CORNELL UNIVERSITY LIBRARY Joseph Whitmore Barry dramatic library THE GIFT OF TWO FRIENDS OF Cornell University 1934 Cornell University Library PH 3287.02E5 1908 1924 026 943 203 THE DEVIL Olga and Dr. Miller {The Devil) Cornell University Library The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026943203 THE DEVIL hy FERENC MOLNAR adapted by OLIVER HERFORD hy exclusive arrangement with the author NEW YORK MITCHELL KENNERLEY Copyright, igo8 by Henry W. Savage All rights reserved v,.-,. o J I '.KiJUU) As originally produced by HENRY W. SAVAGE at Hartford, July 6th, 1908 Staged by Robert Milton, with the assistance of Julius Herzha, Director-General of the Volhs-Theatre, Vienna Cast of Characters IN ORDER OF APPEARANCE Karl Mahler, an artist Paul McAllister Heinrich, his valet W. Chrystie Miller Mimi, his model Marion Lorne Olga Hofmann, the banker's wife Dorothy Dorr Herman Hofmann, a banker Frank Monroe The Devil (calling himself Dr. Miller) . . Edwin Stevens Elsa Berg, an heiress Marguerite Snow Madame Zanden. . . Madame Eeineke. . . Madame Schleswig. Madame Lassen. . . . Herr Grosser Herr Besser Guests at theHofmanns'' ball. Nan Lewald Jane Murray Theodosia de Cappet Tina Marshall . . . . . John McKee Arthur Hoyt Man Servant Franldin Bixby Synopsis of Scenes Act I. — Karl Mahler's Studio, Vienna. (Afternoon.) Act II. — Conservatory Reception Room at the Hof- manns'. (Evening.) Act III. — At Karl's Studio. (The next morning.) STAGE DIRECTIONS Up. away from audience Down, toward audience Up C. centre of stage, away from audience R. right of stage L. left of stage C. centre of stage R. C. to right of centre L. C. to left of centre THE DEVIL ACT I S c E N E. — Room next to k a a i, ' s studio. At the back of the stage to the L. is a glass door with portiere towards the stage. When this door is opened one can see the studio. Back of the stage to the R. a fireplace with burning fire. Round the fireplace an elevation about half a yard high reaching into the middle of the room. This elevation is bordered by a wooden railing with an opening on each side — in the middle of the railing an ancient Gothic chair, with back towards the public; the back of the chair must be so high that a person sitting in it cannot be seen by the public. On the R. a door leading into the entrance hall of the apartment. There is a little invisible door covered as the rest of the room, with wall paper, on the L. near the footlights. About a yard from this door, a settee with the head end towards the glass door of the studio. Next to this settee a small, ancient table, about one yard high. On the L. a curio cabinet (^small) ; next to it a hall stand with some shawls of different colors. [7] THE DEVIL On L. next the settee a large, gilded, stand-up candelabra, as used in churches. There are many sketches, framed and unframed, about the room — some statues, some heads, busts and a very elegant electric candelabra hanging in the middle of the room. The whole thing wn- harmonious but artistic. Down stage on the R. a medium-sized table littered with books, maga- zines and bric-a-brac ; a large palette lies on the top of some books and scattered among the other things some tubes of paint and paint brushes. ( When the Curtain rises the stage is empty for a few minutes.) KARL, comes in with hat and overcoat which he takes off Heinrich ! Heinrich ! [heinrich, coming from studio. KARL Where were you? HEINRICH Nowhere, sir. KARL The door is wide open; anybody could have walked in. [8] THE DEVIL [heinkich goes into the studio and comes out with a velvet house-jacket. Calling after him: Where's today's paper? \_He finds the newspaper. Well, hurry up. [heinrich comes back and helps kael put on his jacket. KAEi,, lights a cigarette Did you take my dress suit to be pressed? HEINKICH Yes, sir: he will bring it back in an hour. \_Starts R. KAKL Good ! Here's a crown. Get me a white tie, same as the last one. [heinrich starts R. Hold on ! Put out a dress shirt on the bed, then look for my pearl buttons — they are probably in the top drawer — in a match-box. Stop ! Give me that crown. Take this. \_Gives him a bill. Get me a pair of white gloves, seven and a half. Oh! and Heinrich, before you go, put the Venetian chair next to the window. At three o'clock Mrs. Zanden will be here to have her [9] THE DEVIL portrait painted, and I shall be at home to nobody. [Reclines on the settee. Give me an ash tray. [heinrich gives it to him. All right; go along. HEINKICH Beg your pardon, sir — KAEL, seated on couch L. What is it? HEINKICH Mimi is here. KAEI. [Where? HEINKICH Waiting in the studio. KAKL, indifferent, reading newspaper Send her away. HEINKICH, goes to the glass door Fraulein, Herr Marler does not need you today. [Exit L. MIMI, coming in Hallo. [kaki, is silent, continues reading his paper. [mimi comes down L. Don't you want to work today? [10] THE DEVIL KABL No. [Continii£s reading paper. [heinrich goes into the studio. MiMi, in had hv/mor, crosses to C. Good-bye. [Turns around. And tomorrow? KABIi No. MIMI, sad Good-bye. (Wipes her eyes.) You don't love me any more. . . you don't love me any more. KAKL Oh ! It's going to start again ! MIMI Ever since last fall you've been different. I knew it right away when you started to paint land- scapes. When you are in love you paint Venuses. I know what it means when you start to paint trees. KAEL You're silly, Mimi. MIMI I know it. With her hat and coat on every model is silly. [11] THE DEVIL KARL Go home, Mimi. MiMi, goes to head of couch Yes, yes. Go home! Be a good girl. For a week now you've sent me home without my even taking ray gloves off. I'm no use any more. [Begins to cry hut stops it at once. Look here: I know everything. KARL Really? MIMI \From behind him, raises his head. Look at me ! Look at me ! You want to get mar- ried.'' Tell me No — you don't dare. KARL No. MIMI, comes to L. of him Oh, you tell me anything you want to my face; but I know you're going to marry a girl named Elsa — the wife of your friend Mr. Zanden has arranged everything- — look at me and deny it, if you dare. After all, what's the use! you wouldn't tell me the truth anyway. KARL You little mind-reader. [12] THE DEVIL MIMI She's a nice one, Mrs. Zanden ! Instead of taking you on herself, she marries you to a friend of hers. But I don't care ; you don't love me any more — doing landscapes all the time. KAEL Well, what do you want.? MIMI, crosses to R. of him and kneels Tell me you do love me. {Pouting.) KARL, bored Yes, yes — of course. MIMI, imitating him Yes, yes, of course. Is that the best you can do.? KARL Well, what shall I say.? MIMI Oh ! You painters ! It's always the same. First you say : "What an angel ! What a Madonna ! What a Venus! What color! What hair! What lines !" Then all of a sudden, it's : "Oh, my dear ! Why, you've gone yellow." The next day you're green, and then it's : "I have no time today." And, first thing you know, you're — pooh! Landscapes. (Scornfully.) \_She goes to him above table at head of couch, takes his head in her hands. Don't you like me ? [13] THE DEVIL KARii, smit Why, yes. MIMI If you were really nice, you would at least promise to marry me. All the other artists promised. They weren't so mean as you are! Oh yes, I know I am annoying you. I'm absolutely bor- ing you. KARL If you were not such a dear little nuisance — ^[Reaches up and draws her down to him. — I would have done with you a long time ago. {^Kisses her. And now, run away, little girl: go home. MIMI Don't you want me tomorrow? or the day after tomorrow ? EARIi No. MIMI, crossing to him at couch You will never have me pose any more for you at all.? KARii, rises; crosses with her to door R. I'll look in on you this evening on my way to the Zandens'. [14J THE DEVIL MIMI But you can't work in my house. I've only a lamp! KAEL Ha! Ha! Ha! Well, we'll put that out! \^Has taken her to the door. MIMI Oh, will we! \_Laughmg. Maybe you'll get put out. KARL Bye, bye! [mimi exits. {^Lights another cigarette — the hell rings sharply. Calls, somewhat excited. Heinrich ! Heinrich ! HEiNEicH, comes in from studio Yes, sir. \^Runs through the door on the R., which he leaves open, and goes off to open the hall door. KAKL [^Fixes his tie nervously, puts away news- paper, puts out his cigarette in ash tray, and arranges his hair. He goes towards the door through which heeman and olga [15] THE DEVIL enter, heinkich closes the door from the outside, kael bows. Madame ! \^Bows silently to Herman. HERMAN, in a hurry I only came to bring Olga, my boy: I must go back at once. [olga has been looking around. OLGA, going to C. and over to L. So this is the famous studio. KARL, looking around Funny, isn't it.'' More like a junk shop. HERMAN We might have chosen another day to begin Olga's portrait — we have waited six years, so we could just as well have waited until tomor- row; but the preparations for tonight's ball made Olga so nervous that I thought it best to bring her here. You know this ball is a kind of house-warming. \^Crosses over to C. OLGA We were obliged to invite such a lot of people, to clear off our social obligations. [16] THE DEVIL HERMAN I wish it was over. I hate these functions. Old Freebody, in whose business I started, was worth ninety millions, and he never gave a party in his life — or anything else, for that matter. When do you want me to call for Olga.? KAEL, R. C. Well, it gets dark very early now : in three quar- ters of an hour we won't be able to see any more. HEEMAN Well, then— KAEL, looking at his watch Let's say four o'clock. OLGA, after looking at a picture L. very closely Who is that.? KARL Oh, some model. OLGA Wasn't that the girl we just met on the stairs.? HERMAN crosses quickly to L. I must have a look at her. [^Looks at picture. [oLGA stands so as to hide picture. Oh, better not. [^Makes a gesture as if he had seen some- thing indecent. [17] THE DEVIL Well, every minute counts — I must be off. [^Shakes his fnger at kari. You'll have to stop that sort of thing, now, Karl. You know you are one of the reasons of to- night's ball. Isn't he, Olga? OLGA Yes — tonight Karl is to fall in love with his future wife. KAKL, goes L. C. I shall do my best. [^To HEKMAN. Sentenced to marry ! Well, I'm prepared to meet my doom. OLGA, seated on couch, with a little sigh At last ! I shall be glad. HERMAN So shall I. So will the girl. So will Karl. KARL I hope so. She's a charming girl. OLGA Wait till you — KARL I know — I know. I shall adore her. But I have till this evening, you know. [18] THE DEVIL HERMAN, crossing to OLGA Well, I'm off. My agent may telephone any minute. [^He kisses olga's hand. I shall call for you at four o'clock, my dear. And don't worry about tonight : the caterer has his instructions. {^Crossing to R., shaking hands with KARL, who holds him back. KARL,, shaking Herman's hand Aren't you afraid to leave your wife.? HERMAN Shall I tell you the truth? I'm hurrying because I'm afraid of changing my mind and taking Olga away with me. OLGA You're not jealous? HERMAN, at door If I wasn't afraid of appearing ridiculous, I would say: Be good! And now, good-bye. \^He goes off, karl bringing him to the door of entrance hall. KARL [Coming back, closes the door, stands still for a minute — when he comes back, olga [19] THE DEVIL shivers slightly and touches her -forehead with her hand. [Crosses to L. C. by olga. What is it? OLGA, with a nervous, soft laugh Nothing — ^nothing at all. KAKL, tenderly Are you frightened? [oLGA does not answer. Tell me. OLGA, nervous, confused, as if she was afraid of him I don't know, but — I feel as if — as if — KABIi What do you mean? OLGA, trying to laugh, but very nervously I had the same feeling once in Dresden, when my mother took me to a boarding-school and left me there. I felt as if I were quite alone in this wide, strange world — and now — you know yourself. I have fought against coming here for six years. [Looks around. What a queer place. I don't think I like it. [kakl crosses C. and up laughing. Strange monsters, cut off heads, and you in the middle of all this like a wizard. While my [20] THE DEVIL husband was here I did not feel it, but now these heads seem to stare at me. [She shivers. KAEL Don't be nervous — every woman I paint comes here. OLGA, seated on couch, quietly And do you paint every woman that comes here.'' KAEL No. [Silence. OLGA Did you understand my husband just now? KAEL I think I did. OLGA He has often pretended to be jealous, but this time there was a ring in his voice that made me feel that there was something behind it. KAEL You don't really think he's jealous.'' OLGA, crosses to chair No. But this is the first time I've been alone with you. [21] THE DEVIL KAEL Now we can talk things over. I've wanted to for a long time. OLGA, leans against R. back of chair We've done well to avoid it all these years. A good conscience is like a warm bath — one feels so comfortable in it. KARL Last Thursday, when we spoke about my painting your portrait, you seemed embarrassed. OLGA, looJcs at him; their eyes meet Don't let us talk about it. I don't want to. KARL Don't be afraid of me. If I were not I, your fear might be justified; but as it is, surely we can trust ourselves to talk things over quietly. To think that seven years ago I was a teacher in Herman's family — and I was there the day your engagement was announced — ^it was the evening of the day we — OLGA, puts her hand on his, softly reproaching him Karl. KARL — We kissed each other for the first time. Oh, I know. I was only a drawing teacher — but • [ 22 ] THE DEVIL you — ^what were you? Just a poor little friend of Herman's sisters. Sometimes you were asked to tea in their grand house. And there we met — a beggar boy and a beggar girl at the rich man's table. Do you wonder.? And then, just as we realized what we were to each other, one fine day Herman up and proposed to you. Such a dazzling offer — who could blame you.!" OI.OA, hurt Please — please, Karl. KARL We were two poor little souls who found one another in the wilderness of wealth — only to lose each other. Even the memory of that one little kiss. . . OLGA Dear Karl, don't. We have grown up to be sensi- bl3 people — we have put it out of our thoughts. KAKL Oh, I know it's all over. Today I'm — (humor- ously) the famous painter, your husband is my friend, and though we see one another every day, we have never spoken of it again. I wouldn't even have the courage to ask you to sit for your portrait. I was afraid, and I think you were afraid. And so was your husband. And that is why until this day^ [23] THE DEVIL OLGA, steps down one pace from chair, gives him her hand You are a real friend. KAKii, goes to her, gently There's nothing to be afraid of. OLGA Oh, it was only my husband's voice — something in his manner that frightened me. He must know what we were to one another, though he has never made the slightest allusion to it, not one single word in all these years. But when he left us here alone, he seemed to feel — J[Breaks off. But there is no reason for it, is there? We are not in love with one another, are we.-" And it's just lovely to think that we have not entirely forgotten old times. Don't you think so, Karl? KAKi,, goes to chair Of course I do. OLGA Because if we still loved one another, you would not marry, would you? \_Taking off gloves. KARL Of course not. [24] THE DEVIL OLGA So you will be married and you will be very, very happy — and I shall be happy, too, because it is my own idea, and I have picked out a nice girl for you — pretty and clever— [kakl bows silent acquiescence. And now — [^Goes up and knocks on back of chair — business of entering imaginary door, etc. She speaks in an everyday voice, in marked contrast to former tone. How do you do. Professor? I have come to have my portrait painted. KARL, quite enthusiastic, R. C. Last night I made a sketch of you from mem- ory. . . Oh, I've made lots of sketches of you; but now, now I see you in another light. OLGA, R. How do you mean.'' KARL Yesterday I looked upon you as a model. Today you are a motif — you are a revelation. . . there is something in your eyes. . . OLGA Please, please, Karl, we agreed that — that — [25] THE DEVIL Pardon me, I'll try to remember. [Goes up on platform. OLGA Let's go to work now — it's getting late. EABI. Whenever you are ready — OLGA What am I to do.'' EABL, steps behind her to take hat pins out of her hat Take off your hat and your coat, please. OLGA Thanks, I can do that myself. [She takes her hat and coat off. kael takes her coat up on platform. EABL, passing her chair as he goes up Do you use perfume in your hair? OI.GA I.'' Never! [At chair up in alcove. [26] THE DEVIL EAEL Oh, then it is the natural perfume of your hair. \^She looks at him reproachfully. Pardon me: I stood too near. \^Looks at her in silence. She crosses back of large chair to couch L., and sits facing audience. OLGA, nervously, turns her head to him What is it? KAiiL, leaning against big chair, looking at her dress I was just thinking — didn't your husband say an evening frock? OLGA Yes. Herman wants me painted decolletee — in an evening gown; just a head and shoulders, you know. I would have preferred a street dress. EARIi I'm afraid I agree with Herman on that point. But have you? . . . Didn't you? . . . Where is the dress? OI.GA Oh, I thought you would only be painting my face the first sitting. [27] THE DEVIL KARL, comes C, laughs So you thought I began at the top of a portrait and painted down? OI.GA, hesitating Yes. KAEIi Why, the drawing of the shoulders is almost more important than the head in the first sketch. OLGA Oh, dear. How stupid of me. KARL, crossing L. I'll tell you what — \^He selects some draperies from those hanging in the corner. I have some draperies here — OLGA Well— KARL You can arrange one of these around your shoul- ders like — like an evening gown. OLGA, mechanically Yes. [28] THE DEVIL KAEL, hanging drapery on cabinet L. You will have to be quick because it will soon be dark. Here are the draperies — you'll find some pins over here, and I'll go into the studio while you — until you — [Goes to door of studio. OLGA, seated Until when? Why? KARL Why, if I'm to paint your shoulders — well — [Turns away towards studio. — your blouse? OLGA, terribly embarrassed Of course — KARL Do just as if you were at home. I'll close this door. [Goes to door R. to entrance hall and locks it. And now I'll go into the studio. . . and you can lock this door yourself. [He has opened the door of the studio and has made one step into studio, and now says in a low tone: Oh! It's snowing. [He looks at Olga. [29] THE DEVIL OLGA Snowing ? KAKL Snowing hard. \^SileTice. OLGA Hadn't we better ? — perhaps — perhaps — tomor- row — or — or — [She has been saying this very slowly, as if afraid, hut now suddenly regains con- fidence, as if she had had a saving idea. Tomorrow I could bring my maid. KARL Oh, no, no. Your husband would certainly want to know the reason, and really — if this door is closed — [He goes bacJc to his studio. It's too bad ! This snow takes all the light away. But never mind— never mind; the snow shovel- lers will be glad of it. [He has spoken the last few sentences in a very low voice, as if the situation was painful to him. He goes backwards into the studio and now closes the door. [oLGA is standing with her back towards the studio, staring in front of her. She now shrinks together, shivers, turns around. Sudden resolution, she turns the [30] THE DEVIL hey, locking the door to the studio. Slow- ly unbuttons her blouse, looks at the shwvds, of which she chooses one, after- wards takes her blouse off quietly, putting the shawl around her shoulders. She has put the blouse on the settee before she arranges the shawl. She now picks up the blouse and wants to put it on the chair in front of the fireplace; her arm is already stretched out when she suddenly drops the blouse, utters a suppressed shriek, dropping blouse by chair, and crosses quickly to foot of cou^h. [The DEVIL, in fashionable frock coat, a crimson carnation in buttonhole, a man of from thirty-five to thirty-eight years old, resembling in face classical Mephisto, very elegant, picks up the blouse and offers it to oiiGA in a most polite manner. BEVIL Pardon, Madame. [Comes C. a little. I think you dropped something. [oLGA takes the blouse mechanically and looks at him frightened. I must beg your pardon, Madame. I came from lunch. Karl was not at home. I waited and I fell asleep in this very comfortable chair. [He rubs his eyes. [31] THE DEVIL Forgive me, Madame, for opening my eyes at a moment when, for propriety's sake, I should have at least kept one eye shut. OLGA, puts blouse on couch and goes L., hor- rified and disgusted Oh! DEVIL, Right of couch L. I am aware this is a base insinuation — of course you only come here — l^Ironical. OLGA To have my portrait painted. DEVIL I once had a similar encounter at a dentist's ; and the lady, to prove that my insinuations were false, did not hesitate to sacrifice a perfectly good tooth. OLGA I tell you, I — DEVIL, very polite Oh, I know — you speak the truth. I am even at liberty to believe it, though your truth is only partly in style. Truth should have nothing on at all, you know. [32] THE DEVIL OLGA The insolence ! What right have you to speak to me? Who are you? What are you doing here? Karl! [kael tries door outside. Karl! [She opens the door of the studio, kael appears on the threshold and looks sur- prised at the DEVIL. DEVIL, crosses up R. C. very quickly How do you do? KARL, taken aback How do you do? — er — how are you? DEVIL, quickly You don't seem to remember me — we met at Monte Carlo — KARL, up L. C. Oh, yes. DEVIL Quite an eventful day it was. KARL, comes down a little Yes, yes, I remember. It was last fall, and I had just lost all my money at roulette. As I turned from the table, I caught sight of a stranger frowning at me. [Pointing to devil. [33] THE DEVIL It was you. I was startled, because only a mo- ment before I had seen you next to the croupier, and I thought I heard you laugh when I lost. But now I remember — you stood behind me, and when I had lost everything, you oifered me, a total stranger, a handful of louis d'or. DEVIL You refused — beggingly. KAUIi Yes, but — DEVIL, continuing You took them — ^protestingly. KAEL In five minutes I had won everything back, and 20,000 francs besides. Your gold seemed to have magic power, I remember. When you gave it to me it seemed to burn. DEVIL But you paid me back and invited me to supper. I had to refuse, because I was obliged to leave for Spain the same evening, but I promised to look you up the next time you needed me — [^Crosses to R. and here I am. [34] Well, I'll be THE DEVIL KARL DEVIL, interrupting quickly Don't mention it. I took a little nap in your chair. \^Goes up to back of big chair. OLGA, goes C, pointing to big chair. Frightened It's very strange — this chair was empty; there was nobody there. DEVIL, stepping towards her, bowing; in a tone allowing no contradiction Then I was mistaken, Madame. [oLGA goes over behind couch L. Silence. [oLGA and KARL look at the devil sus- piciously. KAEL, L. C, embarrassed Won't you please sit down.'' Allow me to intro- duce you. I quite forget your name. . . DEVIL, R. C. Call me anything you like: we only call names when the party is absent ; but I am here now — call me Miller, or Brown, or Black. [^Start from karl. devil stops him. If you think Doctor sounds better, why not call me Doctor Miller.? [35] THE DEVIL KAEL, very much embarrassed Doctor Miller — \Crosses to R. C. The devil hisses olga's han^ devoutly at foot of couch. Under ordinary circumstances, I should now take my hat and leave; [Goes up C; turns. but my infinite tact compels me to force my presence upon you in this disagreeable situa- tion. [Sits down in chair C. OLGA, crossing to karl; to the devil How dare you! Karl! This man has the inso- lence to — DEVIL, seated C. Very quickly Your husband has been dead some time? OLGA, R. I'm not a widow. DEVIL, very quick Oh, divorced.? OLGA No. DEVIL Well, if you think that I have insulted you, I [36] THE DEVIL should say the proper person to refer me to would be your husband. \_Rises; to karl : Of course, if you wish, I am at your disposal also. [To OLGA : But, Madame, this would be admitting — KARIi What's it all about.'' I don't understand you. You come in here, I don't know how or where from, and you — you act as if you had trapped us — OLGA, goes to KARL R. C. The idea ! DEVIIi Say what you like: I cannot go. OLGA Why not? DEVIL If I were to go now, it would be as much as to say: "Pardon me, I fear I intrude." But if I remain, I show that I suspect nothing. KARL We don't need your assurance. [oLGA crosses to L. below couch. [3T] THE DEVIL DEVIL, bews politely; embarrassing silence Suppose we talk about something else. I think we are in for a snowstorm. [Standing R. of studio door. Silence. [oLGA stands near the door leading to the studio, quite astonished. Are you sending anything to this year's exhibi- tion ? KARL, uncomfortable Perhaps — I may send something. J[Silence. The devil lights a cigarette at table L. C. DEVIL, puffs cigarette. On second puff Permit me, Madame. [oLGA, picking up blouse, as if suddenly awakened and realizing her position, goes into the studio, closing the door behind her. Full of temperament — full of temperament. And pretty, too. [karl starts to light cigarette at table L. C. KARL, dropping cigarette, crosses to chair up C, sits and looks at the devil without speaking DEVIL Too bad she doesn't love her husband. [karl turns quickly towards the devil. Quick: How do I know.-" The way she turned to you just [38J THE DEVIL now when she fancied herself insulted — it didn't escape me. [kakl takes up the ash tray and throws it angrily on table. No ; she doesn't love her husband. He must be either a genius or a very common man. Mar- riage with them is always unlucky. Believe me, common men live so low that women are afraid somebody will steal in at night through the window which they forgot to lock. And Genius, well ! That lives on the top floor — so many stairs, no elevator. Her ideal is — [^A motion of the hand, wanting to express an even, middle position. — the second floor. [karl looks impatiently at his watch and goes towards the door of the studio. The DEVIL leans back blowing the smoke of his cigarette, indifferently. This is the second time I have seen her shoulders. KARL, coming down left of couch What do you mean.!" DEVIL The first time I saw them was in Paris — [Start from karl. at the Louvre — only they were on the Aphro- dite. Am I right.? [39] THE DEVIL KAEL, crossing to large chair R. C. In had humor How should I know? DEVIL, lifting himself upright, cynically Which shoulders have you not seen? KAEL, angry I've seen the Aphrodite. DEVIL, seated on couch Well, you may take my word. I have seen them both. And, believe me, since Alcamenes, I have only known one sculptor who could model such shoulders. KAEL Who's that? DEVIL Good living. Such tender, soft lines are only pos- sible for a woman who lives exquisitely well. I take it she is the wife of a milKonaire? [kael goes again towards door of studio impatiently. Is she dressing? KAEL, nervously I suppose so. DEVIL Is there a looking-glass in your studio? [40] Yes. THE DEVIL KAEL, comes down L. of couch DEVIL She must be very respectable. [karl loohs at him astonished. If a lady takes as long as that to dress before a looking-glass, she's not a — model — anyway. KAEL, crosses around foot of couch to table L. C. Look here ! I think your remarks are, to say the least, in very bad taste. DEVIL, standing erect Do you mean that.? KAEL, aggressively I do. DEVIL, patting kael's cheek Then you must be respectable, too. \_Crosses to big chair, kael stares at him astonished. In a situation like this, only a very respectable man can be so infernally stupid. [kael crosses to R. olga opens door of studio, goes towards kael without look- ing at the DEVIL, who is hidden in chair. OLGA, dropping shawl on couch What's the time.? [^Crosses to kael, R. [41] THE DEVIL DEVIL, looking up over back of chair He'll be here in ten minutes. OLGA, angry Who? DEVIL Your husband. OLGA Oh ! So you weren't asleep after all. DEVIL Oh, yes, I was, [^Riseg. But "What's the time.'"' always means the hus- band. A woman's intuition invariably antici- pates her husband's coming by ten minutes. If it wasn't for that ten minutes, there would be more divorced women — \_He goes and vmlocks the door of the hall. — and less locked doors. [kael crosses to L. C. OLGA, taking her hat Will this never stop! DEVIL I tried to change the subject. I started to speak about the weather — the Exhibition — but Karl wouldn't have it. [42] THE DEVIL OLGA Karl! KAEL I? I haven't said a single word. DEVIL, crosses to big chair But your actions fairly shouted. The way you jumped up, looked at your watch, went to the door — \To oiiGA : He was afraid, the poor fellow. KARIi Afraid of what. J" [i.e. DEVIL, to OLGA That your husband would come before you had finished dressing. I don't blame him. OLGA, R. What, again! [Goes up to hat. KAEL, L. C. Can't you — [43] THE DEVIL DEVIL Come now! Let us be logical — ^let us look the situation in the face. Enter your husband — [oLGA comes down R. "Well, here I am: where is the picture?" "The picture?" \^Shrugs his shoulders. "There is no picture. Karl hasn't even touched a brush." Your husband is astonished — ^he tries to speak — the words stick in his throat — he gasps: "Well, if you didn't paint, why is she dressing?" Imagine the situation! You look at one another horribly embarrassed ; Karl stammers something, but that only makes it worse. Nothing has happened — and yet the mischief is done. What mischief? Appear- ances — appearances. They're like fly-paper. There's no getting away from them. [^Speaking to olga : You go home with your husband, and he doesn't speak — and if you ask him: "Why don't you say something?" his blood seems to boil. If you ask him to take a cab, he suspects that you want to avoid meeting somebody — every word that you utter tortures him. And if — KARL, C. And if it were so, we are not alone, you are here. [44] THE DEVIL DEVIL, icy and cynical Just so, I am here — one word from me would save the situation — but — I know myself — I'm a strange, whimsical, almost cruel man — and I'm afraid I won't say the word. Tableau ! Em- barrassing silence ! Then I say : "I regret that I should have come at such an inopportune moment." I take my hat and walk out dis- creetly. If necessary, I can even stammer my excuses. OliGA If this is a jest, it's a cruel one. DEVIL, bowing low Possible, Madame — but I can do better still. Of course, if you prefer it, I can make conversa- tion — when your husband comes in, I can tell him that the portrait has not been touched and ask his pardon — OLGA Pardon .'' Pardon for what ? DEVIL, bowing For having — quite accidentally — seen your shoul- ders. OLGA, horrified Who are you? [45] THE DEVIL DEVII, I am one who always comes at the right moment — I come from Nowhere. [Very hitmgly. I am here — \Touchmg olga's forehead. OLGA What do you want with me? You turn every- thing to evil. I have scarcely known you five minutes, and I seem to feel your fingers at my throat. DEVIL That's because I like you. With most pretty women I take longer. KARL, furiously, starts towards Mm Look here : this has gone far enough ! \MaTces a few steps towards the devil, who stands erect without moving. At the same time, heinrich comes to the door, which he opens, and starts speaking at once. HEINRICH The tailor has sent an evening suit, but it is not yours, sir. DEVIL Put it on the chair in the bedroom. [46 J THE DEVIL KARL But it's not mine. DEVIL, gives a sign to heineich to go out and do as he was told. SpeaMng to karl It's mine. KARL Yours .'' DEVIL, makes motion to heinbich, who goes out [Durimg speech olga goes up and gets her hat. kael walks back and forth L. C. I had to have it pressed. I told the tailor to send it here. I must dress for tonight. I'm going to a ball the prettiest woman in Vienna is giv- ing at the house of the Duke of Maranse. OLGA, coming down R., frightened But the Duke does not live there now — he's Am- bassador in Madrid; he has sold his house — to us. DEVIL I know. I met him in Paris. He told me — OLGA We are living there now — we are giving the ball. DEVIL Am I mistaken? Am I not invited.'' OLGA, iw a vertf low voice, dropping her head Yes — yes, you are. [47] THE DEVIL DEVIL, very polite Madame, you asked me a little while ago what I wanted. That's what I wanted. Thank you. \Bows and turns towards C. Silence. OliGA But my husband — DEVIL, turning to her Will be delighted. I've just come from Odessa. I have good news. Wheat is rising — this year's crop turned out worse than they thought it would. OLGA, greatly pleased Yes.'' The crop is bad.'' [The DEvix goes to big chair and kneels on it L. DEVIL So you do love your husband.'' You're glad the crop is a failure? OLGA Of course I am. [As if she was somewhat ashamed about her husband's speculations. We want the wheat to be bad because that will drive the price up. [48] THE DEVIL What of that? OLGA My husband will make lots of money. DEVIL, to OLGA And you will get that new gown. OLGA How do you know I want a new dress .'' DEVIL You have a new hat — a very pretty one — and you will certainly want a new dress to wear with it. OLGA You must be married. DEVIL Married.'' Not the least — ^but I have an eye for feminine vanities. Oh, no! A wife is like a single eyeglass — it looks very nice, but one is better oif without it. OLGA, R. You seem to have strong views against marriage. May I ask why."* [49] THE DEVIL DEVIL, shaking his finger Because you are plotting matrimony against Karl, and I want to save him. KAKL, starts toward him; stops C. I beg your pardon — DEVIL An artist ought never to marry — ^his wife will swear on the wedding day to stand by his side all through life. The day after the wedding she will stand in his way. OLGA Not the real wife. DEVIL The real wife is always the other man's wife. OLGA You're a cynic. DEVIL Oh, no, not cynical, only careful. A tigress who has married — I mean eaten — a man, is no longer dangerous — ^you can ride on her back through the jungle. But, you must wait till she has married — I mean eaten — somebody ; then she is quite safe. [50] THE DEVIL KARL Better to keep away from the tigress — and stay at home. DEVIL Then why didn't you stay at home ? Why did you refuse a legitimate position — good, everyday morals — a decent occupation at so much a week? You wanted to go into the jungle — and there you are. Now fight your battle — hunt tigers — but don't get married! \IIe now changes his tone, goes into the church chair, on whose bach he leans his two arms, speaking as if from a pulpit. It is almost dark, and during this scene it becomes darker yet. And yet — what a splendid couple you two would make. [oLGA, standing quite near the devil but not looking at him, buries her face in her hands. Wake up! \To KARL : You, with your talent, your splendid youth ! \To OLGA : You, with your temperament, and beauty and longing ! [51] THE DEVIL. KAKi, crosses to R. Stop ! Stop ! I beg you — [oLGA hacks to R. of back of chair, as though to protect devil. — for years we have been just good friends. DEVIL \^He now begins to speak in almost a 'whis- per, hut getting warmer and warmer, the more embarrassed kakl and olga become. You may say what you like, but I can read your eyes; they say to me: "Don't believe him, he lies." [Goes to pre and warms his hands, kael stands below olga. KARIi Don't interrupt me. For six years we have been — good friends, nothing else. Olga cares nothing for me — and I — and I — DEVIL, quickly What will you give me to interrupt you now? OL&A I don't know what you, who profess to know everything, know about us, but anyone who thinks Karl capable of one base thought must be very low and contemptible himself. [52] THE DEVIL DEVIL [^Goes behind olga and whispers into her ear. At the end of the speech he is a little to the L. of them by the big chair. It's not a base thought: it's a great thought — a thought that brings joy and warmth and light into your wretched little lives. But joy has its price — and you must pay it, you misers ! The drunkard dies of drink, but while he is drunk angels in heaven sing to him. The poet dies in the ecstasy of his sweetest song. It is a coward's bravery that turns away from the wine, the song — and the lips of woman. The smallest candle-end shows you it is worth while to burn up for the sake of a little warmth — a little light. The only end of life is to burn — -to burn yourself up. You must flame and blaze like a torch and toss the fire about you. I know: your moralists tell you to love one another — don't believe them — your grubby lit- tle earth with its paltry million years is not ripe for such a love as that. It can only breed monks, madmen, Methodists. Don't be a fool, be a rogue — ^but be a jolly rogue — and the world is yours ! Look at me ! I own the earth. Here is the key of life — ^Love yourself — only yourself. Dress yourself in the softest gar- ments — kiss the sweetest lips — drink of the wine of Life — Drink ! Drink ! Drink ! J^Bell rings sharply — nobody moves. [63] THE DEVIL OLGA, after a pause, in a low voice My husband — DEVII, [Steps down from the chair, crossing C, snaps his fingers angrily, and says after- wards, in a cold, cynical tone: Mr. Wheat. [heinrich opens the door, and heeman comes in. heinrich follows him, but stops short at the door. HERMAN I'm afraid I'm late. My agent hasn't telephoned me yet, but I didn't want to make you wait too long. Rather dark in here! [heinkich touches a button, lighting the lights, and exits. HERMAN, sees the devil, presenting himself I'm Herman Zanden, of Zanden Brothers & Wilde. [devii, mutters something and shakes hands with him C. OLGA, coming down R. karl goes behind big chair Strange man. [54] THE DEVIL HERMAN Pleased to meet you. \^Converaes with karl a few moments; then to OLGA : Well, my dear, where's the picture? Mayn't I see it? KARL, in the big chair, leaning over back There's nothing to see — there is no picture. HERMAN, looTcing at his watch What have you been doing? KARL Nothing. (Silence.) It's been dark for the last hour. HERMAN Yes, but I've been gone two hours. DEVIL, steps to the front L. C. very politely It was all my fault. We have been chatting. We've had a very interesting discussion. And Madame wap kind enough to invite me for this evening. HERMAN Oh ! I'm very pleased. DEVIL, crosses to couch L. and sits Thank you. I have just come from Odessa. I had a talk with the Russian Wheat King. He tells me — [55] THE DEVIL HERMAN Yes, I've heard ; wheat's going up. OLGA, frightened Isn't that good for us? HERMAN No, dear. I did not tell you this is the first year I am short on wheat. KARL What does it mean to be short on wheat.'' DEVIL, seated on couch L. It means digging a ditch for others and falling into it yourself. [To HERMAN : I don't think you'vfe any cause for uneasiness. I have inside information that the American crop will be excellent. HERMAN, C. If that is the case, I shall be safe. DEVIL You will be quite safe. HERMAN Do you also deal in wheat? [56] THE DEVIL DEVIL Yes and no. I dabble in everything. And always at improper moments. {Rises.) KAKL, has been talking to olga, but now goes over to HERMAN I'm afraid I can't come before eleven o'clock this evening. [^Continues talking to hebman, and both go to fire. OLGA, crosses and meets devil, C. I must speak to you at once — alone. l^Looks around as if she wanted to say that her husband and kael were in the way. DEVIL Alone .? Delighted ! [Crosses by her and goes up C. olga goes behind couch and devil addresses heb- man. By the way, if you want to see something delight- fully bad, you ought to take a look at the sketch Karl made yesterday of your wife. HERMAN, coming down Where is the sketch? devil In the studio. [hebman takes kabl's arm and walks to door of the studio; in going into the studio speaks fo kabl. [57] THE DEVIL HEEMAK I'm sorry you didn't start Olga's portrait today. What were you talking about all the time? l^Goes into studio. DEVIL, to OLGA I'll wait for you here. [£fe steps back into the room just in time to see MiMi enter from the hall. MI MI, comes right in, crossing to C. Excuse me — DEVIL [You want to see the painter ? MIMI, excited Yes, please. DEVIL, very gently, pushing mimi out of the door into the hall and speaking through the door One minute, my dear. There are some visitors here. Sit down there. I'll call you. OLGA, comes quickly from the studio I wanted to tell you — to tell you — DEVIL, R. C. It is not true. [58] THE DEVIL' OLGA What is not true? DEVIL Whatever you are going to tell me. OLGA But believe me. DEVIL Surely no woman can expect that. OLGA But I am telling you the truth. DEVIL Ah ! I might believe you if you said you were not speaking the truth. OLGA Must I think and speak only as you wish me to.-* DEVIL Not yet. Now what can I do for you.'' OLGA, very earnestly L. C. Don't come tonight. Now my husband has come, I am myself again, and your manner grates upon me. I had begun to feel as if some strange force — some invisible hand — was clutching me [59] THE DEVIL — holding me in spite of myself. There is a mystery about you. It frightens me. I thanked God when I heard that bell ring. He came just in time. DEVIL To point a moral and break up a charming party. We were just beginning to understand each other. OI.GA Oh please stop ! DEVIL Are you afraid.'' OLGA No, but I ask you not to come to our house this evening. DEVIL, with a very polite bow, then drawing him- self up I shall come. OLGA And if my husband asks you not to come? DEVIL Your husband has already asked me to come. [60] THE DEVIL OLGA And if, in the presence of my husband, I ask you not to come? DEVIL Well, I'll make a compromise with you. If you repeat your invitation in your husband's pres- ence, I shall accept; if you do not, I will not come. oiiGA, breathing freely That's nice of you — ^the first really nice thing you've said. I like you much better. [kakl and heeman come bach from the studio, and Herman starts to talk at once to the devil. KARL goes toward olga, who meets kael up C. OLGA, to HERMAN Shall we go? HERMAN Yes, dear; put your coat on. [Comes down L. devil crosses to herman. KARL, meets olga, the^ go up to recess. He helps OLGA to put her coat on. I see now how bad the sketch is. [Holds mirror for olga while she puts her hat on. [61] THE DEVIL OLGA Please don't look at me like that. KARL, Even if I don't look at you, I see you just the same, Olga. OLGA, covering her face with her hand We must give up the portrait, Karl. . . I'm going away. . . away somewhere. DEVII,, L., with HEBMAN. You don't say? You represent Holman & Co. in London? When I am in Odessa I am always old Mr. Holman's guest. A charming old gen- tleman. No doubt you have heard the rumors. It seems they've been mixed up with some un- fortunate ventures whirh hove seriously affected their standing. HERMAN, seated on couch Strange! Another friend of mine spoke to me about it only yesterday. DEVIIi Yes, but that isn't all. He's the president of some trust company, and in order to boom the stocks he — but it's a long story, I won't bore you with it now. [Makes as if he wanted to go. [62] THE DEVIL HERMAN My dear sir, this concerns me more than I can tell you. The fact is — I — I am heavily inter- ested. [oLGA has her hat on and turns, listening to HERMAN and the devil. DEVIL You don't say. But it's a long story. HERMAN Well, then — tonight. DEVIL Oh, I am so sorry. I have excused myself already to Madame, but I had forgotten all about a call I must pay at the Russian Embassy this evening. HERMAN Well, lunch with me tomorrow? DEVIL, with a gesture of regret I'm afraid it will be impossible. I leave tomor- row at nine o'clock for — Spain. HERMAN, to himself H'm ! I must have this information. [HERMAN crosses to C, speaking to his wife. My dear, won't you please ask the Doctor to try and arrange to come to our house this evening.'' [63] THE DEVIL OLGA, somewhat embarrassed Well, but if pressing business. . . DEVIL, L. C. It is not so very pressing. Of course, it would mean a little sacrifice. HERMAN, C looking at OliOA Well— OLGA, R. C. Much as I would like to see you, Doctor, I can- not ask you to sacrifice anything for our sake. DEVIL, as if suddenly remembering something Come to think of it, the Russian Ambassador left town yesterday, so if Madame — HERMAN, goes Up C. DEVIL crosses to her R. C. Well, my dear? OLGA, in a tone of resignation I hope we shall have the pleasure this evening — DEVIL, crosses to olga Pardon me. You said — OLGA, very slowly I hope we shall have the pleasure of your com- pany this evening? [Goes to door R. [64] THE DEVIL DEVIL, ironically Madame, I thank you for your invitation ; I shall be most charmed. HERMAN, coming down to kael And you don't come before eleven? KAKi,, by big chair No; I expect an art dealer. HERMAN, suggestively I know your art dealers. Fie! And you going to be married. oiiGA, curiously, and a bit jealous What is it? KARL Oh, nothing. DEVIL, up C. as if listening I think somebody knocked at the door. HERMAN I didn't hear anything. DEVIL Yes, there it goes again. \_Cynically. Probably the art dealer. l^Goes to hall door, which he opens, steps out, speaking into the hall. Oh, it's you, my dear. Come in. [^Swings MiMi into room past olga, land- ing her C. [65] THE DEVIL MiMi, as she comes m embarrassed Good evening. [heinrich enters from studio. KAEL, up C. embarrassed Good evening. [mimi goes up L. DEVIL, R. C, in a low tone to herman We'd better go. [mimi and olga stare at one another. [ Cynically to Herman: The Art Dealer ! HERMAN, laughing, going to door Well, au revoir. \_Exit. DEVIL, to OLGA Quite a little comedy. OLGA, at door R. You think so? KARL, to MIMI, pointing to the studio Please step in there, Fraulein ; I'll be with you in a minute. [karl turns to olga mth hand out- stretched, as if to say good-bye. olga pretends not to see it and bows coldly. [66] THE DEVIL DEVIL, whispers to olga You were good enough to invite me for this even- ing: I am now going to repay your kindness. In five minutes I shall be back here to interrupt this tete-a-tete. Watch me forget my overcoat. [^He takes the overcoat which kaul had put on a chair at the beginning of the act when he came in. heineich helps the DEVIL to put on the overcoat, but notices that it is his master's. HEINRICH Pardon, sir ; but this is not your overcoat. This— DEVIL, aside to heinrich Shut up ! [devil goes off; heineich follows him out. KAEL, comes C. to mimi Didn't I promise you I'd come? What do you want .'* mimi, coming to him Were you ashamed to have those people see me? KAEL I told you I'd come. What more do you want? [67] THE DEVIL MIMI I was downstairs in the lunch room and thought it all over. Dear Karl, don't be mean — don't get married. KAEL But — Mimi ! MIME I never used to care, but now that I've seen those people I — I can't bear it. Don't get married! [^Cries. KAEL You mustn't cry — it spoils your beauty. MIMI Oh, I'm a fool. KAKI. Now, you're talking sense. MIMI I've been a silly girl — ^but it's all over now. I'm sensible again. You are going to settle down and marry Elsa and be the most famous por- trait painter in all Europe. KAEIi Mimi, child — don't speak of portraits. I feel at this moment as if I never wanted to hear the [68] M'lmi and Karl THE DEVIL word portrait again. I'd like to run away from everything, Mimi. What do you say? \_Goes to couch L. and sits. Suppose you and I get married and go away — far away into the country — or to the United States, where we'd never be heard of again. MIMI, kneels beside him Do you mean that.!" KAEii, recklessly Yes — yes ! MIMI, gives him her hand That's mighty nice of you, Karl. [^Rises, goes L. C. But no! even if you really mean it — which you don't— [Makes an effort to control herself. KAEL, interrupting Mimi! MIMI No, Karl; I'd only keep you back — you must marry in your own set. [Changes tone. But don't run away — with — ^with anybody. Good-bye. [69] THE DEVIL KAE.I, No, don't go ! Now you have come, you might as well stay a while — take your hat off. J[Helps her off with her hat and jacket. I'm glad you came back. Now, let's be sensi- ble — and talk it over. You know I really am fond of you — after all, I am your best friend and you are my — my — [The DEVIL has silently opened the door and comes in. DEVIL My — my overcoat must be somewhere. Your stupid servant gave me yours. [Takes coat off. It's funny, but every time I come here, you are helping some lady to take off her things. [mimi goes to couch. MiMi, horrified Well, I never. [Exit. DEVIL You have every qualification for a ladies' tailor. KAB.L You are very kind. DEVIL Don't mention it. [70] THE DEVIL KAR L, impolitely I'll fetch your overcoat; I don't want to detain you. [Puts out lights and goes towards studio. DEVIL The hanger was torn off. I asked your man to mend it and bring it here when it was done. \^Sits up C. Silence. I just saw something very touching. ICABI. What.? [^Goes to C. and sits on arm of chair hy DEVIL. DEVIL The way that woman clung to her husband's arm as if for protection. KARL For protection.? {Sneeringly.) From you? DEVIL Look here, my boy ; do you think you are wise to be such a fool.? [kael rises, starts away, devil catches him by hand. [71] THE DEVIL KAEL I don't want to talk about it. You don't seem to understand my position. I have seen this woman for years every day, and I never even thought — and if I had thought — I should have laughed at myself. DEVIL, rises, takes both kael's hands Look at her ! She's yours. Think what it means — joy, unspeakable joy — the most supreme joy one can have. And to think that you are too lazy to stretch out your hand! Why, another one would toil day and night, would risk life and limb for such a prize — and it just drops at your feet — a windfall. KAEL I suppose that's why — [/ra a tone as if he didn't think much of it. — ^just a windfall. [^Sits on couch. DEVIL, sits on table L. C. Last fall, on the sixth of September — ^I shall never forget the date — something strange hap- pened to me. I put on an old suit I hadn't worn for a long time, and as I picked up the waistcoat, a sovereign fell out. God knows how long it had been there. As I turned this sover- [72] THE DEVIL eign over to look at it, it suddenly slipped through my fingers and rolled away. I looked and looked, but my sovereign was gone. I become nervous: I can't find the sovereign. I search around for half an hour, three quarters of an hour, still I can't find it. I get angry, I get furious. I shift the furniture — no sover- eign. I call my man — we both look every- where until it's dark. I'm perspiring and trem- bling — I have but one idea: I must get that sovereign back. Suddenly a suspicion comes into my mind — I get up from my knees. I scream at the top of my voice to my servant: "You thief, you have found the sovereign and put it into your pocket." The man gets angry and answers me disrespectfully. I am about to strike him when I see the blade of a knife shin- ing in his hands. I draw my revolver — [^Talces a shining revolver out of his pocket and rises. — and with this revolver I nearly killed a man for a sovereign — l^LooJc from kael. — I didn't need and had never missed — ^just a found sovereign. [^Puts revolver on table. KAKL, embarrassed I give found money away. [^Turns on couch from him. [73] THE DEVIL DEVIL I would have given it away, but — it slipped through my fingers, and whatever slips through our fingers, that is just the one thing we want. \^GoeS to KARL. We break our necks for it: that's human nature. And if it once slips through your fin- gers, you will run after your found sovereign. And then, when it is too late, you wiU discover it was worth having. KAKL .To draw a revolver for a found sovereign? DEVIL, sitting hy him lAjid that little woman will become dearer and more precious to you every day — you will realize that she could have given you wings — that her temperament, her beauty, her passion, would have been the inspiration of your work — ■ all this you'll realize when she has slipped away. You could have become a master — a giant! Not by loving your art, but by loving her — but you won't know it till it is too late — too late. {He now takes the shawl with which olga had draped her shoulders. This shawl has touched her bosom — [Throws one end over karl's shoulder, forcing him to see it. karl clasps the shawl and touches his lips to it. Think what you might have been to one an- [74] THE DEVIL other ! What divine happiness, not because she is beautiful — no, but because you — KAEL, throws shawl L. of couch Be quiet! Be quiet! Do you want to drive me mad? DEVIL, rises and goes to head of coibch A life that has not been squandered — has not been lived — KAEL Why do you tell me all this? Why? What do you want? [Throws himself face down on couch. What do you want? [Horrified, turns to him. Who sent you? DEVIL, darkly Nobody! No one! I am here. [Touches karl's forehead. KAEL No ! And a thousand times no. [Throws himself face down again on couch. Screams very loud. No ! Do you hear me? No ! I have known her [75] THE DEVIL all these years, and we've been good friends only — and we'll remain good friends, nothing else. I don't want the found sovereign ! [Movimg to end of couch. DEVIL, coming down L. of couch; very emphat- ically And if it slips away? [Silence, Then quickly: If another man runs away with it — ? KAKi,, suddenly ju/mping at a conclusion Who? [Looks at the devil. DEVIL, triumphant I. (Silence.) EABL You? [Laughs and turns from him. DEVIL Tonight ! This very night she'll be mine ! [Laughs. Oh, what joy! What exquisite joy. For ten thousand years 1 have had no prettier mis- tress ! [76] THE DEVIL KAKii, turning to What do you say? DEVIL, sitting L. head of couch Mistress, I said. Come tonight — to her house — when the lights are burning — when the air seems to be filled with music and perfume. You'll see — before day dawns. KAEL Enough ! Enough ! DEVIL How you will run after your lost sovereign! Every hour when you wonder where she is, she spends with me. A carriage passes : your heart stands still. Who's in that carriage.? Shall I tell you.'' We! You see a couple van- ish around a corner, clinging lovingly to one another. Who were they ? We ! Always we. A light goes out in some window. Who put that light out .'' We ! We sit in every carriage, we vanish around every corner — clinging lov- ingly together; we stand behind every window curtain in close embrace, looking into your tor- tured face, your maddened eyes — and we cling closer — closer— and we laugh — we laugh! [Laughi long. [77 J THE DEVIL KAEL [Throws himself face down, back to audi- ence, on couch, in terrible state of excite- ment, screaming at top of his voice: You fiend! \Reaches for revolver with R. hand. DEVIL grabs his hand and holds revolver. KARL draws away and sits staring straight ahead, devil rises, leaves revolver on table, lights cigarette, then comes below table. [heinkich enters the room noiselessly, carrying a lighted candle, goes behind the DEVIL and helps him to put his fur coat on. [devil puts his silk hat on, gives a tip to HEINKICH, takes up the revolver, puts it into his pocket, and says to kael with a sad smile, in a warm tone like a father speaking to his son: devil You see, my boy, one may draw a revolver for a lost sovereign. [^Goes to the door. As he opens the door, a look of devilish satisfaction comes into his eyes. CURTAIN [78] ACT II Scene.- — A conservatory in Zanden's house. The L. side of the stage as well as the whole hack of the stage is taken up hy large hay windows, through which one sees into the garden. In the distance the wall surrounding the house, and some trees in the garden. It is winter. Bright weather, hut it has heen snowing. In the garden as well as in the street, electric lamps. On the R. side of the stage there are two doors, one quite near to the footlights, leading into the apart- ment — one in the rear, leading to the hall. There is a platform about two yards long and two yards wide, between these two doors. Five steps lead from this platform towards the footlights, and five steps on the side of the platform to the mid- dle of the stage. On the top of the platform a door leading to the hall-room. When this door is opened, one generally hears the hall music. At the foot of the stairs, about three yards from the footlights, two square columns having a brass ornament with eight electric lamps attached. There are heaps of plants and flowers about the room. Two chairs and a table stand on the R. [79] THE DEVIL side of the stage, about three yards from the foot- lights, two chairs and a table on the L. side of the stage, about five yards from the footlights. There are two settees, L. and R. On the table L. writing material. It is about one o'clock at night. [^Guests in fancy costumes are moving about as the Curtain goes up. riEST LADY GUEST, sitting L. of table R. Who is the dark man you left so suddenly in the ball room? SECOND liADY GUEST, enters and comes down stairs to back of table L. I don't know his name. EIEST LADY GUEST A most disagreeable man. SECOND LADY GUEST, crosses to group L. C. Oh, dreadful ! He behaved shockingly to my hus- band. He told him that it will be so cold to- night that his teeth will shiver in their box. FIRST LADY GUEST Olga tells me he is a friend of Herr Karl's, and she only invited him as a compliment to him. [80] THE DEVIL SECOND LADY GUEST (stOUt) He insisted on telling me of a remedy for obesity. I don't consider myself stout — do you? ELS A, C., laughingly No ! I think I'm just right. He sounds interest- ing — I'd like to meet him. riEST LADY GUEST You'll be sorry if you do. ELSA Oh, indeed. SECOND LADY GUEST He'll be very disagreeable, I assure you. ELSA I'm not afraid of him. l^Wants to go up steps. EIEST GENTLEMAN GUEST, L. C. Miss Elsa, I really think you had better not. SECOND LADY GUEST If Miss Elsa wants to speak to him let her do so. I think she is the only one really capable of putting him in his place. THiKD LADY GUEST, seated L. of table R. Oh, she'll make him sit up. [81] THE DEVIL ELSA Thanks, awfully. Oh, I know what you call me — the blue-stocking — sassy Elsa — SECOND LADY GTJEST Elsa, I never said you were a blue-stocking. FIRST LADY GUEST I never called you Sassy Elsa. ELSA But I am — you know I am — [Pointmg at herself. That's why nobody dares to tell me how to get thin. SECOND LADY GUEST The impertinence! ELSA Well — you asked for it. SECOND LADY GUEST, to EIEST LADY GUEST It will serve her right if — ELSA, on the stairs I'd just like to see him — [The DEVIL is standing in front of her. Everybody is silent. [82] THE DEVIL DEViii, in evening dress, red carnation in button- hole; after some silence I never dreamed how quiet it could be when seven ladies are not talking. [^Protesting movement on the part of the GUESTS. Oh, I know — you have been very merciful to me in my absence. ELS A, on stairs You needn't think I am afraid to say what I think to your face. I was just about to — [She makes a movement showing that she wanted to look for him. DEVIL You did well to stay. They would have said much worse things about you — they would have spoken about your approaching engagement to Karl. ELSA What! [Astonished. You know.? DEVIL To my friend Karl — they want to throw you into his arms. [The OTHERS laugh. [In a low voice to els a: I'd like to speak to you — alone. [83] THE DEVIL £I,SA Here? {^Gesture that she thinks this impossible in a crowded room. DEVIL We'll be alone in no time. [els A goes to sofa and sits L. of table L. FOUETH LADY GUEST, CrOSSeS tO Mm; to DEVIL I'm very glad you spoke that way to Elsa. You have quite won me over, and I don't mind tell- ing you I came very near having to pick a bone with you. DEVIL, R. C, to FOTTETH LADT GUEST, who is very thin — looking at her from head to foot By the way, speaking of bones — FOURTH LADY GUEST What ! Again ! — oh ! [Walks off highly offended. FiKST GENTLEMAN GUEST, Very effeminate, smiling to the devil Bravo ! I couldn't do that — not that I lack cour- age. I am famous for my courage — I just love a fight — I once slapped the face of an athlete who dared to insult a lady. [84] THE DEVIL DEVIL You coward! FIRST GENTLEMAN GUEST What — coward ? DEVIL Yes, coward. If you dared to slap the face of a cripple I might admire your courage. [eIEST GENTLEMAN GUEST starts tO answer, but afterwards makes a gesture seeming to say nothing can he done with the DEVIL — going off slowly up the stairs. SECOND GENTLEMAN GUEST, after a few sec- onds talking quietly to the devil Oh-h-h! You are a free-thinker. So am I! devil, as if astonished You think? SECOND GENTLEMAN GUEST I do. devil What with.? \Exit SECOND GENTLEMAN GUEST, an- grily. [To SECOND LADY GUEST, the stout one, seated R. of table L. [85] THE DEVIL A pity you don't dance — there's nothing like it for reducing the figure. [second lady guest rushes off. DEVIL, L. to the THIRD LADY GUEST, pointing at FOURTH Her husband must be in the furniture business. THIRD LADY GUEST Yes, who told you.'' DEVIL Her dress — it is the very latest pattern for arm- chairs and settees — but please don't say I said so. THIRD LADY GUEST, smiling Certainly not. \_Goes to chair of first lady guest. Jane — DEVIL, joins ELSA. To ELSA Look — she's telling her. THIRD LADY GUEST, to FIRST LADY GUEST But promise me not to be angry. DEVIL She promises. [«6] THE DEVIL riEST LADY GUEST I promise. THIRD LADY GUEST He said that — DEVIL Look out for the explosion. FIRST LADY GUEST, HseS Oh, I never — DEVIL Now — ^watch her go. FIRST LADY GUEST I never! [^Goes off over the staircase. THIRD LADY GUEST, going after her But, Jane, you promised me — [Exit. DEVIL Voila ! I am now at your disposal. ELS A, on settee L. Aren't you surprised / haven't gone? You in- sulted me, too. I only stay because I want to speak to you. [87] THE DEVIL DEVIL, L. C, ironically Charmed, I'm sure. ELSA Oh, don't try to be pohte — just be yourself. I'm not afraid of you. DEVIL I know it. ELSA, crosses up to C. Perhaps you know my nickname — Saucy Elsa.? [devil nods his head. DEVIL Yes. ELSA Politeness would only embarrass me — and I have chosen you to deliver a message to that crowd — only because you can be so delightfully rude. DEVIL I am at your entire disposal. ELSA Now, how can I be saucy when you talk like that? [88] THE DEVIL DEVIL I am your devoted servant. EliSA You're impossible. DEVIL Shall we end this conference.'' [devil starts up C. ELSA, goes to table R. C. and leans against it Not yet, please. You informed me just now that I am the girl they want to throw into the arms of your friend Karl. DEVIL Yes. ELSA You forget to say I am the girl who allows her- self to be thrown in your friend's arms. Is that right ? DEVIL Yes. ELSA, stands and pushes forward chair Please sit down. [devil bows, but remains standing. ELSA, in a very loud voice. Crosses and sits Please sit down. I don't ask you out of polite- ness, but because I want to set you right in [89] THE DEVIL this matter — and it is much easier for me to set you right when you sit down and I stand up. I don't want people to make fun of me — I know what they say — do you understand me? DEVIL, gets up I do. EISA Sit down, please. {He does so.) I don't want people to smile and congratulate me to my face, and laugh behind my back. I won't have it — and as you started this subject I shall entrust you with the mission of enlightening our friends out there. DEVIL Your confidence honors me. ELSA Don't think for a moment that I have taken these people seriously— I have no more interest in them than I have for yesterday's newspaper. But I don't choose to have them think that they have fooled me into marrying Karl. And — DEVIL, starts to rise. She stops him Pardon me. ELSA I see through their scheme. But I shall marry him just the same, if he will have me. Do you understand me? I shall marry him — [90] THE DEVIL DEVIL Pardon me. I don't think you will. ELSA You will see. DEVIIi You have been kind enough to honor me with your confidence, and now I will be quite frank with you. This marriage cannot come off. \_Stands up. ELSA, points to chair Please sit down. DEVIL, takes her hands and swings her into chair No! You will sit down now because I am going to set ^ou right. I know the reason of this marriage — but you — [A MAN SERVANT crosses stage; devil calls him. You will find in my overcoat a small leather satchel — ^bring it here. [man servant goes off. [Continuing to elsa : But you don't know the reason — or you don't want to know it. And you are about to con- sent to — ELSA, interrupting To what.'' To marry a man who is not madly in love with me — any more than I am with him. [91] THE DEVIL What of it? We are two perfectly sane people about to make a serious contract with our eyes wide open, instead of blinded by infatuation like crazy lovers in magazine stories. What other contract made by crazy people would be valid for one minute — and this is for a life- time — [^Enter sekvant and hands hag to devil and exits. DEVIL, sm\ True — for a lifetime. ELSA You are a man of the world? DEVIL, gravely Of many worlds. , ELSA [Looks up quickly as if about to ask the DEVIL what he means, but checks herself and continues: Well, in this world — is it the man chooses the woman, or the woman who chooses the man? DEVIL, sm: We are the weaker sex. ELSA Answer me! Which chooses? [92] THE DEVIL DEVIL The man sometimes chooses the engagement ring — ELSA, holding up her head proudly, and looking her very prettiest, straight into his eyes Look at me, please. [The DEVIL looks into her eyes. ELSA, proudly Now tell me, can I or can I not choose the man I will marry? DEVIL, leaning on table It., in a courtly manner It is written in your eyes — but— I never thought this subject would excite you so. ELSA, seated L. of him, with animation I won't be laughed at — I don't care what those people think {becoming excited). I know what I am doing, and in spite of everything / choose to become his wife. DEVIL, takes out little red satchel and opens it Why.? ELSA, beginning to lose control of herself Because — ^because — [Breaks down. — because I love him. [Begins to sob bitterly. [93] THE DEVIL DEVIL Allow me — [^Takes a little handkerchief out of the satchel and gives it to her. I always carry this with me — it's my weeping satchel — everything a woman needs for weep- ing. ELS A, weeps a little harder; sobbing, wiping her eyes with the handkerchief I love him. [Durimg the following dialogue the devil takes out of the weeping satchel a little looking-glass, small comb, powder and puff, and gives her one after another. DEVIL And this is Saucy Elsa ! ELSA No. Until tonight I was a young girl afraid of nobody — ^now I feel like an old woman. [Takes mirror. What am I to do ? {^Looks, smiles quickly. DEVIL Don't be discouraged. You will have to fight — you must attack the enemy. But first you must be pretty. [94] THE DEVIL ELS A, takes puff and powder from him I shall try to. '^Reaches out for it. DEVIL You must show a bold front — you will perhaps feel that it is hard for a young girl to fight a woman — your weapons are not quite so numer- ous as those of the married woman — who knows love already — who understands — may I say something shocking? [^During this speech els a hands back or the DEVIL takes all the articles except the handkerchief. ELSA, looks at him, opening her eyes widely Do you ever say anything that isn't? [Gives him handkerchief, rises. DEVIL Well, I won't. But remember, you have one weapon which will deal the death blow to the most attractive woman — to the woman who knows every card in the game of love — that one weapon is purity. ELSA This sounds strange from you! [95] THE DEVIL DEVII, All the same — it may do you some good. And now — go dance with Karl — ^but don't try to be a woman, be a girl. Don't try to be saucy. ELSA, L. C. I'm not really saucy — I'm afraid it's only a pose — DEVIL ^ion't pose. Be yourself — be bashful — ^look at the young man as if you were only waiting for a pirate to steal you away from girl-land-^ and show you the way into Woman's Land. Head high, my little girl — that's it — and if anybody dares to call you saucy again, tell him that you once met a gentleman at a ball to whom you thought to give a piece of your mind, that would make him feel very, very small — and instead you left with a piece of his mind, that -made you feel very, very small — and made him feel — as if he were the greatest scoundrel in the world — [Takimg a few steps to the footlights. which perhaps he is. [els A goes up the stairs, when karl ap- pears on tlte top of the stairs, devil is standing at this moment behind one of the [96] Elsa and Karl THE DEVIL columns unseen by kaei, — but quite near ELSA. ELsA tums towards the devix, showing her bach to kael. ELSA So you don't want me to be saucy? DEVIL, whispering No. [els A goes up one step. KAEL, on top step Oh, Elsa, there you are ! ELSA, dropping her eyelids Yes. KARL Why aren't you in the ball-room? ELSA I wanted to be alone. If anybody wants me he can find me. [To DEVIL, whispers: Is that better? KAEL You look sad. Are you worried? DEVIL, whispering to elsa Say no. [97] No. THE DEVIL ELSA, leaning against pillar R. KARL, coming down What has happened? [Sees the devil, devil comes from be- hind pillar between them, meets kael on lower step. Oh, I understand — DEVIL, finishing karl's sentence — nothing. [Goes up stairs. KARL, nearing elsa You look lovely, Elsa. Do you know, this pensive air is very becoming to you — you've always been so cold and — -haughty — it's like finding a little white flower under the deep snow; you want to pick it up and kiss it — [Takes both of elsa's hands in his. This is the Elsa for me ! ELSA, ashamed Karl! DEVIL You will excuse me. I must pay my respects to our hostess. [He goes off quichly. karl and elsa sit down on the L. side of the stage. [98J THE DEVIL £LSA I don't like that man. Who is he? [Sits R. of table L. KAEii, sits on sofa L. A casual acquaintance who insists upon posing as my friend. Don't let us talk about him. I'm glad I found you here— something natural in this stifling artificial atmosphere. Doesn't it seem close to you? ELSA Yes, as if some hot wind had passed through these rooms — it seems to take my breath away. KARL I've never heard you speak like that before. Why have you tried to hide — your real self from me? [devil appears on the platform, with OLGA. They come down the steps. OLGA Hadn't we better leave the young couple alone? DEVIL You are much too considerate. [99] THE DEVIL ELSA, to KAEL Olga — I suppose you'd like to speak to her? KARIi I much prefer to talk to you. [They continue tallcmg. [devil and olga come down. She sits on sofa R., devil in chair R. OL6A They seem to have found each other. DEVIL Possibly. Are you sorry? OLGA Oh, no. DEVIL Shall we leave? OLGA No, I like to see my plan bearing fruit. [They continue speaking slowly. ELSA They are speaking about us. KAEL What do we care? Let's be happy — Elsa ! I feel as if I had never known you before tonight. [100] THE DEVIL ELS A, moves chair so she can hide olga jrom KARL. DEVIL repeats business Why do you keep looking over there? KASL Oh, that's only — I was quite unconscious — [They continue speaking slowly. OLGA Let's talk about something else. You are very naughty. You have come here in spite of my — DEVIL, smiling Invitation. I would have respected your wish but for one very good reason — I made a bold wager this afternoon. OLGA What.? DEVIL I made a bet that you would fall in love with me this evening. OLGA Made a bet that I would fall in love with you? And with whom did you bet.? DEVIL Karl. [101] THE DEVIL OLGA Karl? {Quichly.) And what did he say? DEVIL His answer was curious. I had better not tell you — ^I am afraid it would hurt you. OLGA No, it won't. Please tell me. \Ty/rns and looks at kael. DEVIL, following her glance Well, perhaps later. Your little plan bids fair to succeed. OLGA, looking away quickly I had forgotten their existence. \_Changing quickly the conversation. [devil pats olga's hands. You have fascinating eyes. \Durvng the following few words between ELSA and KARL, the devil whispers into the ear of olga, stroking her hand gently in order to arouse karl's jealousy. KARL I never saw you look so charming. [ 102 ] THE DEVIL ELSA I feel as if I had changed, perhaps you have some- thing to do with it. DEVIL You seem like a different woman this evening — there is something about you — OLGA It is because I am with somebody I don't quite understand — but who seems to me a man in every sense of the word. [This last a little louder, for karl's benefit. DEVIL Your confession is charming. But I should be more ready to believe it, if you hadn't made it. [devil kisses olga's hand. KAEL Our first love is generally our last, but our last love always our first — don't you think so ? elsa I don't know. I've never been really in love be- fore — but have twice been disillusionized. [103] THE DEVIL DEVIIi Love at first sight — \_The following eight sentences are spoken very rapidly, almost at the same time. OLGA, distraite You are right — for the first sight — that is to say — KARL J[Now always looking at olga — olga always looking at karl; the devil look- ing pleased, elsa looking furious. Disillusions — well — yes, disillusions are — disillu- sions. DEVIL I should hate to have to give an account of myself. OLGA Yes, indeed — but, of course — it's all a matter of taste. ELSA The way girls are brought up nowadays — KARL Exactly! Our bringing up — that is — I mean to say — of course — of course. [104] THE DEVIL OLGA We mustn't forget — KAEL I quite agree with you — if — if you know what I mean. ELS A, getting up quickly and slapping her hand on the table No, I don't know what you mean. [^Crosses to stairs. Take me to the ball-room — I'm engaged for the next dance. KASii, also rising Well,— ELS A, almost crying, insisting Let us go — I wish to go — [^She goes towards the stairs; kakl fol- lows her, goes up side stairs, meeting her at the top as she passes olga. OLGA Oh ! you are not in the ball-room. ELS A, saucily Can't you see.? [ 105 ] THE DEVIL OI.&A You'd better hurry, dear. £IiSA I hate dancing, but I shan't miss one single dance tonight, just to spite some people. I shall dance to the last step. [elsa loolcs at OLGA in a very imperti- nent way. OLGA steps forward as if to give a reply, when kaei. comes between them; offers his arm to elsa. \_Exit ELSA and karl up the staircase. OLGA, angry Did you hear that.? DEVIL I did. OLGA, rises, goes C. What language ! How dare she — she must think he loves her ! DEVIL, rises, goes to her C. Wait! I'll tell you now what Karl said to me this afternoon. OLGA When you wanted to bet? [106] THE DEVIL DEVIL When I bet you would fall in love with me. [After a short silence. He wanted to shoot me. oiiGA, trying to hide her joy Karl! DEVIL Karl, with his own hands — with this pistol — [Takes revolver out of his pocket. I took it away from him. OLGA Karl wanted to kill you — why, Doctor Miller — DEVIL, patting revolver Yes, with this simple prescription — six pills. [Puts revolver back in pocket. OLGA This afternoon, when you only spoke about me — he wanted to kill you — and now when he saw us here — saw you whisper in my ear — saw you take my hand — [Goes L. to where karl and elsa had sat. he must be in love with her. DEVIL, crossing to L. C. Don't you think a man's a fool to try to shoot his friend on account of a woman? [107] THE DEVIL OLGA Oh! Karl's not a fool — he thinks the world of me. And you must have said things — but there is no doubt — ^that he and Elsa — like — perhaps love each other. DEVIL, very cold, leaning over chair at table L. Strange ! Your being so annoyed at the apparent success of your pet scheme. OLGA You think it will succeed.'* DEVIL I don't know. But it's easy enough to find out. OLGA How.? DEVIL This afternoon, when I told him I'd make you fall in love with me, he wanted to shoot — that's love — don't talk to me about respect — and thinking the world of you — they may fire cannons out of respect, but pistols — no — that's love every time. [oLGA protesting silently as if the matter was not quite important enough. Of course, I know — this only interests you be- [108] THE DEVIL cause it was you who planned the marriage, and after all you take a pride in the success of your scheme. Am I right? OLGA, C. near him Yes, yes. DEVIL, behmd pillar C. Karl shall tell us himself which was the real thing — the attempted murder of this afternoon, or this little — flirtation with Elsa. OI-GA I You don't mean to ask him — [devil shakes his head slowly, smiling. you don't mean to listen? Certainly not. What then? DEVIL OLGA DEVIL Very simple. But you must take my advice un- conditionally — ask for no reasons — do exactly what I tell you. OLGA, after careful reflection, slowly Y-e-s. [109] THE DEVIL DEVIL I think I remember having seen you once at the Opera in a very beautiful cloak — fur — was it not? — and cloth — OLGA Yes. DEVIL With a long train? You must put that cloak on — close it as high as you can — and wrap yourself in it as if you were feeling cold. Only show the tips of your shoes — then come back here — {^She starts towards him. olga looks at the DEVIL, as if she wanted to ask the reason. no questions. OLGA, L. of pillar C. It's all very, very mysterious, but when you look at me that way, I — I — can't refuse. . . your eyes seem to have all the world's wisdom behind them. DEVIL, R. of pillar C. You have a poor opinion of me. OLGA, turns from him Shall I go at once? [110] THE DEVIL DEVIL At once. And if anyone remarks on it, say you felt cold in the conservatory. o'LGA, doub t fully But suppose he says. . . DEVIL, interrupting Quick ! He's coming. [kahi, is coming down the stairs towards the footlights. [oLGA has gone to the side stairs so that KARL cannot see her. She rushes off when he is down the stairs. KARL \^Who has not seen her — hears the rustling of the silk and runs to the side stairs and looks off R. Who was that.? DEVIL Who.? KARL, coming down to C. Somebody just ran out — does she want to avoid me.? DEVIL, goes R., lights cigarette Nobody ran away from me. A very pretty girl, Miss Elsa! [Ill] THE DEVIL KABL, goes to window L. Yes. [Silence. DEVIL, What's the matter? KAEL Oh, nothing — I am not in particularly good humor — but why should I be? DEVIL, lights a cigarette; offers one to kahl Will you have one? KARL, roughly No, thank you. [Uncomfortable silence. DEVIL You seem annoyed — KAEL, comes hack C, as if in a mood to quarrel Do you want to know why? DEVIL No. KAEL, nervous Well, I'll tell you— DEVIL [As if he wanted to go away and evade the conversation. Better keep it to yourself. [112 1 THE DEVIL KARL But I will tell you. I'm astonished at the change that has come over you since this afternoon. I admit it upsets me, but don't imagine it is on Olga's account — if you don't mind, we'll leave her out of the discussion. DEVIL By all means. KARL I've made up my mind to propose to Elsa. DEVIL, holds out his hand in an approving tone, takes kael's hand and shakes it I am very, very glad. KARL You are glad.'' DEVIL I am indeed. [karl stares at him. What's the matter with you? KARL, approaching the devil threateningly Look here, that was Olga who ran away just now. DEVIX~ Don't be absurd. [^Looking at floor as if his secret was dis- covered. Why should she run away from me — [113] THE DEVIL KARIi You behave like a school boy. DEVIL What do you mean? KAEL I mean, my dear Doctor — that you are not a gentleftian. DEVIL I don't quite follow you. KARL When a gentleman would be discreet — he even conceals his discretion. DEVIL Very thoughtless of me — but since you have found me out — By the way, what you said about your marriage — is it settled.'' KARL, C. It is. DEVIL You will not change your mind.-' KARL I shall not. {^Crosses to settee L. and sits. [114] THE DEVIL DEVIL, sits in chair L. Very good. Now I can tell you in confidence about — look here, you are quite sure you won't change your mind? KARL No fear. What is it you want to tell me — tell me everything. I'd like to learn some of the tricks of the trade. I may need them — DEVIL Tricks of the trade? This from a man about to marry? I'm shocked. KAKL, ironically You look it. What did you want to tell me about her? DEVIL About herf KARL About Olga. DEVIL, looks to the ground as if he were ashamed Oh, nothing. KAEL Look here, I don't mind telling you her husband is — [115] THE DEVIL DEVHD Deaf, blind, dumb. [^Indicating ears, eyes, mouth and forehead. KAEi,, concealvng his pavn very badly And to think — and this afternoon — at my houFe — was the first time — DEVIL, goes hack of settee She's a wonder! believe me, Karl, she's a wonder. It's just possible she's good — a dash of good- ness won't hurt a pretty woman — but I hope not. I should then have to attribute my con- quest to hypnotism — and that doesn't flatter my vanity. What do you think.? We had agreed — ^just now when sJie ran away — ah — [Checks himself. So it was Olga! DEVIL Well, yes, it was — I hardly know how to tell you — It was a mad impulse. I proposed, just for fun, without the least idea she would take it up ; it means risking her reputation and social posi- tion — everything — not to mention the risk of catching cold — [116] THE DEVIL KABL, startled What do you mean? DEVIL Well, this evening — ^before all her guests — there are a hundred and thirty I believe — KAEi, impatient Yes, go on. DEVIL — before the elite of Vienna I may say — she will walk through the ball-room on my arm — in (suggestive pause) — an opera cloak. KARL, not quite grasping it An opera cloak.? DEVIL, suggestively That's all. KAEL You mean to tell me — she — DEVIL She will be here in a moment — and then — ^before all Vienna — amid the bacchanalian ecstasy — of music, perfume, dancing — I will escort her through the ball-room like a classic goddess — like a modern Mona Vanna — ^in an opera cloak — [117] THE DEVIL EARIi You liar! DEVIL, apparently i Tightened But, Karl— KARL It's a lie. It's a damnable lie. DEVIL You tried to catch me — and I have caught you. You love this woman. KARL, L. C, very loudly Yes, I love her. I have listened to all your lies — I have seen you as I've seen a hundred like you — steal a good woman's reputation and call it success, social success — and boast about it as you drag her in the mud. You have trapped me, it's true — but you will suffer for it. It is my turn now — and I'll put you out of this house, you blackguard — get out before I kick you out. DEVIL, C. backs up onto second step; stands Wait ! She is coming now. \_Points to door down R. KARL Get out, I said. [The DEVIL goes back slowly up the stairs. KARL is about to follow him up as devil [ 118 ] THE DEVIL is on third step, olga comes on in her opera cloak and comes down stairs to R. The DEVIL goes behind her. kaul backs over L. Long silence, kari, stares at OLGA and the devil, speechlefs. OLGA Karl, you have not spoken to me once tonight. DEVIL, stands very near to olga, cynically The opera cloak — OLGA Everybody is gay, the girls dance as if it were their first ball — the young men as if it were their last. DEVIL Strange! that amidst all this gaiety Karl should be so sad. OLGA Sad.? KARL, with forced gaiety Oh, no — never felt happier in my life. [119] THE DEVIL OLGA I am glad to hear it. KARL I feel like — like a boy — of twenty — like a fool. DEVIL, coming down to C. No! No! KAEL I am going to take your advice from this on — I'm going to get drunk tonight. OLGA, shocked You, Karl? You drunk? KARL, L. Yes. I am doing things today that I never did before. I've never been engaged before. OLGA, R. And tonight.'* KARL Tonight I shall become engaged. DEVIL I have already offered him my congratulations — she's a charming girl. [120] THE DEVIL KAKIi A splendid girl. Much too good for me — but marrying is something new to me — I want to try it. It is a sensation I have never had. DEVIL You don't seem very gay for a bridegroom. KAKL That's only the last drop of single bitterness — the dregs of bachelorhood — I'll soon get rid of that and then — OLGA Bravo, bravo! KABL Oh spare yourself. I'm only thinking of my own pleasure. OLGA Karl, I am afraid you have been drinking already. KAEL You are at liberty to think what you please. DEVIL He is in a bad humor to-day. I told you. [ 121 ] THE DEVIL KARL, cannot keep himself any longer You will catch cold. Why don't you take off your cloak ? [Goes C. DEVIL, very quiet Perhaps Madame is feeling cold. o L G A, wrapping herself tighter in her cloak Yes, I feel cold. DEVIL Any one not knowing you might think you wear this cloak just to show it off. OLGA Don't let us speak about the cloak. [To K A R L in a different tone; crosses to KARL L. C. You seemed to get on very well with Elsa ? KAKL Did I? DEVIL It was really charming to watch them. OL6A I feel very cold. [122] THE DEVIL DEVIL I thought you would. KAKIi Cold. I find it hot in here. o L G A, crosses back R. I feel cold. DEVIL Perhaps your dress is thin. The way lovely woman flirts with pneumonia — she wears her lung upon her sleeve. OLGA Everything sweet in life comes through carelessness. K A R L, Z. C, very excited And do you find boldness sweet ? OLGA What's that to you ? Were you ever bold ? K A B L, crosses to C, losing his self-control com- pletely Aren't you afraid of me — ^you two ? [o L G A shivers. VEv ih, R. C, coldly I ? Not even of the legitimate husband — much less a moralising bridegroom. [h E E M A N enters quickly from above stairs, comes down L., stands next to K Anh. [123] THE DEVIL HERMAN, banteringly Ah, Olga! I see you are well taken care of. DEVIL, bowing It is a privilege. HERMAN, taking k A r l aside Well, how are you and Elsa getting along ? [Goes with k A R L towards the back of the stage. OLGA, quickly to the devil What have you said to him about my cloak ? DEVIL About your cloak? Why should I speak of your cloak ? OLGA You must have said something about my cloak— I felt it he moment I came in. DEVIL What do you mean ? OLGA The way he seemed to look through me. It was al- most as if he imagined — what did you say ? What did you insinuate? DEVIL Just what you are thinking. [124] THE DEVIL o L G A, her hands dropping, her head falling back- wards with closed eyes, shivering Oh! ^ow could jou? DEVIL, cynically Come now, don't pretend to be shocked. You ad- mitted you felt it the moment you came in. The thought seemed to please you. OliGA How dare you speak to me like that! Oh! if I had known. DEVIL Then why didn't you take off your cloak? When you saw— you didn't even open it. Why don't you open it now ? The idea seems to please you still. K A E L, re-enters, angrily. Olga! OLGA [A little scream. Your arm. Doctor. [devil gives her his arm. As they are about to go upstairs, k a b l comes back from R. OLGA, looking coldly over shoulder a< k a r l Are you going to stay here ? [125] THE DEVIL KARL Yes; and you, too! OLGA What do you mean ? KASL You stay here. DEVIL What's that ? [o L G A tries to go away with the devil into the ball-room, but k a b l steps into their way on the stairs. KAEL Olga, you shall not go into the ball-room ! [devil, as if about to leave them alone, is held off by K A'Rii, who steps in front of him now. You shall not leave — it concerns you, too. OL6A Doctor, give me your arm. Doctor! EARL, in tone of command Stop' We'll settle this thing now — right here! [126] THE DEVIL OLGA Are you mad ? DEVIL, goes up stairs below k a b L If I didn't think he was mad — KAKi Take off that cloak. o L G A, at L. foot of stairs firmly; No KAUL Take off that cloak. OLGA, toDEVIL Please, Doctor, protect me. K A E L, ha^ maddened Then I'll make you ! [k A B L rushes down stairs, devil catches him before he reaches the bottom and holds him back. o L G A, standing very ere t, to t> e v i h Why did you stop him — [devil lets K A ni, go. DEVIL, at foot of stairs, in a very low voice as if ashamed Really, Madame, for all I know — [Feigns embarrassment. [127] THE DEVIL OLGA, --''' 'ftp Ana Kl 1 I wK&^% — ~" ~ ~" — •-* :^^^B ^^^^^E 9 ^^H ^^1 ^IB. s |H H '{4 — r"U ^^^^^^^^^H ■r ^v3Uftfl ^^^H * r> 'f I^V^^^^I P ..;.■■, -^ ^^^1 t ^ 1 lif^^^^^^l ■ ^^^1 ^^^^^^jj ■ 1 jg 1 Dr. Miller ( The Devil) THE DEVIL it up, finishing the sentence with a different meaning, and dictates rest of letter walking up and down. o L G A, in hard voice, speaks while writing Sir, your behavior of this evening has shown me that you are no longer — DEVIL, continuing — able to keep up the wretched farce of mere friendship. I read your inmost thought tonight and — Karl — the knowledge that you love me has made me unspeakably happy. Dearest — [o L G A looks up at the devil, who is stand- ing now at her L. He repeats "Dearest" and points to letter. She resumes writing. — why should we struggle any longer against the resistless tide that is drawing us together.' My strength is gone. [o L G A looks up again. The devil repeats "My strength is gone" hy motion of lips, making no sound. She writes: — ^without you I am lost in the black waters — save me, Karl. With your strong arms about me — with your lips to mine — I care not where we drift. I am yours, all yours. You are the master of my soul. Do not leave me, Karl; I love you, I cannot live without you. God bless you! [o L G A 's head falls forward on her arm [133] THE DEVIL o L G A, as ?y awakening What have I written ? DEVIL, folding letter What was in your heart! o L G A, laughs hysterically I have written everything I had meant never to say. DEVIL, taking up letter If women wrote time tables, they would tell all the hours that the trains didn't start and all the places you mustn't stop at to get to your destination. [devil puts the letter into envelope. o L G A, horrified What are you doing? DEVIL, coldly I will deliver the letter. Women sometimes do not write what they want, but they always want what they write. OLGA He must not. He shall not see it. [h E H M A N comes down stairs HEKMAN Good ! You're the kind of guest I like — ^when all the rest have deserted the ship you stay and keep the hostess company. [134] THE DEVIL DEVIL, crosses to C, putting letter into his pocket Madame has been so entertaining, that I — HERMAN, crossing to hell R. Well, let's have another cognac before you go — quite enfamille. DEVIL Thank you very much, but I have an important call very early in the morning. Madame, — \Goes io o L G A, kisses her hand. [To HERMAN: I have spent a very pleasant evening at your house. HERMAN, coming to him C, they shake hands The pleasure is mine. [devil starts to go. o l g a utters a sup- pressed cry. devil Madame ? o L G A, frightened to death, with a forced smile trying to appear undisturbed There was a piece of paper here. Did you perhaps take it by mistake ? [She is almost crying from fright. [135] THE DEVIL DEVIL, coming down stairs, taking the letter out of his pocket [Going towards HEnu an as if he was going to give him the letter. Do you mean this ? o L G A, deathly pale No, no It was not that. [Laughing bitterly. DEVIL, howing Madame. [Bows to HERMAN. Goes off upstairs. Bows low to both and goes out. HERMAN crosses to O L G A Well, I'm glad it's over. You look tired, dearie. o L G A, standing by table L. I am tired. HERMAN You look flushed. But it's very becoming, you never looked prettier. [o L G A is leaning backwards over the table, he takes her hand. My darling wife. [Goes to kiss her. o L G A, unkind Please, please don't. [136] THE DEVIL HERMAN, crosses to C. Looks at his watch It is after four o'clock, Olga. [Tries to kiss her again. OLGA Please, please don't. I feel so nervous. HERMAN Your cheeks are burning. [Pats her cheeks. OLGA, nervous, impatient Please — HERMAN All right, all right, I'm going. [He goes towards the door on the R. Are you going to stay here ? OLGA, at table L. Let me rest a minute. HERMAN As you please. [man servant comes in above platform, and goes up side stairs. OLGA, to servant What do you want? MANSERVANT The lights, Madame. [137 J .. '. THE DEVIL OLGA Turn off the lights. [Tfie MANSERVANT puts all the lights out. The lamps in the street and the garden are lighted, but the room is dark. HERMAN It would be wiser to sleep, my dear. [He waits a minute, shrugs his shoulders, then goes out R. o L G A, stands leaning on the table To go to sleep . . . [The DEVIL can be seen outside in his fur overcoat, crossing through the garden. As he passes a lamp in the garden his shadow reaching up to the ceiling is thrown on the white wall of the room, o l g a is crossing to R. He takes his hat off, at which moment she sees the shadow on the wall, o l g a shrieks. No! [She drops into a chair. CURTAIN [138] ACT III S c E N E. — Like Act I. The afternoon of the next day, about three o'clock. When the curtain rises, the D E V I L is seated in a big chair. Bell rings offstage R. HEiNRiCH enters R. DEVIL, rising from chair What do you want ? HEINRICH There is a lady, sir. DEVIL What kind of a lady ? HEINEICH A real lady, sir. DEVIL What does she want ? HEINRICH She wants to see my master. I told her he was not up yet, but she said she would wait. [139] THE DEVIL DEVII, Do you know who the lady is ? Have you seen her before ? HEINEICH Never. DEVIIi Ask her to step in here. [heinrich goes off, shows e l s a in. [devil hows. Ah! ELSA You seem to be everywhere. What are you doing here ? Are you his secretary ? DEVIL No, merely a good friend. Nothing else. I just happened in. By the way, how do you do ? ELSA How do you do ? [Crosses to couch, sits. I didn't know there was anybody in this room or I would not have come in. But as it is only you I don't mind. [e L s A sits down, intentionally turning her back to the DEV 11,. DEVIL Karl is expecting you, then ? [140] THE DEVIL ELSA Oh, no. DEVIL Will you permit me to prepare him for this pleasant surprise ? ELSA No, thank you. Don't disturb him. I can look around while I'm waiting. I have never been here before. DEVIL I know it. ELSA Who told you ? DEVIL The man — a lady might come every day and escape notice — but coming for the first time she would be sure to attract his attention. ELSA I feel embarrassed coming here alone DEVIL I know that, too. ELSA From the same source ? [141] THE DEVIL DEVIL Yes; he said you were a real lady. ELSA He is the only one here who has spoken to me like a gentleman. DEVIL He must have thought you were a model. ELSA, rises; angrily How dare you ? DEVIL A servant can only speak like a gentleman to — his equals. ELSA, sits down again; sarcastically Then I was mistaken — it is not Henrich who is the servant. DEVIL Who knows — perhaps he is a clergyman. ELSA I don't understand you. DEVIL Only two people in the world may open the door of a bachelor's apartment to a young lady — the man servant, or a clergyman with a marriage certificate — ^you can take your choice. [142] THE DEVIL ELSA Let me tell you I was once left alone with a gentle- man who tried to kiss me, and I slapped his face. DEVIL Indeed ? I was once left alone with a lady who tried to slap me and I kissed her face. [Enter heinrich. E L s A, controlling herself with difficulty Oh! DEVIL Heinrich! There's a little leather satchel in the pocket of my overcoat. [heinrich goes out. ELSA Don't be afraid. This is not my day for crying. DEVIL It's when a girl laughs that I'm most afraid. [heinrich brings the satchel, puts it on the table L. C, and goes into studio. Why did you come here ? ELSA I intend to sit for my portrait — to do that, I must come every day. [143] THE DEVIL DEVIL You intend to come here every day, and to do that you must have your portrait painted. ELSA You are clever at twisting words. DEVIL Perhaps you know there is another lady coming every day to have her portrait painted ? ELSA Yes, I know. That's why I want mine painted — we'll see which will be the better likeness. DEVIL, Come now — you must let me sit down — this time I want you to be right. [Raises her and swings her in front of him . [devil sits on couch, e l s a leans on table. Are you aware — ELSA This is awful— you question me like a judge. DEVIL It is you who answer like a prisoner. Do you know that Karl is in love with Olga? ELSA, bitterly Do I know it! [144] THE DEVIL DEVIL And you still mean to fight? ELSA YeSj I mean to fight — you gave me good advice. DEVIL That was yesterday. ELSA Well — this is to-day. DEVIL, impressively Yesterday was your winning day. Yesterday it was written that you, Elsa, would succeed in whatever thing you made up your mind to do, with the whole strength of your will. ELSA Last night I made up my mind to — DEVIL, interrupting gravely — to dance every dance — [Pause You danced every dance. ELSA, dfrfiantly Karl asked me to marry him last night. [145] THE DEVIL DEVIL — and you refused. ELSA Yes — but to-day I shall — DEVIL To-day is not your winning day — yesterday you chose — to-day you will have no choice. ELSA I won't give him up — I can't — I don't know how. DEVIL You will have to learn — let me see — I think I know some one who has learned the lesson and can teach it to you — [Goes to kaU door which he opens. Why, Mimi ! Why do you wait out there ? Come in here where it's warm! [mimi comes in—D evil seats mimi C. He regards them both with a Satanic smile — begins to hum a tune and exits L., singing as he gets out; he laughs — his laugh dies away outside. mimi, sitting on small chair C. After a silence Are you waiting for the painter, too, Madame ? ELSA, seated on couch ■ Yes. [ 146] THE DEVIL HIMI Yes— [Pause. He must have been on a spree last night. [Smiling. When he goes on a spree he always sleeps late. E L s A, somewhat embarrassed Yes? M I M I, making conversation Yes. If you haven't slept for a long time, then— you must sleep a long time. ELS A Yes.? MIMI Yes. Madame— [Silence. Is Madame going to have her portrait painted ? ELSA Yes. MIMI Yes, Madame — I know all the ladies that come here— [Quick look from e l s A. I'm quite at home here — I'm his model [Exflainifig . I don't pay for my portraits. [Regarding e l s a. You have a splendid profile, Madame. [147] THE DEVIL ELSA You always say "Madame" — I am not married. My name is — M I M I, interrupting I know your name. I've heard it often. You belong to a very rich family. I know what that means, I used to be well off, too. I wasn't always obliged to work for a living. ELSA No.? MIMI I was a chorus girl, but I had bad luck. ELSA I am so sorry for you. MIMI [Silence. I know all about you and Herr Karl. [Rises, goes C. ELSA From whom ? MIMI I know everything that goes on in this house. I told you I was his model — I sew on buttons and count the laundry. [Importantly. [148] THE DEVIL ELSA Does the laundry-woman steal? MIMI No. But she uses strong blueing — I know every- thing Herr Karl thinks of. [Pointing at e l s A. ELSA, as if she was getting interested And does that interest you ? MIMI Yes, indeed it does. But that's all over now ELSA Why so ? MIMI Because he is going to get married ELSA But he will paint just the same — he will want models. MIMI Yes, but — [Ingeniously. you know, when one has sewn on buttons — and counted the laundry — then to be — just a plain model — that hurts. [Goes up C; e l s A crosses. [ 149] THE DEVIL ELSA And you like Herr Karl ? M I M I, repressing her feelings Yes — I — I like him — he's such a dear boy. ELSA Does he paint you now ? M I M I, coming to Jiead of couch; sadly No. He only paints landscapes and — bank presi- dents. ELSA Then you did not come to pose to-day? MIMI A model always comes to pose. It's tiring work, too, I can tell you — and if the artist wants to make love — it isn't her fault — and — [Sighs. Oh, it's siich a rest. ELSA Oh, please. [Draws herself up stiffly, offended. MIMI Now I've offended you — I ought to have known better — my people are all refined — I wasn't born a model. [150] THE DEVIL EliSA I'm sorry I showed it — but — I — I'm nervous to-day. M I M I, brightening Oh, I know what it is— I used to suffer dreadfully from nervousness when I was in the chorus. ELSA Come over here, Mimi; I want to talk to you. M I M I, goes over and sits on the couch You can talk to me about everything, I'm not a bad sort, really I'm not. I've known all along about Herr Karl and — and you — he's such a kind man. I was crying when I went away yesterday, and he felt sorry for me and he came to see me on his way to the ball — in his evening clothes— but I didn't receive him. If it's over, it may as well be over. ELSA Was he fond of you ? MIMI I loved him, but what's the use ? It's like the railway — the station is there and the train comes and then the train goes away, and the station cannot run after it; if the station is small, the train only stops a minute, and — [Sighs. one must wait until another train comes [151] THE DEYIL ELSA You loved him and can speak like that ? MIMI Yes, I loved him, but it's all over now. I was foolish to come here again when I'd made up my mind I wouldn't, but now I'm sensible again; I'll go away and try to forget him, I hope he will be — hap — hap — happy! [Begins to cry, looks for handkerchief in muff, hut can't find it. e l s a takes handkerchief out of "weeping satchel," and gives it to her. ELSA Poor Mimi! Poor Mimi! M 1 M r, wiping her eyes with handkerchief, then re- turning if