the jockey suit. + +COUNT—[_Adjusts his glass._] Yes, this will do very well. Will you wrap +it up for me, Juhasz? [_Returns the suit to him._] + +OSCAR—[_Rushes in through the archway, speaks rapidly, officiously._] +Your excellency, good evening! We are in luck, your excellency. The caps +are finished; he was going to send them to-morrow, but he can send them +at once if your excellency prefers—— + +COUNT—[_Stares at him in astonishment; turns to JUHASZ._] What does he +say? + +JUHASZ—The caps are ready. If your excellency will tell us where to send +them—— + +COUNT—[_Staring at OSCAR._]—Eh? Yes ... wait a moment. [_PAULA appears in +the archway; he smiles at her._] Yes. + +PAULA—Pardon me for interrupting. + +OSCAR—[_Officiously._] Why don’t you come in when his excellency speaks +to you? + +PAULA—[_Comes nearer._] I only wanted to say the cap-maker telephoned +again. I told him to send the caps. His man will be here with them in ten +minutes. + +COUNT—That was clever of you. Thanks very much. + +PAULA—Not at all, your excellency. [_She exits through the archway._] + +COUNT—[_His glance has followed her until she vanished._] Well, then ... +there was something I wanted to say. + +JUHASZ—Where you want the cap sent. + +COUNT—Yes. Hm! Nowhere. I’m going to the casino ... my motor will pick me +up there.... You keep the cap for me here. I’ll stop for it later. + +OSCAR—[_Briskly._] Just as you say, sir. I’ll have it packed up for you +at once. Excuse me, excellency. [_Hurries off through the archway._] + +COUNT—[_Stares after him in amazement; does not speak until he is gone._] +What an extraordinary fellow! + +JUHASZ—[_With an apologetic smile._] He is always in a hurry. + +COUNT—[_Comes affectionately close to JUHASZ._] Business bad, eh? +[_JUHASZ looks quickly at ADELE._] Yes, she told me. + +ADELE—I didn’t think we had any secrets from his—— + +JUHASZ—From his excellency? No. But I don’t like to have you complain—— + +COUNT—She didn’t complain. She only answered my questions. + +JUHASZ—Well, there are a few difficulties, but ... we’ll overcome them +somehow. We shan’t go into bankruptcy. + +COUNT—I should hope not. + +JUHASZ—We’ve worked faithfully ... but one can’t expect the sun to shine +all the time. There must be cloudy days, too. But they pass. + +COUNT—[_Affectionately._] I should be offended if my friend Juhasz were +in trouble and didn’t tell me. Well? You must tell me. + +JUHASZ—No real trouble, your excellency. I have my health and a good +little wife [_takes her hand_] who loves me. + +COUNT—[_To ADELE, approvingly._] That’s right. Bravo! + +JUHASZ—And friends ... my smart and loyal Oscar. He is the heart and soul +of the business. + +COUNT—He seems a bit ... sudden. + +JUHASZ—And then there is Paula. She is the policeman of the business. +Now, how can I possibly go wrong? + +COUNT—Well, my dear Juhasz, I must be off. [_As he shakes hands._] I +can only tell you again what I told you once before, when you were in +difficulties.... For fifteen years you sat at a desk in my castle at +Gerelypuszta. I never had as good a man in my service before or since. It +is true you wasted a lot of your time cultivating flowers, and at best +you were never very energetic.... + +JUHASZ—That is something one learns. + +COUNT—Never, but that doesn’t matter. It is character that counts with +me. That desk has been vacant three years now. I want you to know that, +whatever happens, that place is open to you as long as Gerelypuszta +belongs to me or my family. + +JUHASZ—Oh, your excellency! + +COUNT—If I only had someone half as honest as you right now! We are +beginning to export cheese on a large scale. Mostly to England. + +JUHASZ—Puszta cheese? + +COUNT—Yes ... it has been a great success. London is mad about that +cheese. And so am I. I took first prize with it in London and in +Edinburgh, too. You have no idea how proud that made me. + +JUHASZ—I remember your first experiment with that cheese. + +COUNT—But you’d never know it now. [_With enthusiasm._] I succeeded in +crossing two breeds: Camembert, that over-ripe beauty, with Roquefort, +that sharp, sardonic old gentleman. And the child of that marriage I +nurtured and reared with my own hands. So naturally I am proud of the +career it is making for itself.... Well, I must be going. Remember, let +nothing worry you. If everything else fails you: Gerelypuszta, Desk, +Cheese! Good night! + +ADELE—Good night, your excellency. + +JUHASZ—[_Opens the door._] See you later, excellency. [_The COUNT exits. +He closes the door._] You shouldn’t have complained to him, dear. + +ADELE—I didn’t. He asked me. + +JUHASZ—I don’t want to be put in a false position. He has done more for +me already than my own father could have done. + +ADELE—[_Hesitantly._] Well, now, Peter ... if you have a moment.... + +JUHASZ—Certainly, my angel. I’m really curious to know what it is that’s +agitating this [_takes her head in his hands_] precious little head. +[_Looks into her eyes._] See here! There are tears in your eyes! It isn’t +anything serious? + +ADELE—Yes, Peter, it is serious ... very serious. + +JUHASZ—Well? + +ADELE—[_Pulls a stool over for him._] Sit down here, Peter. + +JUHASZ—Serious as that? [_He sits._] + +ADELE—There are two separate things I must talk to you about. And one is +harder than the other. + +JUHASZ—Let us have the hardest first. + +ADELE—If you weren’t such a good man, it wouldn’t be half as difficult to +tell you—— [_She dries her eyes._] + +JUHASZ—There, there, my dear! I am sure you have done nothing you need to +cry about. + +ADELE—It’s on your account I’m crying. + +JUHASZ—On my account? + +ADELE—Peter ... [_Dries her eyes; collects herself._] Those different +sums of money ... you gave me ... I made you give me ... these past three +years ... because you are so foolish about money ... and can’t refuse +anyone who asks you.... I told you I was putting the money in a savings +bank.... Well, so I did.... You know it amounts to fifty-one thousand +kronen. + +JUHASZ—I know. + +ADELE—I just found out from Oscar that there had been a meeting of your +creditors, and that the lawyer came to see you.... You didn’t tell me. + +JUHASZ—No, dear. + +ADELE—You didn’t tell me because you were afraid I’d be worried. I +know.... You offered the creditors this fifty-one thousand kronen on +account of their claims if they would refrain from forcing you into +bankruptcy ... and they accepted because they like you and trust you +[_bursts into tears_] and know you are the best and most honest man in +the world. + +JUHASZ—I asked Oscar not to say anything to you about it. + +ADELE—He was right to tell me. And now, Peter, it is terrible to have to +say it straight to your face.... + +JUHASZ—You spent some of the money. No matter, my child. Don’t let it +worry you. + +ADELE—Oh, my God ... my God.... + +JUHASZ—All the money isn’t worth this agitation. Tell me how much is +gone. I’ll raise it somehow. + +ADELE—A great deal is gone. + +JUHASZ—How much? Whatever you spent, I’m sure you did it for the best. + +ADELE—Peter ... forgive me ... it is all gone. + +JUHASZ—All? + +ADELE—All. There isn’t a heller left.... Peter ... [_Weeping._] Kill me. +I have ruined you. [_A brief pause._] + +JUHASZ—My dear ... really ... it doesn’t matter.... I thought God knows +what had happened ... but if that’s all.... + +ADELE—Don’t try to make light of it, Peter. I know perfectly well that +what the lawyer told you was the creditors’ very last offer. But when I +found that out, it was too late. The money was gone. + +JUHASZ—Now you mustn’t cry. It’s childish to take the thing so much to +heart. Everything will be all right. The lawyer’s heart isn’t made of +stone. + +ADELE—[_Weeping._] All lawyers’ hearts are made of stone. + +JUHASZ—We’ll have a nice little talk with him. My money is your money, +isn’t it? It’s all my fault, anyway. Why didn’t I save the money +myself?... You had a perfect right to spend it. Kiss me, and tell what +else is troubling you. + +ADELE—[_Kisses him._] You are so good! + +JUHASZ—Well now, out with the other calamity. + +ADELE—That is much harder. + +JUHASZ—No matter, my dear. It won’t be as bad as you suppose. + +ADELE—You know that I have always been a faithful wife to you.... We +have no children ... and ours wasn’t exactly a love marriage ... but +all my affections were yours. [_JUHASZ takes her hand._] In the whole +three years I never looked at or thought of another man ... and that is +precisely why it’s so hard for me now.... If I weren’t a respectable +woman, it would be easy ... but I simply can’t deceive a man like you.... +I can’t.... [_A brief pause._] + +JUHASZ—You love ... someone else. [_She only nods. He utters the word for +her softly, thoughtfully._] Yes. [_There is a pause._] + +ADELE—I respect you too much to let you go on believing for a single +moment.... [_Another pause._] + +JUHASZ—You don’t love me any more. + +ADELE—I do care for you, but.... + +JUHASZ—But you love someone else. + +ADELE—I love _you_ like a brother ... you know yourself I never loved +your body ... only your soul.... It was always a struggle for me ... but +now that I love another ... I must tell you. + +JUHASZ—This comes ... so suddenly.... I—I—— [_ADELE sobs._] You poor, +dear child.... It’s only a sort of illness.... It will pass.... Every +wife goes through such a crisis ... some time or another.... And I’ll +help you through it.... I’ll be as gentle and tactful as I can.... And +before you know it, you’ll have forgotten all about it ... and come to +your senses ... and be the same happy, contented Adele you used to be.... +My good, loyal Adele, I don’t know how another man would act in my place +... but this is how I feel.... But there! Are you crying again? + +ADELE—It’s unbearable how good you are! + +JUHASZ—Shouldn’t I have said that? + +ADELE—Peter ... this isn’t just a passing fancy, as you suppose. I not +only love this man.... + +JUHASZ—What else? + +ADELE—I want to belong to him. [_A pause._] + +JUHASZ—That is ... more serious. [_Takes an aimless pace or two, sits +down, puts his head in his hands._] When you said that ... I felt so ... +lonely ... all of a sudden. + +[_A delivery boy enters at the door. He carries three big packages and a +rocking-horse._] + +DELIVERY BOY—Mr. Peter Juhasz? + +JUHASZ—[_Goes to him._] Yes, yes. From the toy store?... All right, my +son, just put them down. [_Gives the boy a tip; calls._] Adolf! + +DELIVERY BOY—Thank you, sir. Good night. [_The boy exits at the door. +ADOLF enters through the archway._] + +JUHASZ—For your little boy’s birthday to-morrow. A horse, a steamship and +an automobile. And this is for your little girl, so that she won’t feel +slighted. + +ADOLF—[_Tries to kiss his hand._] Oh, thank you ... thank you, sir! + +JUHASZ—Yes, yes. Take them away.... Or, wait! Leave the steamship here +a moment. I’ll have to show you how it works.... The automobile is +quite simple, but the ship has a rather complicated mechanism.... I’ll +explain it to you before I go home. [_ADOLF puts the steamship under the +down-stage end of the counter at right, then exits through the archway +with the remaining packages. JUHASZ turns to ADELE._] Forgive me.... My +god-son, you know. + +ADELE—[_Who has been weeping silently._] Peter, if you only knew how +sorry I am. + +JUHASZ—I’m afraid I made it harder for you ... but I have a headache ... +and everything came at once.... I’m sorry ... but you _were_ a bit cruel. + +ADELE—Kill me, Peter. + +JUHASZ—But you were honest with me ... you couldn’t be anything else. And +yet I think it would have been less painful to me ... if you had simply +betrayed me. + +ADELE—I can’t betray you, Peter. I respect you too much. [_Weeping._] +Don’t ask me to do that. + +JUHASZ—You want to become another man’s wife. How can I prevent you? Go, +if you must. He is surely a better man than—— + +ADELE—No, no! + +JUHASZ—But you are leaving me for him. + +ADELE—You are a much better man ... and yet ... I can’t explain—— + +JUHASZ—Younger, better looking.... + +ADELE—Do you know who it is? + +JUHASZ—I don’t want to know. + +ADELE—I don’t want to hurt you again ... but you must soon find out. + +JUHASZ—Soon find out? [_A brief pause._] + +ADELE—Oscar. + +JUHASZ—Oscar ... our Oscar? + +ADELE—Yes. [_A pause._] + +JUHASZ—So that ... so that.... + +ADELE—[_Ardently._] I love him, Peter, and he adores me. And we are +leaving the city.... You will never hear of us again. + +JUHASZ—Oscar.... + +ADELE—All the time we’ve been here together, like one big family, we +could have done things behind your back. But a man like you.... We +couldn’t bring ourselves to deceive you. Oscar couldn’t either. He loves +you like a brother. + +JUHASZ—I know ... you are both devoted to me. + +ADELE—We are going to Berlin. There a new life awaits us ... but that’s +something you can’t understand, because there is no spirit of adventure +in you.... To escape from this cage ... out into the wide world ... to +try our luck ... and find wealth, perhaps ... and power.... Let me call +him in! + +JUHASZ—If you like. + +ADELE—He is so fond of you. [_Runs to the archway._] Oscar! [_Comes down +stage again._] It grieves him so.... [_OSCAR enters through the archway, +slowly, sadly. Up stage, between the two counters, he pauses._] + +OSCAR—Does he know everything? + +ADELE—Yes. + +OSCAR—Peter, this moment had to come. + +JUHASZ—Never mind that, my son. + +OSCAR—[_Begins rhetorically._] From first to last our conduct has been +irreproachable—— + +JUHASZ—It’s my own conduct I’m thinking about, not yours. + +OSCAR—I see you intend to act nobly. + +JUHASZ—Nobly? + +OSCAR—Or else you would kill both of us. + +JUHASZ—Please! I don’t want to stand in your way. I don’t know how +another man would act in my place, but—— + +OSCAR _and_ ADELE—[_Simultaneously._] The same! Just the same! + +JUHASZ—But it’s the way I feel. + +OSCAR—You are the best ... the best ... the best.... [_Suddenly kisses +his hand._] + +JUHASZ—Have you gone mad? + +OSCAR—Pardon me. Before we part forever there is one promise I want to +make you on my sacred word of honor. I’ll send you back that money the +very first day I get it. Not a day later. + +ADELE—[_Quickly; embarrassed._] I couldn’t tell you before.... I had +hoped you’d understand. I didn’t spend the fifty-one thousand kronen +myself.... I gave them to Oscar. + +OSCAR—[_Quickly._] That is, not for me, but for a little enterprise in +Berlin in which I have bought an interest. A little shop of which I—that +is, we—are to be one-fourth owners. Steger and Company! Steger—that’s +Steger. And the Company—that’s me.... At first I thought of putting up my +own name instead of Company, but as long as Adele got the money I decided +it would be only fair to say Company, and that includes her too.... + +JUHASZ—She gave the money to you? + +OSCAR—I didn’t want it for myself. My God, I can live on bread and water. +But I couldn’t ask Adele to share the uncertain existence of a shop +clerk.... That would have been, if I may say so, unscrupulous of me. I +had to provide for her future. + +JUHASZ—If she gave you the money, it’s yours. + +OSCAR—I considered that I owed it to _you_ to provide for her future +decently. You would have every right to despise me if I hadn’t. + +JUHASZ—I must admit ... you managed things cleverly. + +OSCAR—[_In an injured tone._] What do you mean by that? I did everything +honestly and above board. [_Takes ADELE’S hand._] Our relations couldn’t +have been purer if we were two children. + +JUHASZ—[_A bit sharply._] Please! I forbid you to discuss that. She is +still my wife. There is no question about her purity here. + +OSCAR—[_Aggressively._] I might have known you would take that tone. +[_PHILIP appears in the archway._] + +PHILIP—You are wanted on the telephone, Mr. Juhasz. + +JUHASZ—Coming. [_He exits through the archway; PHILIP lets him pass, +looks frigidly at ADELE and OSCAR, then exits too._] + +ADELE—[_Suddenly._] What did you shout at him for? + +OSCAR—I know what I’m doing. Just you cry ... and let me shout. Now hurry +and get ready. He’s taken it much too hard to suit me. Where’s your hat? + +ADELE—But I’ve got to say good-bye to—— + +OSCAR—Get your hat when I tell you to! I know what I’m talking about. +Have some consideration for my weak heart, and don’t get me excited. +[_JUHASZ re-enters._] + +JUHASZ—[_Sees the hat in ADELE’S hand._] It was your sister. She wanted +to know whether we could come to supper to-night. I told her ... that +... I didn’t know. + +OSCAR—Adele is going to her mother’s. + +JUHASZ—Right now? + +OSCAR—Right now. [_There is a pause._] + +JUHASZ—Then ... it’s to-night ... you’re leaving? + +OSCAR—We have decided ... as long as everything is settled ... that Adele +hadn’t better go to your house any more. That would only make it harder +for you ... and we would like to ... spare you ... all we can. + +ADELE—It’s your feelings we are considering.... + +JUHASZ—You are right. That would be best. + +ADELE—I’m going to mother’s, and Oscar goes to Berlin to-morrow. And we +shan’t see each other again until after the divorce is granted. + +OSCAR—We mean to do what’s correct ... everything correct. We owe that +much to you. And, on my word of honor, you’ll get your money back as soon +as I have it. I shan’t wait for profits. No; I’ll send it to you out of +the first money we take in. Without a moment’s delay. Here’s my hand on +it. + +JUHASZ—[_Waving away the proffered hand._] That’s all right. I don’t +think you’d lie to me now. + +OSCAR—You know me better than that. + +JUHASZ—[_To ADELE, who has put on her things._] Then ... we shan’t see +each other ... for a long ... for a long time.... Perhaps never. + +OSCAR—[_Uneasily._] Don’t say that. It’s not fair to say that. If ever +you are in Berlin, consider our home your own. + +JUHASZ—Thank you. + +OSCAR—And let’s not prolong our leavetakings. I’ve got to consider my +weak heart. Excitement is bad for me. + +ADELE—Good-bye, Peter. Will you kiss me? + +OSCAR—Kiss her. She’s worthy of it. [_Turns away and dries his eyes._] + +JUHASZ—[_Kisses her._] Don’t cry, Adele.... I suppose it had to be ... +but not one woman in a thousand would have acted as you have acted.... +There! Lift up your head and smile at me.... You were a good wife to me +... and now you are my very good friend. [_ADELE nods._] Shall I see you +as far as your mother’s house? + +ADELE—No.... I’ll take a cab. Good-bye, Peter. [_She nods silently to +OSCAR and passes swiftly through the door. There is a brief pause._] + +OSCAR—Only one word more, Peter, about a matter of business, and then we +can shake hands and part. I had a talk with the lawyer to-day—— + +JUHASZ—But, please—— + +OSCAR—I couldn’t go away and let them throw you into bankruptcy. [_Hands +him a document._] Here is the agreement. Read it over when you get home. +It stipulates that, in consideration of your unquestionable integrity, +your creditors agree not to file a petition in bankruptcy against you, +but to wait six months longer ... for the fifty-one thousand kronen you +lent me. + +JUHASZ—Lent you? Yes, that’s right. + +OSCAR—And which I will return to you ... my word of honor ... maybe in +two weeks, maybe not for three months, but certainly within six months. +My word of honor! + +JUHASZ—[_Turning the document over helplessly._] Yes. + +OSCAR—But your creditors make one stipulation. Until the fifty-one +thousand is paid to them, they want a receiver to run the business +instead of you. + +JUHASZ—Receiver? + +OSCAR—It’s wrong, I know ... but in some ways the creditors are right.... +You are too easy with people who owe you money ... and with the people +who work for you.... You are not businesslike.... What this place needs +is a strong hand.... They tried to get me to take charge, but I.... Of +course they didn’t know anything about.... I only said I was leaving the +country.... Well, the main thing is that on the day you pay the fifty-one +thousand kronen the business is yours again. + +JUHASZ—And this ... receiver?... When does he take charge? + +OSCAR—On the day I leave. + +JUHASZ—You said you were leaving to-morrow. + +OSCAR—Yes. + +JUHASZ—Well, then—— + +OSCAR—To-morrow morning at eight the receiver will be here. + +JUHASZ—Then the shop doesn’t belong to me any more ... and I may as well +stay home to-morrow morning. + +OSCAR—What’s the use of exaggerating like that? Certainly you can come +to-morrow. + +JUHASZ—As a clerk in my own shop? + +OSCAR—Can I help it? Didn’t I do everything I could? Didn’t I run around +seeing people and making arrangements? [_More and more resentfully._] I +didn’t expect any thanks for it, but you needn’t look at me that way. As +for the money, my word of honor—— + +JUHASZ—I know. + +OSCAR—[_Takes his hand._] Good luck! [_Points to the archway._] I’m +going that way. I shan’t even walk the same street as Adele until the +divorce is granted. [_In the archway._] Don’t look at me like that! +[_Emotionally._] I had to provide for her future, hadn’t I? [_He exits. +JUHASZ is left alone. He looks at the document, crumples it into his +pocket, glances around the shop, then sits down near the counter, at +right, staring vacantly. PAULA enters through the archway, a letter in +her hand._] + +JUHASZ—You still here, Paula? + +PAULA—About those waterproof coats, Mr. Juhasz. Mr. Oscar referred me to +your wife [_notices that ADELE is not there; pauses_]—and she said we +didn’t want any waterproof coats, but I think we really should order a +few. [_Waits for his answer._] + +JUHASZ—[_Lost in thought, still staring absently._] Yes. [_A pause._] + +PAULA—Shall I order some, Mr. Juhasz? + +JUHASZ—[_Looks up at her._] What? Oh, yes. + +PAULA—About a dozen? [_A pause._] + +JUHASZ—Paula—— [_He rises._] The fact is that from to-morrow on the shop +doesn’t belong to me. + +PAULA—Doesn’t belong to you? + +JUHASZ—In a word, Paula, my wife has left me and is going to Berlin with +Oscar ... and I have failed.... To-morrow morning a receiver, appointed +by my creditors, takes charge ... and he’ll be the boss here.... So why +should I worry my head about waterproof coats? [_A pause._] + +PAULA—I—I don’t know what to say, Mr. Juhasz. + +JUHASZ—Don’t say anything, Paula. I didn’t say anything myself. No. And +let those letters go for to-night. I can’t have you ruining your eyes. + +PAULA—As if you hadn’t troubles enough of your own without worrying about +my eyes. + +JUHASZ—Troubles?... Well.... + +PAULA—I can imagine how you must feel. + +JUHASZ—Yes, here I stand like a tree in the park that is only good for +lovers to meet under.... + +PAULA—And then go away. + +JUHASZ—But first they cut their names in it with a sharp knife. [_ADOLF, +carrying his long pole, comes through the archway._] What’s the matter? + +ADOLF—It’s eight o’clock, Mr. Juhasz. + +JUHASZ—[_Still a bit absently._] Yes, you can really close up now, Adolf. +[_ADOLF goes out, pulls the grating half way down._] + +COUNT—[_His voice is heard from the street._] Here, here, here! Are you +trying to lock me out again? [_He dodges under the grating and enters. +He is wearing a motor coat and cap. ADOLF, pole in hand, follows him +in, grinning._] Tell me, my friend, do you do that on purpose? [_ADOLF +only grins._] Whenever I try to get in you come along with that big +stick and pull the grating down. You don’t like me, what? [_ADOLF’S grin +is broader._] Here! [_Gives him money._] Here is something for you. +Try to like me better. [_ADOLF tries to kiss his hand. The COUNT waves +him off._] Never mind that. [_The COUNT comes down right. ADOLF exits +through the archway._] He is always trying to close the door in my face. +[_Looks at them wonderingly._] What’s the matter? You look so cheerful, +Juhasz. + +JUHASZ—Excellency.... I don’t know how to tell you. [_PAULA is about to +go._] Don’t go, Miss Paula. + +PAULA—I only wanted to see whether the cap has arrived for his excellency. + +COUNT—Thank you, Paula. + +PAULA—Not at all, your excellency. [_She exits through the archway._] + +COUNT—Well, what is it? Things going wrong after all? + +JUHASZ—Not exactly wrong, excellency. I suppose everything that happens +is for the best. But just a while ago your excellency was kind enough to +repeat what you had often said before.... [_Pushes a stool toward him._] +Please sit down. + +COUNT—[_Sits._] Well? + +JUHASZ—That desk at Gerelypuszta ... which ... was always open to me. + +COUNT—Yes, yes. What of it? + +JUHASZ—Well, I’d like to go back to that desk. + +COUNT—How’s that? In the last ten minutes you’ve.... + +JUHASZ—In the last ten minutes. + +COUNT—That is very interesting. [_Looks around._] Where is your wife? + +JUHASZ—That’s just it, your excellency. + +COUNT—I don’t understand. + +JUHASZ—My wife is going to divorce me and marry Oscar. The business is +to be taken over by a receiver to-morrow morning. And here I stand, all +alone in the world and free as a bird. + +COUNT—[_Jovially._] My dear Juhasz, you are not a bird, you are now +general manager ... or no ... general director of the Gerelypuszta Cheese +Exporting Company. + +JUHASZ—Your excellency’s generosity is boundless. + +COUNT—The excellence of Gerelypuszta cheese is boundless, and my luck is +boundless to get you back again. Juhasz, I wouldn’t trust my own brother +with that cheese ... but I’ll trust you with it. + +JUHASZ—I shall be very happy if.... + +COUNT—I shall be happy. When can you come? Drive down with me to-night. + +JUHASZ—Excellency, my things, my house.... + +COUNT—How soon _can_ you come? + +JUHASZ—Well ... perhaps the end of this week ... or the beginning of next. + +COUNT—The sooner the better. You can’t come soon enough to suit me. +[_Rises._] I congratulate myself. [_PAULA enters through the archway._] +Now we will organize things on a big scale, Juhasz. We shall become an +international enterprise. Gerelypuszta Cheeses, Ltd.!... And as to my +neighbor and competitor, Baron Goldberger, we’ll settle him!... But, my +dear friend, how selfish of me! I forgot all about your troubles. + +JUHASZ—And I forgot all about your caps, excellency. [_Starts to go._] +Excuse me a moment. + +PAULA—The caps just came. Philip is wrapping them up. + +JUHASZ—One is to go in with that jockey suit. [_He exits through the +archway. There is a pause._] + +COUNT—Well, Miss Paula, what do you think of it? + +PAULA—It’s a gorgeous red, your excellency. + +COUNT—What is? + +PAULA—The cap. + +COUNT—You little rogue! You know very well I mean this ... er ... +domestic tragedy. + +PAULA—What _can_ I think of it, your excellency? [_Comes nearer to him._] +I know what it means to _me_. I’ve lost my job. + +COUNT—How’s that? Can’t you stay on with the new boss? + +PAULA—I suppose I could, but mother wouldn’t dream of letting me.... She +only let me work for Mr. Juhasz because he has been a sort of second +father to me. But I know she won’t let me stay under any other boss.... +And I haven’t the heart to oppose mother’s wishes. The poor dear is so +ill, and she has trouble enough with my wild brother. + +COUNT—[_Who has been studying her appraisingly._] Too bad! I shall be +sorry not to see you any more. + +PAULA—Oh, your excellency! + +COUNT—But even if you were staying on, I shouldn’t come here any more.... +I only came on Juhasz’s account. + +PAULA—We all know that, your excellency. + +COUNT—Yes. And yet I am really sorry I shan’t be seeing you any more. + +PAULA—Oh, your excellency! + +COUNT—It was always a great pleasure to see you ... when I happened to +come in. + +PAULA—Your excellency embarrasses me. + +COUNT—May I make a parting confession? Often I came only for the +privilege of seeing you and exchanging a few casual words with you. +To-day, for instance. Though you did make fun of me. + +PAULA—I didn’t, your excellency. + +COUNT—Because I am an old boy.... But all is not old that glitters. Why, +my heart feels seventeen when I see you. + +PAULA—But, your excellency! + +COUNT—Oh, let’s drop that “excellency”! [_PHILIP enters through the +archway, drying his hands._] + +PAULA—[_Unaware of PHILIP’S presence._] You mustn’t think I consider you +old. + +COUNT—Now ... don’t pretend! + +PAULA—Your white hair ... is one of your most attractive features.... +If you only knew ... how odious young men are ... compared with an +aristocratic, middle-aged gentleman like.... Oh, your excellency, I beg +pardon.... I’ll go and get your package. [_Makes a movement toward the +archway._] + +COUNT—Wait! Juhasz will bring it. Don’t rob me of this last minute with +you. + +PAULA—[_With fine coquetry._] Last? + +COUNT—You are going home to your mother, and I am going back to +Gerelypuszta.... You are a very clever girl ... and I am not exactly +stupid myself.... It would not be impossible, I daresay, to find you +somewhere in the city.... But an old man must be as cautious and +circumspect ... as a young girl ... and I try to be a very sensible old +man.... I shall teach myself to do without you ... slowly, painlessly. +[_PHILIP goes up behind the counter at back._] Poor Juhasz went into +bankruptcy just in time for me, just in time. + +[_JUHASZ, carrying the package, enters through the archway._] + +JUHASZ—All packed and ready, your excellency. [_Goes to the door._] I’ll +give it to your chauffeur. [_He exits._] + +COUNT—What is that? + +PHILIP—One jockey suit and a cap, your excellency. + +COUNT—[_Turns in surprise._] Oh, you are here too? + +PHILIP—I am here, excellency. + +COUNT—[_Turns to PAULA._] Well, then ... good-bye, Miss Paula. + +PAULA—[_With a bow._] Your excellency! + +COUNT—You don’t even offer to shake hands? + +PAULA—Oh!... [_They shake hands._] + +COUNT—[_To PHILIP, going._] Good night. + +PHILIP—Good night, your excellency. + +COUNT—[_In the doorway._] Tell that man with the long stick that he can +pull this grating down now. [_Dodges under the grating and exits._] + +JUHASZ—[_His voice is heard from the street._] Good-bye, your excellency. +[_The noise of a motor starting is heard. It dwindles and dies out in the +distance._] [_JUHASZ re-enters._] Well, children. Let’s get finished. +It is high time we were out of here. [_He takes out a drawer of the +cash-register and exits with it through the archway._] + +PAULA—I want to bid you good-bye, Philip. I suppose you will be staying +on here. + +PHILIP—Yes. You are a very sly young lady, Paula. + +PAULA—Am I? Why? + +PHILIP—I heard you. + +PAULA—Did you hear anything ... wrong? + +PHILIP—Wrong?... No.... Just clever. + +PAULA—What do you mean? + +PHILIP—You know what you’re doing, my girl. Only you started a bit late. +Mr. Juhasz is going, and the shop is gone, and the Count isn’t coming +back, and you won’t be able to flirt with him any more. Too late! + +PAULA—Do you think so? + +PHILIP—Yes, I do. The Count told you as much to your face. + +PAULA—I wouldn’t be so sure of that, Mr. Philip. + +PHILIP—Of what? + +PAULA—That I shan’t see the Count again. + +PHILIP—Now you’re losing your temper. + +PAULA—[_With growing passion._] A great deal has gone on in this shop +that you didn’t know about. + +PHILIP—Oh, I think not. + +PAULA—You’ve worked alongside of me for the past three years and don’t +know me yet. + +PHILIP—I think I do. + +PAULA—Then you won’t be surprised to hear that I’m going to Gerelypuszta +too. + +PHILIP—What? What for? + +PAULA—To be near the Count. + +PHILIP—In Heaven’s name! [_Clasps his hands in horror._] When did you +decide that? + +PAULA—Just now.... This very minute. [_She is greatly excited._] Are you +surprised?... For a whole year that Mrs. Juhasz has plagued me.... You +saw her.... She treated me like a dog.... Tried her best to drive me +away. And why do you suppose I was so patient? Why did I never answer +back? + +PHILIP—Miss Paula! + +PAULA—[_Still more vehemently._] What did I endure it for? [_Points to +the door._] For my future, Mr. Philip, for my future ... who just passed +through that door ... and rode off in his motor car. But I mean to follow +him, Mr. Philip. Make no mistake about that. That old man has been +staring at me for a year ... ogling me ... and I have been ... slowly +and carefully ... playing my game.... You needn’t look so horrified, Mr. +Philip ... a filthy little intrigue isn’t what I was after ... no ... +here I have sat ... sighing away my youth ... among a lot of motor coats +bound for Paris and Ostend ... pretty travelling veils soon to be worn in +London ... and Monte Carlo ... out in the great, glittering world.... I +want to live, too, Mr. Philip, to live, to live.... And now shall I give +up all hope simply because this little shop has gone under? No, my dear +Philip, I shan’t let his excellency get away from me that easily. + +PHILIP—You won’t let him—— + +PAULA—I’m going to follow him to Gerelypuszta. The rest will be easy. + +PHILIP—And what will you tell your mother? + +PAULA—That Mr. Juhasz is taking me. She’ll let me go with him. + +PHILIP—And what will you tell Mr. Juhasz? + +PAULA—That I can’t leave him alone in all this trouble ... that I can’t +part from him. + +PHILIP—Deceive him? You too? You’d take advantage of him too? + +PAULA—Yes. + +PHILIP—You’d use _him_ for a purpose like that? + +PAULA—I’m sick of poverty, Mr. Philip.... If you knew how sick I am of +being poor! + +PHILIP—It’s monstrous! + +PAULA—Can I help it?... I tell you I won’t grow old over a typewriting +machine. I won’t let myself decay in this dingy office. + +PHILIP—But Mr. Juhasz—— + +PAULA—I’m not considering anyone except myself. I need Mr. Juhasz now, +and, no matter what you say, I mean to use him. + +PHILIP—[_Scrutinizing her narrowly._] This isn’t wickedness. It’s only +childish egotism. + +PAULA—I mean to do just what I said. + +PHILIP—And suppose I prevent you? + +PAULA—How? + +PHILIP—Suppose I tell Mr. Juhasz exactly what you said. + +PAULA—First you worm everything out of me ... and then.... But he +wouldn’t believe you.... Besides ... you won’t tell ... you are too fond +of him yourself. + +PHILIP—That’s exactly why. He is bound to find out sooner or later. + +PAULA—No. A man like him never sees such things. [_Confidently._] You +won’t tell. You won’t open your mouth. [_JUHASZ enters through the +archway, carrying his hat and cane._] + +JUHASZ—And now, dear Miss Paula, there is one painful duty left for me to +do. I promised your mother that I would look after you as a father ... +and now ... I must send you back to your mother.... I ... forgive me for +the ceremony ... I discharge you, Miss Paula.... But to-morrow I will use +what influence I may have with the new boss—— + +PAULA—[_Firmly._] That won’t be necessary, Mr. Juhasz. + +JUHASZ—Don’t you want to keep your job? + +PAULA—No. + +JUHASZ—Why not? + +PAULA—Because I ... am going with you, Mr. Juhasz. + +JUHASZ—With me? + +PAULA—With you ... wherever you may go. + +JUHASZ—[_Amazed._] Miss Paula! + +PAULA—There is no use discussing it. You know I always do what I say. + +JUHASZ—[_Puts down his hat and stick._] With me, Miss Paula? + +PAULA—With you. + +JUHASZ—But the place I am going to ... is a tiny village ... deep in the +country ... at the end of the world. + +PAULA—I’m going too. If there’s work for you, there will be work for me +too. + +JUHASZ—But you are young, Miss Paula.... Why should you leave Budapest +... now ... when so many new enterprises are being founded?... Why, with +your talent and industry—— + +PAULA—Let us not discuss it, please, Mr. Juhasz. I am going with you. + +JUHASZ—Do you hear that, Philip? + +PHILIP—[_Morosely._] I hear. + +PAULA—Promise that you’ll take me with you ... and look upon me ... as +you always have ... as your child ... as your friend. + +JUHASZ—[_Deeply moved._] I am compensated ... Paula ... for all ... all +that I suffered to-day.... God is good to me, after all. + +PAULA—[_Low, ashamed._] I am devoted to you, Mr. Juhasz. You know +that.... Will you excuse me now? I must go, or mother will be worried +about me. [_Starts to go._] Besides, I think Mr. Philip has something to +tell you. [_She exits through the archway._] + +JUHASZ—[_Deeply touched._] What a heart she has!... That is the stuff +that saints and martyrs are made of.... And to think that here [_with +an emotional break in his voice_]—here in this dim little shop ... such +loyalty ... such devotion should have blossomed ... unknown.... [_Dries +his eyes._] It’s good to know there are such people in the world! +[_PHILIP, in surly silence, picks up his hat and stick, pulls on his +gloves._] Is there something you wanted to say to me, Philip? + +PHILIP—Hm.... Do you know that.... [_Stops._] + +JUHASZ—Well? + +PHILIP—Well, you know ... er.... + +JUHASZ—Don’t play the cynic with me, you old hypocrite ... you.... I know +what you are hiding under those gruff, silent ways of yours. + +PHILIP—No ... that’s not it. + +JUHASZ—Now don’t pretend to me.... I know your faithful heart, Philip +... you needn’t be ashamed because you are touched. + +PHILIP—[_Lowers his eyes._] You are right. + +JUHASZ—I knew it. + +PHILIP—[_Softly._] I am touched. + +JUHASZ—What were you going to say to me? + +PHILIP—I wasn’t going to say anything. [_There is a pause._] + +JUHASZ—[_Picks up his hat and stick._] I’m a lucky man, after all.... +My wife and Oscar.... You must admit they were honest about it.... And +how eager he was to get me back the shop.... And the Count ... see how +generous he was to me.... And then ... to crown it all ... that good, +loyal girl.... Really, Philip, love and trust are always repaid in kind +in this world.... I’ve found that out.... But you needn’t look so morose +about it.... + +PHILIP—God bless you, Mr. Juhasz! + +JUHASZ—Look after things until I come back.... They are sure to send the +money by autumn. + +PHILIP—Are they? + +JUHASZ—Oscar? He’ll send it ... if he has to starve for it. [_PAULA +enters, dressed for the street. Behind her comes ADOLF with his pole._] + +PHILIP—Good night. + +JUHASZ—Are you going to the opera? + +PHILIP—No. I gave my ticket to the cap-maker’s apprentice. + +JUHASZ—Then you’ll see Paula home as usual? + +PHILIP—Sorry. I’m going the other way to-night. Good night! + +JUHASZ _and_ PAULA—Good night. [_PHILIP exits through the door. A brief +pause._] + +JUHASZ—What’s the matter with Philip to-night? + +PAULA—He’s upset, of course. He loves you too.... [_A brief pause._] + +ADOLF—Can I close up now? + +JUHASZ—Certainly. [_ADOLF exits. A brief pause._] What are you waiting +for? Why don’t you pull it down? + +ADOLF—[_Sticks his head in the doorway._] I was just looking to see +if his excellency was coming. [_He vanishes. The sound of the grating +descending is heard._] + +JUHASZ—Now then ... I’ll see you home myself, Paula. + +PAULA—Don’t bother, Mr. Juhasz. I live quite near, you know. + +JUHASZ—No matter. And I’m not in a hurry to-night anyway. + +ADOLF—[_Finished with the door._] If you please, Mr. Juhasz, your maid +telephoned a while ago to ask why you were so late. Your supper is +getting spoiled. + +PAULA—There, you see.... Please don’t bother about me. + +JUHASZ—Not at all.... [_To ADOLF._] Phone and tell her that I shan’t be +home for supper to-night. I’ll go to a restaurant. [_ADOLF exits through +the archway._] + +PAULA—You are quite right.... The empty house and the vacant place at +table.... + +JUHASZ—Not that, but ... you see ... my wife is very fond of asparagus +... and it’s out of season and hard to get.... This afternoon I got some +... the first asparagus to arrive in the city.... And I sent it home ... +for supper ... a surprise, you know.... Well ... now ... if I go home ... +what can I say to the maid?... Shall I stand there and be ashamed ... of +the asparagus? [_A brief pause._] Or shall I eat it myself? + +ADOLF—[_In the archway._] I am putting out the lights, Mr. Juhasz. + +JUHASZ—[_To PAULA, who is about to go._] One moment. [_To ADOLF._] Wait, +my son, there is something I promised you. [_He takes the toy steamship +from under the counter, at right. He stands behind the counter. ADOLF +comes down in front of it._] Now, look here, my son. See this little lid? +You lift it up like that. See? + +ADOLF—Yes, sir. + +JUHASZ—[_Begins in a matter-of-fact way, but gradually his voice grows +more sorrowful until, in the end, it is trembling with suppressed sobs._] +In here are two keys. This one winds up the wheels when you want the ship +to run along the floor. This one winds up the propeller. See ... that +is the propeller. It makes the ship move through the water ... if there +is any water. The thing to remember is that you mustn’t turn the key +backwards, for then the spring unwinds. And when you wind it, you must +wind it very slowly, just as you wind a watch, very slowly.... [_He turns +the key three times while ADOLF watches absorbedly. Nothing is heard +but the click of the turning cog-wheels as the curtain slowly, almost +imperceptibly, falls._] + + + + +ACT TWO + + + + +ACT TWO + + + [_The COUNT’S workroom in a little outbuilding devoted to the + business of the estate. A wide glass door back center, with a + window on either side of it, looks on a terrace and a quaint + old garden beyond. At the right and left are doors to other + offices._ + + _Up right stands the COUNT’S huge desk and in front of it, to + the right, a small table on which is a typewriting machine. Up + left is a long table covered with a litter of papers, books and + pamphlets. Down left, against the wall, stands a little sofa._ + + _It is a bright summer morning. The COUNT sits at his desk. + DOMOKOS, an elderly clerk, is making a report to him._] + +DOMOKOS—And about that fellow, Mate. He’s the most useless man about the +place. An absolute disgrace to the dairy. + +COUNT—And the favorite of Mr. Juhasz. + +DOMOKOS—Yes, excellency. I’d have discharged Mate long ago, but Mr. +Juhasz won’t let me. He’s sorry for the man. + +COUNT—Sorry for him! + +DOMOKOS—Mate has such a glib tongue he always manages to get around Mr. +Juhasz somehow. But this time ... he hadn’t turned up for three days. +This morning he reported for work again, looking very seedy. But this +time we’ve caught him right. I found this letter ... [_exhibits the +letter_] which proves beyond a doubt that Mate is the paid spy of our +competitor, Baron Goldberger. + +COUNT—Goldberger! + +DOMOKOS—Yes, of Baron Goldberger. + +COUNT—Not _Baron_ Goldberger.... + +DOMOKOS—Pardon me ... no. Of Goldberger. And, if Mr. Juhasz doesn’t +discharge him now.... + +COUNT—I’ll see to it. Where is this Mate? [_He rings._] + +DOMOKOS—I told him to wait out there in the little office. [_Points to +the left._] + +COUNT—Give me that letter. [_DOMOKOS gives it to him. SANTHA, an old man, +half clerk, half servant, enters at left; waits at the door._] Send Mate +in. + +SANTHA—Yes, your excellency. + +COUNT—Then ask Miss Paula to step in. + +SANTHA—Yes, your excellency. [_Exits at left._] + +DOMOKOS—Mr. Juhasz is spoiling all the men with that benevolence of his. +[_MATE enters at left. He is young; wears a white linen jacket which is +soiled and torn. Behind him SANTHA enters and crosses to right, where he +exits._] + +COUNT—I am told you have been neglecting your work and going off on a +spree for days at a time. + +MATE—I was home ... sick, excellency. And Mr. Juhasz.... + +DOMOKOS—You were seen in a beer garden in Budapest three different times. + +COUNT—That will do, Mate. Wait out there until you are sent for. Mr. +Juhasz will attend to you. + +MATE—Excellency, I give you my word—— [_SANTHA is seen crossing the +garden from right to left._] + +COUNT—That will do, Mate. [_MATE exits at left. The COUNT rises._] Thank +you, Domokos. Let me have the rest of your report this afternoon.... I am +busy now. Leave that letter here. [_Rings._] Where is Juhasz? + +DOMOKOS—I saw him down near the hothouses. I think he’s feeding the +pigeons. + +COUNT—Naturally. + +DOMOKOS—Yes, sir. [_He exits at left as PAULA enters at right._] + +PAULA—Good morning! + +COUNT—Good morning, sunbeam. Quick, quick. We can talk now. Your duenna +is away ... feeding the pigeons. + +PAULA—Your excellency is always saying unkind things about Mr. Juhasz. +[_She sits at the typewriting machine._] + +COUNT—And yet I love him as I would my own son. [_Kisses PAULA’S hand._] + +PAULA—I must pretend to be working. If he comes in and finds me just +talking to you, he’ll be unhappy again. + +COUNT—No fear of that now.... He is a long way from here. + +PAULA—As if that mattered! He divines the fact that we are together. And +he can find me with his eyes shut. [_Taps once or twice on the machine._] +Please don’t let him catch us like this. + +COUNT—This is intolerable, Paula. It can’t go on. One of the reasons I +sent for you was to tell you that I mean to get rid of Juhasz to-day. + +PAULA—[_Sorrowfully._] Your excellency.... + +COUNT—There is a dairyman named Mate, a wholly untrustworthy fellow, +whom he won’t dismiss. That gives me a perfect excuse, and I intend to +make use of it. For I can’t let this sort of thing go on indefinitely. +He’s always on your heels like a watch-dog, and I’m sick of it.... It +isn’t enough that he’s practically useless around the place ... but he +demoralizes everything with that benevolence of his ... my dignity ... +even my cheese.... And to crown it all he makes me play the comedian in +my own house. In order to be alone with you I must give you dictation. +And in order to give you dictation I must make political speeches.... +And I detest political speeches.... + +PAULA—[_Listening._] Wasn’t that the door? He’s just come in the +anteroom. Dictate to me! Hurry! + +COUNT—It’s enough to drive a man to despair. [_Loudly, as PAULA types._] +“If the Minister of Agriculture supposes ... that the farmers of the +country will tolerate ... such a thing, he is gravely mistaken.” I’ll +discharge him. I’ll discharge him this very day.... No.... Don’t write +that ... I don’t mean the minister. + +PAULA—[_As she writes._] Don’t be unkind to him.... He’s such a dear, +gentle soul. + +COUNT—[_Loudly._] The tiller of the soil asks little of his Government.... + +PAULA—[_As she writes._] It’s sheer gratitude that makes him guard me so +faithfully, gratitude to me for having come here with him. + +COUNT—I’ve put up with his gratitude until I’m weary of it. It’s four +months since you came here. Do you realize it? Four months you have +tormented me ... on his account. Four months you have been postponing my +happiness from day to day ... on his account. + +PAULA—You must be patient a little longer. He’ll go of his own accord ... +as soon as he gets his fifty-one thousand kronen from Berlin. Meantime, +I can’t let you be unkind to him ... no ... not on my account. + +COUNT—He’ll never get the money. And I can’t wait. I am fifty-six, Paula, +and desperately in love ... in love, do you hear.... [_Comes nearer to +her._] You beautiful ... young ... thing! [_JUHASZ enters at left with a +big ledger under his arm._] + +JUHASZ—I beg pardon. Shall I check up the live-stock too? + +COUNT—[_Crossly._] Yes. [_To PAULA._] “The deplorable policies +inaugurated by the Minister of Agriculture....” [_PAULA types._] By the +way, Miss, is that detailed statement finished? + +PAULA—Your excellency, my eyes have been troubling me ... and ... I have +only finished with the summaries. [_Hands him a sheaf of closely written +documents._] + +COUNT—[_Affecting severity._] You must manage to get more work done, Miss +Paula. Please be sure to have the detailed statements ready for me by +this evening. [_JUHASZ exits at left._] + +PAULA—He heard you as he came in. I’m sure he heard you!... Oh, I’m so +sorry! + +COUNT—You needn’t be. It doesn’t matter any more. I shan’t let him hinder +me any longer. I can’t afford to. I’m too old. The only thing left to do +is pay the fifty-one thousand kronen, give him back his shop and be rid +of him. + +PAULA—He won’t accept it. He’d rather starve. + +COUNT—[_With a touch of exasperation._] Curious that your friends never +have such scruples, only your enemies. + +PAULA—Have you noticed how badly he looks? That’s from worrying about me. + +COUNT—It’s from staying up nights, pacing to and fro beneath my window. +He has the bad taste to suppose that I would seduce one of my employees +in my own house.... But ... sunbeam ... our love deserves a worthier +setting ... doesn’t it?... A flight to Paris by the swiftest motor we can +find ... and from there southward to the sea ... under the skies of Spain +that God only made for people to love under.... [_Comes nearer to her. +JUHASZ enters at left._] + +JUHASZ—I beg pardon. I only wanted to give Miss Paula these. + +COUNT—[_Crossly._] Certainly. Certainly. + +JUHASZ—[_Gives PAULA a bundle of closely written pages._] Here are the +detailed statements his excellency wants. Mr. Santha was kind enough to +get them up last night. + +PAULA—He did them for me? [_Looks at the pages; smiles; to the COUNT._] +Forty pages, all closely written. Oh, that dear Mr. Santha! I don’t know +how to thank him. [_Gives the pages to the COUNT._] + +COUNT—[_Looks at them._] Mr. Santha wrote these? + +PAULA—Wasn’t it darling of him? Think of it! He must have worked all +night, the poor—— + +COUNT—[_Comparing them with the summaries._] Curious how like these are +the ones you wrote yourself. + +PAULA—Oh, I may as well confess it, your excellency. I didn’t write those +either. Mr. Juhasz did. + +COUNT—Oh? Juhasz did? + +JUHASZ—It was only three pages ... and Miss Paula’s eyes bothered her. + +COUNT—[_With a sheaf of pages in each hand._] So, then, Juhasz wrote +these three pages, and Santha wrote these forty? + +PAULA—Yes. + +COUNT—[_He rings. SANTHA enters._] Wait a moment, Santha. [_To JUHASZ._] +There was a light in your room until four this morning. What were you +doing up so late? + +JUHASZ—I’m not a very successful liar, excellency. I wrote the detailed +statements too.... + +COUNT—Thank you, Santha. You may go. [_He throws the statements on the +table. SANTHA exits at left._] + +PAULA—I am very grateful to you, Mr. Juhasz. + +JUHASZ—Oh, I am glad to have been of service. [_He exits at left._] + +COUNT—Tell me ... isn’t this Juhasz in love with you? + +PAULA—[_In honest amazement._] How can you say such a thing? It is +nothing but his goodness, his exaggerated sense of gratitude. He thinks +he owes me his aid and his protection because I followed him here into +exile. + +COUNT—I’ll exile him for good this time. Wait and see. + +PAULA—You won’t be unkind to him ... please ... don’t be. + +COUNT—Don’t worry.... I’ll be absolutely just with him. I’ll simply +confront him with the case of this fellow Mate whom he can’t bring +himself to dismiss. And I’ll say to him, “Now, it’s Mate or you.” And as +it is perfectly certain that he will never be able to harden his heart +to the point of dismissing anyone, he’ll have no alternative but to go +himself. And then ... [_ardently_] my happiness begins ... and yours, +Paula ... for you are my last love ... and last love is like the setting +sun ... full of fire and gold.... [_He approaches her ardently. JUHASZ +enters at left, a big book under his arm._] + +JUHASZ—The swine aren’t entered in the books. + +COUNT—Oh!... There’s a limit to everything! [_Goes to the door at left, +calling angrily._] Mr. Santha! Didn’t I say I was not to be disturbed +while dictating? Where is the fellow! [_Exits at left, leaving the door +open._] + +JUHASZ—[_To PAULA, quickly._] I heard all the dreadful things he said to +you. And it’s my fault. I brought you here. + +PAULA—But, Mr. Juhasz—— + +JUHASZ—I brought you here ... and now I don’t know what to do.... I ... +I’ll talk to him ... and forbid him to—— + +PAULA—Please, Mr. Juhasz, don’t do anything of the kind! + +JUHASZ—He wants to get rid of me anyhow. I know I’m in his way ... +because he wants you.... But don’t worry, my child, I shan’t let him +_drive_ me away. [_The COUNT enters at left._] + +COUNT—Absolutely demoralized! All of them. + +JUHASZ—The swine.... + +COUNT—Don’t bother me now with your swine. Come back later. [_JUHASZ +exits at left._] + +COUNT—It gets worse all the time. He used to give us at least a few +minutes together, but now he keeps popping in like a—— [_Stops, enraged, +for a word._] + +PAULA—He heard what you said to me before. + +COUNT—Did he say anything to you? + +PAULA—He promised to ... watch you closer than ever ... from now on. + +COUNT—That’s an insult to you! Why don’t you forbid it? + +PAULA—I thought of doing it, but when he looks at you ... with those +soft, kind eyes of his—— + +COUNT—I know. He has eyes like a devoted horse. I can’t endure them +either.... But now I’ve had enough. The thing must end to-day. If he +comes in once more, you must go out, my dear, and leave me alone with him. + +PAULA—He won’t come in again. You made it plain to him that he mustn’t. + +COUNT—You don’t know him. He’ll be in the moment he hears what he is +listening for. I’m perfectly certain he’s listening. [_Goes toward the +door at left._] Watch. [_Loudly._] Paula, I wonder if you know how sweet, +how charming, how utterly adorable you are. [_Approaches the door as he +speaks._] [_JUHASZ enters quickly, determinedly at left. When he sees +the COUNT standing there, smiling sarcastically, he stops short in the +doorway, abashed._] + +JUHASZ—May I talk to you about the swine now? + +COUNT—Come in. [_To PAULA, sternly._] Make a copy of what I have +dictated, Miss Paula. + +PAULA—Yes, sir. [_Rises, gathers up her papers._] + +COUNT—[_Sternly._] A clean and correct copy. + +PAULA—Yes, your excellency. [_She exits at right._] + +JUHASZ—The swine, your excellency—— + +COUNT—Never mind that, Juhasz.... There is something else I want to talk +with you about.... There are many complaints against you. Very many! + +JUHASZ—I know your excellency isn’t satisfied with me. + +COUNT—But my pigeons are satisfied, eh? + +JUHASZ—Is that what you are displeased about, sir? + +COUNT—You feed them too much. They are so fat they won’t fly any more. +And when I ask for a pigeon for my luncheon I am informed that Mr. Juhasz +won’t permit one to be killed. + +JUHASZ—I’m so sorry for the poor soft little creatures.... + +COUNT—And aren’t you sorry for the poor soft little ox? + +JUHASZ—I don’t know him personally, sir. + +COUNT—Humph! + +JUHASZ—It doesn’t seem right to me ... to eat your personal acquaintances. + +COUNT—[_Significantly._] It does to me. + +JUHASZ—If that’s the only complaint.... + +COUNT—It isn’t. There are many more. You and I will have to part company, +Juhasz. I can’t keep you here any longer.... Now every time I broach the +subject ... you look at me like that. + +JUHASZ—[_Averts his eyes._] I’m sorry, sir. + +COUNT—[_Irritably._] I once had a horse named Trafalgar. He was just like +you. + +JUHASZ—Like me? + +COUNT—He broke his leg ... and I couldn’t have him shot because he used +to look at me ... exactly as you do. [_In spite of himself, JUHASZ looks +at him._] Don’t look at me like that! I forbid it! + +JUHASZ—[_Looking away._] Yes, your excellency. + +COUNT—[_Consults a memorandum._] Here is a long list of your offenses. +First, there’s that potter, Mano Steiner, who owes us eight thousand +kronen. You granted him an extension of one year. What for? + +JUHASZ—Pots, your excellency. + +COUNT—I know that. + +JUHASZ—And the poor fellow has had so much trouble of late. + +COUNT—Trouble? + +JUHASZ—Business trouble. + +COUNT—You have no right to be charitable at my expense. + +JUHASZ—Wasn’t there some other complaint, too, sir? + +COUNT—Yes, lots of them. [_Consults the memorandum._] You owe three +hundred and thirty kronen to the all-night café. + +JUHASZ—Not for myself, excellency. + +COUNT—I know. You assumed that fellow Mate’s debts. And now that he has +credit again he has resumed his drinking. + +JUHASZ—Oh, your excellency, he didn’t owe the three hundred and thirty +kronen for drinks. + +COUNT—For what, then? + +JUHASZ—For hard-boiled eggs. + +COUNT—Is that what he told you? Let me see. That would make 640 +hard-boiled eggs in a single month. Or twenty-one a day. + +JUHASZ—Yes, the poor fellow has to eat twenty-two every day. The doctor +has put him on an egg diet.... But that bill at the café is paid. + +COUNT—Juhasz, Juhasz, it’s sinful the way you let people rob you. I +suppose you haven’t a heller to your name. + +JUHASZ—Well, just at present—— + +COUNT—I thought so. + +JUHASZ—What is next on the list, your excellency? + +COUNT—The next is very serious. It concerns your protégé, Mate. We have +discovered that he is Goldberger’s spy. + +JUHASZ—I don’t believe it, sir. + +COUNT—[_Picks up a letter._] Perhaps this letter, written in his own +hand, may convince you. It is written to Goldberger, acknowledging +the receipt of two hundred kronen in payment for a full list of our +customers.... There is no possible doubt about it now.... The foreman +wanted the man discharged a month ago, but you refused to permit it. + +JUHASZ—But I didn’t know he had done this, your excellency. + +COUNT—Well, you know it now. And I trust you have no further doubt that +the man must be dismissed. + +JUHASZ—Well ... if he has done this ... then ... I think the foreman +ought to dismiss him. + +COUNT—The foreman ought? Oh, no, Juhasz! You’ll dismiss him yourself. + +JUHASZ—[_Aghast._] I? + +COUNT—It’s your last chance. Here is the letter. [_Gives it to him._] +Mate is waiting out there. You will tell him he is dismissed. [_Rings._] +I’ll be back in five minutes. If Mate is dismissed I’ll be willing to +believe that there is some hope you may mend your ways. If he’s not +dismissed, then, my son, you and I part company. [_SANTHA enters._] Send +Mate in here. [_SANTHA exits at left._] Five minutes! + +JUHASZ—Excellency, may I ask one favor? + +COUNT—Well? + +JUHASZ—Make it ... ten minutes. It’s not so easy for me. + +COUNT—Very good. Ten minutes. [_Takes out his watch._] What time have you +got? + +JUHASZ—[_Takes out his watch._] Ten-thirty. + +COUNT—At ten-forty Mate is dismissed or you leave this place to-day. [_He +exits at back. Left alone, JUHASZ scratches his head ruefully. PAULA +enters at right._] + +JUHASZ—For goodness’ sake, Paula ... don’t come in now ... every moment +is precious.... [_Pushes her gently toward the door at right._] + +PAULA—What’s the matter? + +JUHASZ—I’ve no time to lose now.... I’ve got to hurt someone ... very +much ... in order to be able to stay near you ... and protect you. Don’t +ask me. [_Pushes her toward the door._] + +PAULA—What has happened? [_MATE enters at right._] + +JUHASZ—The Count thinks he knows me. But this time I’ll show him he’s +wrong. Give me your hand. Give me strength. [_Clasps her hand._] Go now, +Paula, and rely on me.... You shall see how strong I can be. In ten +minutes it will be over. [_PAULA exits at right. JUHASZ closes the door +behind her, pauses a moment to collect his courage, then, without turning +to face MATE, bellows at him._] So there you are! + +MATE—I’ve got regards for you, boss, from Budapest. I was in your shop. + +JUHASZ—Never mind that now. + +MATE—I bought a necktie there. [_Shows his cravat._] Maybe you recognize +it. The people all sent their regards. + +JUHASZ—Never mind that now, please.... [_Fingers the cravat._] Thanks, +but we have something else to discuss just now. + +MATE—[_Genially._] They told me business was fine.... And they are all +expecting you back soon. + +JUHASZ—Now, Mate, please don’t keep interrupting. I’ve something very +serious—— [_Flourishes the letter._] You have caused me a great deal of +trouble, Mate. + +MATE—[_Smoothly._] Oh, don’t say that, boss! I’d rather be dead than +cause you any trouble. + +JUHASZ—[_Distressed._] Now don’t talk like that—— + +MATE—But, if—— + +JUHASZ—[_With determination._] Be still now. And let me talk. + +MATE—[_With an injured expression._] All right. + +JUHASZ—[_Relenting._] Or ... what were you going to say? + +MATE—[_Aggrieved._] Oh, nothing. + +JUHASZ—I didn’t mean to be rude. I am a bit excited, you see. +[_Flourishes the letter._] This letter was just handed to me. [_Looks at +it._] You took ... two hundred kronen ... from Baron Goldberger. [_Shows +it to him._] Is this your handwriting? + +MATE—If you say it is—— + +JUHASZ—Mate, don’t make it harder for me. It’s painful enough as it is. +And I have so little time.... Is this your handwriting? + +MATE—Well, yes. + +JUHASZ—There, you see! [_A brief pause. He looks at his watch._] + +MATE—Well, I know what to expect. Get it over with. + +JUHASZ—You are a traitor, Mate. This letter proves it. + +MATE—That’s all right. You can discharge me if you want to. + +JUHASZ—Why do you make it harder for me, Mate? Do you think I like to do +this?... You don’t even say a word in your own defense. + +MATE—What’s the use of my saying anything? I know that I’ve got the sack. + +JUHASZ—But how could you do such a thing? _Why_ did you do it? _Why?_ + +MATE—If I told you, you wouldn’t believe me. I’m a liar, I am. Everybody +says so. + +JUHASZ—Don’t be so pig-headed! Did you ... perhaps ... need the money for +something urgent?... You haven’t a family, have you? + +MATE—I have a crippled father. + +JUHASZ—There! I knew there was something. Why didn’t you say so? Have you +no faith in me? [_Fingers MATE’S cravat._] What did they ask you for this +necktie? + +MATE—Four kronen. + +JUHASZ—Why, it only sells for three! + +MATE—I only paid two.... There are so many wicked people in the world, +Mr. Juhasz. I’d have been a different man if I’d ’a been treated right +... but I wasn’t.... Everybody around here was always down on me.... And +now they’ve got me where they want me.... + +JUHASZ—[_With heat._] Have they? Not yet. Make no mistake about that. +[_Pumping up his determination._] So you have a crippled father? + +MATE—Yes, my poor father! + +JUHASZ—It seems to me I heard you were an orphan. + +MATE—They say all kinds of things about me around here. My father lives +in Szentes. If you can call it living. [_Working himself up into a +passion._] If you must know, I sent the two hundred kronen to him. + +JUHASZ—[_Eagerly._] Can you prove that? + +MATE—Certainly. + +JUHASZ—How? + +MATE—By this. [_Shows him a photograph._] + +JUHASZ—By this? This is a photograph. + +MATE—Of my father. The picture of my poor old father. + +JUHASZ—But this is a photograph of the actor, Girardi. + +MATE—They resemble each other a lot. Everybody says so. + +JUHASZ—[_Thoughtfully._] Hum! And what does this prove? + +MATE—That he’s the one ... I sent the dirty money to. + +JUHASZ—[_Undeceived._] No, Mate. You are lying to me. [_Returns the +photograph to him._] This is unpardonable.... They were perfectly right +in what they said about you. [_Looks at his watch._] You are dismissed, +Mate ... and now you may go. [_Does not trust himself to look at MATE, +but gives him a shove toward the door._] + +MATE—[_Kisses the photograph._] Poor father! Who’ll send you money now +... the first of every month? + +JUHASZ—[_Greatly distressed._] Please ... stop that ... and go! + +MATE—And my poor little girl ... who’ll feed her now? + +JUHASZ—You have a child, too?... I don’t want to hear about it. + +MATE—I didn’t say anything to you. [_Starts to go._] My poor, sick little +girl! + +JUHASZ—[_Restrains him; greatly distressed._] Is she ill? + +MATE—What do you care? + +JUHASZ—How old is she? + +MATE—[_Dries his eyes._] Two years old. Her mother is dead. We planted +flowers on her grave. + +JUHASZ—This is harrowing.... I know you are lying again.... I mustn’t +listen to you. [_Looks at his watch._] + +MATE—A little blonde baby. With hair like flax. + +JUHASZ—Ten-thirty-six. You are dismissed. [_Puts his hands over his +ears._] + +MATE—She always says to me, “Papa ... Papa send money.” + +JUHASZ—I’m not listening to you.... You are lying.... But I can’t hear +you. + +MATE—My poor innocent angel. Her medicines alone cost me.... Oh, how +_can_ a man go straight when he has a crippled father and a sick baby to +keep? + +JUHASZ—[_Takes his hands from his ears._] I didn’t hear you.... You are +dismissed. + +MATE—The doctor prescribed sulphur for her ... and milk. + +JUHASZ—I’m not listening. + +MATE—No.... But I wish I knew how to close my ears when my poor hungry +baby cries, “Papa, papa....” + +JUHASZ—[_At the end of his endurance._] Liar!... You are dismissed.... +[_Reconsiders it, angrily._] You are not dismissed! Oh, how can I tell +whether you are lying or not? + +MATE—[_Low, reproachfully._] Oh, Mr. Juhasz! + +JUHASZ—[_Angrily._] Be still! [_Less angrily._] Sit down. [_Less angrily +yet._] Have a cigarette. + +MATE—[_Drying his eyes._] I only smoke cigars. + +JUHASZ—[_Crossly pushes the humidor toward him._] There! [_MATE takes +one._] Not those.... [_Shouts._] Take a Havana. [_MATE sticks several in +his pocket._] Stop that crying.... And tell me instead, whether you are +lying to me or not. + +MATE—[_Snivelling._] When all a man earns is eighty kronen a month.... + +JUHASZ—I know, I know. + +MATE—And has to send forty to his father, and thirty to his sick boy.... +[_as JUHASZ makes a gesture of surprise_] I mean girl ... what has he got +left? Ten kronen! Can you live on ten kronen a month? + +JUHASZ—It’s terrible, I know.... Mate.... [_Scratches his head in +bewilderment._] I wish I knew what to do. + +MATE—If I had anything left to pawn ... but I haven’t. + +JUHASZ—[_Feels involuntarily for his watch chain._] If I had any money +myself.... But just at present ... I regret to say.... + +MATE—[_His eyes fixed on JUHASZ’S chain._] If I had a watch ... or a +chain.... + +JUHASZ—[_Takes out his watch._] What’s the matter with your baby? + +MATE—It’s anæmic. + +JUHASZ—Poor child! [_Takes his watch off the chain._] + +MATE—[_Watching him greedily._] That comes from being undernourished. + +JUHASZ—[_Gives him the watch._] What the child needs is plenty of fresh +milk. + +MATE—[_Regarding the watch in his palm with pretended amazement._] What’s +this? + +JUHASZ—A gold watch. + +MATE—[_Offers to return it._] But, please—— + +JUHASZ—Stop annoying me! [_Pushes it back._] The pawnbroker will lend you +a hundred kronen on it.... Some day, when you have the money, you can +redeem it. + +MATE—But, Mr. Juhasz—— + +JUHASZ—Take it. You can’t get anything on the chain. It’s plated. + +MATE—[_Pockets the watch. His voice is tearful._] People like you, Mr. +Juhasz, give a man faith again. + +JUHASZ—Stop your crying.... I’ll speak to his excellency about you. +Maybe I can persuade him to keep you on. + +MATE—He’s a good-hearted man.... I’d have spoken to him myself only—— +[_With a hopeless gesture he indicates his tattered coat._] I couldn’t +let him see me in this condition. + +JUHASZ—[_Grasps both lapels of his own coat; despairingly._] The man will +have the coat off my back! + +MATE—[_Takes a protesting stride toward him._] But Mr. Juhasz ... you +don’t suppose that I—— + +JUHASZ—No, no ... but stop talking like that ... or I’ll have to take it +off.... Merciful heaven! To think that such poverty exists in our very +midst! + +MATE—[_Weeping._] You have made a better man of me, Mr. Juhasz. + +JUHASZ—There ... there, my boy ... don’t worry ... everything will be all +right.... Just rely on me.... I’ll take care of you. [_Puts an arm about +him; his voice quavers with tenderness and pity._] Come what may, I’ll +help you. [_The COUNT appears in the doorway at back._] We’ll overlook +what you have done ... and I’ll see to it that your wages are raised. +[_The COUNT enters. Seeing him, JUHASZ lets his arm fall from MATE’S +shoulder. There is a pause._] + +COUNT—Is this the way you dismiss the man, Mr. Juhasz? + +JUHASZ—[_In great embarrassment._] Your excellency.... + +COUNT—I gave you ten minutes to do it in. What time is it now? + +JUHASZ—[_Involuntarily feels for his watch._] The ten minutes ... are up, +sir. + +COUNT—Where’s your watch? + +JUHASZ—My watch?... Er.... + +COUNT—You had it ten minutes ago. [_To MATE._] Have _you_ got it? [_MATE +nods, abashed._] Give it here. [_MATE gives it to him._] Now get out of +here. And don’t let me see your face about my place again. [_MATE slinks +out at left._] So you forgave him? [_JUHASZ is silent._] And promised to +raise his wages? [_JUHASZ is silent._] And gave him the watch you got +from me ten years ago? + +JUHASZ—Excellency, I couldn’t help it.... I can’t bear to see people +suffer. + +COUNT—Juhasz, you can’t stay here any longer. I’ll give you six months’ +wages in lieu of notice. + +JUHASZ—I don’t want to be paid for leaving.... I’ll go just the same.... + +COUNT—[_Crossly._] I can’t send you away without a kreutzer to your name! +What the devil _is_ one to do with you? Anyone else in your place would +have been thrown out bodily, but you!... [_Roars at him._] Am I to throw +you out because you have the disposition of a saint! + +JUHASZ—You needn’t throw me out, sir. I’m going of my own account. + +COUNT—[_Angrily._] Hold your tongue! You are too damned good for this +world! + +JUHASZ—[_Pacifyingly._] You oughtn’t excite yourself, excellency.... +There is really no need for it ... and you might bring on a stroke—— + +COUNT—It’s all very well to be soft-hearted and charitable and forgiving. +I’d like to be that way myself. But it’s a luxury I can’t afford. + +JUHASZ—I’m no use around here.... I know that, sir—— + +COUNT—[_Shouts._] Don’t look at me like that! This is unheard of! I come +in with the fixed intention of giving you the sack, and here I am—— +Unheard of! [_Angrier yet._] Now I’m the Juhasz! [_Roars._] Do you expect +me to send you away because you try to help everybody who is in trouble? + +JUHASZ—A man like me does more harm around the place than a hundred lazy +workmen.... You mustn’t consider me, sir.... I’ll be all right. I’ll go +somewhere and wait until my money comes ... from Berlin. Then I’ll have +my shop back. [_He raises his eyes to the COUNT, then recollects that it +is forbidden._] I beg pardon. [_He turns his back._] + +COUNT—Such credulity! Such optimism! [_Goes up to him._] You are the most +absurd old baby I ever—— You can look at me now ... you soft-hearted +[_JUHASZ looks at him_] old lamb, you.... The only thing to do with +you ... is ... hug you. [_Puts an arm affectionately around JUHASZ’S +shoulder. PAULA enters at right. Seeing her, the COUNT withdraws his arm. +There is a brief pause._] I’m a fine dismisser myself! [_To JUHASZ._] +Run along, my son ... go out to your pigeons ... and tell them that the +old master can’t eat his personal acquaintances either. [_JUHASZ flashes +PAULA a triumphant glance and exits quickly at left._] + +PAULA—If I had come in a minute later you’d have been kissing him. + +COUNT—Quite likely. It’s no use. I can’t get rid of him. + +PAULA—I’ve thought of a way. + +COUNT—To get him out of here? + +PAULA—Yes, and of his own free will. + +COUNT—It isn’t possible. + +PAULA—It is. But it will cost a great deal. + +COUNT—I’ll pay whatever it costs. + +PAULA—Mr. Juhasz can have his shop back by paying fifty-one thousand +kronen to the attorney for his creditors. + +COUNT—But, my dear, you said yourself that he’d never let me pay it for +him. + +PAULA—Yes, but he is not to know that you are paying it. + +COUNT—Who then—— + +PAULA—He must be made to believe that the money was sent by the person +from whom he’s expecting it. From Oscar Mezei ... in Berlin. + +COUNT—I see. Not bad! + +PAULA—Very simple. Have your cashier put fifty-one thousand kronen in an +envelope and with it a notification that the money comes from a Berlin +bank. Can he do that? + +COUNT—[_Enthusiastically._] I’ll make him do it. And as soon as Juhasz +gets the money—— + +PAULA—He will hurry with it to the city ... to pay off his creditors ... +and take over his shop ... and stay in it. + +COUNT—If we hurry, perhaps we can get him off by the noon train. I’ll see +the cashier at once. The whole thing shouldn’t take more than ten minutes +to fabricate.... You have made me very happy, dear. This clever plan +of yours is the first real intimation that you, too, want to be rid of +Juhasz. + +PAULA—Rid of him! That’s a hideous way to put it. + +COUNT—Put it as you like, the fact is there. It is perfectly natural for +me to be impatient ... but for you to be is ... charming. + +PAULA—It isn’t impatience ... as much as ... uneasiness. When I look +at him ... sometimes ... I feel a twinge of doubt. When I see how +pathetically he tries to protect me ... from you ... I get a twinge of +remorse. It will be different when he has gone.... Yet I shouldn’t want +to see him go empty handed.... And neither would I want him ... ever to +find out that—— + +COUNT—Rely on me. The papers shall be forged carefully enough to deceive +a bank president. I’ll go to the cashier this minute.... Paula, you have +made me very happy. [_He takes her hand and kisses it._] If I were twenty +years younger I suppose I would have kissed you on that red, young mouth +of yours. + +PAULA—Careful! Someone is coming. + +COUNT—[_Still holding her hand; is about to kiss her._] No.... + +PAULA—I heard the outer door. + +COUNT—Nonsense! [_As he bends toward her again JUHASZ enters at left._] + +JUHASZ—Excellency, some of the pigeons have flown away. + +COUNT—[_Does not resent this interruption; very jovially._] No matter, +Juhasz, they’ll come back. [_He exits at left. There is a pause._] + +JUHASZ—He touched you.... He touched you with his hands. + +PAULA—He kissed my hand. + +JUHASZ—If I hadn’t come in he would have kissed your cheek. This can’t go +on, you poor child, you are in serious danger. + +PAULA—Aren’t you exaggerating, Mr. Juhasz? + +JUHASZ—Is it possible you don’t understand that he is trying to make you +his mistress? + +PAULA—It takes two to make that bargain, Mr. Juhasz. + +JUHASZ—Two to make it, but only one to repent it.... You don’t seem to +realize the game he is playing with you. + +PAULA—He has always behaved like a gentleman with me. + +JUHASZ—That is the most dangerous part of it. These rich people have such +fine manners ... they are like silkworms ... they spin a fine soft thread +around a poor girl ... and she never realizes what they are about ... +until one day she wakes up and finds herself ... dressed in silk.... But +I won’t let that happen to you. And the Count knows it. That is why he is +trying to get rid of me. + +PAULA—Why, he loves you like a son. Just now he was embracing you. + +JUHASZ—But he’ll send me away, sooner or later. I know that. And this is +what I want to say to you. Philip telegraphed that he is coming down to +see me this afternoon. I’m going back to the city with him. I might as +well before I’m driven out. And you are coming with me. + +PAULA—I? + +JUHASZ—Yes. You can’t stay here any longer. It is too dangerous for you. + +PAULA—Dangerous! That’s perfectly absurd. + +JUHASZ—Haven’t I seen and heard enough to know? All his advances! All his +proposals! Have you ever seen a little bird fluttering helplessly about +in a lion’s cage? + +PAULA—No. + +JUHASZ—Neither have I. But I imagine it must be like you are here.... I +am going to take you out of here, my child. + +PAULA—That’s awfully good of you, Mr. Juhasz, but—— + +JUHASZ—Do you _want_ to stay here? + +PAULA—I see no reason why I shouldn’t. + +JUHASZ—I am the better judge of that. And I shan’t let you stay. + +PAULA—I appreciate your motives, Mr. Juhasz. But pardon me if I say you +have no right to decide whether I may stay or go. + +JUHASZ—No right? Didn’t I bring you here ... into this danger? + +PAULA—Perhaps I came ... of my own accord. + +JUHASZ—I see. His insidious poison has begun to work on you already. +Well, Paula, I won’t have it that way. You have never seen me determined +yet.... Perhaps I never was before.... But I am now.... Paula [_with a +burst of courage_], I’ll take you with me by force if necessary. + +PAULA—I repeat ... you have no right to do that. + +JUHASZ—[_At a loss for the moment._] No right ... no right? + +PAULA—You are not my father ... or any relation of mine. + +JUHASZ—I ... I.... + +PAULA—I used to work for you ... and I respect you deeply ... but apart +from that—— + +JUHASZ—I love you, Paula. + +PAULA—Yes, but—— + +JUHASZ—You don’t understand, Paula. [_Pauses a moment before he repeats +very simply and earnestly._] I love you. [_A pause._] That is why I dared +to say such things. [_A pause._] + +PAULA—Why, Mr. Juhasz—— + +JUHASZ—You are surprised.... You thought I kept watch over you quite +unselfishly ... like a brother.... Well, so I did ... at first.... I used +to pace up and down beneath the Count’s window ... all night long ... +without a thought in my mind except to keep you from harm.... Sometimes +I was tired and sleepy ... but there I stayed ... under his window ... +because it was my duty to protect you ... and then ... gradually ... I +began to realize ... that I liked to watch ... that I was never tired or +sleepy any more ... my whole attitude had changed ... but I didn’t tell +you.... I still pretended to be guarding you ... only because I had your +interest at heart ... while all the time it was because I loved you.... +And now ... you can send me away, if you like. + +PAULA—Mr. Juhasz ... I don’t know ... I really don’t know what to say. + +JUHASZ—You never guessed it. + +PAULA—I would never have believed it, if you hadn’t—— + +JUHASZ—I didn’t mean to tell you. But when you said I had no right ... +it slipped out.... I might have gone on pretending.... I don’t know.... +But now I can ask you again ... to come with me ... if you will ... as my +wife. [_A pause._] Won’t you answer me? + +PAULA—I have been pretending, too, Mr. Juhasz. + +JUHASZ—You? + +PAULA—I let you think I came here ... out of loyalty to you. But I +didn’t. I came because I wanted to come ... because I am bad and +depraved. And that is why I want to stay.... I am sick of poverty, Mr. +Juhasz.... I don’t want to go back to work in a dingy little office ... +of a dingy little shop.... I am young, Mr. Juhasz, and pretty.... I want +to do the things that make living worth while ... meet interesting people +... see beautiful places ... wear fine clothes ... enjoy the leisure and +luxury that only rich folks can have.... I have thought about such things +... and longed for them so fiercely ... that it makes me cold and sick +... only to think that I may not have them.... Oh, it’s so difficult to +tell you, Mr. Juhasz! My heart is so heavy! + +JUHASZ—Do you ... love the count? + +PAULA—No. + +JUHASZ—Tell me the truth.... You can tell me now. + +PAULA—He isn’t a man to me at all. He is only the door that leads into +a new life.... He is rich, Mr. Juhasz, rich, rich—— [_Hides her face in +shame on his shoulder._] + +JUHASZ—[_Half dazed._] Come with me ... and I will be rich, too.... I +will work for you, Paula, as no man ever worked before.... There are +people who will help me.... I will be ambitious, grasping ... until I +have all the money you want.... + +PAULA—[_Still has her face buried in his shoulder._] And by the time you +had made your money I should be too old to want it. + +JUHASZ—[_Bitterly._] After all, you are right, Paula. I am absurd. +Another man would offer to lay down his life for the woman he loved.... I +offer to open an account in a savings bank. [_She raises her head. There +is a knock at the door._] Come in. [_Louder._] Come in! [_SANTHA enters +at left, carrying an envelope and two receipts._] + +SANTHA—Pardon me, Mr. Juhasz, but the cashier sent this in. Will you sign +this receipt, please? + +JUHASZ—Yes.... I’ll be there in a moment. + +SANTHA—You need only—— + +JUHASZ—Don’t you see I’m busy? Tell the cashier I’ll be there in a moment. + +SANTHA—It isn’t necessary. Just take this, and sign. [_Proffers the +envelope and the receipts._] + +JUHASZ—[_Looks at them._] Isn’t this an error? + +SANTHA—It is addressed to you. + +JUHASZ—[_Reads._] From the Deutsche Bank, of Berlin ... to the Ungarische +Allgemeine Credit-bank ... to the account of Mr. Peter Juhasz ... from +Mr. Oscar Mezei, of Berlin.... [_The hand holding the receipt sinks +slowly. JUHASZ himself sinks into a chair, then raises the receipt to his +eyes again, very slowly, as if his arm were tired._] From Oscar Mezei, +Berlin ... fifty-one thousand kronen. [_He looks into the envelope; sees +the sheaf of banknotes there._] Didn’t I tell you, Santha? I always said +he’d send it. But you all laughed at me. + +SANTHA—Will you sign the receipt, please? + +JUHASZ—[_Rather dazed._] Certainly. [_He signs._] + +SANTHA—[_Takes the signed receipt; leaves the other in JUHASZ’S hand._] +You keep this one. It’s the duplicate. + +JUHASZ—The duplicate ... yes. Where are you going? + +SANTHA—To give this back to the cashier. + +JUHASZ—Oh, yes. Thank you, Santha. + +SANTHA—Don’t mention it, sir. [_He exits. There is a pause. JUHASZ stands +at left. PAULA is at extreme right. He looks at her, still balancing the +envelope full of banknotes on his palm._] + +PAULA—I congratulate you, Mr. Juhasz. [_He is silent._] Now you can have +your shop back, and everything will be all right for you. + +JUHASZ—[_Crosses to her._] Yes, Paula, now everything will be all right +for me. And for you, too. For now I can give you the things you want ... +fine clothes and beautiful places and all the rest.... Take it, Paula. + +PAULA—Mr. Juhasz ... your shop, your creditors—— + +JUHASZ—What do I want the shop for now? Let the creditors sell it out. +There will be more than enough to pay them. + +PAULA—But that means your livelihood, your entire future! + +JUHASZ—I love you, Paula. It is _your_ future I am thinking of. You don’t +want to work in a shop ... or be a shopkeeper’s wife ... you want to +live in luxury ... well ... here is money. Take it. [_Forces it into her +hand._] There! Close your hand.... Spend it ... while it lasts ... and +then ... if you still want to go on living that way ... it will be easy +to get more money ... too easy for a pretty girl like you.... But if you +change your mind, Paula, if you change your mind, you can turn back ... +back to this ordinary life.... But if you took the Count’s money, there +could be no turning back.... Don’t you see?... For when a girl’s honor is +gone ... she can’t turn back.... And you will want to turn back.... I am +certain of that.... I know you, Paula.... You will want to turn back. + +PAULA—[_Deeply moved._] You would do this for me? You would give me +everything you possess ... and ask nothing in return? + +JUHASZ—[_Throwing it off, with a whimsical smile._] Everything I possess? +So it is. Let the Count do as much for you if he’s such a cavalier. +[_PAULA offers him the money, mutely._] No. We are going now ... we shall +both make the noon train to Budapest.... You will not stay here with the +Count.... I see it in your eyes ... in your tears.... You are saved, +little Paula, ... saved from your own folly. [_He has moved very close to +her and has one hand on her shoulder when the COUNT enters. JUHASZ drops +his hand. There is a pause._] + +COUNT—Are you dictating, Juhasz? + +JUHASZ—[_Cold, resolute but respectful._] I have had very good news, +your excellency. I am leaving on the noon express ... and ... [_looks +at PAULA_] Miss Paula will tell you the rest. [_Head high, very sure of +himself, he exits at right. There is a pause._] + +COUNT—What’s the matter with the man? [_PAULA shows him the money._] I +don’t understand. + +PAULA—He gave it to me. + +COUNT—I said he was in love with you. + +PAULA—Here! [_She offers him the money._] + +COUNT—Why? What’s this for? + +PAULA—It’s your money. + +COUNT—No.... It belonged to Juhasz ... and if he gave it to you ... and +you accepted it.... + +PAULA—I didn’t accept it.... I was too overcome to speak. This money +means to him his shop, his future, the honor of his name ... and yet he +tossed it to me without a moment’s hesitation. I never knew a man could +love like that. + +COUNT—What are you going to do with it? + +PAULA—Give it back to him, of course. + +COUNT—I wouldn’t do that.... He’d only try to give it back to you again, +or tear it up, or throw it away.... The man’s in love with you, you +know. ... I think it were wiser to send the money at once by telegraph +to the attorney for his creditors. Then we’ll be sure he will reap the +benefit of it. We must give him back his shop ... by force ... if that’s +the only way he’ll have it. + +PAULA—You are right. You are perfectly right. I’ll give the money to the +cashier myself, and have him send it right off. + +COUNT—I would.... Have you been crying, Paula? + +PAULA—It wasn’t exactly amusing ... to have him offer to make a sacrifice +like that ... after all we had done to deceive him. [_JUHASZ enters at +right. He is carrying his hat and umbrella._] + +JUHASZ—Doubtless your excellency knows everything. [_PAULA exits at +left._] + +COUNT—No, Juhasz. All I know is that you got some money from Berlin. + +JUHASZ—[_Proudly, firmly._] Yes, and thank God it came in time to rescue +that poor girl from your dishonorable attentions. She doesn’t need your +money now. She has mine, mine that was earned by hard, honest labor. + +COUNT—Juhasz! + +JUHASZ—I’m sorry to be compelled to speak to you like this, excellency. +God knows I am grateful to you for all you have done for me, but I am +leaving your house, and Paula is coming with me. + +COUNT—She is going with you? + +JUHASZ—Yes, your excellency. + +COUNT—Do you think it wise to give her all your money? + +JUHASZ—It was my own money. I do what I want with it. + +COUNT—My dear Juhasz, you are riding a very high horse. I mention it only +because the fall is apt to be painful. Have you made sure that lady has +accepted your generous gift? [_PAULA enters quietly at left._] + +JUHASZ—I don’t know what you mean. + +COUNT—Perhaps it would be best to ask her. + +JUHASZ—Paula, his excellency ... just said something ... I didn’t +understand. + +PAULA—I couldn’t take it, Mr. Juhasz.... I couldn’t.... + +JUHASZ—Couldn’t take it? + +PAULA—I have sent the money to Budapest ... by telegraph ... to the +attorney for your creditors. [_There is a pause. The COUNT exits at back +on tiptoe._] You didn’t give me a chance to speak before.... I appreciate +what you tried to do for me ... any woman would ... but I couldn’t let +you ruin yourself on my account. + +JUHASZ—[_Puts the worst construction on her refusal._] He can give you +more.... That’s true enough! [_She does not answer. There is a pause. +SANTHA enters at back. Behind him comes PHILIP._] + +SANTHA—There he is. [_SANTHA exits._] + +PHILIP—Good morning, Mr. Juhasz. Did you get my telegram? [_He bows +curtly to PAULA._] + +JUHASZ—I got it, Philip. How are you? + +PHILIP—I met his excellency in the garden. He said I would find you here. +Am I interrupting? + +JUHASZ—No, Philip. I was only saying good-bye to Miss Paula. + +PAULA—[_Cordially._] Are you still angry with me, Philip? + +PHILIP—[_Very earnestly; bows coldly._] Yes, I am. [_To JUHASZ._] I am +glad to hear that you are coming to Budapest. That’s what I came for. To +ask you to come to town for a day or two. + +PAULA—How are things at the shop? + +PHILIP—[_Ignoring her._] That’s really what I came for. I hope you don’t +mind my saying, Mr. Juhasz ... that business has been wonderful since you +went away. The receiver—— + +JUHASZ—Mr. Geiringer? + +PHILIP—Yes.... Mr. Geiringer has been collecting all the old outstanding +accounts and keeping a sharp eye on the cash. He sent me down here to see +you, Mr. Juhasz. It seems he has fallen in love with the shop, and has +been wanting to buy it for himself. And when he found out that Mr. Oscar +had gone bankrupt in Berlin, he decided—— + +JUHASZ—What’s that? What did Mr. Geiringer find out? + +PHILIP—That Oscar had gone into bankruptcy ... then he went straight to +the lawyer for your creditors. + +JUHASZ—[_Excitedly._] Slowly, please. You say that Oscar went bankrupt in +Berlin? + +PHILIP—Yes. Didn’t you know it? + +JUHASZ—[_Looking at PAULA._] No. + +PHILIP—I’m sorry to have been the first to tell you ... but everyone in +the city knows it. + +JUHASZ—You are quite sure? + +PHILIP—Well, his wife has been back in Budapest, living with her mother, +for the past two weeks.... And I see Oscar every day. + +JUHASZ—Are they divorced? + +PHILIP—No, but they are so hard up that they have to live at her mother’s +house. + +JUHASZ—If that’s so, there has been a terrible mistake somewhere. [_He +looks again at PAULA; takes out the receipt, crosses to PHILIP._] Read +this. + +PAULA—I’ll leave you alone. [_She starts for the door._] + +JUHASZ—[_Takes her by the hand._] No, Paula, you will stay here, please. + +PHILIP—[_Reading the notice._] The Deutsche Bank ... Oscar Mezei ... +fifty-one thousand kronen [_in great astonishment._] I can’t understand +this at all.... He had so little to show when they put him in bankruptcy +that he was lucky not to be sent to prison ... and since then he has +been wandering around Budapest in shabby clothes, borrowing a krone from +anybody who’d lend him.... Why, I lent him two myself the day before +yesterday. [_There is a pause._] Did this money really arrive? + +JUHASZ—[_Has not taken his eyes off PAULA._] Yes. + +PHILIP—I can’t make that out at all. + +PAULA—You had to find out sooner or later, Mr. Juhasz.... The money +didn’t come from Oscar Mezei.... It didn’t come from Berlin. + +JUHASZ—Where _did_ it come from? + +PAULA—His excellency wanted to help you.... He sent you the money ... and +had those bank notices written here. + +JUHASZ—Written here? + +PAULA—Yes.... You see—— + +JUHASZ—You knew it all the time? + +PAULA—I was happy to see you get your shop back, and—— + +JUHASZ—You knew it was all a pretext to get rid of me? You knew it wasn’t +my money? + +PAULA—Yes, I knew it, Mr. Juhasz. + +JUHASZ—And while I was saying those boastful things to you ... and +making sacrifices for you ... with another man’s money ... you were +inwardly laughing at me all the time. + +PAULA—I cried, Mr. Juhasz. + +JUHASZ—It wasn’t necessary to cry or to laugh, or to take all these +secret precautions to get rid of me. You need only have told me the +truth. [_On the terrace at back a servant girl appears. She is carrying +JUHASZ’S overcoat and bag. He sees her and turns to PHILIP._] Come, +Philip. [_His voice is low and trembling with sorrow and humiliation._] +Let us go. [_They start up toward the door._] + +PAULA—Mr. Juhasz ... won’t you forgive me ... and shake hands ... before +you go? + +JUHASZ—[_Going; does not look at her._] Good-bye, Miss Paula. + +PAULA—Have you forgotten all you said to me? You are leaving me alone ... +alone with him. [_JUHASZ stops, turns to her slowly. Seeing this, she +gathers courage._] You are leaving me like this because your pride is +hurt. You don’t care any more ... what becomes of me. + +JUHASZ—[_Opens his mouth, closes it again, wavers, then suddenly roars at +PHILIP, who has been looking on in blank amazement._] Why do you stand +there like a blockhead? Why don’t you take me away from here? Can’t you +see I am about to stay? [_PHILIP takes his arm and leads him out at +back: There is a pause. PAULA watches them go, then she crosses slowly +to the COUNT’S desk. In the garden, coming from the right, the COUNT +appears. He stands in the doorway a moment, looking off left, apparently +watching JUHASZ and PHILIP depart._] + +COUNT—Can I believe my eyes? Is that really Juhasz going toward the +station? [_She does not reply. He comes in. On the threshold he glances +again off left._] If they hurry they can still catch the 12.05. It just +pulled in the station. [_Looks off left once more; comes down._] Well, +sunbeam! [_PAULA looks at him sorrowfully then lowers her eyes._] We are +alone. + +PAULA—Alone. + +COUNT—It is hard to realize he is really gone. I shall go on expecting +him to pop in that door any moment, or appear at the window, or crawl +from under the table.... It doesn’t seem possible that I’m free of him at +last ... that we are free. + +PAULA—[_Sadly._] Free. + +COUNT—But it’s true, little sunbeam, it’s true! No more dictation. No +more political speeches. No more interruptions.... Now all that remains +to be done is have the car overhauled ... telegraph to Vienna, Salzburg, +Paris ... for the best rooms in the best hotels ... for the most +exquisite frocks ... for the most magnificent cabin on the swiftest boat +to the most beautiful seaport in Spain.... [_Comes toward her ardently. +The whistle of the departing train is heard. PAULA jumps up as if someone +had called her, and makes an involuntary movement toward the door at +back._] His train. [_Angrily._] Is he to hinder me even now? It was just +as if he had called back to us. [_PAULA goes toward the door at right._] +Why, Paula! Where are you going? + +PAULA—[_Stops at the typewriting machine._] To my work.... Unless your +excellency wishes to give me dictation. + +COUNT—Dictation? Are you serious? + +PAULA—Yes. + +COUNT—But why?... Did anything happen ... between you and Juhasz? + +PAULA—[_Softly._] Nothing happened. [_Starts to go._] + +COUNT—[_In polite resignation._] No ... no ... wait ... I’ll dictate, +if I must. [_She sits at the machine. He repeats mechanically, +distrustfully._] I’ll dictate, if I must. [_Eyes her narrowly._] + +PAULA—We stopped at “The deplorable policies inaugurated by the Minister +of Agriculture——” + +COUNT—Deplorable policy ... yes. Well ... if I must ... go ahead ... +[_Sighs._] “The very deplorable policy ...” + +PAULA—[_Writing._] Policy. + +COUNT—“Inaugurated by the Minister ... leaves the farmer bewildered and +quite helpless.” + +PAULA—[_As she writes, bows her head lower over the machine._] Helpless. + +COUNT—“Now the farmer is devoted to the minister ...” [_His quick +expressive glance meets her eye as she looks up._] “... but the minister +does not love the farmer.” + +PAULA—[_Writing._] Farmer. + +COUNT—“And can the farmer be blamed for feeling abandoned and betrayed?” + +PAULA—And betrayed. + +COUNT—“But I, for one, know that his excellency, the minister of +agriculture ... belongs to the old school of honor ... to those who will +not abuse——” + +PAULA—Abuse. + +COUNT—“The faith that was placed in them.” + +PAULA—The faith ... [_Stops writing suddenly._] + +COUNT—“The farmer does not ask for sympathy. He wishes no allegiance that +is not conscientiously felt. Yet he hopes, yet he believes he still can +win the minister to——” + +PAULA—[_Sorrowfully._] He mustn’t believe that, your excellency. + +COUNT—Go on writing, Paula, that belongs in the speech.... And you may +add that I too think that it is a forlorn hope, a mistaken belief, +which the farmer must teach himself to renounce. [_PAULA bends over the +machine, puts her hand over her eyes._] What is it, my child? Don’t you +feel well? + +PAULA—[_Rises._] I beg pardon, your excellency.... I have had the +strangest feeling ... since ... since he went away from here.... I +don’t know how to describe it.... I don’t know what it is. [_Her voice +is restrained, embarrassed._] But I really believe ... [_bursts out +angrily_] I’ve fallen in love with this Juhasz. [_She hurries out at +right. The COUNT stares after her a moment thoughtfully, lights a +cigarette, and as he flicks the ashes from it,_ + +THE CURTAIN FALLS + + + + +ACT THREE + + + + +ACT THREE + + + SCENE—_The shop again. It is a sunny autumn morning. When the + curtain rises JUHASZ is escorting the Insignificant Lady to the + door, which PHILIP holds open for her._ + +UNASSUMING LADY—[_As she goes._] Thank you. I will telephone you on +Wednesday about noon, and if the materials have arrived I will come in +during the afternoon some time. Good day. + +JUHASZ—Good day, madame. + +PHILIP—Good day. + +UNASSUMING LADY—[_To PHILIP._] Good day. [_She exits. PHILIP closes the +door. JUHASZ returns to the counter down right and begins clearing away._] + +JUHASZ—[_Gloomily._] This place gets more like a graveyard every day. + +PHILIP—I don’t see how you can say that, Mr. Juhasz. You’ve only been +back two weeks, and in those two weeks you have done more business than +you used to do in two months. + +JUHASZ—[_Morosely._] Not enough to suit me. + +PHILIP—It has become the fashion to buy here. Everybody in Budapest seems +anxious to help you. + +JUHASZ—Because they are sorry for me. I don’t want them to be sorry for +me. + +PHILIP—Nonsense! It’s because they like you. You ought to be very happy. + +JUHASZ—I’m not happy. Do you understand? And I won’t be happy until I +have paid him back every heller he laid out for me. + +PHILIP—At this rate it won’t take long. + +JUHASZ—I haven’t slept in two weeks, and I shan’t sleep while I remain +under obligation to him. + +PHILIP—I really don’t see why you are so angry with the Count. After all, +he did it for your good. + +JUHASZ—He did it for his own good. And now he laughs at me ... he and ... +Paula.... [_The door opens. OSCAR stands irresolutely on the threshold. +He is shabby and crestfallen._] + +OSCAR—Good morning. + +JUHASZ—Good morning. + +OSCAR—Good morning, Philip. + +PHILIP—How do you do? [_Turns his back on OSCAR and, with ostentatious +delicacy, exits through the archway. There is a pause._] + +OSCAR—He’s angry with me. [_A pause._] I hope ... you are not. + +JUHASZ—No. [_He continues to clear away._] + +OSCAR—I hope you don’t mind my coming here. I have several reasons for +coming. First, I consider it my duty.... + +JUHASZ—Please! You have no more duties where I am concerned. + +OSCAR—Oh, but I have! + +JUHASZ—Yes, I know. You can’t pay me. + +OSCAR—Not at present. Unfortunately!... In the second place, I owe Philip +three kronen ... [_fumbles in his pocket_] that I want to pay him.... In +the third place, knowing what a kind heart you have—— + +JUHASZ—[_Impatiently._] Say what you have to say, and make it short. I am +busy. + +OSCAR—[_With an ironic glance around the empty shop._] One would never +think it. + +JUHASZ—Well, if it interests you, business is fine. I’ve done more in the +past two weeks than I used to do in two months. Yes! + +OSCAR—Really? Really? I am very glad to hear it. + +JUHASZ—[_Impatiently._] Well? Say what you have to say, and get it over +with. + +OSCAR—Why, er ... to be brief ... I want a job. + +JUHASZ—Where? + +OSCAR—Here. + +JUHASZ—With me? You want a job here? + +OSCAR—Yes. + +JUHASZ—[_Almost speechless with astonishment._] Well!... My dear man.... +[_He comes around to the front of the counter, trying vainly to find +words to express his feelings._] + +OSCAR—If you knew how poor we are—— + +JUHASZ—So ... so ... you take me for an utter idiot! + +OSCAR—Please don’t say that ... please! + +JUHASZ—You must. To ask me that. + +OSCAR—I’ve been everywhere. I’ve been at Laszlo and Barna’s, at +Chellis’s, at Semlinger and Weiss’s, at Stein’s, at Brunner’s, at +Kramer’s, at Gold’s, at Reedo’s, at Kelamen’s ... every shop in town +... and they all know that I am the most competent man in the business +... but they all gave me the cold shoulder ... [_points accusingly at +JUHASZ_] ... on your account! + +JUHASZ—On my account? That’s very likely! + +OSCAR—It’s true. They all say they won’t have an employe who could abuse +the confidence of a man like you. Yes ... you can stare ... but it’s +true. You are keeping me out of a job. + +JUHASZ—_I_ am? + +OSCAR—If you were a plain, ordinary man ... like everyone else, nobody +would care what had happened between us.... + +JUHASZ—Now, really, this is—— + +OSCAR—I am practically boycotted, that’s what I am! Can I help it if you +are a saint? Wouldn’t I have fallen in love with your wife just the same +if you had been a scoundrel? Why should I be held answerable for your +virtues? + +JUHASZ—No, that’s not fair. + +OSCAR—I acted honestly and fairly toward you. + +JUHASZ—Let us say you did. + +OSCAR—And certainly Adele did. + +JUHASZ—That’s true. + +OSCAR—And _now_ look at me.... I had no supper last night, if you want to +know it.... Neither I nor your wife. + +JUHASZ—When you can’t buy her supper, then she’s _my_ wife, eh? + +OSCAR—Go on and joke about it.... But we went to bed without supper. + +JUHASZ—But then ... she was _your_ wife. + +OSCAR—Your jokes don’t alter the facts. You are responsible for this. + +JUHASZ—For what? + +OSCAR—For the fact that we are starving. For the fact that I am shabby. +And for ... [_raises his trousers leg_] the fact that my socks are in +holes.... And for the boycott against me.... But if you don’t care +whether your former wife starves or not—— [_JUHASZ reaches for his +purse. OSCAR puts out a firm, protesting hand._] No, my friend, no! +[_Heroically._] We don’t accept alms.... Believe me, you’d be the last +I’d come to for a job if I had only myself to consider. You can imagine +what I went through before I brought myself to the point of crossing your +threshold. And now if, after all, _you_ send me away too—— + +JUHASZ—[_Touched, but refitting his impulse._] Will it always be like +this?... Why can’t they let me be? [_Turns, comes down right, passes +behind the counter. PHILIP enters through the archway._] + +OSCAR—[_Follows JUHASZ._] Well ... what do you say? + +JUHASZ—[_Through his clenched teeth._] I can’t.... You mustn’t ask it of +me. I’ll do anything but that.... My dear fellow, you must see I can’t do +that.... + +OSCAR—[_Bends over the counter toward him._] Then, at least, will you +give me six pair of black socks? [_Raises his trousers leg._] Mine are in +tatters. + +JUHASZ—Oh! + +OSCAR—You won’t even do that for me? + +JUHASZ—[_Impatiently._] Certainly I will.... [_Takes a box from the +shelves, throws it on the counter._] + +OSCAR—You are not going to offer me those HBs. + +JUHASZ—What kind do you want then? + +OSCAR—You might at least give me KMs. + +JUHASZ—I have no more KMs. They are all gone. [_Puts out another box._] +Here are some AWs. [_Opens the box._] They are very good. [_Shows him a +pair._] + +OSCAR—Are you trying to tell _me_ these are good? [_Fingers them._] +Cobweb? + +JUHASZ—Not at all. [_He feels them too._] + +OSCAR—[_Feels them again._] Why, if I put these flimsy things on now +they’d be in holes before I got home. + +JUHASZ—They don’t knit socks of steel wire, you know. [_The THOROUGH +YOUNG LADY enters._] + +THOROUGH YOUNG LADY—Good morning. [_PHILIP, JUHASZ and OSCAR return +her greeting simultaneously. OSCAR, socks in hand, even bows and +smiles to her. She addresses OSCAR._] I’d like a dozen very fine men’s +handkerchiefs. + +OSCAR—[_Sadly, pointing to PHILIP._] There, please. + +THOROUGH YOUNG LADY—Yes. [_She goes to PHILIP at the back counter._] + +OSCAR—It’s enough to break your heart. [_He looks back at them enviously, +dangling the socks from his hand._] + +THOROUGH YOUNG LADY—[_To PHILIP._] Now I don’t want the kind that fade +when they are washed. + +PHILIP—All our handkerchiefs are absolutely fast colors, madame. [_Puts +out a box full._] Won’t you sit down? + +THOROUGH YOUNG LADY—Thanks. [_She sits and examines the handkerchiefs._] + +PHILIP—These are batiste, madame, and these are French linen. + +THOROUGH YOUNG LADY—Haven’t you got these in a bigger size? + +PHILIP—Yes, ma’am. [_Puts out another box._] These are bigger. + +THOROUGH YOUNG LADY—Are these the very largest? + +PHILIP—[_Indicating others in the same box._] Those are larger. + +THOROUGH YOUNG LADY—Are these the largest you carry? + +PHILIP—There is no larger handkerchief made, ma’am. [_He opens an +enormous handkerchief._] + +JUHASZ—[_Impatiently._] Do you want these socks or not? + +OSCAR—It’s enough to break your heart! Why doesn’t he show her the +Rumbergers? + +JUHASZ—He knows what he’s doing. [_Impatiently._] Please don’t take up +any more of my time. You can have these if you want them. + +OSCAR—These shoddy things! + +JUHASZ—I can’t be bothered with you any longer. + +OSCAR—You can’t palm them off on any customer, yet you expect me to take +them. Why, they are the worst quality in the shop! [_The DISSATISFIED +LADY enters._] + +JUHASZ—Good morning. [_Leaving OSCAR, he goes to the back counter._] + +DISSATISFIED LADY—[_Joins JUHASZ._] Good morning, Mr. Juhasz. I want to +look at some nice neckties. To-morrow is my husband’s birthday, and I +want to get him some for a surprise. + +JUHASZ—Will you step this way, please? + +DISSATISFIED LADY—He told me exactly the kind he wanted, and said I could +go as high as a hundred kronen. + +JUHASZ—I see. A real surprise. + +DISSATISFIED LADY—Yes. + +THOROUGH YOUNG LADY—No, no, no ... not lilac. + +JUHASZ—Instead of buying ready-made ones, why not select your patterns +and have them made up? + +PHILIP—This is the newest color, Jerusalem blue. + +DISSATISFIED LADY—You are sure you could get them out for me in time. + +JUHASZ—Oh, yes. That would give you the choice of some very nice silks in +restricted patterns. + +THOROUGH YOUNG LADY—This straw color is very attractive. + +DISSATISFIED LADY—I might look at them. + +JUHASZ—We never cut more than one tie of each pattern. Would you step in +here? [_He indicates the archway. The NERVOUS GENTLEMAN enters._] + +PHILIP—Good day, sir. + +NERVOUS GENTLEMAN—Good day. + +JUHASZ—[_To the NERVOUS GENTLEMAN._] Good day. Just a moment, sir. + +PHILIP—[_To the THOROUGH YOUNG LADY._] These are Rumbergers. A very +well-known brand. + +JUHASZ—[_Flashes OSCAR a look of triumph._] After you, madame. [_Follows +the DISSATISFIED LADY off through the archway._] + +PHILIP—Will you have a seat, sir? I’ll be with you in just a moment. + +NERVOUS GENTLEMAN—Thank you. [_He remains standing at the counter, +right._] + +PHILIP—Pastel green, pastel brown, pastel blue, pastel yellow. + +THOROUGH YOUNG LADY—I don’t know what pastel is. + +PHILIP—Pastel is four kronen fifty, madame. + +THOROUGH YOUNG LADY—You haven’t got something about half pastel, have you. + +PHILIP—Yes, we have. [_Puts out still another box. To the NERVOUS +GENTLEMAN._] Won’t you sit down, sir? Mr. Juhasz will be there in a +moment. + +NERVOUS GENTLEMAN—That’s all right. + +PHILIP—These are lighter ... two kronen apiece lighter. [_The NERVOUS +GENTLEMAN comes down to the end of the counter where OSCAR stands +disconsolately before the open box of socks, one pair still held in his +hand._] + +THOROUGH YOUNG LADY—And what about these darker shades? [_The NERVOUS +GENTLEMAN pokes in the box of socks._] + +PHILIP—They are one krone fifty darker. + +THOROUGH YOUNG LADY—I’d like something between the two. + +PHILIP—[_Pulls down another box._] Between the two. + +OSCAR—[_Deferentially._] Those are socks, sir. + +NERVOUS GENTLEMAN—I see they are. + +OSCAR—[_Very deferentially._] Would you like to look at some, sir? + +NERVOUS GENTLEMAN—Yes. + +OSCAR—[_Shows the pair he is holding in his hand._] Black. Fil d’Ecosse. + +THOROUGH YOUNG LADY—I’m afraid they are too expensive. Let me look at the +first ones again. + +NERVOUS GENTLEMAN—[_Looks at his watch._] I’m afraid I can’t wait. + +PHILIP—One moment more, sir. Mr. Juhasz will be right in. + +NERVOUS GENTLEMAN—I know what your moments mean. [_Picks up a sock._] + +OSCAR—[_Ingratiatingly._] Mr. Juhasz will be right in, sir. Now here is +an exceptionally fine stocking, sir. [_Shows him the pair he has been +holding._] + +NERVOUS GENTLEMAN—[_Compares it with the one he is holding._] Just the +same as this, isn’t it? + +OSCAR—Just the same. Genuine Fil d’Ecosse. + +NERVOUS GENTLEMAN—Is it really good? + +OSCAR—Absolutely. [_He is at the end of the counter now._] + +NERVOUS GENTLEMAN—It looks good. + +OSCAR—You wouldn’t want a better sock, sir. + +PHILIP—[_Who has been watching them; angrily._] Coming right away, sir. +One second more! + +NERVOUS GENTLEMAN—[_Looks at him, then at OSCAR._] You ... work here? + +OSCAR—Well ... not exactly, sir.... I ... I ... I’m a relation of Mr. +Juhasz’s. + +NERVOUS GENTLEMAN—Because I can’t wait any longer. + +OSCAR—[_Goes swiftly behind the counter._] Then just let me wait on you, +sir ... until Mr. Juhasz comes. This is a fine quality, sir, absolutely +first class. + +NERVOUS GENTLEMAN—Will these tear easily? + +OSCAR—[_Laughs._] These? These are the strongest Fil d’Ecosse made. +[_Pulls at the hose._] They’re like steel. + +NERVOUS GENTLEMAN—They look good. + +OSCAR—And they will feel good on the foot. + +NERVOUS GENTLEMAN—I want a good quality. + +OSCAR—[_Spluttering in his eagerness._] We sell nothing but first-class +goods, sir. You won’t find a more durable Fil d’Ecosse anywhere. My ... +my brother-in-law imports it direct from England. + +NERVOUS GENTLEMAN—I’ll take some. Then I want some with colored clocks. + +OSCAR—How many of these, sir? + +NERVOUS GENTLEMAN—Well, if they are really so good, give me a dozen pair. + +OSCAR—Yes, sir. Twelve. [_Counts them briskly._] + +THOROUGH YOUNG LADY—Do you mind letting me look at those first ones +again? [_The DISSATISFIED LADY and JUHASZ re-enter._] + +DISSATISFIED LADY—[_Speaking as she enters._] ... and my husband is very +fond of bow ties, those gay ones they are wearing now. [_Comes down +left._] + +JUHASZ—[_Without noticing OSCAR, he comes down to the table at left._] +The bow ties are here, madame. Considered very smart just now. Restricted +pattern, too. We only make up two or three of each. A man doesn’t like to +see the tie he is wearing ... [_Now he sees OSCAR, who has just climbed +up on a stool to reach some boxes on the top shelves. They look into +each other’s eyes across the shop. JUHASZ’S mouth remains open, the word +sticks in his throat, his hand, holding a necktie, remains poised in the +air._] + +OSCAR—[_Quickly._] The gentleman couldn’t wait. He was about to walk out. +I didn’t want to see a customer walk out of the shop, so I just showed +him one or two things in a hurry.... I’d like to know about what size. +Will you show me your hand, please? [_The NERVOUS GENTLEMAN extends his +hand. OSCAR, looks at JUHASZ again, greatly flustered, takes the NERVOUS +GENTLEMAN’S hand, shakes it cordially._] How do you do? [_He stares at +JUHASZ anxiously._] + +NERVOUS GENTLEMAN—What do you say? + +OSCAR—Oh, pardon me! ... Will you close your hand, sir? [_The NERVOUS +GENTLEMAN extends his fist. OSCAR measures a sock over it._] These are +just right. + +THOROUGH YOUNG LADY—[_To PHILIP._] Let me see? Will they wear? + +JUHASZ—[_To the DISSATISFIED LADY._] A man doesn’t like to see the same +tie he is wearing on somebody else. [_He is still staring at OSCAR._] + +OSCAR—[_Rapidly._] Three pair.... Yes, sir. And a dozen of these ... and +now—— [_Scans the shelves._] Long black Fil d’Ecosse with clocks. [_Takes +down a box and throws it on the counter._] These are really excellent. +[_Opens the box in feverish haste, shows the socks._] We are the only +ones in the city who carry them.... You can do almost anything to this +stocking without harming it ... boil it, bake it, soak it in lye, in +alcohol, in vitriol.... May I see your hand again? + +DISSATISFIED LADY—[_Who has been rummaging in the box, now has several +neckties in her hand._] These aren’t bad. + +NERVOUS GENTLEMAN—[_Extends his fist._] It’s socks I want, you know, not +gloves. + +OSCAR—Ha, ha, ha! That’s good! [_Measures._] These are exactly right. + +NERVOUS GENTLEMAN—Sure they won’t be too small? + +OSCAR—Perhaps just a half size larger. [_Turns to the shelves again._] + +PHILIP—The color won’t run if they are washed in lukewarm water. + +THOROUGH YOUNG LADY—Are you quite sure? [_The NERVOUS GENTLEMAN takes the +socks from OSCAR and inspects them._] + +DISSATISFIED LADY—These aren’t exactly what I wanted either, but I’ll +take them. How much does it all come to? + +JUHASZ—[_Still watching OSCAR. His voice trembles._] Seven kronen.... And +these are five-fifty ... these long ones ... nine kronen eleven. + +THOROUGH YOUNG LADY—What did you say these were? + +DISSATISFIED LADY—I’m sure my husband won’t like them. + +THOROUGH YOUNG LADY—[_Rises._] Yes, perhaps I had better look at them +too. + +NERVOUS GENTLEMAN—And now I want a couple of pair with some sort of +design, not clocks. + +OSCAR—Stars, circles, dots, triangles, squares, circles, stars, squares, +dots—— + +NERVOUS GENTLEMAN—Some very quiet design. + +OSCAR—[_Contemplates the shelves._] Quiet, quiet ... Just a moment, sir. +I’ll bring it right here. [_He hurries off through the archway._] + +DISSATISFIED LADY—These are rather good. But I only see one. + +JUHASZ—There must be more. [_He rummages in the box._] + +THOROUGH YOUNG LADY—Now, if you don’t mind, we will go over the lot from +the beginning. Seeing so many kinds gets one all confused. + +PHILIP—Just as you say, madame. + +OSCAR—[_Re-enters with a box._] How do you like these, sir? [_Puts it on +the counter._] + +NERVOUS GENTLEMAN—Too loud. Much too loud. I want something very quiet. + +OSCAR—[_Greatly perturbed._] If I only knew where they were. [_In +perplexity._] Quiet, quiet, quiet ... [_Looks at PHILIP._] If I only knew +where those ... [_As PHILIP ignores him, he raises his voice._] They used +to be kept here on the third shelf. + +JUHASZ—[_Grudgingly, angrily._] Fourth shelf ... on the end. [_PHILIP +angrily bangs a box down on the counter._] + +OSCAR—My God! [_Startled, puts his hand over his heart._] Thank you, +thank you, sir! ... On the end ... [_Transported with joy._] Very kind of +you, sir! [_He is almost weeping._] Fourth shelf ... on the end. Thank +you, sir! + +DISSATISFIED LADY—[_Who has by this time accumulated a handful of +neckties._] That will be all. ... Just these ten. + +JUHASZ—[_Going to the cashier’s desk._] We will send them this afternoon, +madame. + +DISSATISFIED LADY—How much do I owe? + +JUHASZ—Five times seven ... and five times five fifty.... Sixty-two fifty. + +DISSATISFIED LADY—[_Gives him a hundred krone note._] If you please. + +JUHASZ—[_Has gone behind the cashier’s desk._] Sixty-two fifty. [_Rings +the cash register, makes change._] And fifty are sixty-three, ninety, one +hundred. Thank you. + +DISSATISFIED LADY—This afternoon without fail. + +OSCAR—[_Raises his head._] 16 Nador Street, Fourth Floor, Apartment 1. + +DISSATISFIED LADY—That’s right. Good day. [_She exits. JUHASZ escorts her +to the door, closes it after her, turns, glares at OSCAR and comes toward +him slowly._] + +OSCAR—[_Watches him come, fearfully, as if he expected to have his ears +boxed._] One with blue stars, these with the white squares, and would you +like these violet dots, and these with the very dainty circles, and +these.... + +NERVOUS GENTLEMAN—Hold on. I only want three. Let me see. [_He examines +the socks. JUHASZ passes them slowly, and goes to the THOROUGH YOUNG LADY +whom PHILIP is showing a bath-robe._] + +THOROUGH YOUNG LADY—It looks like a night-gown. + +NERVOUS GENTLEMAN—Put these three aside. + +JUHASZ—[_Who is standing now between the two counters._] Show the lady +those hooded robes. + +NERVOUS GENTLEMAN—[_Rises._] And now quickly, for I am late, a white cap, +please. + +OSCAR—[_Looks at JUHASZ._] A white cap. + +JUHASZ—[_Looks at OSCAR sternly._] _I’ll_ get it for the gentleman. [_He +exits through the archway._] + +OSCAR—[_Crestfallen._] The chief will bring it right in, sir. [_There is +a pause. OSCAR rubs his hands._] We have some very nice neckwear. + +NERVOUS GENTLEMAN—I don’t need any, thanks. + +OSCAR—Tennis shoes? + +NERVOUS GENTLEMAN—Thank you, no. + +OSCAR—Sport shirts? + +NERVOUS GENTLEMAN—[_Nervously._] Don’t need any. I need a white cap. +Nothing else. [_A brief pause._] + +OSCAR—Belts? + +NERVOUS GENTLEMAN—No. + +OSCAR—[_With a furtive glance at PHILIP._] Bathrobes? [_The NERVOUS +GENTLEMAN shakes his head._] White gaiters? + +NERVOUS GENTLEMAN—[_Sharply._] Thank you, no! [_Rises._] I asked for a +white cap. [_A brief pause._] + +OSCAR—Nice walking stick? + +NERVOUS GENTLEMAN—[_Crossly._] No ... A cap is what I asked for. + +OSCAR—[_Offended._] It will be here right away. [_Crosses to the table +down left, takes a stick from the rack which stands there, flourishes +it._] This is a very unusual stick, sir. + +NERVOUS GENTLEMAN—I said I didn’t want one. + +OSCAR—Yes, sir. [_He flourishes the stick, demonstrating its lightness. +The NERVOUS GENTLEMAN sullenly watches him balancing it, bending it, +testing its suppleness._] + +NERVOUS GENTLEMAN—Let me see. + +OSCAR—[_Gives it to him._] Light as a feather. + +NERVOUS GENTLEMAN—[_Balances and bends it._] I don’t need it. [_Returns +it to OSCAR._] I have more sticks now than I can use. + +OSCAR—Just as you say, sir. [_JUHASZ re-enters with the cap._] + +JUHASZ—Here you are, sir. White flannel. + +NERVOUS GENTLEMAN—That’s right. [_Puts it with his other purchases._] A +dozen black socks, a dozen with clocks, these three figured ones, and the +cap. + +JUHASZ—Shall we send them? + +NERVOUS GENTLEMAN—4 Sas Street ... Lissauer.... With the bill. + +JUHASZ—[_Makes a note of it._] Yes, sir. + +NERVOUS GENTLEMAN—[_Pulls the stick out of OSCAR’S hand._] What does this +stick cost? + +OSCAR—Twenty-four kronen. + +NERVOUS GENTLEMAN—Oh, put it on the bill too. Good day. [_He exits with +the stick._] + +THOROUGH YOUNG LADY—No monogram. Just two letters. + + PHILIP—[_Writing._] What letters? } + } + THOROUGH YOUNG LADY—R. S. } + } + PHILIP—R. S. } + } + THOROUGH YOUNG LADY—In white, please. } [_Simultaneously._] + } + PHILIP—White letters. } + } + OSCAR—[_Rushes off through the archway, calling } + to the bookkeeper._] Charge Lissauer with } + twenty-four kronen more for a cane. } + +[_JUHASZ begins to replace the boxes on the shelves down right. PAULA +enters from the street. She is very beautifully dressed._] + +PAULA—Good morning. [_She comes slowly down to JUHASZ. PHILIP looks up, +stares at her in blank amazement._] + +JUHASZ—[_Pauses in the act of lifting a big box._] Good morning. [_There +is a pause._] + +THOROUGH YOUNG LADY—And now let us go over them once more to see if they +are all here. How many should there be? + +PHILIP—[_Confused._] Just as you say. + +THOROUGH YOUNG LADY—How many? + +PHILIP—Oh! How many? Forty-eight. + +THOROUGH YOUNG LADY—Let us count them over. [_They count._] + +PAULA—[_Extends her hand to JUHASZ._] How are you, Mr. Juhasz? + +JUHASZ—[_Puts down the box._] Thank you ... very well. [_Extends his hand +to her over the counter._] Won’t you sit down? + +PAULA—[_After a pause._] I can hardly believe it is only two weeks since +I saw you. + +JUHASZ—That’s not a very long time. + +PAULA—No. [_She looks at him._] I’ve come ... I’ve come to buy a few +things. + +JUHASZ—How odd! + +PAULA—Odd? + +JUHASZ—For you to come here ... as a customer. + +PAULA—Yes, as a customer. [_A pause._] + +JUHASZ—I shall be happy to give you satisfaction ... as a customer. +Perhaps ... I ought to make things a bit cheaper for you. + +PAULA—I don’t want things cheaper, thank you. ... Why do you look at me +like that? + +JUHASZ—You came in so ... unexpectedly.... Have you got leave of absence? + +PAULA—Oh, I’m not at Gerelypuszta any more. I’m back in town again. So is +the Count. That is, he’s at Monte Carlo just now. + +JUHASZ—Monte Carlo. Great railway junction. Gambling casinos. + +PAULA—No. He has gone there to shoot pigeons. + +JUHASZ—He never used to like that kind of sport. + +PAULA—He is passionately fond of it now.... Ever since you went away. +When he hears that there is to be a slaughter of pigeons somewhere he +rushes to the spot.... I was supposed to have gone to Monte Carlo with +him, but I didn’t. + +JUHASZ—You didn’t go. + +PAULA—No. I had too many things to attend to at home first. [_Takes off +her gloves, produces a list._] There are so many things I want, and they +are so hard to get here. + +JUHASZ—Hard ... here ... Yes.... Very hard. [_There is a pause._] And +what is it you wish, Miss Paula? + +PAULA—[_Sits, consults her list._] You used to have some very fine French +pajamas for ladies. How well I remember them! They are a hundred kronen +the pair, aren’t they? + +JUHASZ—Yes. + +PAULA—How many have you left? + +JUHASZ—I still have them all. Eight pair. + +PAULA—I’ll take them all. + +JUHASZ—[_Astounded._] You? + +PAULA—Yes, please. And to save time won’t you get your pencil and take +down my whole order? I want it sent ... with the bill, as soon as +possible, please. I shall be in town only a few days more. The address is +128 Andrassy Street. + +JUHASZ—[_Writes._] What apartment? + +PAULA—The whole second floor. + +JUHASZ—[_Writes, greatly bewildered._] Eight pajamas. Whole second floor. + +PAULA—[_Reads from her list._] Twenty-four white neckties. + +JUHASZ—For yourself? + +PAULA—No, for my butler. I like him to wear a fresh tie every day. + +JUHASZ—[_Writes; his voice trembles._] Twenty-four white ties for butler. + +PAULA—Twenty-four pair of white lisle gloves. + +JUHASZ—[_Writes._] For the butler? + +PAULA—No, for my page boy. + +JUHASZ—[_Writes._] Page boy. + +PAULA—And some gloves for myself. Those motoring gloves ... with the ends +like a funnel.... You know what I mean. + +JUHASZ—Gauntlets. + +PAULA—Gauntlets, yes. + +JUHASZ—[_Writes disconsolately._] Gauntlets. + +PAULA—[_Sighs._] Gauntlets. + +JUHASZ—But ... they are only worn for driving. + +PAULA—I drive my own car. + +JUHASZ—[_Sits down._] A big car? + +PAULA—It’s standing out front.... Fifty horse-power. + +JUHASZ—Fifty? [_Writes._] Gauntlets.... How many pair? ... Fifty? + +PAULA—Six will be plenty until I get to Paris. I can buy more there if I +need them. You can get everything in Paris. + +JUHASZ—Yes.... You can get everything in Paris.... A wonderful city. + +PAULA—But so far to motor to.... I’m afraid the journey will be tiresome. + +JUHASZ—You won’t be bored.... You probably aren’t going alone.... + +PAULA—Certainly not. + +JUHASZ—Your mother? + +PAULA—No. Mother is in Vienna, but from there she is going on to +Wiesbaden to wait for us. We will pick her up on our way home. + +JUHASZ—[_Earnestly, aroused._] Is there anything the matter with your +mother? + +PAULA—Her health, you mean? No. She’s only going to Wiesbaden to play +cards. [_There is a pause. She reads from her list._] Could you have a +footman’s cap made up for me quickly? + +JUHASZ—Footman? + +PAULA—I’ve been so annoyed about his cap. The one he brought with him was +all covered with gold braid. He looked just like a hotel doorman. What I +wish you’d get for me is something discreet and in good taste, something +suitable for a private dwelling. + +JUHASZ—A private dwelling.... + +PAULA—Yes. For a lady living alone. + +JUHASZ—[_Tremblingly writes._] Footman ... cap ... private dwelling.... +I’ll look around at the cap-maker’s. + +PAULA—I shall be awfully obliged. [_She rises. There is a pause._] + +JUHASZ—[_Rises._] Not at all. It’s I who am obliged. + +PAULA—[_Meets his eyes steadily._] Why do you look at me so strangely? + +JUHASZ—[_Looks down at his list._] I’m pleased to see how clever you have +been.... Butler, motor car, private dwelling, white gloves. I didn’t +know.... + +PAULA—You didn’t know? + +JUHASZ—No. + +PAULA—But ... the whole city knows—— + +JUHASZ—Let us not talk about that, Paula. The important thing is that you +are happy. Is his excellency well? + +PAULA—[_Nervously._] He is a perfect gentleman. One must say that for him. + +JUHASZ—Certainly. + +PAULA—After he had gone to the trouble and expense of buying and +furnishing a whole house for me.... You probably know the place ... that +little mansion in Biedermeyer style that belonged to the late Count +Schattenheim.... + +JUHASZ—Yes.... + +PAULA—He bought it for me and furnished it beautifully and then he had +the tact to go off to Monte Carlo. And when he got there he sent me a +thousand-word telegram. + +JUHASZ—A thousand. That’s a lot of words. + +PAULA—A telegram to the effect that he had gone off because he didn’t +wish to influence my decision in any way.... I must be free to shape my +own destiny, he said.... The mansion was mine ... on the day that ... of +my own free will ... I entered it. On the desk in my boudoir ... he said +... I would find a telegram already written and addressed. It consists of +a single word, “Come.” ... Twenty-eight hours after I send that telegram +he will knock on my door.... So far ... that is all that’s happened.... +Tactful of him, wasn’t it? + +JUHASZ—Very. + +PAULA—That was ten days ago. + +JUHASZ—Yes? + +PAULA—[_More and more nervously._] I haven’t sent the telegram yet. +[_There is a pause._] + +JUHASZ—[_More and more calmly._] I can imagine how eagerly he must be +awaiting it. + +PAULA—He said he would wait fourteen days. I have four days left.... + +JUHASZ—From what you ordered here, I observe—— + +PAULA—[_Sharply._] I haven’t sent the telegram yet. [_A pause._] + +JUHASZ—One needs time for everything. + +PAULA—I have four days left. [_Nervously._] And as the last day draws +nearer ... I have been wondering ... because you have always been so good +to me ... what _you_ would think about it. + +JUHASZ—I should consider it very clever of you. + +PAULA—Are you advising me to do it? + +JUHASZ—I am reconciling myself to the idea. + +PAULA—You ... you would despise me, Mr. Juhasz, wouldn’t you? + +JUHASZ—How can you suppose such a thing? + +PAULA—You see how.... + +JUHASZ—I see how clever you are. And how happy you will be. + +PAULA—[_Sharply._] I’ll send it off ... this afternoon. + +JUHASZ—Then the Count ought to receive it to-night. + +PAULA—Yes. + +JUHASZ—I can imagine ... how happy he will be. + +PAULA—Yes. He loves me ... very much. + +JUHASZ—I know. [_There is a pause. The PATIENT LADY enters._] + +PATIENT LADY—Good morning. + +PHILIP—Good morning, madame. I’ll be with you in a moment. + +PAULA—[_Sulkily._] I don’t want to detain you. Good-bye, Mr. Juhasz. +[_She extends her hand. He takes it._] + +JUHASZ—Good-bye. [_OSCAR enters through the archway. The PATIENT LADY +goes to him._] + +PAULA—There is something I forgot. + +JUHASZ—Yes? + +PAULA—You used to have a certain French perfume. + +JUHASZ—Yes. + +PAULA—It seems to me it was called “Exquisite heur.” A very strong, +sensuous perfume. A perfume for bad women. + +JUHASZ—Oh! + +PAULA—At least you said only bad women would use it, and even they ... +only for ... the most intimate occasions. + +JUHASZ—[_Wincing._] Yes, I have some left. + +PAULA—I’ll have a bottle, please.... Two bottles.... + +JUHASZ—You are a bit cruel, Paula. You might at least have bought _that_ +somewhere else. + +PAULA—I’d rather buy it here. + +JUHASZ—As you like. [_To OSCAR._] The lady wants some perfume. +[_OSCAR takes his place._] That penetrating stuff.... Exquisite heur. +[_Sharply._] That perfume for harlots! [_To the PATIENT LADY._] What can +I show you, madame? + +OSCAR—Yes, sir. + +PATIENT LADY—I’d like to look at some scarfs, Mr. Juhasz. And a nice +sweater. + +JUHASZ—Shall we look at the sweaters first? [_Indicates the archway._] +Will you step in here, please? [_She exits through the archway. He +follows her. PAULA stares thoughtfully after them._] + +OSCAR—[_Shrilly._] Exquisite heur? + +PAULA—[_Starts._] For mercy’s sake ... you? + +OSCAR—It’s me. + +PAULA—Mr. Oscar! You here again? + +OSCAR—I’m here, but I’m not Mr. Oscar any more. [_He goes quickly to +the table down left, selects a bottle of perfume, gives it to her._] +Exquisite heur. [_Crosses right, behind the counter._] + +PAULA—[_Shakes her head._] What are you doing here? + +OSCAR—[_Cheerfully._] My affairs didn’t go so well. + +PAULA—Where is Mrs.—— + +OSCAR—She’s _my_ wife now. + +PAULA—And Mr. Juhasz took you back? You must have begged him on your +knees. + +OSCAR—That wouldn’t have done any good. You have to know how to handle +him. There were a lot of customers here, and I started right in waiting +on one. Pure psychology! I know Mr. Juhasz backwards.... He hasn’t got +the heart to throw anybody out.... Is there anything else I can get you? + +PAULA—No, thank you. [_The OLD GENTLEMAN enters._] + +OLD GENTLEMAN—Good morning. + +OSCAR—Good morning, professor. [_To PAULA._] See you again. [_To the OLD +GENTLEMAN._] What can I do for you, sir? + +OLD GENTLEMAN—I want a pair of inexpensive gloves. + +OSCAR—Inexpensive. Yes, sir. What kind? Won’t you sit down? + +OLD GENTLEMAN—Swedish. Size nine and a half. Dark gray. [_Sits at about +the middle of the right counter._] + +OSCAR—[_Lays out a box._] Dark gray. Swedish. Nine and a half. [_To +PAULA, who is crossing slowly to the table down left._] See you again +some time. [_To the OLD GENTLEMAN._] How do you like these? [_Opens and +expands a pair._] + +OLD GENTLEMAN—Are they Swedish? + +OSCAR—Why, old Heinrich Ibsen himself wasn’t as Swedish as these gloves +are. + +OLD GENTLEMAN—Ibsen was a Norwegian. + +OSCAR—I said he wasn’t as Swedish! Ha, ha! [_Passes over the gloves. +JUHASZ and the PATIENT LADY enter through the archway._] + +PATIENT LADY—[_As she enters._] Now about the scarfs. + +JUHASZ—[_Comes down to the table._] They are here, madame. [_Shows her +one._] They are quite new. + +PATIENT LADY—I saw some like these at Braun’s some time ago. + +OSCAR—Not like those you didn’t, madame, not like those! [_He is forcing +a glove on the OLD GENTLEMAN’S hand._] Now push, push hard! + +JUHASZ—[_Has passed to the end of the counter down right._] Here are some +in plain colors. [_Puts out a box._] They are in much better taste. Sit +down, please. [_The PATIENT LADY sits at the counter. JUHASZ is behind +it. PAULA, at the table down left, is looking at him sulkily._] + +OSCAR—Push, professor, push! [_Helps him._] + +OLD GENTLEMAN—If I do it will burst. + +OSCAR—Don’t you care. + +OLD GENTLEMAN—Better stretch it a bit more. + + OSCAR—Let it burst, professor. A glove oughtn’t } + to be stretched too much. It will go on your } + hand all right. } [_Simultaneously._] + } + JUHASZ—This dark green isn’t bad. Or do you } + prefer this gray and black? } + +[_PAULA takes off her gloves. Then her hat. Throws them determinedly on +the table. All look at her._] + +OSCAR—[_Loudly, quickly, to bridge the uncomfortable silence which +ensues._] Perhaps we _had_ better take a half size larger, professor. +Just one moment.... + + PHILIP—[_Joins in loudly._] This isn’t } + expensive at all, if you consider the } + quality.... } + } + OSCAR— ... to try this size. It doesn’t matter } + if they fit a bit easy. Better that way than } + too snug. } + } + PHILIP—You can’t get quality without paying for } + it. We have a customer, an old gentleman, who } + always says “The cheapest is dearest in the } + long run.” And he’s quite right. I believe that } [_Loudly and + if you.... } simultaneously._] + } + OSCAR—Or we will stick to the eight and a half } + if you like. They aren’t so very tight. Some } + people prefer them that way. It’s all a matter } + of taste. } + } + JUHASZ—[_Joins in shrilly._] This is pure } + lamb’s wool and that makes it warmer than } + another scarf twice its weight.... And it’s } + fashionable too.... We carry all the plain } + colors, but the striped ones come only in two } + shades, gray against a black ground or.... } + +[_Meantime PAULA has gone to the cashier’s desk, glanced back at JUHASZ +once more, and now, with a petulant stamp of her foot, she goes behind +the desk. A sudden silence falls. She rolls up her sleeves and sits in +the cashier’s place. Her face is resolutely set. OSCAR, PHILIP and JUHASZ +watch her, aghast._] + + PHILIP—It is always a good plan to buy the } + best, for it gives the most satisfaction and } + lasts the longest.... } + } [_Simultaneously, + OSCAR—They may be uncomfortable for a day or } softly, stammering; + two, but then they begin to conform with the } all begin at + shape of your hand, and you are glad you.... } the same time._] + } + JUHASZ—You will find these very practical for } + cold weather. And they are ideal for skating in } + winter. Both men and women wear them.... } + +[_He is greatly distressed; his voice trembles._] We often sell several +of these to the same customer ... three or four at a time ... even more +... I recommend them highly, madame. [_There is a pause. PAULA sits +obstinately behind the cashier’s desk._] + +OSCAR—Just push a little harder, please. [_He helps the OLD GENTLEMAN._] +Push, push! + +PATIENT LADY—I’ll take these three. What do they cost? + +JUHASZ—[_His voice trembles._] Forty kronen each, madame. + +PATIENT LADY—[_Rises._] Send them, please. [_Fumbles in her purse._] +Three times forty.... One hundred and twenty. + +JUHASZ—Yes. One hundred and twenty. + +PATIENT LADY—After all, I think two will be plenty.... Let me see which +two. [_They compare the scarfs._] + +THOROUGH YOUNG LADY—[_Rises._] What does it all come to? [_She has money +in her hand._] + +PHILIP—Three hundred and ten kronen, madame. + +THOROUGH YOUNG LADY—[_Turns toward the cashier’s desk._] Three hundred +and ten. [_She is about to go to PAULA._] + +PHILIP—[_Loudly, harshly._] No, no! [_She turns to him in surprise._] You +can pay me, please. + +THOROUGH YOUNG LADY—Not the cashier? + +PHILIP—[_With conviction._] No. [_She pays him._] + +PHILIP—Thank you, madame. Three hundred and ten. I’ll get them out for +you Thursday without fail. + +THOROUGH YOUNG LADY—I think that’s everything. If I find I have forgotten +anything I’ll come in again to-morrow morning. Good day. + +PHILIP—[_Sees her to the door._] Good day, madame. + +PAULA—[_Echoes his salutation, very loudly._] Good day! [_PHILIP gives +her a disdainful glance and returns to the back counter where he begins +to clear away._] + +PATIENT LADY—One is prettier than the other.... Oh, well, send the three +of them. Three times forty ... [_takes out money_] makes one hundred and +twenty. + +JUHASZ—[_Uneasily._] One hundred and twenty. + +PATIENT LADY—[_With a glance at PAULA._] Do I pay the cashier? + +JUHASZ—[_Very uncomfortable._] Perhaps ... it’s all the same ... you had +better pay me. + +PATIENT LADY—[_Puts the money down._] One hundred and twenty. + +JUHASZ—One hundred and twenty. Thank you, madame. [_Puts the money in his +pocket._] They will be delivered this afternoon. + +PATIENT LADY—Thank you. Good day. [_Goes to the door._] + +JUHASZ—Good day, madame. + +PHILIP—[_Holds the door open for her._] Good day. + +PAULA—[_Emphatically, with a bow._] Good day! [_The PATIENT LADY exits._] + +PHILIP—[_To PAULA, with an inflection of contemptuous amazement._] Good +day? [_The ARISTOCRATIC LADY enters._] + +PAULA—Good day. + +PHILIP—[_Very cordially._] Good day. + +ARISTOCRATIC LADY—[_To PHILIP._] What about my raincoat? + +PHILIP—We are expecting it from Vienna any day, madame. + +OLD GENTLEMAN—[_Takes the package which OSCAR has made up for him._] What +do I owe? + +OSCAR—Twenty-four kronen. + +OLD GENTLEMAN—I suppose you can change a thousand. + +OSCAR—[_Hesitates, leans over the counter, looks from PAULA to JUHASZ, +then calls._] I ... eh ... a thousand?... Oh, Mr. Juhasz! The gentleman +wants to know if we can change a thousand. [_There is a painful silence._] + +PAULA—[_Rises, addresses the OLD GENTLEMAN sweetly._] Certainly, sir. + +OSCAR—Just a moment, sir. [_The OLD GENTLEMAN, on the point of going to +PAULA, pauses, in surprise._] + +JUHASZ—[_In great perplexity._] How much does the gentleman pay? + +OSCAR—[_Leaning far out over the counter, looks from JUHASZ to PAULA then +back again._] Twenty-four. + +JUHASZ—[_After a short inward struggle._] Cash! Twenty-four out of a +thousand! [_The OLD GENTLEMAN goes to PAULA, pays her._] + +PAULA—[_Ecstatically._] Twenty-four out of a thousand. [_Rings the +register loudly, opens the drawer._] Twenty-four and six make thirty ... +fifty ... one hundred ... two ... five ... and five are one thousand. +Thank you, sir. + +OLD GENTLEMAN—Good day. + +PAULA—Come and see us again. + +OLD GENTLEMAN—[_Has gone to the door, counting his change, now turns._] +Look here! You gave me a hundred too much. [_Returns a banknote to her._] + +PAULA—[_In confusion._] Oh, I beg your pardon. + +OLD GENTLEMAN—That’s all right. I never mind getting too much. [_He +exits, chuckling over his joke._] + +OSCAR—[_Has replaced the boxes on the shelves._] No matter. Such things +happen. [_He goes out through the archway._] + +PHILIP—[_To the ARISTOCRATIC LADY._] Shall we look at the Burberrys? + +JUHASZ—[_To the ARISTOCRATIC LADY._] That coat from Vienna should arrive +to-night at the latest. + +ARISTOCRATIC LADY—Am I mistaken? That man who just went in there.... +Wasn’t that ... Oscar? + +JUHASZ—Yes. + +ARISTOCRATIC LADY—Is he back here again? + +JUHASZ—He’s ... helping out. + +ARISTOCRATIC LADY—[_Stares at PAULA._] Helping out?... and ... this is +the young lady who used to be here, isn’t it? + +PAULA—[_Ironically sweet._] Yes, madame, the same young lady. + +ARISTOCRATIC LADY—Come, Mr. Philip, let us look at the Burberrys, and you +can tell me all about it. [_Sees that JUHASZ is about to follow her._] +Don’t you bother, Mr. Juhasz. We’ll manage without you. [_She and PHILIP +exit through the archway. JUHASZ stands rigid, mute. A cabman enters from +the street, whip in hand._] + +CABMAN—Beg pardon, lady.... Have you forgot me? You said I wouldn’t have +to wait long. + +JUHASZ—[_Thrusts his hand in his pocket._] How much do you get? + +CABMAN—Three kronen. + +JUHASZ—Here are six for you. + +PAULA—Nothing of the kind. [_Opens the drawer of the register._] Three +kronen fifty are plenty. [_Gives the money to the CABMAN._] There you +are. [_The CABMAN looks at the money, then at JUHASZ and at PAULA._] What +are you waiting for? + +CABMAN—[_Disappointed, surly._] All right, all right. I’m going. [_Gives +her a withering glance and exits. There is a brief pause._] + +JUHASZ—What about the motor? + +PAULA—That was it. + +JUHASZ—Fifty horse-power. + +PAULA—Only one horse-power. + +JUHASZ—[_Goes to the cashier’s desk._] Then ... the motor is in the +garage? + +PAULA—In the moon. + +JUHASZ—That’s far off. + +PAULA—Far off. + +JUHASZ—Shall I telephone now about the footman’s cap? + +PAULA—Don’t bother. The footman has his cap. + +JUHASZ—Has he? + +PAULA—But he hasn’t got a job. + +JUHASZ—How’s that? + +PAULA—Because there is no mansion for him to work in. While I sat over +there ... [_points to the counter_] there might have been. + +JUHASZ—Gauntlets? + +PAULA—Shan’t need any. + +JUHASZ—Twenty-four pair of white gloves. + +PAULA—That’s twenty-three too many. I do need one pair. + +JUHASZ—One pair? + +PAULA—For myself. + +JUHASZ—Eight pair ladies’ silk pajamas. + +PAULA—[_Low, shyly._] If you think I—— + +JUHASZ—You need them. [_Ardently._] Of course you need them.... +Perfume.... Exquisite heur. + +PAULA—No, indeed! + +JUHASZ—Yes. Three bottles. + +PAULA—I hate the stuff. + +JUHASZ—I adore it. It’s the most beautiful scent on earth. Four bottles! + +PAULA—If you like it so much ... you may order a barrel. [_There is a +brief pause._] + +JUHASZ—[_Jealously._] And ... what about the telegram? + +PAULA—[_Rises slowly._] I wonder how it is ... that some people can have +such tender hearts and such very thick heads! [_He hesitates a moment, +then he takes her head in his hands and kisses her. PHILIP and the +ARISTOCRATIC LADY re-enter._] + +PHILIP—Cash! Two hundred and forty. [_Shouts._] Cash! Two hundred and +forty. [_JUHASZ and PAULA separate hastily. JUHASZ slinks bashfully down +right._] + +ARISTOCRATIC LADY—[_She is carrying a package._] How interesting! [_Goes +to the cashier’s desk._] My husband is going to Wiesbaden. I hear your +mother will be there too. + +PAULA—My mother is at home, madame, and intends to stay there. + +ARISTOCRATIC LADY—[_To PHILIP._] But you told me—— + +PAULA—Idle gossip, madame. [_Points to the package._] Are you paying for +that now? + +ARISTOCRATIC LADY—No. Charge it, please. As usual. + +PAULA—[_Very curt and businesslike._] Yes, madame. But we must ask you +not to charge any more things here until your old account is settled. +[_The ARISTOCRATIC LADY gasps._] And about that old account. We must have +a check by the first of the month or we shall be compelled to place it in +our attorney’s hands. + +ARISTOCRATIC LADY—What’s that you say? [_JUHASZ makes a gesture of +protest._] + +PAULA—In our attorney’s hands. From to-day on we are inaugurating a new +policy of extending credits for a limited period only. + +ARISTOCRATIC LADY—[_Furious._] Mr. Juhasz, what do you say to this? + +PAULA—[_Before JUHASZ can answer._] Mr. Juhasz has nothing to say to it. +He has given me entire charge of the credit department. [_JUHASZ hangs +his head._] + +ARISTOCRATIC LADY—[_Indignantly._] Good day. + +PAULA—Good day. [_The ARISTOCRATIC LADY sweeps indignantly out._] + +PHILIP and JUHASZ—[_Simultaneously._] Good day. + +PAULA—That settles her. And there are a few more like her I mean to +attend to. [_There is a pause._] + +OSCAR—[_Comes through the archway, a letter in his hand._] Those +waterproof coats haven’t been ordered yet, Miss Paula. Shall I write and +order some? [_He puts the letter down on the desk before her._] + +PAULA—Oscar ... I hope you understand that.... + +OSCAR—[_Grinning._] I understand. I can take my hat and go. [_Takes his +cap out of his pocket._] + +PAULA—You guessed it. + +OSCAR—Good-bye. Good-bye, everybody. [_Makes a deep tow to each in turn._] + +JUHASZ—Take a dozen pair of socks before you go. + +OSCAR—[_Jovially; taps his pocket._] I have. + +JUHASZ—Take two dozen. + +OSCAR—I took three. Good-bye, Miss Paula. [_He exits to the street._] + +PAULA—[_Calls sharply._] Philip! [_PHILIP has been leaning resignedly +against the shelves at back. Now he straightens up with a start, silently +takes his hat and stick._] No. You aren’t dismissed. [_She takes +something out of her purse._] What opera are they singing to-night? + +PHILIP—[_Resentfully._] Lohengrin. + +PAULA—You go off at six to-night ... and take this with my compliments. + +PHILIP—[_Looks at the ticket; joyfully._] Parquet ... eighth row. + +PAULA—It was the best I could get. + +JUHASZ—[_Beaming._] Philip, you’ll see the swan to-night. [_The THOROUGH +YOUNG LADY enters from the street._] + +THOROUGH YOUNG LADY—I knew I’d forget something.... I forgot to tell you +that I don’t want a period after each initial of the monograms on those +handkerchiefs.... Just the letters without the periods. + +PAULA—[_Graciously._] Certainly, madame. We never have periods +embroidered unless they are specially ordered. + +PHILIP—[_Who has gone behind his counter._] I’ll make a note of it, +madame, to be quite sure. + +PAULA—Is there anything else you would like to-day? [_Comes around to the +table._] Are you interested in these girdles with antique silver buckles? +They are just in from Paris. [_She holds one up._] + +THOROUGH YOUNG LADY—May I see? + +PAULA—There are only a few, as you see, and they are selling very fast. +So if you’d like one—— + +THOROUGH YOUNG LADY—I couldn’t possibly afford one this month. + +JUHASZ—That doesn’t matter in the least, madame. Why, you can pay—— + +PAULA—[_Catches him up quickly, with unmistakable emphasis._] For +something cheaper, perhaps. Unfortunately we can’t charge these girdles +because we had to pay cash for them ourselves. They are not ordinary +merchandise, you see. They are made by a new atelier in Paris which—— +[_As she speaks, and JUHASZ watches her, enchanted,_] + +THE CURTAIN FALLS + + + + +THE SWAN + +A COMEDY IN THREE ACTS + +By FRANZ MOLNAR + +English text by Benjamin Glazer + + + + +COSTUME NOTES + + +HYACINTH: A dark brown robe, like that of the Carmelites. Snow-white hair. + +ALBERT: In the first and third acts the uniform of an Austrian general. +In the second act an Austrian general’s full dress uniform, with many +decorations, but without any insignia of rank. + +WUNDERLICH: The uniform of a colonel of the Uhlans. Conspicuous shoulder +straps on his tunic. + +CÆSAR: Full evening dress, black bow tie, white gloves. In the third act +a Redingot, with a big, white cravat. + +LUETZEN: A light-colored sack suit in the first act. In the second act, +evening dress, with decorations. + +ALFRED: Evening dress, black tie, white gloves. + +HUSSARS: Short black boots; red trousers; dark blue tunics, richly +trimmed; white gloves. + + + + +PERSONS + + + PRINCESS BEATRICE + SYMPHOROSA, _her sister_ + HYACINTH, _her brother_ + ALEXANDRA, _her daughter_ + GEORG } _sons of Princess Beatrice_ + ARSEN } + DR. HANS AGI + PRINCE ALBERT + PRINCESS MARIA DOMINICA + COUNT LUETZEN + COLONEL WUNDERLICH + COUNTESS SIBENSTEYN + CÆSAR + ALFRED + Chambermaid + The Governor’s Wife + A Lady + Hussars, lackeys + +_The action takes place in the castle of the Princess Beatrice._ + + + + +ACT ONE + + + + +ACT ONE + + + SCENE—_A pavilion in the garden which serves as a classroom + for the young princes. At left an open door through which + the garden can be seen, brilliant with sunlight. At right a + glass door which leads into the other rooms. It is a summer + afternoon. When the curtain rises DR. AGI is lecturing to GEORG + and ARSEN at a table. The boys are listening attentively._ + +AGI— ... After a series of humiliations and protracted physical +sufferings he died on the island of St. Helena, on the fifth day of May, +1821, at the age of fifty-two. He was buried on a promontory of the +island on which, in his lifetime, he had loved to sit and contemplate +the sea. His faithful attendants wished to inscribe the word “NAPOLEON” +on his grave-stone.... But his tormentor, Hudson Lowe, persecuting him +even beyond the grave, forbade it. The contemptible Hudson Lowe permitted +them to inscribe only the words, “LE GENERAL BUONAPARTE.” Later the body +was conveyed to France in solemn state; and Paris honored the martyred +emperor with magnificent funeral services. There, to this day, in the +Dom des Invalides, raised high on a majestically simple bier of stone, +he lies at rest. [_He has concluded the lecture. The boys are silent, +impressed. AGI looks at his watch._] That finishes our lesson for to-day. +[_Closes the book._] Have your highnesses any questions to ask? + +ARSEN—Last night we had a dispute with mother. She hates Napoleon. She +said he was a usurper. + +AGI—That’s one point of view. + +GEORG—How do you mean? + +AGI—Your highnesses are free to form your own opinions. For my part, I +consider him a genius who made his power felt throughout the world. + +GEORG—Is that your point of view? + +AGI—Yes. + +GEORG—Then it’s mine too. + +ARSEN—That’s what I call an independent opinion. + +GEORG—So it is.... Not mine, but the professor’s. + +ARSEN—Mother was very angry. + +AGI—With Napoleon. + +GEORG—And with you. + +AGI—What for? + +GEORG—For not teaching us to hate Napoleon. + +AGI—I present his story without bias of any sort. + +ARSEN—We told mother that, but she thinks you ought to teach us to hate +him. + +GEORG—She says Napoleon is largely to blame for the dethronement of our +family. + +AGI—With all deference to her royal highness, that is a somewhat +exaggerated view of the historical facts. Napoleon himself never altered +in the political status of your illustrious family. If anyone can be +blamed for it, it was the King of Württemberg. + +GEORG—But the King of Württemberg was one of Napoleon’s puppets. + +AGI—Well, indirectly, there may be something in it. That is why I used +the term exaggerated. And yet, if anyone can profit by a study of the +courage, the initiative and the luck of Napoleon, certainly, in my +opinion, a dethroned sovereign family can. Doesn’t his career teach us +that thrones are not unattainable? He was only an obscure attorney’s son. +Now what he could attain, surely someone, who by right of birth—— + +ARSEN—Mother—— + +GEORG—Mother is sensitive on the subject of thrones just now, because +Prince Albert is staying with us. + +ARSEN—Mother has always been sensitive about thrones. + +GEORG—Prince Albert is heir-apparent to a real throne. And when mother +lays eyes on an heir-apparent, she loses her appetite. + +ARSEN—Poor mother! No wonder. Her great-grandmother was a ruling +sovereign. Mother can’t be reconciled to the fact that that glory’s +forever ended. + +GEORG—Forever? + +AGI—Yes ... probably.... Nowadays it is very difficult to—— + +ARSEN—But suppose the Heir-Apparent marries Alexandra. + +GEORG—He won’t marry her. + +ARSEN—How do you know he won’t? If he does marry her, Alexandra will be +queen some day and we, as her family, will be attached to the Court. And +if I know my mother, it won’t be Albert who’ll do the ruling. + +GEORG—_If_ he marries her! + +ARSEN—He’ll marry her. + +GEORG—Why should he? + +ARSEN—Because mother wants him to. And because we all want him to,—Aunt +Symphorosa, Alexandra herself, I, you, the professor—— + +GEORG—I don’t want him to marry her. Do you, professor? + +AGI—Indeed ... there is no station so exalted that her highness, the +Princess Alexandra would not grace it. + +GEORG—Just the same, you don’t want her to marry him. + +AGI—I? Why do you say that? + +GEORG—Because you spoke so coldly and formally. + +AGI—I ... I was surprised ... that’s all. It isn’t easy to grasp ... so +suddenly. You see, during the few months in which I have been attached +to your illustrious family—if I may put it so—her highness, your sister +... great lady though she is ... has been very kind to me ... to us all. +Among other things, it has been my privilege to instruct her in fencing +... and when I am suddenly called upon to think that my pupil is to wear +the ermine ... that she is to wear a crown ... and sit upon a throne.... +Well ... that’s not an easy thing to—— + +GEORG—I’d be sorry to leave this place ... it’s so pleasant here. The +Hungarians have been so good to us. But, if we had to leave, you’d come +with us, wouldn’t you? + +AGI—If I were wanted. + +ARSEN—I shouldn’t mind going. Life at Court might be tiresome; but +politics, they say, are exciting. Keep you either trembling all the time +... or laughing. [_BEATRICE and ALEXANDRA enter from the garden. All +rise._] + +BEATRICE—Finished your lesson, I see. + +AGI—Yes, your highness. [_ALEXANDRA stands silent and motionless down +left._] We reached the death of Napoleon about ten minutes ago; and it +seemed to me such an appropriate stopping place I didn’t think it worth +while to start a new chapter to-day. + +BEATRICE—[_Sharply._] An appropriate stopping place? + +AGI—So I thought, your highness. + +BEATRICE—A stopping place for the dead man, yes. But for us ... merely a +comma in an unfinished sentence.... Arsen! Georg! Prince Albert is coming +to visit you here. He has expressed the wish to talk with you about your +studies. I infer from what he said that he is particularly interested +in history. Count Luetzen, whom I consulted later, has confirmed that +inference. Now go wash your hands and faces, comb your hair, and change +your clothes. + +ARSEN—When is he coming? + +BEATRICE—As soon as he awakes. + +GEORG—Is he asleep? + +BEATRICE—I said, “As soon as he awakes.” Which should have conveyed to +you the information that he is now asleep. + +GEORG—It did, mother. That’s why I asked you. + +BEATRICE—That remark is superfluous. Arsen, I hear you have been coughing. + +ARSEN—No, mother; only once or twice. + +BEATRICE—Symphorosa tells me you have been coughing. [_To AGI._] Why +haven’t you reported it to me? + +AGI—This morning his highness ate a green pepper and, despite my advice, +neglected to remove the fibers. That is why he coughed. I didn’t consider +it serious enough to report to you. + +BEATRICE—You couldn’t possibly have known whether it was serious or not. +You’re not a doctor. + +GEORG—[_To ARSEN._] That’s what he gets for Napoleon. + +BEATRICE—What did you say? + +GEORG—Nothing, mother; I only coughed. + +BEATRICE—And you, I hear, were riding like a wild man this morning. + +GEORG—Did Symphorosa tell you that too? + +BEATRICE—Unmannerly boy! What I asked you was, why have you been riding +like a wild man? + +GEORG—The horse was wild. + +BEATRICE—[_To AGI._] Why didn’t you report to me that the horse was wild? + +AGI—The horse was tame before his highness got in the saddle. + +BEATRICE—You couldn’t possibly have known that. You are not the stable +master. + +GEORG—Then he couldn’t have reported it either. + +BEATRICE—You are not to speak unless you are spoken to. Arsen will have +his throat wrapped with wet towels to-night, and, beginning to-morrow, +you will ride no other horse than Pretty. + +GEORG—Pretty? Oh, mother! + +BEATRICE—Silence! [_They are suddenly silent._] I have a surprise for +you. You don’t deserve it. + +ARSEN—What is it? + +GEORG—What? + +BEATRICE—Guess. + +ARSEN—Alexandra is going to be a queen. [_Great embarrassment. Silence. +ALEXANDRA makes a startled movement._] + +BEATRICE—Ill-mannered boy! How _can_ you say such a thing? I forbid you +even to think of such things. See here! I hope it isn’t you who puts such +ideas into the boys’ heads. + +AGI—Heaven forbid, your highness! + +BEATRICE—Where then did you get that idea? + +GEORG—Why, I told it to him. + +BEATRICE—And where did you get it? + +GEORG—I thought of it myself. + +BEATRICE—What? + +GEORG—Don’t be angry because I can see things for myself, mother. I have +eyes in my head. + +BEATRICE—If his highness, Prince Albert, weren’t coming here soon I’d +punish you severely. But don’t suppose that you’ll get off so easily. +[_To AGI._] And you might have reported to me that the boys occupy their +minds with such things. + +GEORG—He couldn’t possibly have known. He’s not a member of the family. + +BEATRICE—You Robespierre! Out of my sight! [_Utter silence._] Now I’ll +tell you the surprise. My brother Karl—that is—Father Hyacinth is here. + +GEORG—Uncle Karl! + +ARSEN—Oh, I’m so _glad_! [_Both are wild with joy; ARSEN embraces AGI._] + +BEATRICE—Wild Indians! + +ALEXANDRA—They’re very fond of him, mother. I am glad he has come, too. + +ARSEN—Glad! Professor, Uncle Karl is the nicest man in the world. + +GEORG—He used to be a prince, and now he is in Holy Orders. A monk. Wears +a cowl and a hood. And a scapulary. + +BEATRICE—Those are mere externals. The essential thing is that he has a +heart of gold and a brain of steel. + +GEORG—So he has. + +ARSEN—He renounced the world to enter an educational order. + +AGI—Yes, your highness, I heard about it. + +GEORG—But you never met him. + +AGI—I have never had the honor. + +GEORG—Well, you’ll have the honor soon.... Mother, you couldn’t possibly +have brought us better news. Not even if you had come to tell us that +Alexandra—— + +ALEXANDRA—Georg!... + +BEATRICE—I shan’t forget to have you punished. + +HYACINTH—[_Calling from the garden._] Beatrice! + +BEATRICE—Ssh! Wasn’t that someone calling? + +HYACINTH—[_From the garden._] Beatrice! + +BEATRICE—Just as I thought! It’s Hyacinth shrieking my name. His manners +are appalling. + +ARSEN—Uncle Hyacinth! + +GEORG—Hyacinth! Hyacinth! [_They are about to rush out to meet him._] + +BEATRICE—Stay where you are. [_Sudden silence._] Indians! I’ll meet +him myself, else he’ll go on shouting until he awakens Prince Albert. +[_BEATRICE goes out into the garden._] + +ALEXANDRA—[_To AGI._] My mother forgot to tell you that his highness, the +Prince, will later witness the fencing exercises. + +AGI—As your highness commands. + +ALEXANDRA—The necessary orders have been given at the gymnasium. First +there is to be sword practice between you and the boys, then they are to +have a bout with the foils. + +AGI—May I ask whether your highness is to take part? + +ALEXANDRA—No. [_There is a pause._] + +GEORG—Why not? + +ALEXANDRA—[_Coldly._] Because his highness particularly expresses his +interest in _your_ fencing. Are your costumes in proper condition? + +AGI—Yes, your highness. + +ALEXANDRA—How long will it take you and the boys to change? + +AGI—Ten minutes will be plenty. + +ALEXANDRA—I ask because the program has been rigidly fixed. When his +highness has finished in here, he is to inspect my little rose garden, +and from there he goes to the fencing exercises. The inspection of the +garden will take, I estimate, about fifteen minutes. + +AGI—I deeply regret that your highness is not to show your skill in +fencing. + +ALEXANDRA—I had expected to take part. But if I am to show him the garden +there won’t be time for me to change. + +AGI—May I take the liberty to ask whether someone else mightn’t show his +highness the rose garden? + +ALEXANDRA—Why do you ask that? + +AGI—Then your highness could change your costume and take part in the +fencing instead. + +ALEXANDRA—[_Coldly._] And why fencing instead? + +AGI—I only ... thought ... your highness fences so well ... and +gracefully ... and—— + +ALEXANDRA—And? + +AGI—And anyone can show him the garden. + +ALEXANDRA—Thank you. I am quite aware of that. + +AGI—I beg your pardon, your highness. It’s the pride of the teacher that +prompts me to speak. + +ALEXANDRA—The program is not regulated to suit your pride. And, in any +case, I have no need of your advice on the subject. [_Raises her chin a +bit imperiously._] + +AGI—As your highness commands. [_There is a brief pause._] + +GEORG—May I say something? + +ALEXANDRA—Well? + +GEORG—The professor is right. [_He goes to the door as voices are heard +outside. HYACINTH and BEATRICE enter._] + +ARSEN _and_ GEORG—[_Rushing to greet HYACINTH._] Uncle Hyacinth! Hyacinth! + +ARSEN—Welcome! + +GEORG—How long are you going to stay? + +HYACINTH—Now, now, now, not so boisterously. [_Draws back playfully._] + +BEATRICE—Indians! + +GEORG—How long are you going to stay? + +HYACINTH—I’ve scarcely arrived, and here you are asking me when I depart. + +GEORG—Because we want you to stay a long time. + +HYACINTH—It’s a long time since I’ve seen you. [_Embraces each in turn._] +Let me look at you. Splendid color! [_Feels their arms._] And muscle too, +eh? + +GEORG—How long are you going to stay? + +HYACINTH—Not long, I’m sorry to say. [_Approaches AGI, who bows low._] +And this is your tutor, Mr. Agi, of whom I have heard so much. [_Shakes +hands with him._] Beatrice writes me excellent reports about you. I hear +you are not only a good teacher but also an accomplished athlete. You row +and fence.... + +ARSEN—And ride. + +HYACINTH—That’s splendid! And are you very fond of him, boys? + +GEORG—[_Earnestly._] Oh, yes, Uncle Hyacinth. + +HYACINTH—Good! And you? Are you satisfied with your pupils? + +AGI—Entirely, your royal highness. + +HYACINTH—No, professor, not highness. Only an humble servant of Christ. + +AGI—I beg your pardon, Father. + +HYACINTH—Oh, you mustn’t blush about it. Else I shall reproach myself +for having mentioned it. But then it’s so charming of a doctor of +philosophy to blush. I feel we’re good friends already. [_Shakes his +hand again._] I congratulate you on your method. Culture seasoned with +athletics—that’s the ideal curriculum. + +BEATRICE—Hyacinth is such a confirmed pedagogue, the teacher interests +him more than the pupils. + +HYACINTH—Quite so, my dear. Some day, when it’s raining hard and we have +nothing better to do, I’ll explain to you why, for the good of the child, +one should look first into the teacher’s head. Well, boys, what have you +learned to-day? + +ARSEN—We finished Napoleon to-day. [_Glances at BEATRICE. There is an +awkward pause._] + +HYACINTH—Mother doesn’t care much for Napoleon, eh? + +BEATRICE—No. + +GEORG—Last night we had a dispute about—— + +ALEXANDRA—Now, Georg, don’t begin that all over again. + +HYACINTH—Why not? Tell me. What was the dispute about? + +ARSEN—Mother thinks people should be taught to hate Napoleon. + +GEORG—Especially our family. + +HYACINTH—And what do you think? + +AGI—I presented the story of Napoleon without bias of any sort. + +HYACINTH—My dear fellow, then come with me and let me introduce you to +the Historical Congress at London as one of the world’s wonders. There is +no neutral ground where Napoleon is concerned. One either hates him or +loves him. + +GEORG—He loves him, but he won’t admit it. + +HYACINTH—Why won’t he admit it? + +AGI—I have tried to let their highnesses form their own opinions about +him. Nevertheless, I _have_ pointed out to them Napoleon’s initiative, +his courage ... and his luck. + +HYACINTH—Quite right. If anyone can profit by studying Napoleon’s career, +the young people of this family can.... My dear fellow, you’re blushing +again. + +GEORG—Because a little while ago he said the same thing, almost word for +word. + +HYACINTH—Ah, well, that doesn’t prove it. But if we are in error, my +friend, at least there are two of us. + +BEATRICE—Time for you to get ready. [_To HYACINTH._] Prince Albert will +be here to visit them shortly. + +HYACINTH—Then off with you. See you later, professor. [_AGI bows and +exits with the boys._] + +BEATRICE—No matter what you say, I insist that the man was a usurper. + +HYACINTH—What man? + +ALEXANDRA—Mother never utters his name. + +HYACINTH—Sorry. I had forgotten. [_SYMPHOROSA enters from the garden._] + +SYMPHOROSA—He is asleep. + +HYACINTH—Who? + +BEATRICE—The prince. [_To SYMPHOROSA._] On which side is he lying? + +SYMPHOROSA—Wait a moment. [_Reflects._] On his right side. + +BEATRICE—Then he is not lying on his heart. + +SYMPHOROSA—No.... On his liver. + +BEATRICE—That’s good. Now go back to your post, Symphorosa, keep careful +watch and report everything to me. + +SYMPHOROSA—Yes, dear. [_She exits into the garden._] + +HYACINTH—Does my sister Symphorosa keep watch over the Prince’s slumbers? + +BEATRICE—Yes. She is in constant touch with the adjutant who, on his +part, peeps through the keyhole. + +HYACINTH—And that goes on all day long? + +BEATRICE—I have to keep informed about everything. He is my guest. That +is no light responsibility. + +HYACINTH—And how long has he been here? + +BEATRICE—Four days. + +HYACINTH—How much longer is he staying? + +BEATRICE—According to program, he goes to-morrow. That’s why I wanted you +here sooner. He arrived unexpectedly, and here we were without a man. + +HYACINTH—I started immediately I got your telegram. Albert has changed, +hasn’t he? He has become quite an attractive young man. [_He sits._] + +BEATRICE—He is very agreeable. + +HYACINTH—He appeared genuinely glad to see me. He almost wept when we met. + +BEATRICE—He was very fond of my lamented husband too. And he was only a +child then. + +HYACINTH—He embraced me cordially and kissed me at least four times. And +he fairly beamed when he told me how much he loved you all. + +BEATRICE—That’s just it. + +HYACINTH—What’s “just it”? + +BEATRICE—[_To ALEXANDRA._] Will you go out into the garden a while, my +dear? + +ALEXANDRA—Yes, mother. [_She exits into the garden._] + +BEATRICE—[_Dries her eyes._] + +HYACINTH—What’s wrong, my dear? Has anything happened? + +BEATRICE—[_Her glances follow ALEXANDRA through the door out to the +garden._] I didn’t care to speak of it in her presence. But that’s just +it. Nothing has happened. + +HYACINTH—I don’t understand. + +BEATRICE—Albert told you how much he loved us all. + +HYACINTH—Yes. + +BEATRICE—Well, he has fallen in love with everyone here ... except +Alexandra. + +HYACINTH—What did you expect in three days? + +BEATRICE—Not love, perhaps ... but at least some sign of interest in the +girl. But no. Not the slightest advance. Though we did everything we +could. + +HYACINTH—Perhaps ... there are ... political reasons.... + +BEATRICE—[_With a smile._] You underestimate me, Karl. + +HYACINTH—Forgive me.... I know you are the best informed woman in Europe. + +BEATRICE—I’ll show you my correspondence. Oh, I have no illusions on the +subject. I know perfectly well that the only reason they are considering +a marriage with us is because two or three royal families have made +simultaneous advances and they can’t afford to offend any of them. + +HYACINTH—I see. + +BEATRICE—And that is what makes me so anxious, Karl. The Czar wants him +for Olga—Constantine’s daughter. Edward would have liked to get him for +England—for Patricia. Frederic has been telegraphing me every day from +Vienna, and Amelie from St. Petersburg. + +HYACINTH—So Albert must make up his mind quickly. + +BEATRICE—Rome is out of the question for him. And so it is imperative for +him to choose a wife immediately. + +HYACINTH—Then he’ll go to Montenegro. + +BEATRICE—That is just what I am afraid of. He is a very obedient son. +Dominica, his mother, dominates him utterly. And she has sent him +everywhere. First to Dresden for Leopoldine Charlotte, but he didn’t +like her. She tends to corpulence. From there he went to Portugal. The +Infantin Silvina Gonzaga. A most admirable girl, but incredibly ugly. So +on he went to Belgium, to Maria Hermine, who is two heads taller than +he is—And he rightly decided that such an alliance would make him look +ridiculous in his people’s eyes. And now he is here. And if we let him +get away from us his next stop will undoubtedly be Montenegro. [_Dries +her eyes. SYMPHOROSA enters from the garden._] + +BEATRICE—Well? + +SYMPHOROSA—He stretched his hand outside the bed. + +BEATRICE—What for? + +SYMPHOROSA—For his lemonade. + +BEATRICE—Was the lemonade there? + +SYMPHOROSA—Yes, he drank it. + +BEATRICE—I was so afraid it mightn’t have been there! And then? + +SYMPHOROSA—Then he turned over and went to sleep again. + +BEATRICE—Thank you, dear. + +SYMPHOROSA—Not at all, dear. [_SYMPHOROSA hurries off._] + +BEATRICE—[_Unhappily._] These past three days have been a great trial +to me, Karl. I am absolutely certain that he is here on account of +Alexandra. And yet he has treated the girl as if she didn’t exist. And +not a word, not a sign from his mother, Dominica. If he had serious +intentions, she’d be here by this time. [_Weeps._] + +HYACINTH—Beatrice! + +BEATRICE—I am not myself. Think of it, we have only one day more. This +afternoon, the ball to-night, and ... if nothing happens ... then our +chances are gone, perhaps forever. + +HYACINTH—And not a sign? + +BEATRICE—Not one. I needn’t tell you how I have watched for one. + +HYACINTH—Perhaps Alexandra is—— + +BEATRICE—She is perfectly beautiful and clever and self-possessed ... +her poor father described her perfectly when he called her his swan. “My +proud, white swan!” ... And she is just like that,—majestic, silent, +earnest ... holds her head high ... conducts herself irreproachably. Yet +Albert is utterly indifferent to her. It’s disheartening! + +HYACINTH—Beatrice, it is not like you to lose control of yourself like +this. + +BEATRICE—[_Nervously._] I know, but I can’t help it. This is my last +great battle, not mine alone but our family’s. Now or never. Well, I +mean to win if I ruin myself in the attempt. [_SYMPHOROSA speaks in the +doorway._] + +SYMPHOROSA—He is sleeping peacefully. + +BEATRICE—Thank you, dear. [_SYMPHOROSA vanishes._] + +HYACINTH—You mustn’t agitate yourself like this. What will be, will be. +And if it isn’t successful this time, it will be next time. + +BEATRICE—When? Albert is thirty-five. And Alexandra isn’t getting younger. + +HYACINTH—How old is she? + +BEATRICE— ... and twenty. + +HYACINTH—What ... and twenty? + +BEATRICE—Nothing. Just “and twenty.” + +HYACINTH—That is a new number. + +BEATRICE—Yes, my dear. I invented it myself. A mother’s invention. + +HYACINTH—I see. So she is just “and twenty.” + +BEATRICE—But she can’t stay that way indefinitely. She is ripening. +In a political family that wouldn’t matter. But our daughters must be +beautiful. My conscience has troubled me for making the poor girl wait as +long as she has. + +HYACINTH—One can’t blame you for that. You are a devoted mother, my dear. +But you are aware that our lives are ordered not for the individual’s +but for the family’s good. The happiest royal family may be composed of +unhappy individuals. + +BEATRICE—Poor Xara. + +HYACINTH—Who is that? + +BEATRICE—Alexandra! + +HYACINTH—Is that what you call her now? + +BEATRICE—[_To SYMPHOROSA, who is entering._] Well? + +SYMPHOROSA—The situation is unaltered. [_She exits._] + +BEATRICE—Karl, I want you to help us. + +HYACINTH—I? But, my angel, what can I do? + +BEATRICE—You, with your charming personality—— + +HYACINTH—But, my dear child, it isn’t me you want him to marry. + +BEATRICE—Oh, you—man! Don’t you understand that everything attractive in +the setting adds luster to the girl? + +HYACINTH—What does Alexandra think of the matter? + +BEATRICE—Just as I do. + +HYACINTH—Has she said anything about it? + +BEATRICE—No, but she is worried. [_SYMPHOROSA enters quickly, her hand +held agitatedly to her heart._] Well? + +SYMPHOROSA—He is awake. [_BEATRICE makes a gesture of displeasure._] +Count Luetzen coughed outside his door. + +BEATRICE—[_Quickly aghast._] Accidentally? + +SYMPHOROSA—No, on purpose. + +BEATRICE—Wasn’t the Colonel on guard? + +SYMPHOROSA—Certainly. Count Luetzen came to the door expressly to cough. + +BEATRICE—Why didn’t the Colonel cough himself? + +SYMPHOROSA—Because his cough is too loud. Count Luetzen coughs +delicately. He always coughs his highness awake. + +BEATRICE—What happened when he awoke? + +SYMPHOROSA—He asked for eau de Cologne. + +BEATRICE—Yes. + +SYMPHOROSA—And a cup of weak tea. + +BEATRICE—Yes. + +SYMPHOROSA—Now don’t be alarmed, dear. He got everything he asked for. + +BEATRICE—And when is he coming to see the boys? + +SYMPHOROSA—I forgot to ask. + +BEATRICE—[_Excitedly._] How could you? Hurry! Run! [_SYMPHOROSA goes out +swiftly._] She had to forget the most important thing of all! Heavens, +and I am sure the boys aren’t ready yet. [_Starts off at right._] + +HYACINTH—[_Restraining her._] This won’t do, my dear. Calm yourself, +don’t be over-anxious. Everything will be all right. The boys must have +been ready long ago.... Really, dear ... this isn’t a bit like you. You +always had such poise, such assurance—— + +BEATRICE—In times of peace, yes. But this is war! I’ll go to meet him. +You call the boys. My God—— + +HYACINTH—Calm yourself! + +BEATRICE—Now, Karl, you only make me more nervous, talking like that. +Can’t you see I’m in the fever of the last hope ... the finish of the +race?... Now I must summon my last reserves of strength.... To arms.... +To arms.... To arms! [_SYMPHOROSA enters breathlessly._] + +SYMPHOROSA—He’s coming! + +BEATRICE—When? + +SYMPHOROSA—Now. + +BEATRICE—Immediately? + +SYMPHOROSA—Immediately, immediately! He has started already. I ran on +ahead. + +BEATRICE—Let’s go to meet him. [_Hurries into the garden. SYMPHOROSA +follows her._] + +HYACINTH—[_Calls through the doorway at right._] Well, aren’t you ready +yet? [_The boys and AGI enter._] + +GEORG—We’re ready. We’ve been waiting. + +ARSEN—Is he coming? + +HYACINTH—He’ll be here any minute. [_To AGI._] Tell me, my son, have you +altered your opinion about Napoleon since our discussion? + +AGI—No. + +HYACINTH—And suppose my sister requests you to teach Napoleon according +to her ideas. + +AGI—Then I shall try to convince her highness—— + +HYACINTH—And if her highness still insists? + +AGI—Then I shall regretfully take my leave. + +HYACINTH—Shake hands. [_Shakes his hand._] Now I know you better than I +did a half hour ago. + +GEORG—[_Who has been standing at the garden door, looking out._] They’re +coming! + +HYACINTH—You stay here. I’ll go to meet them. [_Exits into the garden._] + +AGI—[_At the table._] We will stand here ... around the table ... at the +places where we always sit. Prince Arsen there, Prince Georg there, I +here. And your highness, Georg, if you really meant what you said before +about being fond of me—— + +GEORG—Don’t worry. I’ll be good. + +AGI—Just this once. If you behave well, I’ll take you up to the +observatory to-night. + +ARSEN—[_Joyfully._] The observatory! + +AGI—We’ll have a look at Capella and Vega, and I’ll explain the entire +summer firmament to you. + +GEORG—I’ll be gentle as a lamb. [_There is a brief pause during which +voices are heard in the garden. PRINCE ALBERT appears first. He is young, +elegant, gracious. He wears a general’s uniform. He enters, chatting +with HYACINTH. After them come BEATRICE, SYMPHOROSA, ALEXANDRA, LUETZEN, +WUNDERLICH. All take positions before the chairs where they will later +sit._] + +ALBERT—[_Very good-humoredly, continuing a speech begun outside._] ... +and, being a soldier, his cough is so incisive, so intrepid, so abrupt +that ... really, you know, it wakes one with a start. But Luetzen, on +the other hand, Luetzen is a diplomat. He can cough delicately, and +melodiously and suitably to every occasion. Luetzen can cough for you +in such a discreet, persuasive crescendo that you wake gradually and +without shock. Curious that personal peculiarities should extend even +to such things. Keen observation, what? Human. C’est humain. [_Looks +around._] Eh bien! Hello, you dear little boys. [_To AGI, who bows +profoundly._] Good morning! This would be the brilliant young professor. +What? [_A pause._] Why don’t you sit down? [_He sits. The others sit +simultaneously._] + +BEATRICE—[_Ingratiatingly._] Did you rest well? + +ALBERT—It is really astonishing how well I sleep here. I don’t know +whether it’s the fresh air, or that excellent bed, or the pleasant +surroundings that soothe and refresh me so. A perfect balm to my nerves +... really I am quite happy here. You may laugh, but it’s true that I +shall never forget the days I have spent with you here. Dear Beatrice ... +who thinks of everything for my comfort ... this fine old castle, this +gently rolling landscape, the peace, the harmony of the life you live +here.... Oh, I.... All I can say is that I have fallen in love with you. + +BEATRICE—[_Sweetly._] We are very happy, Albert, to know that you are +enjoying your visit. + +SYMPHOROSA—[_Sweetly._] We have no other aim, Albert. + +ALBERT—At night, when I am alone, Beatrice, I think of my poor father and +your sainted husband ... Henry.... How often they strolled together in +this garden! + +BEATRICE—Talking about their children. + +ALBERT—They both were devoted fathers. They dedicated their lives to the +welfare of their children. + +BEATRICE—They never tired of discussing their children, you know. Always +the children. The future of the children. What would become of them. How +to direct them in the right path. [_Turns, chair and all, toward ALBERT; +speaks with emphasis._] How some day the children would rear a family of +their own. + +ALBERT—[_To HYACINTH._] Sometimes at night I lean out of my window and +fancy I see the two old men walking arm in arm along the path between +those banks of beautiful roses—— + +BEATRICE—[_Edging her chair nearer ALBERT._] They are Alexandra’s roses. +[_A pause._] + +ALBERT—How? _Your_ roses? + +ALEXANDRA—Mine, yes. + +ALBERT—Did you plant them? + +ALEXANDRA—Only some of them. But I tend them. [_A pause._] + +ALBERT—And ... does that amuse you? + +ALEXANDRA—Oh, yes. [_A pause._] + +ALBERT—And ... don’t you ever prick yourself? + +ALEXANDRA—Sometimes. [_A pause._] + +ALBERT—Why don’t you wear gloves? + +ALEXANDRA—I usually do. + +ALBERT—And ... yet you prick yourself? + +ALEXANDRA—Yes, through the gloves. [_A pause._] + +ALBERT—You ought to wear thicker gloves. + +ALEXANDRA—Yes, I must try thicker ones. + +ALBERT—C’est ça! That’s life. One must be on one’s guard. + +BEATRICE—That’s perfectly true! How good of you to be interested. Fancy! +Such practical advice too! + +ALBERT—[_Modestly._] Oh, not at all ... only ... you see ... one picks up +a bit of experience here and there ... what? [_A pause, and then he rises +suddenly. They all stand up too._] Well now, let’s have a look at the +boys. Is this your classroom? + +ARSEN—Yes. + +ALBERT—You are sixteen, aren’t you? + +ARSEN—Yes. + +ALBERT—And you are seventeen? + +GEORG—Yes. + +ALBERT—Time flies. They are popping up fast, what? + +BEATRICE—Indeed, yes, Albert. + +ALBERT—You doubtless suppose that I shall examine you, like a school +inspector. + +GEORG—No, we don’t. + +ALBERT—Have no fear.... I am a proper uncle. I shall only question your +excellent young teacher. + +BEATRICE—[_To SYMPHOROSA._] He is falling in love with him too. + +HYACINTH—I commend him warmly to your notice. He is a man of culture and +an athlete; an astronomer and a swordsman. + +ALBERT—[_Notices that they all are standing._] Why don’t you keep your +seats? [_HYACINTH, ALEXANDRA, BEATRICE and SYMPHOROSA sit; the others do +not_.] Good. I like that. It’s the modern spirit. What are you working on +now? + +AGI—History, your highness. + +ALBERT—Ah! That’s always interesting. What period? + +AGI—The beginning of the Nineteenth Century. + +ALBERT—Napoleon. + +AGI—Yes, your highness. [_Embarrassment._] + +ALBERT—You are interested in Pedagogy, aren’t you, Karl? + +HYACINTH—Yes. + +ALBERT—Did you know that Napoleon proposed to establish a school for +kings at Meudon? + +HYACINTH—A very practical idea. + +ALBERT—Yes, the pupils were to have been limited to boys in the line of +succession to a throne. The program of study was very interesting. No +details at all. General instruction along broad lines. No science, only +orientation; no theory, only practice. La Cases writes about it in his +memoirs. + +HYACINTH—He was the only one who could have made it practical. + +ALBERT—Yes, yes, he could have made many things practical. A capital +idea, too! A school from which you graduated with a monarch’s diploma in +hand. [_He laughs. The others respectfully echo his laugh. ALBERT looks +around him._] Well!... I’m glad to find you such fine healthy boys. Nice, +deep-set eyes this chap has, what? + +BEATRICE—[_Rises._] Exactly like Alexandra’s. It is marvellous how alike +their eyes are. He resembles her in many ways. + +ALBERT—[_Taking no notice of her remark._] You oughtn’t read too much, my +boy. That’s bad for the eyes. Sailors have the nicest eyes because they +are accustomed to look upon vast distances. At the sea and sky. + +HYACINTH—He’d like that. He wants to be a sailor. + +ALBERT—And you? + +ARSEN—I? An explorer. + +ALBERT—Where? + +ARSEN—The Pole. + +ALBERT—Which Pole, my son? + +ARSEN—The South Pole. + +ALBERT—You are mistaken if you suppose it’s any warmer there than at the +North Pole. [_He laughs._] And when do you start? + +BEATRICE—[_Puts her arms about ARSEN._] He starts this very moment with +Georg to put on his fencing things. Uncle Albert wants to see how well +you fence. + +ALBERT—Indeed, yes, I am very much interested. [_The boys bow._] See you +later. [_To AGI._] You too, what? + +AGI—Yes, your highness, in the gymnasium. + +ALBERT—Do you teach them fencing too? + +AGI—Yes, your highness. + +ALBERT—Splendid! You _are_ versatile, aren’t you? See you later. [_AGI +and the boys exit._] + +ALBERT—[_Sits._] He has a very tactful and sympathetic manner, this +tutor. I am charmed with him. + +HYACINTH—I liked him the moment I laid eyes on him. + +ALBERT—And such a handsome young fellow. + +BEATRICE—[_To SYMPHOROSA._] I told you he’d fall in love with him. + +SYMPHOROSA—Don’t be upset about it, I beg of you. + +ALBERT—Hah! [_Rises suddenly._] And while we are waiting for the great +fencing competition.... + +BEATRICE—We can show you a number of things worth seeing. Now if you +are interested in beautiful roses, there is Alexandra’s own little +rose-garden—— [_ALEXANDRA rises._] + +ALBERT—Oh, yes. + +BEATRICE—[_Sweetly._] The roses are her pride and joy ... and there are +some rare specimens among them. + +ALBERT—[_Without enthusiasm._] Splendid! [_His eyes seek out WUNDERLICH._] + +WUNDERLICH—[_Comes forward._] Your highness may be interested in ... the +new dairy I saw here yesterday. An absolutely modern innovation. They +milk the cows by vacuum. + +ALBERT—By vacuum? + +WUNDERLICH—Yes, your highness. + +ALBERT—Like sucking up dust from a carpet? + +WUNDERLICH—Exactly. It is most interesting. + +ALBERT—But that sounds quite fantastic. One really must look at it. I +have never seen anything like that before. [_ALEXANDRA sits down._] And +did you have it installed yourself, Aunt Beatrice? + +BEATRICE—I installed it as an experiment. + +ALBERT—You are really a remarkable woman. + +BEATRICE—If I may say so, Albert, the dairy is quite far from here. + +ALBERT—All the better. We need a little exercise. + +BEATRICE—As you please. We’ll go to the dairy then. + +ALBERT—Oh, no.... I shouldn’t think of troubling _you_ to come with me. +I’ll go with Luetzen and the Colonel. We’ll make it a brisk walk. + +HYACINTH—If you permit, I’ll join you. + +ALBERT—No, I can’t have that. My sightseeing needn’t inconvenience any of +you. + +HYACINTH—But—— + +ALBERT—No, no—— [_Starts to go._] You mustn’t feel obliged to run about +with me as though I were a stranger. Forward, march, Luetzen. Coming, +Colonel. When they are ready at the gymnasium send someone after us. [_He +is in the doorway at left._] + +BEATRICE—I’ll telephone. + +ALBERT—But we shall probably be among the cows. + +BEATRICE—Yes, I know. + +ALBERT—Is there a telephone there? + +BEATRICE—In every stall. + +ALBERT—You really are a wonderful woman. Incredible! [_There is a pause; +then he says suddenly_] Adieu! [_Exits quickly into the garden with +LUETZEN and WUNDERLICH. There it another painful and dejected silence. +BEATRICE sits down, despairingly. ALEXANDRA, greatly offended, exits at +right._] + +HYACINTH—Well, he disposed of the rose-garden very neatly. + +BEATRICE—[_Rises._] What did I tell you? Could anything have been more +pointed? You heard that Colonel. I scarcely got the rose-garden out of my +mouth when he came forward with the cows. + +HYACINTH—A coincidence. + +BEATRICE—[_Heatedly._] Was it? Well, I shan’t be beaten by such a +coincidence. + +HYACINTH—I observed that your first attempts in that direction were +without conspicuous success. + +BEATRICE—I shan’t give up as long as there is a ray of hope, an hour of +time left. + +SYMPHOROSA—What are you going to do now? + +BEATRICE—There is only one way left. + +SYMPHOROSA—What way? + +BEATRICE—Only one. A terrible way. + +SYMPHOROSA—You alarm me, Beatrice. + +BEATRICE—Yes, you may well be alarmed. For what I propose to do is so +reprehensible that, if anyone else did it, I’d despise her all my life. + +HYACINTH—What in Heaven’s name are you thinking of? + +BEATRICE—God will forgive a mother anything she does for her child. And a +widow what she does for the welfare of her family. [_She faces HYACINTH +with tears in her eyes._] You will forgive me. + +HYACINTH—I have forgiven you already, but tell me what you mean to do. + +SYMPHOROSA—I know you, Beatrice. When you start talking in that strain +there is only one bit of advice I can give you. Don’t do it. + +BEATRICE—You will be good enough to hold your tongue. The whole +difficulty lies in the fact that Albert’s interest in the girl had not +been aroused. His interest—as a man. + +SYMPHOROSA—Merciful heaven! + +BEATRICE—Why? Does it begin so shockingly? + +HYACINTH—Rather disquietingly. + +BEATRICE—Well, be prepared for worse. There are certain grounds beyond +which Alexandra may not go. Alexandra can’t flirt with him, for instance. + +SYMPHOROSA—I am beginning to be reassured. + +BEATRICE—Alexandra can’t ... throw herself at him. + +SYMPHOROSA—Thank God for that. + +BEATRICE—She wouldn’t be capable of such a thing, and if she were, my +pride wouldn’t permit it. + +HYACINTH—Well, then? + +BEATRICE—A man’s interest in a woman ... can best be aroused ... through +the attentions of another man. + +SYMPHOROSA—How shocking! + +HYACINTH—Not yet. But it begins most curiously. Go on. + +BEATRICE—Once Albert is made to see the woman in Alexandra, the rest will +be easy for us. We have no time to lose. He goes to-morrow.... And he +seems to have taken a fancy to the tutor. + +HYACINTH—Ah! + +SYMPHOROSA—Beatrice! + +BEATRICE—[_Greatly excited._] Be still! Do you think I am in the mood to +consider your petty prejudices now? + +HYACINTH—And what is it you propose to do with the professor? + +BEATRICE—Invite him to the ball to-night. + +SYMPHOROSA—The world will come to an end. + +BEATRICE—And Alexandra will show him marked attention. + +SYMPHOROSA—That ... that ... is worthy of Machiavelli’s brain. + +BEATRICE—It would never have occurred to me if Albert hadn’t praised the +professor. It was he who put the plan in my head. And it can’t fail. A +rival of his own rank might leave him quite indifferent ... but a mere +tutor ... that is irresistible. + +SYMPHOROSA—I shan’t live through it. + +BEATRICE—I command you to live through it. Alexandra will be attentive +to the tutor ... and ... and Alexandra will dance a quadrille with the +tutor. And God will forgive me, and God will forgive Alexandra. And I +shall never forgive the tutor. + +HYACINTH—For what? + +BEATRICE—For putting me under obligation to him. + +SYMPHOROSA—[_Indignantly._] Alexandra mayn’t flirt with the Crown Prince, +but she may flirt with a tutor. + +BEATRICE—[_Dryly._] That is quite different. It’s like flirting with your +horse. + +SYMPHOROSA—Karl, how can you listen to such dreadful proposals and be +silent? + +HYACINTH—They are not dreadful proposals. They are mere feminine +maneuvers which are not as considerable as you suppose. There is +something else I am considering. + +BEATRICE—What? + +HYACINTH—The poor tutor. + +BEATRICE—What has the tutor got to do with it? No one’s harming him. + +HYACINTH—Tell me, my dear, has Alexandra ever taken particular notice of +the tutor before? + +BEATRICE—How can you ask such a thing? + +HYACINTH—That means she hasn’t. And what do you suppose will happen, my +dear, if she suddenly takes notice of him now—— + +BEATRICE—Oh, you needn’t be afraid it will inspire the fellow with any +false hopes. I’ll see to that. + +HYACINTH—I’m not so sure. The tutor is young and temperamental. I +admit I have no eye for such things any more, but just now, when I saw +them together, it seemed to me that the young man looked at Alexandra +respectfully, yet adoringly. As a cat might look at a canary in its cage, +respecting it, yet ... longing to devour it. + +BEATRICE—You are not trying to suggest that he is in love with her? + +HYACINTH—No. But certainly his interest is aroused. + +BEATRICE—What of it? + +HYACINTH—Only that it seems unjust to play with the young fellow in that +fashion, and then cast him aside. + +BEATRICE—Am I to understand that your sympathies are on the side of the +tutor? + +HYACINTH—My sympathies are on the side of the humanities. + +BEATRICE—The possible disappointment of a mere tutor concerns you more +than the happiness of your sister and your niece, and the historical +destiny of your family. + +HYACINTH—My dear sister, you have looked upon this robe of mine so often +that you have ceased to notice it. It is true, I am more concerned with +rectitude and fair dealing than with all your schemes about Albert’s +throne and Alexandra’s crown.... I regard my fellow man not as a tool, +but as a creature of God. In my younger days, when I maintained a racing +stable, I sometimes found it necessary to enter one horse merely to lead +and set the pace for another horse, and at the finish to lag behind and +let him win the race. But that was a horse, my dear sister. And whoever +seeks to use a man in that fashion; whoever holds the tranquillity of +a human soul so cheaply—she, my dear sister, she has great need of the +excuse that maternal love impels her. That is my opinion, dear; and now +I, too, am going to look at that vacuum. [_He exits quickly into the +garden._] + +BEATRICE—[_With determination._] Nothing shall hinder me! Stop crying! +I command you to put that handkerchief away. I am desperate now. You +needn’t pay any attention to him. He always had opinions, but never +manners. If it had been left to the men of our family we’d have been +dethroned as early as the eighteenth century. Go, and send Alexandra +in to me. [_SYMPHOROSA exits at right. There is a brief pause before +ALEXANDRA enters._] + +ALEXANDRA—You sent for me, mother? + +BEATRICE—Yes, my child. You are dearest to me in all the world. My blood +flows in your veins. You will understand me. + +ALEXANDRA—Yes, mother. + +BEATRICE—Your will is as strong as my own. + +ALEXANDRA—Oh, yes, mother. + +BEATRICE—And if it falters you must lean on my will for support, and make +yourself as steadfast and determined as I am. + +ALEXANDRA—Yes, mother. + +BEATRICE—You know what I am referring to, and what it is I want. Do you +want it as much as I do? + +ALEXANDRA—[_Calmly, earnestly._] Yes, mother. + +BEATRICE—Wounded vanity heals quickly. After all, roses _are_ more +beautiful than cows. + +ALEXANDRA—Oh, mother—— + +BEATRICE—And there is no weapon more powerful than will. You understand +me, my child? + +ALEXANDRA—I understand, but I don’t know what you want me to do. + +BEATRICE—We mean to ask the professor to the ball to-night. You will +invite him. + +ALEXANDRA—[_Astonished._] I, mother? + +BEATRICE—Yes, you. + +ALEXANDRA—The professor? + +BEATRICE—Yes. [_There are tears in her eyes._] I know it is a dreadful +thing to ask of you, my child ... but desperate necessity compels me to. +Don’t hate your mother for it, my poor, dear child ... love me, for I +love you so.... + +ALEXANDRA—[_Calm and self-contained._] Mother! + +BEATRICE—[_Dries her eyes._] Must I explain any further? You understand, +don’t you? + +ALEXANDRA—I understand you, mother. + +BEATRICE—I wanted to send to Vienna for a Duke, but there wasn’t time. +And that wouldn’t have served as well, anyway—— + +ALEXANDRA—[_Coolly._] As you wish. I shall invite the professor to the +ball to-night. + +BEATRICE—But not with that expression. + +ALEXANDRA—I know, mother. With another expression. + +BEATRICE—And you will promise him that [_bursts into tears_]—that he may +dance a quadrille with you. [_ALEXANDRA is silent._] Well? Why don’t you +speak? + +ALEXANDRA—This comes very suddenly, mother. + +BEATRICE—But our time is so short! Oh, if we only had more time! Well! +Speak! + +ALEXANDRA—Don’t misunderstand me, mother. I only want a moment to get +used to the thought. The professor is a plain farmer’s son. + +BEATRICE—Alas! + +ALEXANDRA—And when I think that my arm will rest in his. + +BEATRICE—You will wear long gloves, my child. + +ALEXANDRA—It isn’t touching him that matters, mother ... but the thought +of it. + +BEATRICE—He is one of God’s creatures, just as we are. + +ALEXANDRA—I’ll try to remember that, mother. + +BEATRICE—Do you ask the flowers and the beasts of the field who their +ancestors were? + +ALEXANDRA—No, mother. + +BEATRICE—[_Reassuringly._] Of course not! You are friendly with horses +and squirrels and all sorts of common animals, aren’t you? + +ALEXANDRA—Yes, mother, from that point of view it is a bit easier. + +BEATRICE—There, you see, my dear. + +ALEXANDRA—But ... there is something else to consider. + +BEATRICE—Speak freely. I will guide you. + +ALEXANDRA—He is a human being, isn’t he? + +BEATRICE—[_Without conviction._] Oh, certainly, certainly. + +ALEXANDRA—He is likely to _think_ about it. And that is the great +difference between him and a squirrel. + +BEATRICE—That is his affair. + +ALEXANDRA—But it is possible that he may misunderstand me. + +BEATRICE—You will do nothing that he can possibly misunderstand. My mind +is easy on that score. + +ALEXANDRA—Of course not, mother. And yet he can’t help but notice my +sudden change of manner toward him. + +BEATRICE—That need give us no concern. + +ALEXANDRA—But I must know what I am to do if ... of course ... I only +mentioned it because one ought to think of everything ... if he should +feel attracted to me. + +BEATRICE—[_In alarm._] You haven’t noticed anything of the kind? + +ALEXANDRA—That must be thought of too. + +BEATRICE—Have you ever noticed anything of the kind in him? + +ALEXANDRA—[_Coldly._] I never notice what I don’t want to notice. + +BEATRICE—That means you have? + +ALEXANDRA—I can’t say that, but ... he is not at ease when he speaks to +me. He is not at ease. + +BEATRICE—That signifies nothing, my child. Don’t let it concern you. It’s +nothing to be ashamed of. It happens so often. Underlings of all sorts +may be infatuated with a lady of high rank ... officers, even physicians—— + +ALEXANDRA—But one mustn’t—notice such things. + +BEATRICE—Heaven forbid! But then the underling never dares to speak of +his infatuation. Generally he works out his own salvation. Often in a +most noble manner. + +ALEXANDRA—But then—— + +BEATRICE—Don’t trouble yourself about anyone else. Leave that to us. You +need only keep your eyes on the future, looking neither to the left nor +to the right, but always ahead of you. + +ALEXANDRA—Yes, mother. [_ALFRED enters at right._] + +ALFRED—The professor reports to your highness that their young highnesses +have put on their fencing costumes and are awaiting your highness’ orders. + +BEATRICE—The boys are to go to the gymnasium and wait there. The +professor is to come in here. [_ALFRED exits at right. With tears in her +eyes, BEATRICE turns to ALEXANDRA._] Be strong, my poor, dear child. +[_Kisses her, presses her hands warmly._] Be strong—— [_She exits quickly +into the garden. For a moment ALEXANDRA is alone, then AGI enters, in +fencing costume. In his left hand he holds a fencing mask, in his right a +sword. He stands stiff and formal at the door, awaiting orders. There is +a pause._] + +ALEXANDRA—[_Stands down left; speaks without looking at him._] To-night, +... I understand there will be a rare astronomical spectacle. + +AGI—Yes, your highness. + +ALEXANDRA—What sort? + +AGI—Vega and Capella may be seen to best advantage to-night. + +ALEXANDRA—What is ... Vega? + +AGI—The chief star of Lyra. A green star which is a thousand times +brighter than the sun. + +ALEXANDRA—And the other? + +AGI—Capella. A golden star, very beautiful. + +ALEXANDRA—You intended to show them to the boys to-night. + +AGI—Yes, your highness, in the tower. + +ALEXANDRA—You love the stars. + +AGI—Very much, your highness. + +ALEXANDRA—And you know all about them? + +AGI—I know very little about them, your highness. But even that little is +marvellously beautiful. + +ALEXANDRA—There will be no star-gazing to-night. + +AGI—As your highness commands. + +ALEXANDRA—We are having a farewell reception to-night in honor of the +Crown Prince. He goes away to-morrow. + +AGI—Too bad. + +ALEXANDRA—The official personages of the neighborhood have been asked +to come. There won’t be many. I have expressed the desire that ... you +be invited too. [_AGI, wide-eyed with astonishment, comes a pace or two +nearer._] That is why I said you couldn’t look at the stars to-night. + +AGI—[_Modestly._] I am very happy, your highness; and if anything could +make me happier, it is the privilege of receiving the invitation from +your highness’ own lips. + +ALEXANDRA—The reception is likely to be stiff and formal. I hope you +won’t be bored. + +AGI—I couldn’t be bored where your highness was. + +ALEXANDRA—In case you do find the society of officials and councillors +tiresome, you may come to me. + +AGI—[_Astonished._] If your highness will allow me—— + +ALEXANDRA—Then, for once, perhaps you may speak to me about something +else than fencing tricks. That’s all you have ever spoken to me about. + +AGI—It wasn’t for me to choose, your highness. + +ALEXANDRA—You will talk to me about the stars ... about the green star +and the golden star. + +AGI—I shall esteem it a privilege, your highness. [_There is a pause._] + +ALEXANDRA—Curious. I am a bit afraid of you now. + +AGI—Why, your highness? + +ALEXANDRA—You look so martial in that costume and with that sword in your +hand. + +AGI—Your highness has often seen me like this ... in the gymnasium. + +ALEXANDRA—That was different. There I had a sword in my hand too. But +here I feel so defenseless. + +AGI—Do I look so terrifying? + +ALEXANDRA—I shouldn’t say—terrifying. + +AGI—What then? + +ALEXANDRA—Rather aggressive. + +AGI—[_Astonished._] It is curious, your highness ... but I have the +unaccountable feeling that I am wholly on the defensive ... now.... + +ALEXANDRA—Well, then, you’ll come, won’t you. + +AGI—Yes, your highness. + +ALEXANDRA—And won’t you regret the green star? + +AGI—No, your highness. + +ALEXANDRA—At nine, then. + +AGI—Thank you ... your highness. + +ALEXANDRA—Not at all ... Professor. [_She nods curtly and exits at left +into the garden. AGI’S puzzled, thoughtful glance follows her until she +has vanished. Then he stands a moment, head high, eyes blazing, before_ + +THE CURTAIN FALLS + + + + +ACT TWO + + + + +ACT TWO + + + THE BALL.—_A magnificent, brilliantly illuminated room. Big + double doors at left and right. High arches in the back wall + give out into a corridor, and beyond each arch is a tall glass + door, curtained with some transparent material._ + + _Down right a table is laid for seven. Two tabourettes stand + between the table and the audience. Soft music can be heard off + stage. It is midnight._ + + _When the curtain rises CÆSAR is pouring wine into the glasses + and putting the finishing touches to the table arrangements. + Finished, he goes to the door at right and stands, immobile as + a statue._ + + _The glass door back left opens; SYMPHOROSA enters. For a + moment the music sounds louder, a glimpse of people dancing can + be seen; then the door is closed._ + + _SYMPHOROSA stops, looks back as if she is expecting someone to + follow her. After a brief pause the door is opened again and + BEATRICE enters._ + +BEATRICE—Did you beckon me to come out? + +SYMPHOROSA—Yes. + +BEATRICE—What do you want? Why do you act so mysteriously? + +SYMPHOROSA—I didn’t want to whisper to you in there. + +BEATRICE—Don’t be excited! What’s the matter? Tell me calmly. + +SYMPHOROSA—Beatrice, I think that Alexandra has been sitting in that +corner with the professor altogether too long. + +BEATRICE—For the first time in my life, Symphorosa, I think you are right. + +SYMPHOROSA—It seems to me she is going just a bit further than is +strictly necessary. + +BEATRICE—Apparently I have made a mistake in the size of the dose. But +don’t worry, my dear. + +SYMPHOROSA—She should be told that she has done enough for the present. +Let her keep away from the professor a while. + +BEATRICE—Very well, Symphorosa, go and tell her to keep away from the +professor. Only how will you tell her? + +SYMPHOROSA—I’ll signal to her. Like this. [_She indicates how._] + +BEATRICE—That’s right, my dear. [_Embraces her affectionately._] You are +a darling! + +SYMPHOROSA—And you are the cleverest woman in the world. + +BEATRICE—Only the cleverest in this room. [_SYMPHOROSA makes a gesture of +protest._] For in the next room is a cleverer woman than I: my daughter. +[_SYMPHOROSA sighs._] Don’t sigh. You’d do better to admire her poise +and tact. And the effect it has had. Albert remarked to me twice that +to-night for the first time he has begun to notice how beautiful she is. +He won’t go away to-morrow. Wait and see. And the day after to-morrow +his mother, Maria Dominica, will be here. [_Noticing SYMPHOROSA’S +impatience._] You are impatient, my dear. Well, go and signal to her. +[_SYMPHOROSA hurries off into the ballroom. BEATRICE watches her exit +with a contented smile, then looks around the room, sees CÆSAR._] Cæsar! + +CÆSAR—Your highness. + +BEATRICE—Is everything ready? + +CÆSAR—Yes, your highness. + +BEATRICE—The table? + +CÆSAR—Seven covers. For his royal highness, the family, the adjutant and +the professor. + +BEATRICE—You will be sure that the service is flawless. + +CÆSAR—Your highness! + +BEATRICE—What is the menu? + +CÆSAR—Everything his royal highness likes. His excellency, Count +Luetzen, was good enough to indicate to me the dishes his royal highness +prefers for supper. + +BEATRICE—What are they? + +CÆSAR—Cold bouillon. + +BEATRICE—Yes. + +CÆSAR—Cold salmon. + +BEATRICE—Yes. + +CÆSAR—Cold beef. + +BEATRICE—Yes. + +CÆSAR—With his own mustard. + +BEATRICE—His own mustard? + +CÆSAR—With his royal highness’ own mustard. + +BEATRICE—And what may that be? + +CÆSAR—His royal highness carries his own mustard wherever he goes. + +BEATRICE—That is a new custom! + +CÆSAR—The chef says it is a very ancient custom. Eminent Greeks of olden +times always brought their own spices to the table of their host. + +BEATRICE—Is the chef such a learned man? + +CÆSAR—Yes, your highness. He also told me that the Greek gourmands used +to wear a protective shell over their tongues, which they only removed at +meal-times. + +BEATRICE—[_Gives him a look of stern reproof._] I didn’t ask you that. + +CÆSAR—No, your highness. I took the liberty of mentioning it as a +curiosity.... + +BEATRICE—You will only answer my questions. + +CÆSAR—Yes, your highness. And cold chicken. + +BEATRICE—What’s that? + +CÆSAR—Cold chicken—after the beef. + +BEATRICE—What time will supper be served? + +CÆSAR—In twenty-four minutes, your highness. And an ice. + +BEATRICE—The menu is too cold for me. In my cup you will serve hot tea, +without sugar. + +CÆSAR—I am afraid, your highness, that hot tea may be distinguishable +from the cold bouillon ... by the vapor. + +BEATRICE—You will see to it that the hot tea has no vapor. + +CÆSAR—I don’t know just how that can be done, your highness, but it will +be. + +BEATRICE—I shall expect it to be. [_CÆSAR steps back as SYMPHOROSA +re-enters._] Well? + +SYMPHOROSA—I signaled to her. + +BEATRICE—Yes. + +SYMPHOROSA—And she stood up immediately. + +BEATRICE—Good. Now go and see that Arsen puts those cold towels around +his neck. + +SYMPHOROSA—What a perfect mother you are! + +BEATRICE—There is no other joy on earth. [_SYMPHOROSA exits at left. She +addresses CÆSAR._] Where is supper to be served from? + +CÆSAR—From here, your highness. [_He claps his hands twice. A procession +of servants enters, slowly, single-file. ALFRED, platter in hand, comes +first. After him come two lackeys, each carrying a platter, borne +ceremonially aloft. In the rear are two Hussars with champagne buckets. +ALFRED and the two lackeys go to the table and, their backs to the +audience, lay the three platters on the table. Simultaneously the two +Hussars deposit their buckets on the floor near the wall at right. Then +the Hussars take their station to the left of the right hand arch while +the two lackeys stand in profile between the arch and the doorway at +right. ALFRED stands between them, bowing._] + +CÆSAR—Voilà! + +BEATRICE—Bravo, Cæsar! [_She hurries off into the ballroom. CÆSAR bows +profoundly._] + +CÆSAR—[_When the door has closed behind BEATRICE._] Hussars! [_The +Hussars come forward. He inspects them from head to foot._] Right about, +face! [_They obey the order. He adjusts their tunics._] Left face! [_They +obey._] Very good. [_The Hussars step back._] Alfred! [_ALFRED comes +forward slowly, and with dignity._] Son Altesse Royale Madame la Duchesse +prendra au lieu du consommé froid du thé chaud. Mais du thé chaud _non +fumant_. Le thé doit faire comme couleur absolument l’impression d’un +consommé froid. + +ALFRED—Javoll! Sie können sich bestimmt auf mich verlassen. Alles wird in +Ordnung sein. + +CÆSAR—Vabene mio caro, vabene, vabene, grazia, grazia. [_ALFRED exits, +followed by the two lackeys. The Hussars occupy themselves with the +wine buckets and bottles. CÆSAR supervises their activities and gives +them whispered orders. Meantime ALEXANDRA has entered back left. Behind +her, almost beside her, comes AGI. His demeanor is a curious mixture of +deferential formality and blissful intimacy._] + +ALEXANDRA—Cæsar! + +CÆSAR—Your highness. + +ALEXANDRA—Is supper to be served in here? + +CÆSAR—Yes, your highness. The guests will be served at small tables +in the yellow salon. His royal highness and the family in here. Her +highness, your mother, was here just a moment ago. + +ALEXANDRA—Oh, then everything has been looked after. How soon will supper +be served? + +CÆSAR—In seventeen minutes. Has your highness any orders? + +ALEXANDRA—Nothing, thank you. [_CÆSAR returns to the wine buckets. At his +signal the Hussars exit. During the following scene CÆSAR is very busy +between the serving table and the supper table. But he is listening._] + +AGI—May I escort you back to the ballroom? + +ALEXANDRA—Please don’t.... I am afraid you misunderstood me. When I said +I was going in to look at the table ... I ... I didn’t mean for you to +come with me. + +AGI—Your highness, I beg your pardon. [_Is about to withdraw._] + +ALEXANDRA—Wait ... don’t go. [_Embarrassed._] Perhaps I put it a bit too +strongly. I didn’t mean it that way. + +AGI—Please, your highness. [_CÆSAR discreetly exits back right._] + +ALEXANDRA—Forgive me. I am unpracticed in such things. I didn’t mean to +be rude. + +AGI—I know, your highness. The reason I misunderstood was because while +I was in the midst of my description of the constellation of the Eagle, +your highness suddenly stood up ... and so I thought I ought to stand up +too, and finish the sentence on the way. I was saying that these seven +stars represent a flying eagle and that the eagle’s head—— + +ALEXANDRA—That’s where I stood up. + +AGI—Yes. And it never occurred to me that you were making your escape. + +ALEXANDRA—Your stars _were_ beginning to get tiresome. + +AGI—I am sorry, your highness. + +ALEXANDRA—I had expected to hear about the mysteries and the miracles +of the sky, and you spoke only of names and numbers. I never knew the +subject was so tedious. + +AGI—The stars have their emotional side, too. But I didn’t dare to speak +of it. + +ALEXANDRA—Perhaps ... that might have been more exciting. + +AGI—I could have told you how across those vast distances and beyond the +millions of stars one’s thoughts go on to God and His eternity ... to +life and death ... to life—[_softly_] and love. + +ALEXANDRA—[_Coldly._] Can your imagination bridge such vast distances as +that? + +AGI—When I look up to you, your highness,—yes. [_There is a pause._] + +ALEXANDRA—[_More coldly._] And eternity, too? + +AGI—When I look down upon myself, your highness. [_Another pause._] + +ALEXANDRA—And you believe in such miracles? + +AGI—If I didn’t believe in miracles, your highness, how could I endure my +life? + +ALEXANDRA—Is it so unendurable? + +AGI—It would be, if—— + +ALEXANDRA—If? + +AGI—If I hadn’t two—an outer and an inner life. + +ALEXANDRA—Have you? I never noticed. + +AGI—Because your highness believes in miracles, too.... You believe +my cold and impassive face ... cold and impassive ... even when it is +slapped. + +ALEXANDRA—[_In surprise._] Is your face slapped? + +AGI—Every day. + +ALEXANDRA—Who slaps your face? [_He does not answer._] Who? Do we? Do I? +[_He nods his head._] Without knowing it? + +AGI—They are the worst slaps of all. + +ALEXANDRA—I must say ... this is more mysterious than the stars. Do I +hurt you? + +AGI—Every day your highness looks upon a miracle. A man’s face, his +voice, all his outward appearance remain calm and unruffled ... while +inwardly he burns. And you never ask for the explanation of the miracle. + +ALEXANDRA—The explanation? + +AGI—[_With rising passion._] Why does your highness suppose I endure it +all? Why do I go on teaching, humbly, silently and submissively? Why do +I stifle my individuality? Why am I here at all? [_ALBERT enters at left +with two ladies._] + +ALEXANDRA—I never thought—— + +ALBERT—[_Good-humoredly interrupts._] An ideal daughter of the house! +Before the concert she looks after the musicians, and before supper she +looks after the table. Her watchful eye is everywhere. + +FIRST LADY—Your highness ought to see her at the hospital among the poor +sick people. + +ALEXANDRA—You mustn’t flatter me, Countess. The praise is due to you and +the other ladies. I am there because it is my duty to be. + +SECOND LADY—Oh, your highness! + +ALBERT—Delightfully modest, isn’t she? I know. You have the same noble +character as your dear mother. Good evening, Professor. [_AGI bows +profoundly. ALBERT addresses the two ladies._] A brilliant fellow, this +young man. [_Starts up right with the two ladies._] He is not only a +scientifically trained astronomer and teacher but also a swordsman of the +first rank. I saw him fencing with the boys this afternoon; and I must +say: C’était parfait, absolutement parfait! [_Exits with the ladies as he +speaks._] + +ALEXANDRA—Now you are more melancholy than ever.... Why? + +AGI—Shall I say it, your highness? + +ALEXANDRA—Is it anything I shouldn’t hear? + +AGI—[_Looking toward the door through which ALBERT has vanished._] I am +jealous, your highness. [_There is a pause._] + +ALEXANDRA—I am grieved, Professor. Suddenly you have made me remember ... +those vast distances you spoke of before. + +AGI—To-night ... to-night they hadn’t seemed so vast. + +ALEXANDRA—Yes ... to-night.... + +AGI—To-night, for the first time, you looked at me as if I were a human +being ... a man.... Looked at me ... and said friendly ... intimate +things to me—— + +ALEXANDRA—I said nothing that—— + +AGI—[_With growing boldness._] What you said ... and did ... and looked +... bewildered me, upset my balance, broke down my self-control ... else +I should never have spoken. There is a sort of poetry in hopelessness. +Until to-night, at least I had that. It was beautiful in its way. But now +it’s gone, too. A pity! + +ALEXANDRA—I don’t know what to say.... I wish I could give it back to you. + +AGI—That’s beyond your power, little princess. + +ALEXANDRA—Don’t call me that, if you please. + +AGI—You see, I can’t speak to you the way I used to. I am confused, your +highness. But to-morrow ... to-morrow.... + +ALEXANDRA—No, no, ... it must be settled now. I don’t want any more +misunderstanding. I had better tell you ... everything ... though I’m +terribly ashamed.... + +AGI—Your highness? + +ALEXANDRA—No, no, I can’t tell you.... + +AGI—I implore you, tell me. I—— [_Hopefully._] Tell me. Obey your heart. +Take courage, and tell me what above all things in the world I want to +hear.... + +ALEXANDRA—No, no; you are misunderstanding me again. But it’s my fault. +What I have to tell you is quite painful. + +AGI—What is it, your highness? + +ALEXANDRA—It’s about a deception that has been practiced on you. + +AGI—A deception? [_There is a pause._] + +ALEXANDRA—You are a gentleman, and you respect me. + +AGI—Your highness.... + +ALEXANDRA—And I can rely on your discretion. + +AGI—Yes. + +ALEXANDRA—Absolutely? + +AGI—Absolutely. + +ALEXANDRA—Yes ... I know you to be a man of honor and a friend of the +family ... and I feel that I shall never have peace of mind again until +I tell you.... My family ... my mother has but one ambition in life,—to +restore our family to its throne. And to that end she wants me to marry +the Crown Prince.... You will understand ... it is not easy for me to +tell you this.... Every word I speak is like blood ... flowing from a +wound. ... Professor ... the Crown Prince showed no interest in me, +and my mother decided ... that if someone else were here ... some man +... to whom I could be attentive ... Albert’s interest in me ... might +be aroused.... I want you to believe, Professor, that I never meant to +hurt you ... and that I am sorry, if I have. Before to-night ... when I +was cold and formal with you ... it was because I knew that you were ... +not at ease ... in my presence. My mother asked me to invite you to the +ball to-night. I have never disobeyed her, but if I had known ... if I +could have foreseen ... that a man’s eyes would light up like that when +his heart was aflame ... that anyone would dare ... to look into my eyes +... as you have looked—— [_She pauses, walks slowly to the table, sits +down._] Now I have told you, Professor. Now you know how you have been +deceived. [_There is a pause._] Have you nothing to say? + +AGI—[_His head is bowed._] You only obeyed orders. + +ALEXANDRA—I don’t want to seem more blameless than I am. It is hateful +of me to put all the blame on mother. [_After a pause, she continues +earnestly, dreamily, almost sadly._] I want to be a queen. [_Lets her +head sink on her arm. There is a pause._] + +AGI—[_Softly._] That means ... I may go now. + +ALEXANDRA—Why do you say that? + +AGI—I have served my purpose. + +ALEXANDRA—[_Rises._] I am afraid I shouldn’t have told you. How strangely +you look at me! [_The music stops._] + +AGI—Something is broken in me.... Why did you tell me? + +ALEXANDRA—Shouldn’t I have told you? + +AGI—Why did you tell me? + +ALEXANDRA—Because I respect you. I want to be friends with you. + +AGI—Do you? How touching!... Like the good princess in the fairy tale. +But I am not a lad any more ... to believe in fairy tales. + +ALEXANDRA—Are you going to ... punish me? + +AGI—I adore you ... humbly and hopelessly again. [_Bitterly, earnestly, +mockingly._] You needn’t be afraid of me. I know my place. I am still an +obedient servant to your illustrious family. And what though I may be +wounded a bit and bleeding, I cannot but be honored by the exalted rôle +that has been entrusted to me. It is even beginning to amuse and interest +me. + +ALEXANDRA—You sound insincere. + +AGI—Perhaps only bitter. + +ALEXANDRA—[_Uneasily._] And I thought it was a kindness to tell you the +whole truth. + +AGI—You have no further need of me. The bridegroom has caught fire; the +teacher cam be extinguished. + +ALEXANDRA—I won’t have you think such things of me, or say such things to +me. + +AGI—Have no fear. I am silent and I serve. Don’t look at me so +distrustfully. Let us smile and act as if nothing has happened. [_ALBERT +appears at back._] Can’t you smile? See, I can. We were talking about +the eagle. [_Louder._] And the head of the eagle—— [_ALBERT enters with +BEATRICE and the two ladies._] + +ALBERT—Still here? + +ALEXANDRA—The professor has been telling me such interesting things. +There is an uncommon astronomical spectacle to-night. + +ALBERT—Where? + +AGI—[_Uneasily._] In the sky, your highness. + +ALBERT—I know that. But which stars? + +AGI—It is not really anything uncommon. Only that a few so-called summer +stars may be observed to particularly good advantage to-night. Capella, +Arcturus, Vega and the constellation of the Eagle [_with significance_], +which consists of seven stars, which seven stars form a flying eagle; and +the head of the eagle.... + +ALBERT—[_Significantly._] I had no idea this was such an interesting +night. + +ALEXANDRA—[_Nervously._] And the head of the eagle—— + +ALBERT—You are very much interested in the stars, aren’t you, Alexandra? + +ALEXANDRA—I never thought much about them until to-night. + +ALBERT—Thought more about roses—what? But to-night the sky is +illuminated—what? A beautiful summer night. [_Significantly._] The stars +shine like eyes. + +BEATRICE—If you are interested, we have a very good observatory in the +tower. + +ALBERT—Have you? I didn’t know. + +ALEXANDRA—Oh, only an amateur’s observatory. + +ALBERT—Doubtless the brilliant professor fitted it up. The young man of a +thousand talents ... what? + +AGI—No, your highness, it was here when I came. + +ALBERT—I wonder you didn’t mention it before. + +ALEXANDRA—You go to bed so early. And the stars have no regard for +etiquette. + +ALBERT—Bravo! That retort was so clever the Professor himself might have +thought of it. What? + +ALEXANDRA—No, Albert. I thought of it myself. + +ALBERT—[_To HYACINTH, who has just entered with SYMPHOROSA._] Did you +hear what she said? + +HYACINTH—Who? + +ALBERT—Xara. She said the stars have no regard for etiquette. [_A gong +sounds. CÆSAR, the two HUSSARS and ALFRED enter. The COLONEL enters back +left._] + +BEATRICE—We dragged the doctor away from his beloved stars to-night. + +HYACINTH—And also the poor boys. + +SYMPHOROSA—Yes, the poor boys looked forward to it all day. They are +delighted with any excuse for not going to bed early. + +HYACINTH—Well, they can see them to-morrow. Fortunately the stars are +eternal, eh? One can always put them off until to-morrow. [_The two +ladies exit back left._] + +ALBERT—I didn’t know you had an observatory. + +HYACINTH—Oh, yes. Ever since my late brother-in-law, Henry, bought a big +telescope. You have seen it often, colonel. + +WUNDERLICH—Oh, yes. Once I burned my tongue up there. + +ALBERT—With the telescope? + +WUNDERLICH—No, your highness. There was some acid in a cup up there, and +I tasted it. + +SYMPHOROSA—I can imagine what an impression it must have made on you. + +WUNDERLICH—I shall never forget it, your highness. + +BEATRICE—I think, Albert, it is time to eat something. + +ALBERT—I hope to eat a great deal. I always have a ravenous appetite at +night. Haven’t I, Wunderlich? + +WUNDERLICH—God be thanked, your highness. + +ALEXANDRA—[_To AGI, low._] I shouldn’t like them to read in your face +what we have been talking about. [_ALEXANDRA and AGI stand down stage +left; HYACINTH and ALBERT at center, a trifle back; BEATRICE and +SYMPHOROSA down right in front of the table._] + +ALBERT—Xara is absorbed in the science of the stars. + +AGI—[_To ALEXANDRA._] I’ll try, your highness, but I am afraid it’s too +late. + +BEATRICE—[_To ALBERT._] She takes a keen interest in the education of the +boys. She supervises their studies. + +ALEXANDRA—That sounds as if you are threatening me. + +ALBERT—Xara will be an astronomer yet. + +HYACINTH—Hardly a career to attract a woman. + +ALEXANDRA—I have offended you deeply. + +AGI—Yes, your highness. + +ALEXANDRA—Won’t you forgive me? + +AGI—No, your highness. [_ALBERT comes slowly toward ALEXANDRA._] + +SYMPHOROSA—[_To BEATRICE, in an agitated whisper._] Something has +happened between them. + +BEATRICE—Don’t say such things to frighten me, or I shall faint on the +spot. [_She moves toward AGI._] + +ALBERT—[_As he joins ALEXANDRA._] Xara, will you leave the starry +firmament, and come down to earth a while? May I offer my arm? + +ALEXANDRA—[_Takes his arm; nervously._] What an _unexpected_ honor, your +highness. + +SYMPHOROSA—[_To BEATRICE._] See how excited he is. His ears are red. +Better send him away at once. + +BEATRICE—Leave him to me. I’ll send him away. + +ALBERT—[_Escorting ALEXANDRA slowly to the table._] First you neglect me, +and now you make fun of me. + +ALEXANDRA—I neglect you? How can you say that? [_AGI has slowly followed +ALEXANDRA._] + +BEATRICE—[_Intercepting him at center._] You seem to be in bad humor, +Professor. + +AGI—No, your highness. If you will permit me to say so, this is the +happiest night of my life. + +BEATRICE—But you do seem nervous ... and agitated. + +AGI—It’s the unaccustomed surroundings, your highness. + +HYACINTH—[_At the table, to ALEXANDRA._] You seem agitated, my child. But +no matter, you are all the prettier when your cheeks are flushed. + +ALEXANDRA—[_At the table._] I always get flushed when I hear music. + +BEATRICE—If you are tired, we will excuse you. Don’t forget you must be +up early in the morning. + +AGI—I am not tired, your highness. On the contrary I am only beginning to +be awake. + +ALBERT—[_To ALEXANDRA._] Do you love music? + +BEATRICE—[_Calls to him._] She adores music. She sings, too! + +ALBERT—And you never sang for me! + +SYMPHOROSA—[_Who is standing with BEATRICE and AGI._] Don’t hesitate to +go, Professor, if you are sleepy. + +AGI—Sleepy, your highness? Why, I just woke up ... not five minutes ago. + +ALEXANDRA—[_To ALBERT._] I hesitate to sing for you. You know so much +about music. + +ALBERT—I? About music? That’s capital! Did you hear that, Wunderlich? + +WUNDERLICH—I heard, your highness. + +BEATRICE—[_To AGI, again obstructing his way._] You _are_ in a bad humor, +Professor. Suppose we send your supper up to your room. + +AGI—I’ll eat my supper here. [_BEATRICE is startled by his tone._] + +ALBERT—Well, Aunt Beatrice, are you studying astronomy, too? Do you want +to starve us to death? + +BEATRICE—[_Hurries to the table._] God forbid, dear Albert. + +SYMPHOROSA—[_As she, too, goes to the table._] We are lost! + +ALBERT—I have always observed that my appetite is keenest at night. + +HYACINTH—There you are like Louis XIV. + +BEATRICE—Shall we sit down? [_ALBERT and ALEXANDRA sit._] Sit here, +Professor. [_Indicates the place between SYMPHOROSA and her. But AGI sits +next to ALEXANDRA._] + +AGI—Thank you. + +BEATRICE—Not there, Professor ... here! + +AGI—[_Does not stir._] This will do very well, thank you. [_Painful +silence. Shaking his head, HYACINTH sits._] + +SYMPHOROSA—[_Whispers to BEATRICE._] We are lost! I know there’s going to +be a scandal. + +ALBERT—The Bourbons had healthy appetites by day as well. Louis XVIII. +once consumed fifteen lamb chops at a public dinner. Imagine how much he +must have eaten when no one was looking. That disgusts you, doesn’t it, +Beatrice? You are not listening. + +BEATRICE—[_Nervously._] Indeed I am. Louis XV. consumed eighteen lamb +chops. + +ALBERT—No, it was the eighteenth Louis and the fifteenth lamb chop. +[_The lackeys, at the serving table, are preparing to serve the soup._] + +BEATRICE—[_Sweetly._] I hope you like cold bouillon, Albert. + +ALBERT—My favorite summer beverage. + +BEATRICE—I am so glad. + +SYMPHOROSA—[_Sweetly._] What a fortunate coincidence! + +HYACINTH—How long they are taking to serve it. + +BEATRICE—Here it comes now, dear. [_CÆSAR, the two HUSSARS and ALFRED +serve the soup._] You can’t keep it on the table, for it gets warm. +[_Each is served, and tastes the soup. Ceremonial silence._] + +AGI—[_Unexpectedly, though not loudly, breaks the silence._] And the head +of the eagle—I really must finish that sentence—is a star called Altair +or Alpha Aquilæ, the star whose brilliant green radiance illuminates the +sky to-night. That is what I wanted to say. + +ALEXANDRA—You had quite a difficult time reaching the end of that +sentence. + +ALBERT—Doubtless the professor speaks so beautifully because Xara likes +to listen to him. + +BEATRICE—It was beautiful, but I didn’t understand a word of it. + +AGI—I don’t know how to speak beautifully. Her highness reproached me +with it just a while ago. + +ALBERT—[_To ALEXANDRA._] Did you? + +ALEXANDRA—Yes. + +BEATRICE—[_To change the subject._] Is the soup cold enough, Albert? +[_Music begins._] + +ALBERT—Just right. + +WUNDERLICH—His highness likes his soup at eight degrees Celsius. + +HYACINTH—Beautiful speech is not the most important thing. What counts is +the fact that he has studied a great deal, and knows a great deal. + +AGI—Perhaps the reason I can’t speak well is that I have never done +anything but study. + +HYACINTH—That never hurt you, my boy. + +ALBERT—How many hours a day did you study? + +AGI—Usually—ten.... And as many every night. + +ALBERT—Ten and ten are twenty. [_He rises._] + +BEATRICE—What are you looking for, my dear? + +ALBERT—The salt. + +WUNDERLICH—Here it is, your highness. + +ALBERT—Thanks. [_Resumes his seat; takes the salt._] That left you four +hours for sleep. + +AGI—Not that many—sometimes. + +ALBERT—That is very bad. I need fifteen hours’ sleep myself. [_A pause._] + +SYMPHOROSA—I need eight. [_A pause._] + +HYACINTH—I need six. [_A pause._] + +SYMPHOROSA—[_To WUNDERLICH._] And you? [_A long pause._] + +WUNDERLICH—Two. + +AGI—It is a matter of individual habit. For instance, Napoleon—— [_Stops +suddenly. A painful silence. Each sips his bouillon. The cups are put +down simultaneously._] + +BEATRICE—And so you can’t speak properly because you’ve studied too much? + +AGI—The many things one takes in from books must first dissolve +themselves in the blood, your highness. They must ferment like wine. Then +only will they release that beautiful bouquet, that fine fragrance called +poetry. There is a bit of poetry in every man, but many things must +happen before it becomes articulate. + +ALBERT—A pretty woman ... what? + +AGI—Perhaps.... + +BEATRICE—But ... Albert.... + +HYACINTH—It depends on the woman.... I have met women who stifled the +poetry in a man. + +BEATRICE—They are quite right. I don’t like poets. + +AGI—It depends on the man.... I have met men whom no woman can hurt. I +envy them. + +ALEXANDRA—Why? [_The bouillon cups are removed._] + +AGI—Because I am so easily hurt myself. + +ALBERT—By women? + +AGI—By any intense emotion. I am supersensitive, I suppose. What another +man would only laugh at—might do me irreparable injury. + +ALBERT—But that is really unnecessary. + +AGI—I know. + +BEATRICE—And not very probable. + +ALBERT—But I daresay you have had your experience with women. + +AGI—No, your highness. Only with books. [_ALFRED serves from a platter. +Only HYACINTH, ALBERT and WUNDERLICH help themselves._] + +ALBERT—Oh, come now! + +AGI—It is true, your highness. My first taste of the world was here. I +came here straight from my books. And it would be a pity ... if anything +happened ... to drive me back to them again. + +HYACINTH—It _would_ be a pity! + +AGI—Please, don’t misunderstand me. It is not myself I am thinking about +... but—I have a mother ... and you see ... I am the only son ... all she +has. And I have a sister, too.... She isn’t pretty, poor girl, but I have +educated her ... done all I could for her. I’d like to see her happily +married ... and then—— [_Looks about him._] I beg your pardon, I didn’t +realize I was the only one speaking. + +ALEXANDRA—Go on. Go on.... I am very much interested in what you are +saying. + +AGI—And there is also my old teacher, Dr. Waldbrott. + +HYACINTH—Of the University of Heidelberg? + +AGI—Yes, father, he lectures there. + +ALBERT—On what subject? + +AGI—Astral Chemistry. + +ALBERT—[_To HYACINTH._] Tell me what that is. + +HYACINTH—The chemistry of the heavenly bodies. + +ALBERT—Oh! + +HYACINTH—I know the old gentleman. An admirable man and an eminent +scholar. + +AGI—Yes, isn’t he? He ... honors me with his confidence. + +ALBERT—Chemistry of the heavenly bodies? + +AGI—Yes. + +ALBERT—Yes. [_There is a pause._] + +AGI—Dr. Waldbrott used to say to me that he would die happy if he could +be sure that I would continue his life’s work. He has entrusted his two +great theories ... to me. + +ALBERT—I beg your pardon, but how many great theories had he altogether? + +AGI—Two. + +ALBERT—And he entrusted them both to you? + +AGI—Yes. + +ALBERT—Good! + +AGI—It is a very important, a very serious trust, your highness. + +ALBERT—Certainly, certainly. + +AGI—It carries a grave responsibility.... My teacher, my mother and my +sister ... it is only on their account that I prize my insignificant life +... when it ... [_looks at ALEXANDRA_] when it’s in danger. [_Silence. +He raises his glass._] I drink to the welfare of the beautiful young +princess. [_Drains the glass in a single gulp. SYMPHOROSA nudges BEATRICE +repeatedly with her elbow._] + +ALBERT—Prosit! That was a mighty draught! [_Smiling, he nudges his +neighbors._] + +HYACINTH—That was the draught of a novice. One doesn’t drink heavy wine +like this so quickly. + +AGI—I didn’t know, father. I never had the pleasure of drinking it before. + +HYACINTH—Then let me introduce you with appropriate ceremony. This is +Tokay, my boy, and of the very oldest. + +BEATRICE—And it is drunk with dessert, and not with the soup. + +HYACINTH—A two-fold error: you drank too soon and you drank too much. + +AGI—I didn’t know, father. I must own it was the first glass of wine I +ever drank in my life. + +HYACINTH—Not really? + +AGI—Really, father.... There, you see, that, too, had to happen to-night. +[_ALEXANDRA empties her own glass._] + +BEATRICE—Alexandra! + +HYACINTH—[_Takes ALEXANDRA’S glass._] And I had just finished saying that +one doesn’t drink this wine so fast. + +ALBERT—It’s plain to see why Xara did it. + +HYACINTH—Why? + +ALBERT—To keep the professor in countenance. + +BEATRICE—It was quite unnecessary. You never take any wine. + +ALEXANDRA—I do to-night, mother. [_To ALBERT._] Albert ... see that this +old professor gets some appointment. Waldbrott—that was his name, wasn’t +it? + +HYACINTH—Waldbrott—yes. + +ALBERT—If you wish it—I can write to Berlin. Please, Wunderlich, make a +note of it. + +WUNDERLICH—[_Writes in his notebook._] I am making a note of it, your +highness. + +ALEXANDRA—What sort of appointment can one get for a man like that? + +AGI—That’s just it—none at all. + +ALBERT—Surely the Emperor can do something for him. + +AGI—Hardly, your highness. The man serves a greater lord. + +ALBERT—A greater lord than the Emperor? + +AGI—One much greater. [_Points upwards._] He is an astronomer. + +ALEXANDRA—I should like to meet your sister. + +AGI—She is in Dresden, your highness. + +ALEXANDRA—Do you love her very much? + +AGI—Very much, your highness. + +ALEXANDRA—A stupid question to ask, wasn’t it? + +BEATRICE—[_Uneasily._] Yes, my child, it was. + +AGI—No, your highness, it was a clever question because it is a pleasure +to answer it. I love my sister with all my heart. In my darkest hours I +think of her. For she has the indomitable faith that I cannot be crushed, +that I am a world unto myself. + +ALBERT—[_Somewhat ironically._] A whole world? + +AGI—Yes, your highness. + +ALEXANDRA—How beautiful. + +ALBERT—Isn’t that a great deal? + +AGI—[_Courageously._] No, your highness. As an astronomer one learns that +the tiniest speck is not to be despised. [_With significance._] Those +little specks in the sky ... every single one ... is a great world. + +ALBERT—Every one? + +AGI—[_More bravely._] Every one! + +ALBERT—[_A bit sharply._] Perhaps they only think so, these little specks. + +AGI—[_Still more bravely, though not loudly._] Oh, I know it is difficult +for the great lords to realize. They say: “Ten million inhabitants make +an army of two millions.” ... Yet it is true that, among all these +millions, each individual is a world in himself, a world which may not be +destroyed. + +BEATRICE—[_Uneasily._] But, Professor, who is trying to destroy any +worlds? + +AGI—Women, for example, do it with a smile. [_To ALEXANDRA._] Your +highness, why do you look at me so fixedly? + +ALEXANDRA—I like what you are saying. + +AGI—[_To BEATRICE._] And your highness looks at me so uneasily. Perhaps +you don’t like what I’m saying. + +BEATRICE—[_Coldly._] That is not the tone in which you are accustomed to +speak to me, Professor. + +AGI—[_Bitterly._] I am in very good humor to-night. + +BEATRICE—Better than we care for, Professor. + +ALEXANDRA—[_Soothingly._] Mother, we are at a ball and are drinking +champagne.... [_Raises her glass._] + +BEATRICE—I am astonished, Professor. + +SYMPHOROSA—[_In alarm, suddenly._] Albert, I commend the salmon to you. +It is the pride of our chef. + +ALBERT—I say, he does put it well. That’s why Xara is so interested. +What’s that about the salmon? [_To SYMPHOROSA._] Did you say something +about the salmon? + +SYMPHOROSA—It’s the pride of our chef. + +ALBERT—Oh, is it?... But what has that to do with it? + +SYMPHOROSA—Nothing. I just mentioned it. + +ALBERT—Oh! Yes! Well! Little specks in the sky. Astronomy. Romance. Empty +phrases. + +AGI—[_Heatedly._] No, not empty phrases, your highness. + +ALBERT—Oh, yes, they are. Phrases for women. To impress them. Every star +a world in itself! + +AGI—[_Belligerently._] Not every star, your highness. + +ALBERT—No? + +AGI—No. The big white moon, for example, ... it makes a huge, +pretentious, glittering show, yet it has no light of its own. It only +reflects the light of the sun. On the other hand, there is the modest +little star called Vega, which you seem to hold in such contempt ... +its light is a thousand times stronger than the light of the sun. +[_SYMPHOROSA nudges BEATRICE._] + +ALBERT—Its modesty is charming, under the circumstances. + +AGI—[_Sharply._] It isn’t modesty, your highness. It is only remoteness. + +ALBERT—It is fitting for remote things to glimmer modestly. + +AGI—[_Openly truculent._] It only seems so to your highness. To me, +because I know what it is, it shines in its true value; and so I proudly +proclaim that it is more brilliant than the sun, and that its brilliance +is its own.... [_Puts his hand on his chest._] Its own! + +ALBERT—[_Smiling._] Possibly, Professor. It seems I do not understand +these things. + +AGI—[_Decidedly._] No, your highness. + +BEATRICE—[_To SYMPHOROSA in a harrowed whisper._] I can’t bear it any +longer. + +ALBERT—Charming! Charming! At last a man who tells me to my face that +there is something I do not understand. + +AGI—[_Stubbornly._] No, your highness doesn’t know anything about it. + +ALBERT—[_Forcing himself to seem pleased._] In twenty years I haven’t +heard anyone so outspoken. Professor, I admire you not only as an +astronomer, but as a man. I am charmed with your candor. + +AGI—[_As if offended._] It makes no difference to me whether you like it +or not. + +ALBERT—[_Jovially._] There’s candor for you! Charming! I’m really +enjoying myself here. + +BEATRICE—[_Weakly._] Oh! [_She rises suddenly, sways. General +consternation._] + +ALBERT—[_Puts down his glass._] What’s the matter, Aunt Beatrice? [_He +rises._] Aunt Beatrice! Tu te trouves mal? + +BEATRICE—[_Weakly._] My head ... all of a sudden.... Laisse moi ... je +vous en prie—forgive me.... [_WUNDERLICH has gone to her assistance and +is supporting her._] Merci, mon colonel.... Never mind.... [_The HUSSARS +swiftly draw the portières across both big arches. WUNDERLICH leaves +BEATRICE and crosses to left._] + +ALBERT—Tu te trouves mal, Tante Béatrice? + +BEATRICE—I am sorry ... a little weakness ... please don’t bother ... +I’ll retire. + +WUNDERLICH—[_To CÆSAR._] Have that music stopped. [_CÆSAR whispers to +ALFRED, who hurries off. The music stops._] + +ALBERT—[_Takes BEATRICE’S arm._] I don’t doubt that you exerted yourself +too much to-day. Let me see you to your room. + +HYACINTH—Don’t bother, Albert. I’ll take her up. + +ALBERT—No, no. Stay here ... everybody. [_To SYMPHOROSA, who is about to +accompany them._] Symphorosa, you stay here with the salmon. Please sit +down, Xara. No excitement. I’ll look after her. + +BEATRICE—[_In a faint voice._] No excitement ... with a houseful of +strangers ... oh ... oh! + +ALBERT—All right, my dear ... everything will be all right. [_To the +others._] I wish you all to remain here, please. [_Goes toward left, +supporting BEATRICE._] As if nothing had happened. [_As he passes +CÆSAR._] Why has the music stopped? + +WUNDERLICH—[_Answers for CÆSAR._] I thought your highness would prefer no +music during this unfortunate—— + +ALBERT—[_Leading BEATRICE slowly off._] Let the music continue. The more +the better! [_CÆSAR makes a sign to ALFRED, who exits._] + +BEATRICE—Pardonnez moi ... merci, mon cher. ... [_ALBERT and BEATRICE +exit._] + +WUNDERLICH—[_As he follows them._] Music. [_He looks at CÆSAR. There is +a brief pause, and the music begins again. Beaming with satisfaction, +WUNDERLICH exits. All except SYMPHOROSA resume their seats._] + +AGI—Is your highness ill, too? + +SYMPHOROSA—No. + +AGI—Well, then—— + +SYMPHOROSA—I don’t know what to do. + +AGI—Why not follow their highnesses? And let the music continue. The more +the better! + +SYMPHOROSA—[_Crosses to left; looks at ALEXANDRA._] What are you going to +do? [_ALEXANDRA rises, undecided._] + +HYACINTH—Stay here. Your mother forbade you to leave. + +SYMPHOROSA—[_To HYACINTH._] And you? + +HYACINTH—See here, my dear; I love Beatrice very much, but she has been +having these delicate attacks for thirty years. And I have seen too many +of them to be alarmed. If they strike her standing, she sits down ... and +if they strike her sitting, she rises. + +SYMPHOROSA—Karl! + +HYACINTH—[_Earnestly._] The situation here is much more serious. I warned +you this afternoon. + +SYMPHOROSA—What a misfortune! [_She exits at left. CÆSAR withdraws. +HYACINTH, AGI and ALEXANDRA are left alone. There is a pause. ALEXANDRA +sits on the tabouret, down right._] + +HYACINTH—[_Severely._] Well, my son, you see what mischief you have done. + +ALEXANDRA—[_Greatly agitated._] It was my fault, Hyacinth. I am entirely +to blame. That is why I stayed ... to.... + +HYACINTH—Don’t excite yourself, my child. Let us talk it over calmly. +That is why I stayed. You have nothing to fear while I am here. [_To +AGI._] But you have. + +AGI—[_Sits._] No, father, I’m not afraid. + +ALEXANDRA—It wasn’t his fault. How deeply hurt he must have been, to do +such a thing! I am so unhappy, Hyacinth! [_She buries her face in the +robe of HYACINTH, who it standing beside her._] + +HYACINTH—Calm yourself, dear. + +AGI—[_Rises; vehemently._] I couldn’t endure it any longer, father, I +couldn’t.... God is my witness, I tried. But I am only human, father, and +... in love ... I hardly knew what I was saying.... + +HYACINTH—Tell me, my son, are you angry with me, too? + +AGI—How could I be, father? + +HYACINTH—Then don’t shout like that. I can hear you. And I understand you +too, my son. + +AGI—[_Grandiosely; excitedly._] I am done for, but I shan’t sell my life +cheaply. Not even to this beautiful daughter of a king. Yesterday—no, +this very afternoon, I would have given it for her handkerchief. But now +that blood has been let, I hold it dearly. + +HYACINTH—What you have done—— + +AGI—I am ready to face the consequences. + +HYACINTH—I knew you would be, my son. + +AGI—[_Very grandiosely._] I am ready to answer for it: to anybody—to the +family, to the prince, or to his adjutant with swords or any weapons they +choose. But what I did I had to do. And there is more I have to do. + +HYACINTH—More? + +AGI—Yes, more. + +HYACINTH—And this is our serious young scientist! [_To ALEXANDRA._] Well, +my girl, see what we have come to. Here we are. [_Reproachfully._] How +do you like it? + +ALEXANDRA—Come here. + +HYACINTH—[_Goes to her._] Well? + +ALEXANDRA—Sit down here. [_He does so._] + +HYACINTH—Well? + +ALEXANDRA—Now ask me again how I like it. + +HYACINTH—How do you like it? + +ALEXANDRA—[_On his shoulder, low._] Hyacinth ... I like it very much. + +HYACINTH—[_Astonished._] Upon my soul! The thing is worse than I thought. +[_Moves nearer to her._] + +ALEXANDRA—[_Still on his shoulder._] Hyacinth ... dear Hyacinth ... I ... +I.... + +HYACINTH—Well, my child? What is it? Out with it! + +ALEXANDRA—Hyacinth ... that glass of wine ... it was the first I ever +drank in my life, too. + +HYACINTH—For a first drink it was a hearty one. + +ALEXANDRA—[_With a glance at AGI._] For his sake, Hyacinth. So that they +wouldn’t laugh at him. + +HYACINTH—Fancy that! You amaze me. And how did it taste? + +ALEXANDRA—[_Delighted._] Made me ... fuddled ... and warm.... I wish I +could die like this ... but first I want the professor to forgive me. + +AGI—How _can_ I forgive you? + +HYACINTH—Silence! There, there, I forgive you for him, my dear. +[_ALEXANDRA dries her tears._] Have your cry out, and don’t worry about +it. + +ALEXANDRA—That’s not why I am crying, Hyacinth. + +HYACINTH—Why, then? + +ALEXANDRA—Because I ... am sorry ... for him. + +AGI—You needn’t be sorry for me. + +HYACINTH—[_Mildly._] You are not to speak now, my son. + +ALEXANDRA—I have never been as sorry for anyone.... + +HYACINTH—And when he looks at you, you are sorrier for him than ever. + +ALEXANDRA—[_Looks at AGI._] When he looks at me, his eyes scorch my face +... just as when you open the door of a stove—— + +HYACINTH—Yes, yes. The door of a stove. And what then? + +ALEXANDRA—[_In child-like surprise._] And then ... then ... his glance +seems to enter my breast ... and touch ... my heart ... just as you touch +a key of the piano with one finger ... very softly. + +HYACINTH—A key of the piano. Yes, yes ... and what else?... + +ALEXANDRA—When he speaks ... since I hurt him ... when he speaks, his +voice rings in my consciousness for a long time after.... Like a bell. +And that hurts. I pity him so. + +HYACINTH—[_Concerned._] I see, my dear. Only I am afraid it is neither +remorse nor pity. + +ALEXANDRA—What then? + +HYACINTH—A bit of internal disorder ... the lungs ... the heart.... +[_Puts his ear to her chest._] Take a deep breath. Now sigh. [_ALEXANDRA +sighs._] Say, “Professor.” + +ALEXANDRA—[_Looks at AGI._] Professor.... + +HYACINTH—[_Dryly._] The heart. + +ALEXANDRA—[_Sorrowfully, reproachfully._] You are making fun of me, +Hyacinth. + +HYACINTH—Not at all, my child. The matter is very serious. Tell me, dear. +When ... did you begin ... er ... to pity him so? + +ALEXANDRA—Before. Here in this room.... Quite suddenly.... He said +something—— + +HYACINTH—What did he say? + +ALEXANDRA—[_Looks at AGI._] He will remember the word. + +HYACINTH—What was it, my son? + +AGI—I know, father. It was when I said that I, too, was a world in +myself. + +ALEXANDRA—No. + +AGI—No? Well, then it was before that ... when I spoke of the poetry of +hopelessness. + +ALEXANDRA—No. + +HYACINTH—Well, what was it he said that touched you so? + +ALEXANDRA—[_To HYACINTH._] He said: “Lad.” + +HYACINTH—Lad? [_She nods._] What did he say “lad” for? + +ALEXANDRA—He said he wasn’t a lad any more to believe in fairy tales. + +HYACINTH—Oh, that was it? + +ALEXANDRA—[_Smiles happily as if in a dream._] You know ... I had always +known the word, but I had never heard it spoken before. We say “boy,” +don’t we?... And he, poor fellow, said “lad,” with such a quaint lilt to +it ... so sweetly ... I knew at once it was what they used to call him at +home ... what his family calls him to this very day.... And ... I don’t +know why ... but suddenly it seemed as if I, too, had been there ... in +the village where they called him “lad” ... I saw the tiny, spotless +cottages with acacia trees around them ... and his mother ... and his +sister ... who called him “lad” ... and loved him, and were proud of +him.... That was why. [_There is a brief pause._] + +HYACINTH—Well, my boy—what do you say to that? + +ALEXANDRA—Hyacinth, what did you call him? + +HYACINTH—My lad ... of course, that’s what I meant. + +ALEXANDRA—You dear! [_Embraces him delightedly._] + +HYACINTH—[_While she embraces him, to AGI._] See that? I understand women. + +AGI—[_Touched._] She’s beautiful ... and good ... I’ve forgiven her long +ago. + +ALEXANDRA—But I can’t forgive myself. Never, never! [_With a start._] +What are we thinking? [_Suddenly._] And poor mother.... [_She is about to +rise._] + +HYACINTH—Stay, my child, I wouldn’t go up to her now. Compose yourself +first, and then we shall go up together. + +AGI—[_Crosses to the table._] Your mother was very cruel. [_Sits at the +place where HYACINTH had been sitting._] + +ALEXANDRA—I’m sorry for that too. I’m sorry for everything now. And yet +I’m so happy here. [_Embraces HYACINTH._] And you are sweet ... and good +... and strong ... and you understand one so well. + +HYACINTH—The curious thing about you two is that I ought to be severe +with you.... And I shall be severe with you. The moment you showed signs +of getting out of control your mother dropped the reins. And now I must +take them in hand. [_Very gravely; rises._] This affair must end here, +my dear children. It can’t go any further. I trust you both realize +that. Fortunately, you are both too clever not to realize it. I am very +sorry. Sorry for you too, my son. [_More severely, to AGI._] Your conduct +here to-day.... Oh, you needn’t be so depressed about it. How can I go +on when you look at me like that? Now, see here. [_Begins over again._] +Your conduct to-day was—— [_His tone changes._] I wish you wouldn’t +look at me so knowingly. It confuses me. You are just as bad as she is +... [_to ALEXANDRA_] and you needn’t look so pleased. You have no cause +to.... This is unheard of! [_Walks a few paces._] Unheard of! [_Comes +to a standstill; bursts out angrily._] You sit there. You don’t say a +word. You just look at me. And one can’t say what one means. [_To AGI, +beginning all over again._] Your conduct to-night was ... I must say—— +[_Cannot look AGI in the eye._] I must say ... it was really ... quite +justifiable. There! I’ve said it. [_To ALEXANDRA, crossly._] Why do you +look at me so affectionately? + +ALEXANDRA—[_Delighted._] You are looking at me affectionately, Hyacinth. + +HYACINTH—[_Crossly._] That’s the worst of it. Yes, that’s the worst +of it. When I look at you, I ... when I look at you ... like this.... +Unheard of! I look at you ... and my heart aches for you.... But you +... you children ... you are young ... unspoiled ... and I ... no, I +wasn’t born to be a judge. I try to be ... but I try in vain. I can’t +... judge you. There you sit ... two fine young people ... and in such a +desperate plight ... but so happy in spite of it ... you will never be +as happy again. Happiness flies past like the wind. You have scarcely +felt it before it is gone.... And then comes the reality, to which you +will awake to-morrow morning ... which will separate you, and which will +be for the best.... But it will hurt a little, my dear children. It will +hurt ... such things have happened before.... Even to me ... when I wore +a uniform. A long, long time ago. [_He turns away. There is a pause. +He goes to the table, picks up his glass. Softly._] To your happiness. +[_Raises the glass, sips the wine, sits at the place which AGI had +occupied during supper. There is a pause during which ALEXANDRA and AGI +sit motionless. CÆSAR enters quietly._] + +HYACINTH—What is it, my friend? + +CÆSAR—[_Quietly._] Her highness requests the reverend father to go and +see her. + +HYACINTH—At once? + +CÆSAR—Her highness used the word: “Immediately.” + +HYACINTH—She would send for me now, just as I am beginning to enjoy my +supper! + +CÆSAR—[_In consternation._] Didn’t the reverend father like the soup? + +HYACINTH—Soup? [_Rises._] Bitter, hot tea is what you gave me. + +CÆSAR—Oh! Oh! Your reverence! What an error! Oh, I could kill myself. + +HYACINTH—I forbid you to kill yourself, though I’m sure you had no such +intention. And I’d forbid you to scold the unfortunate waiter who made +the error, if I didn’t know you’d do it anyhow. I’ll be back directly, +children. + +ALEXANDRA—[_Rises._] But Hyacinth! We can’t stay here alone. Hadn’t I +better go with you? + +CÆSAR—Her highness, the Princess Symphorosa, asked her highness, your +mother, whether she wanted to see your highness. + +ALEXANDRA—What did she say? + +CÆSAR—Her highness ... so to speak ... expressed herself ... to the +effect that—— + +ALEXANDRA—What did she say? + +CÆSAR—Her highness said: “Let her keep out of my sight.” [_There is a +pause. CÆSAR steps back and whispers to ALFRED._] + +HYACINTH—You see, my child! Just stay where you are while I speak to +your mother. You needn’t envy me the task. Then I shall come back and +fetch you. [_He exits at left. ALFRED exits. There is a pause._] + +ALEXANDRA—[_After the pause, during which she has repeatedly looked at +AGI._] Please ... I don’t even know your first name. What is it? + +AGI—Hans. + +ALEXANDRA—How old are you? + +AGI—Twenty-nine. + +ALEXANDRA—Where were you born? + +AGI—In Transylvania. + +ALEXANDRA—What district? + +AGI—[_In surprise._] Your highness ... at last we are left alone ... and +you ask me questions like a census taker. + +ALEXANDRA—[_Embarrassed; helplessly._] I want to know you. I want to hear +all about you as quickly as possible. [_Almost in tears._] But I don’t +know how to go about it. + +AGI—Have you thought of to-morrow morning? + +ALEXANDRA—I don’t want to think about that yet. The few moments we have +together now ... mustn’t be spoiled ... for you or for me—— + +AGI—To-morrow they’ll sweep me out like rubbish. + +ALEXANDRA—And what if I don’t let them, Hans? + +AGI—Just the same, I shall go. Just the same. + +ALEXANDRA—[_Notices CÆSAR._] What are you waiting for? + +CÆSAR—For your orders, your highness. + +ALEXANDRA—[_Comes toward him._] There is nothing. You may go. + +CÆSAR—Yes, your highness. [_But he does not move._] + +ALEXANDRA—You may go. + +CÆSAR—Leave the room, your highness? + +ALEXANDRA—At once, Cæsar. + +CÆSAR—Your highness. + +ALEXANDRA—Yes? + +CÆSAR—It appears that I myself served Father Hyacinth the tea instead of +soup. But then so many extraordinary things have happened to-night, it is +no wonder—— + +ALEXANDRA—You may go, Cæsar. + +CÆSAR—Yes, your highness. I am certain the world is coming to an end, +your highness. [_He sobs and exits weeping at left. AGI goes to door +through which CÆSAR made his exit, and remains standing there, looking at +ALEXANDRA. There is a pause._] + +AGI—[_After a glance into the ballroom._] The ballroom is empty. The +guests are leaving. [_Speaks softly with passionate warmth._] And now we +are quite alone, princess. Perhaps only for a few minutes ... and then +all that was beautiful in my life ... will be gone. + +ALEXANDRA—[_Trembling._] I have never before ... been alone with a man. + +AGI—[_Comes toward her._] Are you afraid of me? + +ALEXANDRA—I don’t know. But if it’s fear ... then I want always to be +afraid. + +AGI—The last time ... perhaps the last moment I shall see you. Do you +love me? + +ALEXANDRA—[_Almost stammering; like a child._] If it’s love ... then ... +it’s just the same as ... when I was a little girl ... and the Emperor +came. [_He regards her in astonishment._] Yes ... I had seen many +portraits of the Emperor ... with a golden crown on his head ... in all +his glitter and glory ... and then once, when he visited us, in civilian +clothes—— [_Regretfully._] I didn’t recognize him. + +AGI—My beautiful princess! [_Comes nearer to her._] + +ALEXANDRA—[_Trembling._] Don’t come too near, Hans. + +AGI—Are you so afraid of me? [_Takes her hand._] + +ALEXANDRA—[_Draws back._] I don’t like ... you to touch me.... How cold +your hand is! + +AGI—No. It’s yours that’s hot. What are you thinking that makes your +hand tremble in mine? + +ALEXANDRA—Of something reckless, and—— + +AGI—And of what? + +ALEXANDRA—And of my rank, Hans. [_There is a pause. ALEXANDRA glances +toward the table._] Won’t you have something to eat? + +AGI—No. + +ALEXANDRA—Why won’t you eat? + +AGI—I am not hungry. [_Turns to her ardently._] I’m thirsty. + +ALEXANDRA—[_Trembling._] Will you drink something? + +AGI—No. I am thirsty for you, for your mouth and your eyes ... and your +voice.... + +ALEXANDRA—[_Terrified._] You mustn’t look at me like that! + +AGI—[_Passionately._] When I look into your eyes ... deep into your eyes +... we seem to be mounting together on the crest of a flame—— + +ALEXANDRA—[_In alarm._] What do you mean? + +AGI—Upward ... ever upward ... higher ... along the path.... + +ALEXANDRA—[_Alarmed, child-like._] What path are you talking about? + +AGI—[_Coming nearer to her._] The path you pointed out to me.... Before, +I lacked the courage to realize ... that I am the rival of a king. But +now I know it. And now I know I have won. Before, I only stammered, but +now, now I want to sing ... because I have triumphed, triumphed over +every obstacle.... And now—— + +ALEXANDRA—[_Stares at him in terror._] And now? + +AGI—I know that to-morrow my triumph will be over. [_Takes her hands._] +But to-night, your highness, we shall see who is king, he or I! + +ALEXANDRA—[_Faint with terror._] You frighten me! + +AGI—My silence should have frightened you more. + +ALEXANDRA—[_Terrified._] Now ... you want to take your revenge.... + +AGI—I love you. + +ALEXANDRA—[_Looks terror-stricken into his eyes._] How you hate me now—— + +AGI—And I won’t have you pity me! Soon they will all come back. Another +minute and I’ll be a servant again. A dismissed servant! Must it end like +that? Can’t I even make you arrogant again? Can’t I make you insult me +... so that in my rage I may take you in my arms and carry you off ... +out into the night ... among your roses ... and kiss that haughty mouth.... +[_He is about to embrace her._] + +ALEXANDRA—[_Terrified, but resisting him affectionately rather than +resentfully._] Hans! Hans! [_There is a noise off left. They separate +slowly._] [_There is a pause. CÆSAR enters at left, leaving the double +doors open behind him._] + +ALEXANDRA—[_Goes slowly towards him._] What do you want? + +CÆSAR—His highness, the Crown Prince, is preparing to retire. He has +received a telegram. His mother, the Royal Princess Maria Dominica, is +coming to-morrow morning. + +ALEXANDRA—His mother? Coming here? + +CÆSAR—Yes, your highness! [_There is a long pause._] + +CÆSAR—I take the liberty to report that his highness, the Crown Prince, +will shortly pass through this room. + +ALEXANDRA—[_Nervously._] Hyacinth isn’t back yet ... and we are here ... +like this ... we two.... + +CÆSAR—If your highness should desire to go through the yellow room ... +there is still time. [_He indicates the doors back left._] + +ALEXANDRA—[_Proudly._] How dare you, Cæsar? Are you drunk? + +CÆSAR—[_Tragically._] No, your highness, I beg pardon, I’m sure. I’ve +only gone out of my mind. + +ALEXANDRA—That will do, Cæsar. [_He bows and crosses to left. There is +a pause. Through the door at left come two lackeys bearing lighted +candelabra. Behind them come ALBERT, WUNDERLICH and LUETZEN. The +procession passes slowly across the stage. When ALBERT comes abreast +of the table he stops, smiling. The two lackeys with the candelabra +reach the door at right, open it and take their places on either side. +WUNDERLICH and LUETZEN pause on the threshold._] + +ALBERT—[_Unaffectedly pleasant._] My dear Xara, how fortunate still to +find you here and bid you good night. [_Extends his hand._] I was to have +gone to-morrow. But now I am happy to tell you that my mother arrives in +the morning. Or did you know it? + +ALEXANDRA—They told me, Albert. I am very glad. + +ALBERT—She is extremely fond of you. + +ALEXANDRA—I am fond of her too, Albert, very. + +ALBERT—Your mother has gone to bed. But she feels much better. She did +a bit too much to-day. I warned her not to. But she is such a charming +hostess, she wouldn’t heed my advice. [_HYACINTH enters at left, +followed, a few moments later, by SYMPHOROSA. HYACINTH comes slowly into +the room. SYMPHOROSA lingers in the doorway._] + +ALEXANDRA—Mother is never happier than when she is making her guests +comfortable. + +ALBERT—But one shouldn’t overdo it. I have really reproached myself +on her account. My mother will scold me for it too. But, happily, it’s +nothing serious. Good night, Xara. [_Extends his hand to her. ALEXANDRA +courtesies low._] + +ALBERT—[_As if he had just noticed AGI._] Ah, the professor! Good +night, Professor. Your discourse was very interesting ... particularly +the manner of delivery.... Very original, yes ... a bit belligerent, +but original. As her highness was taken ill so suddenly, I hadn’t the +opportunity to offer my very humble comment. I would never have supposed +that you could be such an insubordinate young fool. + +ALEXANDRA—[_Uneasily, forcing a smile._] Albert, you are mistaken—— + +ALBERT—No, no, these astronomical impertinences are very interesting. +[_To HYACINTH._] He sat down with us quite unassumingly and then with a +flourish he lifted us up to the sky ... and he stayed up there ... and +dropped me with a thud.... [_To AGI._] But you spoke with spirit. Very +smart.... Always higher, higher—— + +ALEXANDRA—Pardon me, but your sarcastic criticism is unjust, Albert. He +is not like us. + +ALBERT—I noticed that. + +ALEXANDRA—[_More and more excitedly._] He is a scientist; he is a free +spirit.... He has the right to speak more freely than we.... + +ALBERT—You defend his bad manners just as graciously as you suffered them +a while ago. You are a brave and clever girl—a perfect martyr. I have +just learned from your mother that you ... [_sarcastically_] were the +innocent target of certain unwelcome attentions ... and that you have +endured them with such patience, such goodness.... + +ALEXANDRA—[_Very agitated; looks from ALBERT to AGI in fear that they +will quarrel._] Mother is mistaken, Albert. And you judge him wrongly. +You don’t understand him. + +ALBERT—[_Ironically._] It is not easy to understand him. + +ALEXANDRA—[_Excitedly._] You can’t possibly understand him. [_ALBERT +laughs mockingly._] Don’t laugh at him, Albert. He is a scientist and a +poet.... He is an astronomer. + +ALBERT—An ill-bred little astronomer. + +AGI—[_With a threatening movement._] Your highness! + +ALEXANDRA—[_Trembling with excitement; passionately._] Albert, you are +going too far. You must not say that. + +ALBERT—But he is. + +ALEXANDRA—I won’t have him insulted ... like this—— + +AGI—[_To ALBERT._] Your highness, I—— + +ALBERT—[_Quite composed._] You are an impertinent little upstart. [_With +a little shriek of dismay ALEXANDRA throws herself in front of AGI. She +is highly excited._] Don’t answer him, Hans. [_Looks at him._] I forbid +it. [_Raises her voice._] Hans! [_For a moment she hesitates, looks at +ALBERT, then throws herself on AGI, embraces him passionately, kisses him +and rests a moment against his chest. On the thresholds of the four doors +the people stand as follows: At left, SYMPHOROSA; at right, two lackeys +with candles, and LUETZEN; back right, WUNDERLICH alone. At the moment of +the kiss they all withdraw slowly. HYACINTH does not go. He only takes a +few steps backwards. ALEXANDRA releases AGI, stands a moment stiff and +staring, then leans half fainting against the edge of the table._] + +ALBERT—[_Lightly, softly, ironically._] Oh! That’s different. Quite +different. In that case ... I beg your pardon, Professor. [_Makes a +military bow to ALEXANDRA and AGI._] Good night. [_He exits at right. +There is a pause. SYMPHOROSA enters at left and leads the half swooning +ALEXANDRA gently, tenderly off back left. When they both have gone, +HYACINTH approaches AGI gravely, almost threateningly, stops in front of +him and kisses him suddenly. Smiling graciously, HYACINTH hurries off at +left. AGI stares after him._] + +THE CURTAIN FALLS + + + + +ACT THREE + + + + +ACT THREE + + + _Early morning of the following day. A salon of the guest suite + assigned to MARIA DOMINICA. Doors at right and left. At back, + on the left, is the entrance from the hallway. When the curtain + rises SYMPHOROSA is speaking to the CHAMBERMAID._ + +SYMPHOROSA—We do not know how soon her highness Maria Dominica may +arrive. Her telegram said this morning, but there is no train in the +morning, so she must be coming by motor. That means we may look for her +at any moment. + +CHAMBERMAID—Yes, your highness. [_BEATRICE enters at left._] + +SYMPHOROSA—[_Hurries to her and embraces her._] Darling ... why are you +up so early? It’s barely seven o’clock. There, there!... Do you feel +better? + +BEATRICE—[_Unhappily._] I haven’t slept. I never closed an eye, I was so +restless.... Is the guest suite ready? + +CHAMBERMAID—Everything is in perfect order. + +BEATRICE—[_Tearfully._] The bath? + +CHAMBERMAID—We have just lit the fire. The water will be warm in half an +hour. [_At a nod from BEATRICE she exits at right._] + +BEATRICE—Is she to have these three rooms? + +SYMPHOROSA—Yes. This salon—— [_Points to the right_] and that one; the +bedroom with the dressing room; and the bath. [_BEATRICE dries her eyes._] + +SYMPHOROSA—Don’t cry, dear. The good Lord will help us. + +BEATRICE—Only He _can_ help us now. When does Dominica arrive? + +SYMPHOROSA—Can’t tell exactly. She is coming by motor. + +BEATRICE—If she had only come yesterday—even yesterday evening—— + +SYMPHOROSA—[_Sighs._] Ah, yes.... + +BEATRICE—This beautiful summer day! And to think that it is the most +tragic day of my life! Could you ever have believed that Maria Dominica +would be on her way to ask my daughter’s hand in marriage with her son +... and I awaiting her in tears? [_Weeps._] + +SYMPHOROSA—My dear! [_Embraces her._] + +BEATRICE—How _is_ Albert? + +SYMPHOROSA—He is asleep. + +BEATRICE—Fortunate man! And Alexandra? + +SYMPHOROSA—She came down at six, and went riding. Alone. I hear you +talked with her last night. + +BEATRICE—Yes. She came to my bedside at three o’clock. Oh, that I had +been spared that interview! + +SYMPHOROSA—Was she disrespectful? + +BEATRICE—No, she was repentant. She told me everything—everything that +happened. + +SYMPHOROSA—The very last thing too? + +BEATRICE—If only she hadn’t told me that! + +SYMPHOROSA—What did you say to her? + +BEATRICE—Not a word. I wasn’t able to. My whole body turned to ice. + +SYMPHOROSA—What did she do? + +BEATRICE—Kissed my hand and went out. I haven’t seen her since. [_A brief +pause._] That man—is he still here? + +SYMPHOROSA—He is here—but—— + +BEATRICE—[_Explosively._] He is here? + +SYMPHOROSA—Yes, but—— + +BEATRICE—There is no _but_ which can justify his being here still. + +SYMPHOROSA— ... But he is packing his trunk. + +BEATRICE—[_To the CHAMBERMAID who has entered at right._] Well? + +CHAMBERMAID—Your highness, a motor is entering the grounds. You can see +it from the window. There are two ladies in it. + +BEATRICE—Now my Calvary begins. Symphorosa—don’t leave me. Where is +Hyacinth? + +SYMPHOROSA—Gone out for a walk. + +BEATRICE—I don’t want to see him. Last night I sent for him to give him a +scolding. + +SYMPHOROSA—Yes? + +BEATRICE—And he scolded me instead. Let him keep out of my sight. + +SYMPHOROSA—Why are you so angry with him? + +BEATRICE—Because he was right. + +CÆSAR—[_Enters at left._] Your highness, the motor has driven up. + +BEATRICE—We’re coming, we’re coming. [_She exits quickly with SYMPHOROSA. +CÆSAR exits at back. The door remains open. Off stage their voices are +heard in an exchange of greetings. DOMINICA enters with BEATRICE and +SYMPHOROSA. She wears a motoring coat. Behind her comes the COUNTESS, +who helps her off with the coat, hat and veil and gives them to the +CHAMBERMAID, who exits at right, taking the things with her._] + +DOMINICA—[_Animatedly continuing the conversation begun outside._] +... simply by starting at four this morning, my dear. I’m not fond of +travelling by day in the summertime. I can’t endure the heat. The car ran +beautifully. Barely three hours. And the distance is over two hundred +kilometers. + +BEATRICE—Well, what time did you rise? + +DOMINICA—At half-past two. While you were still dancing here. [_BEATRICE +sighs._] + +SYMPHOROSA—What an energetic woman you are, Dominica! How youthful! + +DOMINICA—[_With spiritual fervor._] There is nothing I can’t be ... for +my son. [_BEATRICE sighs._] That’s the second time you have sighed. + +BEATRICE—I was thinking of my poor dear husband. How fond he was of you. + +DOMINICA—I was fond of him too ... very. + +BEATRICE—Symphorosa, will you go and see that everything is ready? We +hadn’t expected you so early. + +DOMINICA—I didn’t telegraph the hour of my arrival because you never can +be sure when you are motoring. But I don’t mind waiting. [_Sits._] What a +joy it is to sit down again without having a landscape rushing past you! + +SYMPHOROSA—Excuse me, dear, while I see that everything has been made +comfortable for you. [_She exits at right._] + +BEATRICE—Will you have breakfast now? + +DOMINICA—Later, thank you. We had some tea before we started. If you +please, Countess, tell Luetzen he is not to awaken my son on my account, +not before his accustomed hour. [_The COUNTESS exits at right._] I hear +you were up late last night, dissipating with Albert. He likes that. + +BEATRICE—Oh ... he is so gracious ... so easy to entertain.... + +DOMINICA—Don’t be modest. I daresay you contrived all sorts of schemes to +amuse and entertain him. + +BEATRICE—[_Bitterly._] We did our best, of course. + +DOMINICA—And now, my dear, let us come to the point. I am a simple, +practical woman, you know. They haven’t nicknamed me “the cook” in Vienna +for nothing. + +BEATRICE—Oh! + +DOMINICA—Tut, tut! I know that’s what they call me, and I am proud of +it. But, first of all, give me a nice kiss. [_They stand up and kiss._] +That’s right! [_They sit._] And now to business. You realize why I am +here. + +BEATRICE—Oh, Dominica! + +DOMINICA—In a word: My son wishes to marry your daughter. [_They rise +again, kiss, and sit down. BEATRICE weeps._] + +DOMINICA—Don’t cry, Beatrice. This is nothing to cry about. + +BEATRICE—No, certainly not ... but I am so overwhelmed. + +DOMINICA—Compose yourself, dear. Albert telegraphed me yesterday that he +didn’t trust himself to speak to you about Alexandra without me. You know +he never makes a step without me. + +BEATRICE—A good, dutiful son. + +DOMINICA—Yes, so he is. [_Majestically._] Happy the people who get such a +king.... But there! He asked me to come at once so that he might tell her +how enchanted he is with her. [_Both rise, embrace and kiss each other, +then sit down._] + +BEATRICE—Oh, my dear Dominica! + +DOMINICA—I don’t wonder. She is such a perfect creature,—beautiful, good, +clever and queenly. That is what I admire most about her—her proud, +imperious ways. + +BEATRICE—How nice of you to say so! + +DOMINICA—Haven’t you noticed that in the past ten years our young women +have become infected with a certain rather vulgar freedom of manner, +imported from foreign countries? Not she. She is grave, majestic, aloof, +perhaps a bit too aloof ... I mean a bit too cold toward her inferiors. + +BEATRICE—Cold? Oh, I wouldn’t say that. + +DOMINICA—That is precisely what I admire in her. + +BEATRICE—She has altered of late. She is quite warm to her inferiors now. + +DOMINICA—To think that the desire of my sainted husband is at last to be +fulfilled! This marriage, you know, was his—— + +BEATRICE—His most cherished wish. [_Sighs._] + +DOMINICA—I am very happy, Beatrice, that the obstacles which lay in the +way of this marriage are vanished. Now Albert can follow the call of his +heart. [_She sighs deeply._] + +BEATRICE—Now it’s you who sighed. + +DOMINICA—I don’t deny it, Beatrice. It is no great credit to our +diplomats that my son must marry for love. It grieves me to think that +the incompetence of our diplomats should compel my son to follow the call +of his heart. + +BEATRICE—Perhaps he’ll be happier for it. + +DOMINICA—If we had had a Metternich, Albert might have been very unhappy, +but then there would have been a real marriage. Don’t be angry at my +candor.... One’s Family, you know!... We are not what we are—to strive +for _personal_ happiness. + +BEATRICE—Alas, no. + +DOMINICA—If you knew what Albert has gone through. First that Russian +girl, Olga Constantinovna.... + +BEATRICE—Oh, I know. And then the English girl, Patricia. + +DOMINICA—You know that, too? + +BEATRICE—I have followed his political career with the utmost interest. +And then, in Dresden, came Leopoldine Charlotte ... the fat one. + +DOMINICA—How well you know everything! From there he went to Portugal. + +BEATRICE—In the middle of July ... Silvina Gonzaga, that odious infanta. + +DOMINICA—Odious? That doesn’t describe her. Perhaps there is a word for +it in Portuguese. In any case “odious” is quite inadequate. And then came +that amazing affair with Marie Hermine in Brussels. + +BEATRICE—She is fully two heads taller than Albert. + +DOMINICA—Yes. But we never knew it because she had always sent us bust +portraits. + +BEATRICE—Yes, I know. + +DOMINICA—How perfectly charming of you to _know_ everything! + +BEATRICE—Oh, well, you see, I have regarded Albert as one of the family +ever since he was a child. [_HYACINTH enters at back._] + +HYACINTH—Welcome, Dominica. [_Embraces her._] + +DOMINICA—Karl! + +HYACINTH—[_Crosses to BEATRICE, kisses her on the forehead._] Good +morning, Beatrice. You are looking splendid, Dominica. + +DOMINICA—You, of all people! Are you here for a holiday? + +HYACINTH—Only for a few days. But perhaps I am interrupting your—— + +DOMINICA—Not at all. Well, here I am, and you know why I am here. + +HYACINTH—And I am delighted. [_Takes her hand; kisses it._] + +DOMINICA—We were just talking of how my poor son had been tossed about by +the exigencies of politics before he arrived at last in the calm, happy +harbor of your dear family. Olga Constantinovna—— + +HYACINTH—Of the blue eyes. A magnificent girl. + +DOMINICA—Do you know her? + +HYACINTH—I danced with her mother in Munich. + +DOMINICA—Odd to hear you say that. + +HYACINTH—Oh, in those days—— + +DOMINICA—She really was a beautiful girl. But politics, you know. And +when King Edward left Marienbad that ended all hope of an alliance with +England. Whereupon the English princess began studying the Bulgarian +language. With an eye to the Bulgarian crown prince. + +HYACINTH—What did Albert do? + +DOMINICA—We sent him on a trip into Africa to heal his broken heart. + +BEATRICE—And Patricia learned to speak Bulgarian. + +DOMINICA—Fluently. But nothing came of that either. She was married in +Sweden to Prince Olaf. Now, with all her Bulgarian erudition, she lives +among the Swedes. I hear that the Bulgarian minister to Stockholm is +delirious with joy because she always speaks Bulgarian with him. And out +of that, between Sweden and Bulgaria ... came an enormous trade in pig +iron. To this day the good Bulgarians do not dream to what they owe all +that iron. + +BEATRICE—And don’t you know why nothing came of the Bulgarian marriage? + +DOMINICA—I understand that the Serbs thwarted Delcassé’s schemes. + +BEATRICE—That is the official explanation. The real reason is more +interesting. Patricia’s family sent Arthur and the Bulgarian court sent +Philip for a final conference. As you know, Arthur can’t hear a thing +with his left ear, and Philip is totally deaf in his right ear. At the +court dinner, where the conference was to take place, they were seated +side by side, in the order that rank and etiquette demanded, so that each +had his deaf ear turned to the other. But neither of them realized it. +In the beginning each spoke a few words, but receiving no answer, became +offended and said no more. Both of them went home in a rage and that is +how Patricia came to be a Swedish princess, and why there is so much pig +iron in Bulgaria to-day. + +HYACINTH—I never heard that story before. And so, Dominica, you are +taking our little girl away from us. + +DOMINICA—Yes, Karl. Is she still asleep? + +BEATRICE—No. She went riding early this morning. + +DOMINICA—When can I see her? + +BEATRICE—[_In a panic._] When can you see her?... Ah-h-h ... God! [_She +is greatly distressed; presses her hand to her forehead._] My head.... +Oh! [_Sways weakly._] + +HYACINTH—[_Forcibly._] My dear, I beg of you, I sincerely urge you not to +be ill; I forbid you to be ill. + +DOMINICA—What’s the matter with you, dear? + +BEATRICE—It started last night ... at supper ... a sudden weak spell.... + +HYACINTH—It was very inconsiderate of you. + +BEATRICE—But Karl—— + +DOMINICA—If you really don’t feel well—— + +HYACINTH—What if she _doesn’t_ feel well? I don’t feel so well myself +just now. I forbid you to faint.... Sit down. [_With an expression of +dread, BEATRICE sits._] + +DOMINICA—[_Goes to her in alarm._] But what is the matter? + +HYACINTH—[_Restraining her._] I shall tell you, Dominica. + +BEATRICE—[_Terrified; quavering._] Karl! Karl! + +HYACINTH—Peace! Let me speak now. Dominica, you are regarded—and not +without reason—as the cleverest woman in Europe. + +DOMINICA—But Karl! + +HYACINTH—Now don’t be modest. You’ll be needing all your cleverness in a +moment. For we have a bit of a difficulty here. I don’t consider it so, +but Beatrice, apprehensive as usual, does.... Something has happened, +Dominica. + +DOMINICA—Jesus and Mary! Not to Alexandra? + +HYACINTH—There! Didn’t I say she was the cleverest woman in—— + +DOMINICA—Something has happened ... to Alexandra? + +HYACINTH—No, but almost. + +BEATRICE—[_Terrified._] Karl! + +DOMINICA—Good heavens! + +HYACINTH—I implore you, don’t you faint too. + +DOMINICA—Karl! You terrify me. + +HYACINTH—On the contrary. I am reassuring you. + +DOMINICA—What happened, in heaven’s name? + +HYACINTH—Simply this—that since Albert came here he has conducted himself +like a fish. + +DOMINICA—Like a fish? [_DOMINICA is sitting at left, BEATRICE at right +and HYACINTH stands between them._] + +BEATRICE—How can you say such a thing? + +HYACINTH—It is true. He was cold and mute. + +DOMINICA—Poor Albert! That was on my account. He wanted me to be here +before he—— + +HYACINTH—No one in the world could have suspected that. Least of all +Alexandra, who was quite attracted by him and who was deeply wounded by +his indifference. + +DOMINICA—Did he make it as conspicuous as that? + +HYACINTH—It couldn’t possibly have been more conspicuous. He is a very +good son, but a very bad marriage candidate. Just the same, your son is +idolized here. Both by the girl and by her good mother. [_His gesture +indicates BEATRICE._] + +DOMINICA—You dear, sweet—— + +BEATRICE—Oh, Dominica, if you only knew ... if you only knew—— + +HYACINTH—And amid all this adoration he strutted like a ... like a.... + +DOMINICA—Fish. + +HYACINTH—Worse than that! The girl didn’t sleep ... wept all night +long.... + +DOMINICA—How terrible! + +HYACINTH—And we all suffered with her ... her mother, I, the boys, the +professor. + +DOMINICA—[_Suspiciously._] What professor? + +HYACINTH—[_Mopping his brow._] That’s just it. [_With a glance at +BEATRICE._] There is a teacher here, a tutor to the boys. A nice, +cultured straightforward young man. And he ... well ... toward the end +... when everyone was desperate ... an extraordinary thing occurred, +which was, indeed, only another proof of the adoration in which your son—— + +BEATRICE—[_Terrified; beseechingly._] Karl! + +DOMINICA—Go on. + +HYACINTH—With characteristic feminine logic it was deemed expedient to +invite the professor to last night’s reception ... in order to stimulate +Albert’s interest a bit. A stupid idea, of course ... but from it you can +glean the somewhat ecstatic regard in which your son is held here. + +DOMINICA—What a charming, naïve idea! + +HYACINTH—Wasn’t it? [_Flashes BEATRICE a triumphant glance._] Yes, and +then came something which hadn’t been reckoned with. This professor—a +fine, a serious, a most estimable young man—it appeared that he—think of +it—that he had been secretly in love with Alexandra. [_In terror BEATRICE +rises. There is a brief pause._] + +DOMINICA—[_Emphatically._] Such things happen. [_Reassured, BEATRICE sits +down._] + +HYACINTH—[_With a triumphant glance at BEATRICE._] Yes, and no wonder. He +sees her every day. She is beautiful. The rest was inevitable. Think of +all those ancient romances of the Tutor and the Princess—— + +DOMINICA—What then? + +HYACINTH—Put yourself in this poor young man’s place. Though desperately +in love, he lends himself to this innocent deception, knowing, poor +fellow, that he is only a means to an end. + +DOMINICA—It was all Albert’s fault. Why did he hesitate to speak? I +consider his reticence exaggerated under the circumstances. + +HYACINTH—Remember it was out of consideration for you. Really, Albert’s +devotion to you borders on the fantastic. + +DOMINICA—After all, it _is_ gratifying. [_With tears in her eyes._] Well, +and then? + +HYACINTH—[_Mopping his brow._] Well, as I said, this young man sat down +to supper with me ... this martyr ... I really must call him that ... +this wretched human sacrifice ... and there at the table he endured such +tortures that tears came to my eyes, watching him. + +DOMINICA—I don’t wonder. It is really quite touching. + +HYACINTH—And the poor girl, who is tender-hearted as she can be, could +not bear to see him suffer so ... and she would have sent him away ... +but the professor ... solely for the sake of the family ... solely for +Alexandra’s sake ... solely for the sake of your son’s happiness ... the +professor played the comedy through, though his heart was bleeding.... + +DOMINICA—Poor fellow.... + +HYACINTH— ... Until Albert, who knew nothing of all this, insulted him. + +DOMINICA—[_Horrified._] The professor? + +HYACINTH—Yes, him. + +DOMINICA—This poor young man? + +HYACINTH—This poor young man. Think of it! + +DOMINICA—What did Albert do? + +HYACINTH—He called him an impertinent little upstart. + +DOMINICA—Terrible! And didn’t you interfere? + +HYACINTH—How could I? + +DOMINICA—What did the young man do? + +HYACINTH—What could he do? He bowed his head. I thought my heart would +break. + +DOMINICA—Poor, brave fellow! And what did Alexandra say? + +HYACINTH—[_Mopping his brow._] I am glad that you, too, are sorry for +this nice young man. + +DOMINICA—What did Alexandra do? + +HYACINTH—You are not only clever but sympathetic as well. + +DOMINICA—And Alexandra? + +HYACINTH—If you could only have seen him standing there, this poor, +industrious scientist.... Would you believe it? An astronomer! With his +hopeless, despairing, inarticulate love; with his shattered romance; with +his bleeding heart ... and Albert insulting him with cold, withering +elegance.... And there he stood with bowed head ... disgraced irreparably +... annihilated ... after he had made such a sacrifice for the family.... +Can you picture it? Such loyalty—and such a martyrdom? _You_ tell me, as +a woman, is such a young man not noble? + +DOMINICA—[_Emphatically._] Most noble! + +HYACINTH—[_Rhetorically._] Is he the sort of young man who should be +driven out? Is he the sort who should be despised? + +DOMINICA—Certainly not. + +HYACINTH—[_With increasing fervor._] Is he the sort who should be +insulted? Who should be mistreated? Who should be punished? + +DOMINICA—God forbid. + +HYACINTH—[_Still more impassioned._] Again I ask you: Does such a young +man deserve to be driven away? To be insulted? To be mistreated? Or does +he deserve ... to ... what shall I say? ... to ... I don’t know myself +... he deserves ... to ... to—— + +DOMINICA—To be kissed! + +HYACINTH—Yes, that is just what happened to him. [_Sinks weakly into a +chair; mops his brow; murmurs to himself._] I thought she’d never say it. + +DOMINICA—[_Taken aback._] Eh?... What happened to him? + +HYACINTH—Just what you said. Alexandra kissed him. + +DOMINICA—Alexandra? + +HYACINTH—As you said. + +DOMINICA—I? Yes. Um, yes. + +HYACINTH—After Albert insulted him she couldn’t stand by and see him +suffer any longer. She kissed him, in mine and Albert’s presence. + +DOMINICA—And what did Albert do? + +HYACINTH—How could he, poor chap, understand what was going on? +Naturally, he didn’t see it all as clearly as you see it now. + +DOMINICA—[_Without conviction._] I? Yes ... yes ... of course. + +HYACINTH—And Beatrice ... who is such a stickler for form ... sits here +worrying herself almost to death [_turns to BEATRICE_] about something +which Dominica, as you see, finds perfectly natural, yes, almost +inevitable. Isn’t it so? + +DOMINICA—[_Without conviction._] Certainly, certainly. + +HYACINTH—It was a charming gesture on Alexandra’s part. I am truly proud +that throughout the entire episode she conducted herself just as you +yourself would have done. We may all be proud of her. [_As he speaks +BEATRICE gives him furtive, grateful glances._] + +DOMINICA—A splendid girl. A girl of spirit! [_Majestically._] Happy the +people who get such a queen. + +HYACINTH— ... And if you want to know—I kissed the poor fellow myself. + +DOMINICA—You were right. Louis XVI., after his wife’s recovery from a +dangerous confinement, kissed a nurse. [_Emphatically._] Such things +happen. [_After a brief pause._] So that was the terrible thing? + +HYACINTH—Yes, that was it. [_Points to BEATRICE._] She fainted dead away. +But she ... she was angry with the professor anyhow. + +BEATRICE—[_Quite reassured now._] I? I look upon it in the same light as +Dominica does. Only I wasn’t sure she would see it the way I did. + +HYACINTH—She is angry with the tutor on account of Napoleon. He teaches +the boys that—— + +DOMINICA—Can’t you bear him, either, this Napoleon? + +HYACINTH—She loathes him! + +DOMINICA—Dear, in my sainted husband’s library there is a curiosity,—a +little French book which proves quite conclusively that Napoleon never +lived. I’ll send it to you. Read it. It is most comforting.... There ... +dearest.... So that was your tragic difficulty. + +BEATRICE—Yes, you clever, practical darling. + +DOMINICA—Poor little tutor! Now he is beginning to interest me. What is +to become of him? + +BEATRICE—He is packing. Oh, he feels that, after what has happened, he +cannot stay on here another moment. + +DOMINICA—He is quite right. But are you letting him go like that? + +BEATRICE—Well, you see, my dear ... he is now ... the poor fellow is now +like an exploded cartridge. + +DOMINICA—One must be very careful with cartridges. It is just such +people who become writers of memoirs, American lecturers or publicists +for the opposition party. One cannot be too careful. I have had painful +experiences in such matters. Tutors, adjutants.... I shall speak to him +myself. + +BEATRICE—Thank you, you clever darling. + +DOMINICA—Had I been here I should have warned you in the first place +not to trifle with a tutor. A tutor near a princess is as dangerous as +a lighted match near a tin of gasoline. And, in any case, there was no +need for all this haste. Had you waited one day more ... then I’d have +been here. There is an old English proverb which says: “Act in haste and +repent at your leisure.” + +HYACINTH—[_Significantly._] In England! + +DOMINICA—Now then ... when can I see this tutor? [_The CHAMBERMAID enters +at right._] + +BEATRICE—At once. Is everything ready? + +CHAMBERMAID—Yes, your highness. + +BEATRICE—Send Cæsar to me here. [_The COUNTESS and SYMPHOROSA enter at +right._] + +SYMPHOROSA—Everything is ready now, Dominica, dear; and there is a +surprise for you in there. + +DOMINICA—Nothing will surprise me now, dear Symphorosa. + +SYMPHOROSA—This will, I think. Albert is awaiting you in the drawing room. + +DOMINICA—Albert? Up this early? On _my_ account! You are right, dear. +This is a most joyful surprise. I’m coming. [_As she goes._] Meantime, +bring this professor to me here. + +BEATRICE—I shall arrange it at once. But I am afraid you will find him +difficult. + +HYACINTH—And I’ll wager that you won’t find him difficult at all. + +DOMINICA—Karl, I haven’t wagered since 1886, when I bet my sainted +husband that I would give birth to a boy. + +HYACINTH—And it was a girl? + +DOMINICA—Two, Karl, two at a time. Come, Countess. [_She exits at right. +SYMPHOROSA and the COUNTESS follow her. HYACINTH and BEATRICE look at +each other in silence. He smiles triumphantly._] + +BEATRICE—You have a good heart, Karl, and a good head. [_Kisses him on +the brow._] There is but one thing I am still afraid of—— + +HYACINTH—In heaven’s name, what now? + +BEATRICE—When she speaks to her son in there ... won’t he have a +different opinion about it all? + +HYACINTH—There are two reasons why he won’t have a different opinion. In +the first place, he won’t be such a fool as to disagree with his mamma; +and in the second place, I mean to be present at the interview. [_Starts +to go._] + +BEATRICE—[_Hurries after him._] Karl, dear ... wait.... I have been very +unfair to you.... What can I do to make you forgive me? + +HYACINTH—[_At the door, right._] All I ask of you is never to fall on +my neck again. To-morrow you will write those words in a copy book one +hundred times: “Old brooms sometimes sweep clean.” [_He exits._] + +BEATRICE—No manners at all. [_CÆSAR enters at back._] + +BEATRICE—Cæsar! You will go downstairs and ask Dr. Agi if he will be +good enough to come up at once and wait in this room. Her highness, the +Princess Dominica wishes to speak to him. + +CÆSAR—Very good, your highness. + +BEATRICE—What are you serving her highness for breakfast? + +CÆSAR—Tea, cold salmon, cold beef, cold chicken ... cold.... + +BEATRICE—Cæsar! Why, that is last night’s supper.... + +CÆSAR—I beg pardon, your highness. It is this morning’s breakfast. I had +it put on the table at one this morning, and no one has eaten a bite of +it yet. + +BEATRICE—Have you lost your senses, Cæsar? + +CÆSAR—Quite likely, your highness.... Another breakfast will be served. + +BEATRICE—Why are you so pale? + +CÆSAR—I didn’t sleep well, your highness. I suffered agonies. Mostly on +account of the tea. + +BEATRICE—On account of what tea? + +CÆSAR—On account of the terrible mistake. Father Hyacinth was served the +hot tea and your highness got the cold consommé. + +BEATRICE—I am glad I did. I would have fainted away in that horrible +moment if I hadn’t had that sip of ice-cold soup. It revived me. + +CÆSAR—Thank you, your highness. You have taken a great load off my mind. + +BEATRICE—You are not to punish the man who made the mistake. + +CÆSAR—No, your highness. Perhaps you would wish me to give him a little +reward? + +BEATRICE—Let us not go to extremes.... The professor is to wait here. +[_She exits at right. CÆSAR goes to the door at left, but it opens and +ALEXANDRA enters._] + +ALEXANDRA—Has the princess arrived? + +CÆSAR—Yes, your highness. + +ALEXANDRA—Where is she? + +CÆSAR—In there, your highness. [_Points to right._] I believe she is +changing her clothes after her long motor ride. + +ALEXANDRA—And what are you doing here? + +CÆSAR—I have been told to summon—— [_Stops._] + +ALEXANDRA—To summon whom? + +CÆSAR—[_Reluctantly._] Professor Agi. + +ALEXANDRA—[_Sharply._] What do they want of Professor Agi? + +CÆSAR—He is to come up here and wait. + +ALEXANDRA—Very good. Send him up. [_She sits._] + +CÆSAR—But ... if your highness pleases ... I am to send Mr. Agi up here +to wait for—— + +ALEXANDRA—_Professor_ Agi. + +CÆSAR—Professor Agi up here to wait for her highness, who wishes to speak +with him. + +ALEXANDRA—Just do as you were told. Send Professor Agi up. + +CÆSAR—Yes, your highness. [_He exits at back. After a brief pause AGI +enters, dressed for travelling._] + +AGI—Your highness sent for me? + +ALEXANDRA—No. But I waited here because I learned that you had been sent +for. + +AGI—Is there anything your highness wanted? + +ALEXANDRA—What sort of costume is that you are wearing? + +AGI—A travelling costume. + +ALEXANDRA—You are going away? + +AGI—Yes. [_There is a pause._] Is there anything your highness wanted? + +ALEXANDRA—And what is to become of the boys? + +AGI—I don’t know. + +ALEXANDRA—Aren’t you sorry to leave them? + +AGI—Indeed.... I am very sorry. [_A pause._] Is there anything your +highness wanted? + +ALEXANDRA—Princess Maria Dominica, the mother of the Crown Prince, has +come. + +AGI—I know. + +ALEXANDRA—And do you know why she has come? + +AGI—I know that, too. + +ALEXANDRA—Well? [_A pause._] Sit down, please. + +AGI—Thank you. [_He does not sit._] + +ALEXANDRA—[_She rises._] I haven’t spoken with the Princess yet. I +haven’t even seen her yet. Perhaps within the next few minutes we shall +meet. And then ... she will tell me why she has come. + +AGI—Yes. [_There is a pause._] + +ALEXANDRA—Is that all you have to say about it? + +AGI—Practically. + +ALEXANDRA—I don’t understand this mocking tone! + +AGI—Not mocking, only incredulous. I am not a boy any more, to believe in +fairy tales. + +ALEXANDRA—[_With significance._] ... Boy? + +AGI—Yes, your highness, not a boy. + +ALEXANDRA—[_Regarding him sternly, reproachfully._] What _is_ this +attitude you have assumed toward me? + +AGI—One of utmost deference, your highness. + +ALEXANDRA—Why this pretense? Have you forgotten what happened last night? + +AGI—I have forgotten, your highness. + +ALEXANDRA—Have you? And have you also forgotten what I—— + +AGI—I have forgotten that, too, your highness. + +ALEXANDRA—Was it so easy to forget? + +AGI—I didn’t say that. + +ALEXANDRA—If I had known—— + +AGI—You must have known. + +ALEXANDRA—That you would forget? + +AGI—I ... must forget, and your highness must deny it ... and ... _he_ +must not remember it. + +ALEXANDRA—He shall remember it, and I don’t deny it. But I see that what +I gave you was too precious. More precious than you deserve. Perhaps ... +a kingdom. + +AGI—That is not so precious. I know of one that was offered in exchange +for a horse. + +ALEXANDRA—You even insult me! You speak like a sullen child. + +AGI—No, your highness ... what I am saying, what I am doing, my departure +to-day ... these are my answer to your highness’ kiss. + +ALEXANDRA—I hadn’t expected you to utter that word. + +AGI—Uttering it doesn’t hurt. The kiss itself was much more painful. + +ALEXANDRA—[_Cuttingly._] More painful for you than for me? + +AGI—Oh, yes. It made me feel your profound pity for me, and also your +utter contempt. It was a supercilious thing to do. It implied that I was +not a human being at all ... that I could be treated ... like a child or +a pet animal. + +ALEXANDRA—Is that the way you took it? + +AGI—If I hadn’t taken it like that—— + +ALEXANDRA—Then what? + +AGI—Then I should be kissing you still. + +ALEXANDRA—[_Resentfully._] I see it was all a stupid mistake on my part. + +AGI—It was too much, your highness ... too much at a time. That is why it +was unconvincing. + +ALEXANDRA—Unconvincing? + +AGI—Yes. For we hadn’t reached that stage ... and yet ... suddenly you +had kissed me.... Afterwards ... I went out into the garden ... and +wandered about ... for a long time ... not among the roses ... but out +under the oaks where the morning breeze was unscented and cool.... There +... at daybreak ... I grew calmer ... and could weigh and consider.... +And I felt like a beggar into whose hat someone had tossed a thousand +crown note instead of a copper ... and who must, in all honesty, run +after the giver and offer it back. + +ALEXANDRA—I am glad to see that you know your place so well. + +AGI—It is morning, your highness. The sun is shining. + +ALEXANDRA—And not the stars. + +AGI—No, no; not the stars. + +ALEXANDRA—[_Nervously._] I am very glad of it. + +AGI—And I. Because you are glad. + +ALEXANDRA—I am very glad of it. It is better like this. + +AGI—We can’t make it better. [_There is a brief pause. HYACINTH enters at +right. AGI bows._] + +HYACINTH—Well, my son, at last you are here. The Princess wants to talk +to you. Yes, and the Crown Prince, too. + +AGI—The Crown Prince? + +HYACINTH—He would like to make amends for ... that unfortunate +misunderstanding of yesterday. + +AGI—Forgive me, father ... but I must ask them to excuse me. I am +leaving. My box is already on the wagon. + +HYACINTH—And you proposed to leave us without farewells? + +AGI—I have just said good-bye to her highness. + +ALEXANDRA—Yes, and in a most extraordinary way. + +HYACINTH—How? + +ALEXANDRA—Coldly. Sullenly. As if I had insulted him. + +HYACINTH—Well, isn’t that interesting? This is the second time he has +divined my thoughts. Yes, you did insult him, my child. Certainly you +hurt his vanity ... perhaps also his self-respect ... with that kindly +little kiss. That is what you mean—isn’t it, my son? + +AGI—Yes, father. + +ALEXANDRA—A tragic moment like that ... and you call it a kindly little +kiss! + +HYACINTH—[_To AGI._] You have your athletic habits to thank for this +wisdom, this healthy clarity of judgment. + +ALEXANDRA—And the things he said yesterday ... about his life and his +death and his immortality.... Were they all untrue? + +HYACINTH—Don’t you see? Sudden anguish seeks expression in the strongest +language. That is why common people, for instance, become profane in such +moments. + +ALEXANDRA—Is that all it meant? + +HYACINTH—All? That is a great deal, my daughter, for it manifests a +profound sorrow. An exclamation of pain, as it were, in which the words +are not important. + +ALEXANDRA—Which of his words shall I believe then? + +HYACINTH—The ones he leaves unspoken now. [_A brief pause._] Well, and +you, my daughter? Now! Be candid. + +ALEXANDRA—I, Hyacinth?... If I am to be candid, I believe I love him a +little. [_Puts her head on his shoulder._] + +HYACINTH—I myself thought you loved him ... until you kissed him. + +ALEXANDRA—You say that, too? I don’t understand any of you. Is there +anything the matter with me? + +HYACINTH—No, my child. + +ALEXANDRA—And you don’t believe it was love either? + +AGI—No, your highness. + +ALEXANDRA—But I—— + +HYACINTH—You don’t understand yourself, my child. It was pity that +stirred in you last night. And at half past two it expressed itself in +that bitter kiss. + +ALEXANDRA—Bitter? + +HYACINTH—It wasn’t me you kissed, and yet I know it was bitter. + +ALEXANDRA—I am very unhappy, Hyacinth. But when you talk to me like this +... if you would only stay on a day or two longer and keep talking to me +like this ... then I should feel better. + +HYACINTH—I’ll stay, my child. I’ll stay three days more to keep you +cheerful; I’ll stay four days—— + +AGI—Permit me to take my leave. [_Bows._] Your highness. [_Nervously +takes leave of HYACINTH._] + +ALEXANDRA—[_Cannot bring herself to let him go like this._] I admire your +calm. Your mastery of yourself. Yet I know you are only pretending. This +isn’t what you’d like to do. [_She obstructs AGI’S way._] + +AGI—Perhaps not, your highness. + +ALEXANDRA—That isn’t what you’d like to say. + +AGI—Perhaps not. + +ALEXANDRA—But ... if you can control yourself so perfectly now, why +didn’t you last night? [_Angrily._] That’s what I want to know. + +HYACINTH—I’ll stay a week. + +ALEXANDRA—[_More and more hysterically._] If you can be so calm now, why +weren’t you calm then? Why did you do what you did? Why? Why? What did +you want? + +AGI—I don’t know. That is the strangest part of what happened last night. +I didn’t quite know what I wanted. + +ALEXANDRA—You didn’t know? + +AGI—No. + +ALEXANDRA—You didn’t know, and yet—— + +HYACINTH—My child ... be calm ... I’ll stay a fortnight. + +ALEXANDRA—[_With growing indignation, unheeding him._] He didn’t know +what he wanted ... yet he dragged me along with him ... appealed to my +sympathy ... my credulity ... dragged me and I clung to him ... ready for +anything ... even my own destruction ... even if the whole world crumbled +to pieces ... I would have clung to him ... and ... he ... he—— [_ALBERT +enters quietly. She sees him but continues as if he were not there._] He +didn’t know what he wanted ... and didn’t care what harm he did ... as +long as he could gratify a momentary impulse ... he—— + +ALBERT—[_With mild irony._] Xara, you misjudge him. He is a free spirit. +He is not like us. + +ALEXANDRA—[_Unheeding him._] He only wanted to destroy everything ... to +make a scandal.... Yes, he _was_ ill-mannered and ignorant—— + +ALBERT—You are unjust. He is an astronomer. + +ALEXANDRA—And now _I_ say his conduct was impertinent. + +AGI—Your highness! + +ALBERT—Don’t answer her, Hans! I forbid it, Hans! And if you will permit +me ... Hans ... I will kiss you, Hans. [_Embraces him and kisses him on +the cheek._] + +HYACINTH—Bravo! I leave to-morrow. + +AGI—[_Good-humoredly._] Thanks, your highness. You overwhelm me. + +ALBERT—Do you mind? + +AGI—Not this one. + +ALBERT—Shall I kiss you again? + +AGI—Thanks, your kindness, that would be too much. One was just enough. +[_GEORG and ARSEN enter at back. Each carries a bouquet of flowers in his +hand. They pause a moment on the threshold, then come down to center, +where they stand embarrassed. ALBERT goes down left._] + +GEORG—Professor—— [_He is too touched to speak; gives AGI the flowers. So +does ARSEN._] + +AGI—For me? [_Takes them._] + +GEORG—Yes. [_Turns away; wipes the tears from his eyes. ARSEN hides his +face against GEORG’S shoulder._] + +AGI—There, now! Can these be—the Indians? The celebrated Indians? [_GEORG +and ARSEN turn and embrace him affectionately._] We must have a happy +leavetaking. Not like this. Why, you ought to be delighted. From now +on—no more history lessons. Now comes history itself. [_He bows, and +exits at back with the boys. There is a pause._] + +ALBERT—Don’t be angry, Xara. I owed him that. + +ALEXANDRA—Him? + +ALBERT—In consolation for that kiss you gave him yesterday. [_ALEXANDRA +looks suspiciously at HYACINTH._] + +HYACINTH—Yes ... yes. It is true. + +ALEXANDRA—Well, then ... I was not to blame? + +HYACINTH—No, my child. + +ALEXANDRA—And I didn’t make an irreparable blunder? + +HYACINTH—That is almost impossible for one in your social position. + +ALEXANDRA—[_Mournfully._] And I wasn’t a heroine? + +HYACINTH—No, my child. + +ALEXANDRA—What was I then? + +HYACINTH—Don’t ask, my child. [_There is a brief pause._] + +ALBERT—[_With ceremonious elegance._] Alexandra ... last night you made +handsome amends for a blunder of mine. I ask you now to stay at my side +through life. And when I am at fault be always as ... as ... courageous +as you were then. Will you? [_Extends his hand to her._] + +ALEXANDRA—[_Gives him her hand. There is a brief silence._] Albert ... it +is my duty to be quite candid. If I tell you honestly that at this moment +I feel no other sentiment toward you than respect ... and friendship—— + +ALBERT—Then I answer you, Xara, that it suffices me now. + +ALEXANDRA—[_Wistfully but kindly._] We haven’t contrived a love match, +have we? + +ALBERT—No. No. Decidedly not. [_With each “no” he shakes her hand._] + +ALEXANDRA—No. + +HYACINTH—No. + +ALBERT—May I say what we have contrived instead? + +ALEXANDRA—Yes. + +ALBERT—We have contrived ... something more beautiful.... Love that comes +after marriage. The deeper and stronger happiness that ... that—— + +HYACINTH—That comes later and endures longer. + +ALBERT—Extraordinary that you can always express one’s innermost thoughts +so neatly. Think of this: Katherine of Württemberg was the happiest wife +in the world. And yet hers was one of those compulsory marriages which +Napoleon—— [_Looks around_] Napole.... But happy, you see, nevertheless. + +ALEXANDRA—[_Sighs._] Nevertheless. [_There it a pause. DOMINICA enters._] + +DOMINICA—My dear Alexandra. [_Embraces her._] + +ALEXANDRA—Welcome, Aunt Dominica. [_Kisses her hand with profound +reverence._] + +DOMINICA—Tell me, my dears, hasn’t the professor come yet? + +HYACINTH—Oh, yes; he was here. + +DOMINICA—Well? + +HYACINTH—And he has gone away. [_A long silence._] + +DOMINICA—What does this silence mean? Why don’t you speak? [_Another +silence during which BEATRICE enters._] + +BEATRICE—[_Regards the silent group; terror seizes her; she cries out._] +Merciful heaven! Has something happened again? + +HYACINTH—The professor was kissed. + +BEATRICE—[_In alarm._] By whom? + +HYACINTH—By Albert. + +BEATRICE—[_With a sigh of relief._] Oh! + +DOMINICA—What does this mean? One after another, you are all kissing this +person. What sort of man is he? + +HYACINTH—A most admirable man. + +BEATRICE—Did you kiss him, too? + +HYACINTH—Yesterday. But I shall kiss him again before he goes away. + +DOMINICA—There appears to be no further need for me to talk to him. The +young man has had his reward. + +ALBERT—It seems to me, mother, that a man who had performed such a great +service for the family deserved it. Not only from the bride but also from +the bridegroom. [_DOMINICA nods assent._] + +HYACINTH—Especially from the bridegroom. + +DOMINICA—Quite right. + +BEATRICE—If he hasn’t gone yet ... perhaps I ought to kiss him too ... +what? + +DOMINICA—I fancy he has had enough. But I shall kiss ... your daughter. + +ALEXANDRA—Dear Aunt ... if you deem me worthy.... + +DOMINICA—Entirely, my dear daughter, with only this suggestion: That you +remember now and again that your sainted father used to call you his +swan. Think often of what it means to be a swan ... gliding proudly ... +majestically ... where the moon gleams on the mirror of the water ... +gliding always in that purple radiance ... and never coming ashore. For +when a swan walks, my daughter ... when she waddles up the bank ... then +she painfully resembles another bird. + +ALEXANDRA—[_Softly ironical at her own expense._] A goose? + +DOMINICA—Almost, my girl. Natural history teaches that the swan is +nothing but an aristocratic duck. That is why she must stay on the mirror +of the water. She is a bird, but she may never fly. She knows a song, but +she may never sing until she is about to die. Yes, dear, glide on the +water ... head high ... stately silence ... and the song—never! [_There +is a pause._] + +CÆSAR—[_Entering at right._] Breakfast is served. [_HYACINTH proffers +DOMINICA his arm. Next goes BEATRICE alone. Then ALBERT and ALEXANDRA arm +in arm. They exit. CÆSAR strides majestically after them as_] + +THE CURTAIN FALLS + + + +*** END OF THE PROJECT GUTENBERG EBOOK 75610 *** |