r> "The Powers Within" A Drama in Four Acts Embodying a Study of the Passions, Eccen- tricities, and Impulses of Men and Women BY Arthur J. Ebert Author of "In Love's Captivity" "The Young Philanthropist" "A Battle of Hearts" The play is fully protected by the Copyright Law, all requirements of which having been complied with. No performance of it may be given, except by special arrangement with the author. (Copyright 1909) By ARTHUR J. EBERT Milwaukee, Wis. PRINTED AS MANUSCRIPT ONLY 1 "The Powers Within" A Drama in Four Acts Embodying a Study of the Passions, Eccen- tricities, and Impulses of Men and Women BY Arthur J. Ebert Author oj "In Loves Captivity" "The Young Philanthropist" "A Battle of Hearts" The play is fully protected by the Copyright Law, all requirements of which having been complied with. No performance of it may be given, except by special arrangement with the author. (Copyright 1909) By ARTHUR J. EBERT Milwaukee, Wis. PRINTED AS MANUSCRIPT ONLY r LIBRARY of CONGRESS two copies Received Hti 10 1009 Copyrif nt Entry ft— .\uqo^ k ~ ,.JL t_o?7 Thomas Ehford. Theodore Wilbur. William Lawson, Leola Stanley. Lucille Vilas. Mrs. Erford. CHARACTERS. Assistant Cashier of the Gotham Nation- al Bank, who finds much recreation in literary work. Paying Teller at the Gotham National Bank. A friend to both. A Student in the New York School of Art. Also a Student in the New York School of Art. Tom's mother. SYNOPSIS OF SCENES. Act I. Stanley's Summer Home in the Catskill Mountains on the Hudson. Act II. Lueille's Apartments, New York. Act III. Mr. Erford's Study, New York. Act VI. Same as Act. III. The Powers Within THE FIRST ACT. I Stanley's summer home in the Catskill Mountains on the Hud- son. The scene represents the grounds immediately in front of a small summer cottage on the Hudson River. The porch and front of the cottage occupy the right of the stage. Large trees surround the immediate vicinity, behind which the river is plainly visible. A sixteen-foot canoe of blue tint bearing the name of "Duckie" occupies the left of the stage. An old hammock is hung between the cottage and a tree to the left of it. An artist'st easel and an unfinished water-color painting occupies the right of the stage. At the rise of the curtain Leola is busily engaged in painting. Ted. enters from left of stage. He runs on tip toes to Leola and kisses her. Leola. (Turning. Angered.) Ted, you spoiled the picture. Ted. What picture? Leola. Why, the picture I'm painting, of course. Ted. I'm sorry. Where? Lfola. Here. (Pointing with brush.) This green line don't belong there. Ted. I'm awfully sorry, Lee. Can't you make a fish out of it? Leola. Who ever heard of a fish swimming in the air. Ted. Attach a little line to it. Paint a pole here (pointing) a picture of me there, and it will look as though 1 was pulling 8 a big bass out of the water. Leola. That wouldn't look natural. Ted. {Laughs.) No — 1 never had the patience. Can't you make a sail boat out of it? Leola. Not unless I enlarge the river, and that wouldn't look artistic on so small a picture. Besides who ever heard ol a green sail boat ? Ted. That's true, too. Suppose you paint another tree there. Leola. I suppose I'll have to now. jTed. You're not angry are you? {Takes her hand affec- tionately.) Leola. I never get angry. Ted. You were just a little, weren't you? Leola. Let's not talk about it. Ted. All right. How 7 did you enjoy the dance last night. (Lights a cigarette.) Leola. We had a dandy time. Tom is a fine dancer. He can dance the barn dance twelve different ways. Ted. My! That's going some. I'm sorry I wasn't out here last night. Leola. Yes. I missed you. Ted. I'm sorry — and yet I'm glad to hear it. Leola. Hear what? Ted. That you missed me. Leola. Oh well, you w r rote that you w T ould be here for the dance and I expected you. Ted. T know, but the auto was to blame. We had quite a lot of tire trouble on the way. We didn't get out here until after mid-night. (He sits on the grass next to her.) Did Tom take you across in "Duekie"? Leola. No. we took the launch. Ted. Did his Newport girl go back to the city? Leola. Tom's? Ted. Yes. Leola. I don't know, I never met her. Ted. She was here last week. Be was quite spoony with her on the launch last Wednesday night. Leola. Who told you that. Ted. I was on the launch myself. I heard he was engaged to her. Leola. What's her name. Ted. Frances Hatton. Leola. Oh, Frances Hatton. I met her about a week ago. She's a very pretty girl. Ted. I understand she left because he became rather familiar with other pretty girls around here. Leola. Why are you telling me all this? Ted. Because I don't think he's the best kind of company for you. Leola. A person oughtn't believe everything one hears. Ted. I've seen him myself. He's rather free in distributing his kisses and affection. Leola. I doubt that. Ted. He's w T ell liked by all the people stopping here, and he's always been a gentleman while in my presence. Ted. I won't contradict that — but you just ask the bachelor boys about him. They'll tell you the same thing. Leola. They needn't talk about other men. There ain't any of them angels either. I've heard a few very unpleasant reports about some of them and you'll not find me looking for informa- tion around their cottage. Ted. (He lights cigarette.) I don't like to talk about people as a rule, unless I can say good things about them. But under the circumstances I think it's best that you should know. Leola. I'm glad you told me. (She rises and crosses to ham- mock, takes her bracelet off and places it on the other arm.) Ted. (Notices this. He throws his cigarette away and crosses to hammock.) Why did you place your bracelet on the other arm. Leola. (Laughing.) I did that unconsciously. Ted. Oli! Have you spoken to your dad about our proposed engagement ? Leola. No, not yet. Ted. You're going to, ain't you Lee? {Sits in hammock.) Leola. (Sighs.) I suppose so. Ted. When? Leola. As soon as he gets back from his trip West. Ted. When will he return. Leola. In about two months. Ted. That's a mighty long time to waite. (He takes her hand affectionately.) Leola, do you remember when we were kids at school. We were lovers then. I remember well when I left school and got my first job. Gee! I was happy at seven dollars per. I figured out how two could live on that amount plus an allowance from dad. You remember we wanted to elope and we nearly succeeded. Leola. Y r es, I remember. Ted. There's no need of that now. We're both of age. And so far as the financial end is concerned, we needn't worry. Leola, I want you now! Leola. Let's wait until dad gets home. Ted. In two months — then we'll make it sure? Leola. Yes. Ted. Leola, I love you! (He kisses and caresses her.) Enters Will from right. Will. I think I got in wrong here. (Turns to go. He med- itates. Coughs artificially.) (They release their hold.) That's all right, just finish up, I've got lots of time. Ted. W 7 ell Bill, what do you want? Will. I don't want anything. Just figured on trespassing on this property. It cuts off quite a bit to come around this way to go to the bachelor's camp. Ted. Y r es, it does save some. Will. Now, if you don't mind, I'll just tip-toe across this stretch without causing the slightest vibration. (Tip-toes to left 6 of stage.) Leola. You didn't even move the swing. Will, Yet I fear I am causing some little delay in the move- ments of the occupants. By the way, Ted, did you see Tom? Ted. No, I suppose he's at the camp. Will. I presume he is. Big John is celebrating his birthday and he's setting 'em up at the camp. I suppose you'll be there. Ted. Yes, I promised the boys I would. Leola. Go with him, Ted. I'm going to take a dip. My usual hour, you know. Ted. (Rising.) All right. I'll see you later then? Leola. Yes, I'll be through in half an hour. Ted. (At left of stage.) I'll fan your hair for you. Will. And I'll promise not to distrub you. (They exit. Leola crosses toward door in cabin.) Enters Lucille from right. She is carrying a book in one hand and a suit case in the other hand. She is attired in a walk- ing dress.) Lucille. (Upon entering.) Hello, Leola! Leola. (Turning.) Hello, Lucille! (Rushes toward her.) You really came after all. (Kisses her.) Lucille. Yes, if only to evade several persistent suitors. Leola. I'm glad you came. (Takes her suit case.) Tell me all the news. I'm just dying to hear something real exciting. (She places the suit case on the porch.) Lucille. I've been too busy refusing proposals to interest my- self in anything else. Me for the quiet life for a while. Leola. You can't blame the men altogether, your popularity amongst them creates this aggressive rivalry. It sort of hurries them to pop the question for fear another's proposal might meet serious consideration on your part. Lucille. Nothing like that yet. I'm too happy as I am to seriously consider any of them. Leola. What's that you're reading? Leola. "A month minus one week," (Laughs.) It isn't so bad. (A letter drops from book.) Leola. (Picks up the letter.) You dropped something. Lucille. {Turning.) Oh, did I. Leola. {Looks at envelope.) I've seen that handwriting before. Lucille. Possibly. It's from an old flame of mine. Leola. Oh ! It looks like Mr. Erford's handwriting. Lucille. Do you know him ? Leola. Yes. Lucille. He's a great flirt. Leola. 1 heard so. Tell me. do you know anything about him. Lucille. Do 1? Well, I should say. He proposed to me. Leola. He proposed to you? Lucille. Yes, twice. Once by mail. I think this is the letter. (Opens it.) Yes, this is the one. Rea(J it — it's interesting. (She reads it.) He certainly knows how to use flowery language don't you think so? Leola. He writes a very fine love letter. Lucille. Yes, he's quite a dreamer. Leola. I love dreamers. Lucille. How long do you know him ? Leola. I only met him about a month ago, out here. Lucille. Oh, is he out here now? Leola. Yes. Lucille. Has he been seeing you often? Leola. Almost every day. Lucille. You don't say. Wliat does Ted say about it? Leola. He don't know. (She returns the letter.) Lucille. I'd cut him out if I were you. He's fickle. Enters Tom Erford from left. Tom. Good morning! (Tips hat. They bo to. Leola smiles.) I'm surprised to see you out here, Lucille. Lucille. So am I to see you. (She rises and crosses to cottage.) Tom. Don't let me disturb you. I'll return later. Lucille. I've got to go in and unpack my suit case anyway. Tom. Do you ne#d any assistance? Lucille. No, thanks. (She exits.) Tom. (To Leola.) Were you talking about me when I en- tered. Leola. No. (Sits in swing.) Tom. I'm glad to hear you weren't. I wouldn't want you to take everything she says seriously. She likes to talk a whole lot. Leola. Why arn't you at the camp? •Tom. I just come from there. You don't object to my calling, do you? Leola. No, certainly not. Tom. May I sit down here. Leola. Yes. (She takes her bracelet from arm.) Tom. (Notices her.) Leola, why did you take your bracelet off. (Takes hold of it.) You know I wished it on and you were supposed to keep it there until tonight. (He takes the bracelet off-) Leola. (Indifferently.) I never thought about that. Tom. Let me wish it on again. Leola. I will, under one condition. Tom. And that is? Leola. You must tell me what you wished. Tom. Is that fair? Leola. Why not? Tom. Under those circumstances I may not wish just what I would like to. Leola. Well then, I suppose it'll have to remain as it is. (She pulls her hand over on to her lap.) Tom. (Places the bracelet on her arm.) It's rather childish anyway to do these things — and yet, it helps to pass the time away when there's nothing else of interest to talk about. Leola. Did you make a wish? Tom. Yes. My first wish holds good. Leola. The one you made yesterday? Tom. Yes. Leola. Is it something that you expect very far in the future ? Tom. No. I'd just as soon it would happen now. Leola. Then it hasn't come true yet? Tom. I don't know. Leola. Can't you find out? Tom. {Slight pause.) Leola, I wished that you would learn to like me better each time I called. Leola. Why, I can't like you better than I do. Tom. I mean it in a broader sense. Leola. I love you! (Makes a movement toward her.) Leola. (Turns away.) Now you spoiled it all. Tom. What, Leola? Leola. 1 — I thought we would be such goods friends. Tom. (In a tremor.) I love you, Leola — I love you. (He kisses her hand.) Leola. I'm sorry, Tom. Tom. I don't want you to be sorry. I want you to be happy! [With another movement toward her.) Leola! Leola. Don't! Don't! (She rises.) Tom. (Riscing.) Can I hope, Leola? Lfola. I'm afraid not. Tom. Why? Leola. I don't care for you in just that way. Tom. We haven't known each other very long. I loved you the very first moment I saw you. Possibly you haven't had time to know me well enough. Leola. It isn't that. I like you Tom. In fact, I like you too well to pull you on with something that can never be. Tom. Don't say that. Where there's life there is hope. Leola. I don't see what there's to love about me! There are lots of prettier girls then I am — Lucille, for instance, and 10 scores of others. Tom. Are you trying to discourage me, or have you been hearing things? Leola. Neither, exactly. Tom. Did Lucille speak about me to you? Leola. Yes. Tom. I suppose she told you that we were very good friends some time ago. Leola. Yes. Tom. Is that all she told you? Lucille enters from cottage. Lucille. Are you going in for a dip today, Leola? Leola. Yes, I ought to be going now. Are you going? Lucille. Not until tomorrow. I don't feel very well today. Leola. You entertain Tom while I get ready. Excuse me. {To Tom.) Tom. Certainly. {Leola exits.) How long do you know, Leola ? Lucille. Oh, possibly half a year. Tom. You met her after our little misunderstanding then. Lucille. Yes, if that's what you call it. I met her at the art school. We are both studying there you know. Tom. I didn't know you were. Lucille. I've always been interested in the work. We are going to have an art exhibit at my home some time in November. You don't want to mind that. Tom. I won't if I get an invitation. Lucille. Leola will do the inviting. {She sits in swing.) Tom. Do you devote very much time to the work ? Lucille. I do a little every day. Tom. I'm glad to hear that. Then you've cut out some of your frequent visitors. Lucille. Just a few undesirable ones. Tom. Do you class me amongst the undesirable? Lucille. No — what makes you think so? 11 Tom. I didn't think so. 1 just wanted to make sure. You've been speaking about me to Leola, I suppose? Lucille. Yes, today for the first time. Tom. What did you tell her? Lucille. We haven't had time to say more than that I knew you ,and that she knew you — and — well, that's about all. Tom. Your quite sure? Lucille. Of course I'm sure. What makes you doubt me? Tom. I've always had that habit of doubting you lately, haven't I? Lucille. Yes, and it's very annoying. If you'll excuse me I'll get something to read. (Exits.) Enters Ted from right. Ted. Rather cold reception, eh? Tom. Rather. Have you been listening? Ted. (Sternly.) For some time. Tom. What's bothering you Ted ? Ted. A whole lot — you in particular! Tom. I ? Ted. Yes, you! (Speaks close to his face.) Tom. Y T ou've been drinking, Ted. You better chew some cloves. Ted. Cloves, be damned! Tom. Well, I really 'do believe you're serious. Ted. Y T es, and you'd better be careful too when I am serious! You've been trying to make love to Leola! Tom. In what way does that concern you? Ted. In every way! Leola and I have been lovers for years. I'm all but engaged to her. We are only waiting for her father to sanction such a move by her! Tom. I didn't know that. Ted. Well, I'm telling you. Tom. I'm glad you did. Ted. You'll have to cut out trying to make love to her. She's not that kind. Tom. What do you mean by "Not that kind"? 12 Ted. You know. Tom. I don't understand what you mean by connecting my position with your contemptuous remark. Ted. Well, to be more explicit, she's not the spoony kind youire generally looking for. Tom. That's an insult, Ted, and you're the last one I'd credit with such a remark. I love her — do you hear — I love her! It is unfurtunate, indeed, that we both love the same girl. Ted. After what she told you I should think you'd understand that she cares more for someone else. Tom. I didn't exactly construe it that way. Ted. You're mighty dence then. Tom. Ted, I'm not accustomed to allowing people to speak to me in such an uncivil manner, without retorting with a severe tongue thrashing. I advise you to take a good long sleep to shake off the effects of the liquor you've been drinking. Ted. I know what I'm talking about, even though I did have a high-ball or two. Tom. It isn't so much what you had today, but the grouch you've "got on" after awakening the old one of last night. Ted. What old one of last night? Tom. The one you got at the dance on the country road — that tire trouble of yours. Ted. Who told you? Tom. The boys. Ted. That hasn't anything to do with our affair now. Tom. Xot directly; I just wanted to remind you that you're not an angel by any means. Ted. Well, who said I was an angel? Tom. Nobody. (Slight pause.) I'd like to have a sensible talk with you if I knew that you would appreciate it. Ted. Appreciate what? Tom. I believe I said a sensible talk. Ted. Well ? Tom. Will you sit down for a few minutes? 13 Ted. I'm just as comfortable standing. Tom. That's a very insensible beginning. (Crosses to him.) You say that you love Leola? Ted. I do, and have for years. Tom. What objection is there to my feeling the same as you for Leola? I'm sincere in my love, and I have no doubt that you are too. Now then, let us be fair and square in this affair. Let her choose between us. If I loose I'll acknowledge my defeat by withdrawing. If I am successful I'll expect you to do the same. Isn't that fair? Ted. Well, 'why don't you withdraw then? Tom. Why? Ted. She told you that she doesn't care for you in that way. Tom. Women are hard to understand. They say one thing and mean the other. I've only approached her once on this sub- ject. Until I am convinced that there is no hope for me I don't see what should prevent me from trying. Ted. I'd advise you to stay away. Tom. I can't see any logical reason why I should. Ted. Leola isn't the first girl you've tried to make love to out here. Tom. You are adding injury to insult now. To say you are lying is placing it mildly. Who told yau? Ted. No one in particular. They all seem to konw it. Tom. Who, for instance? Ted. I don't care to mention any names. Tom. Who is the girl they connect in the affair Ted. Miss Hatton is one. Tom. Mrs. Hatton, if you please. Ted. Oh, is she married? Tom. She was. Ted. Oh, a widow — still worse. Tom. Yes, she's my sister. Any objection to her brother kissing her? 14 Ted. I didn't know you had a sister. Tom. You see, Ted, how very easily people can be mistaken. They are even ready to jump at conclusions. Enters Lucille and Leola from cottage. Leola wears a long bath robe. Lucille carries a book. Lucille. Who will direct me to a nice nook near by? Leola. Ted knows several pretty places. Ted. I'll take you to one. Lucille. Thank you. Ted. {To Leola.) Will you be in the water very long? Leola. No, about five minutes. I'm just gonig to take a dip. Ted. I'll be back in time to keep my promise. Leola. All right. {Runs off right.) Lucille. {To Tom.) Kindly excuse us. {Tom bows slight- ly.) {Tom crosses to easel, takes the picture in he hands and admires it.) Enters Bill from left. Bill. Hello, Tom. Where's Leola? Tom. She's taking a dip. Bill. You waiting for her to return? Tom. Yes. Bill. You've been visiting her quite often lately. Anything serious ? Tom. Perhaps. Bill. I'm afraid its more serious than you imagine. I met Ted at the bachelor's. He's very jealous. Tom. Yes, I know. Bill. I want to give you a tip. Be careful of Ted — especially today. Tom. Why ? Bill. He said several things that cause me to believe that he's a dangerous chap to deal with. Tom. Dangerous? In what way? Bill. He told me very emphatically that if he caught you 15 making love to Leola, he'd kill you. Tom. {Laughs.) The little fool. Bill. His remark carried with it an air of determination, I, for one, didn't like. I'd advise you to stay away from here today. Tom. Do you think that he'd be fool enough to do it. Bill. I'd dislike to see you take the chances. Come, Tom, let's go over to the hotel. Tom. I really believe you are afraid. Bill. I am; such things have happened before, you know. Come on, Tom, {Takes him around waist e.) let's play tennis. Tom. I will in just a few minutes. I want a word with her. Bill. Won't tomorrow do as well? Re-enters Lucille and Ted. Lucille. {Looking searchingly on the ground.) Did you see a silk handkerchief lying about here? Bill. Hello, Lucille! Lucille. {Looking up.) Hello, Will! How are you? I haven't seen you for several weeks. Why don't you call? Bill. There's a stringency in the money market just now. (Tom crosses toward easel and looks at picture.) Lucille. What's that got to do with it. Bill. It sort a put me out of the running. I sold my auto- mobile so that I could afford to keep up with the common people. Lucille. I'm sorry it struck you so hard. Ted. {Finds handkerchief on hammock.) Is this the one? Lucille. {Taking it.) Yes, thanks. {To Bill.) I've moved, you know. Bill. Oh, is that so? Who moved you? Lucille. Who moved me? Bill. Pardon me — I — I ment where? Lucille. Apartment Five, in the New Brevoort. Bill. Oh, the New Brevoort — quite a fashionable apartment house. Lucille. Yes, it's quite exclusive, too. You must call some- time when I get back to the city. I'll show you the apartment. 16 Bill. I shan't fail to do so. Lucille. I'll see you later. I've come to an interesting place in this book and I'm just dying to continue. Bill. I can imagine at what stage of the story you are. Lucille. (Slightly cmbarrased.) You're too observing. [Covers up the title. She exits with Ted.) Bill. (To Tom.) When did she come out? Tom. This afternoon. Bill. Stopping here? Tom. Yes, with Lee. Bill. That makes it rather bad for you. Tom. You seem to know her quite well. Bill. I do, and I'd give up anything I possess if I could tame her. Strange you never mentioned her faults to me. Tom. Nothing strange about that. Opinions differ. You may like what I dislike, or see and judge things with quite a different mind. Bill. Hardly possible in her case. Tom. Too bad so pretty a face bears so evil a tongue and so weak a mind. Bill. I think both of us had the same sort of spell. Head and heels in love with her, eh? (Laughs.) Tom. A mere infatuation on my part. A pretty face, a per- fect figure, a winning smile, are her only assets. She's heartless and devoid of the noblest of virtues — honesty and sincerity. Bill. To a great degree. Tom. It's pitiable. Bill. New York is full of pretty girls who have gone to the dogs with just such a beginning. If I weren't so devilish poor and were free from the bondage of love elsewhere. I'd sacrifice every drop of my blood to save her from herself. Bill. How would I do? Tom. First rate. You've got money, and I think she likes you too. She's on the verge now, and if you can win her over, heart and soul, she'll make a dear, sweet wife. 17 Bill. I don't doubt the dear part of it. Fve spent half a fortune on her already. Tom. Do you care enough for her to spend the other half? Bill. I've tried hard to hold myself in check against it. Tom. Then you still love her? Bill. I'm afraid I do. I want your advise and assistance. Tom. Assistance I cannot offer. Advice there is but little for me to give you. Play hearts always, save your diamonds until after you've won out. Bill. Suppose she strikes back with her clubs and with the assistance of her spades, digs deeper and deeper into my diamond suit. {Digs both hands deeply into his trouser pockets.) Tom. I wouldn't renege. I'd play the hand I hold — declare hearts trump — play them repeatedly and save your diamonds to complete your count. Her hand of clubs and spades will fade with every play you make, and at the end of the hand you'll have won every black card in the deck, and when you play the second hand, deal her only hearts and force her to lead the play to you. Bill. That's somewhat deep, but I think I catch the point all right. Tom. In other w r ords, make sure she loves you before you show her your bank account. Bill. Let's go over to the hotel and talk this over. Tom. I will in just a few minutes. I want a word with Leola, Bill. Won't tomorrow do as well? Tom. {Looking off right.) She's coming out of the water now. I'll follow you in less than ten minutes. Bill. All right, have it your way. {Starts left.) There's Ted now. Do you see him? Tom. Yes, he's going toward the camp. Bill. Apparently. Bear in mind what I told you. {Exits.) {Tom crosses toward easel and scrutinizes the picture. Leola enters from right.) Leola. {Crossing up.) How do you like the picture now? 18 - Tom. I think it's great! You've developed it wonderfully since yesterday. {Points at picture.) What does this represent? Leola. {Smiling.) An interruption. Tom. {Doubtfully.) A what? Leola. In other words, an abrupt disturbance. I was fright^ ened — that's the result. It's easily remedied though. {Crosses: to cabim.) Tom. Can I see you a few minutes after your dressed? Leola. I don't mind. Ted enters unperceived from right; he crosses behind a tree in right center.) Tom. I don't like the way you say it, Leola, Leola. How would you have me say it? Tom. It's hardly fair for me to tell you. Leola. I'm willing to learn. Tom. I don't know just how to take you, Leola. I've been told that frequently. Even my dearest friends find it difficult. (Bill enters softly from left and crosses directly behvnd Ted.) Tom. Leola, I want to be one of your dear friends. {Takes hold of her hand.) And I want to understand you. (Ted makes a move icith hand toward his hip pocket,) Leola. I'm afraid you never will. (Bill succeeds in taking the revolver from Ted's pocket and places it in his own.) Tom. {Makes a movement toward her.) Leola! {She turns aside He lowers his head and kisses her hand. Ted meanwhile makes a quick move for his pocket. Upon finding it empty tfie, turns abruptly and stands face to face with Bill, while the cur- tain drops upon the picture.) 19 THE SECOND ACT. Lucille's Apartment, 'New- York. The scene represents a hand- some apartment in the home of Lucille, elegantly furnished with a modern parlor suit. The icalls are almost entirely covered with oil and water-color paintings, the majority being unframed. There is a large window in the back wall, a door in the right wall and another* in the wall left. At rise of curtain Ted is discovered on a small ladder, hanging a picture on the back wall, while Lucille is standing in the center of the room. Leola is busily engaged arranging a large boquet of American beauties in a vase on the mantle-piece left. Ted. {Hanging picture.) How's vthat? Lucille. A little higher. Ted. That better? Lucille. Just a trifle to the left. (Modes it.) There, that's about right. Don't you think so Leola ? Leola. (Turning.) Yes. {Slight pause.) I can't get all these flowers in this vase. Lucille. Use the other one on the table. Have you discov- ered a card yet? Leola. (Taking other vase.) No, there's no card here. Lucille. That's strange. "Leola. Somebody must have sent them. Lucille. I didn't order any flowers. Only the ferns, and they haven't arrived yet. (Door bell rings.) Leola. I suppose that's the florist now. (Lucille exits right.) Ted. (Coming down from ladder.) Anything else I can do? Leola. You may pick up these leaves. Ted. (Picks up the leaves.) I've been wanting to see you alone since I came here. Your father — did he come home? Leola. Yes, this morning. 20 Ted. Did you ask him. Leola. Yes. Ted. What did he say? (Anxiously.) Leola. He'd think it over. Ted. {Disheartened.) Another delay? Leola. Perhaps. He wants a talk with you, I think. Ted. IT1 go over and see him now. Leola. He's not in the best of humor today. Ted. Hang it all, Leola. I'm not going to marry your father anyway. Let's decide now. {Takes hold of her hand.) Leola. You're not afraid of him? Ted. It isn't that, Leola. I want your answer first. Leola. There was a time not so very long ago when you knew how to propose. Ted. {Brightening.) I'm not entirely devoid of the art of making brilliant speeches, but I've entirely exhausted my power of originality. I can only repeat again and again, I love you — I love you — I love you! {She sinks into his ready embrace.) Are we engaged? Leola. I don't know. Ted. I've got the missing link. {Takes a ring from his pocket and places it on her finger.) There, now we are engaged. Leola. (Sighs.) I suppose so. Ted. Leola, do you love me? Leola. Of course I love you, Ted. I wouldn't permit you to kiss me if I didn't. Ted. I'm trying hard to understand you. I feel so restrained. Leola. I wouldn't if I were you. I'd just do things. Ted. Leola! (He kisses her.) Lucille re-enters with two boxes of flowers. Lucille. If I catch you doing that again I'll announce your engagement. Ted. You might as well do it now; its all settled. Lucille. (Surprised.) What? Is that on the level? Leola. (Showing ring.) Isn't it a beauty? 21 Lucille. (Looking at it.) My, I should say so; the size of it too. I'll bet it cost Ted a few hundred anyway. Leola. I hope not. I never cared very much for expensive jewelry. Lucille. It's made you very happy anyway, and that's worth a whole lot. I congratulate you, Ted. {Extending hand.) Ted. Thank you, Lucille. ( Takes her hand. ) Lucille. You have chosen an appropriate moment. The very atmosphere seems to suggest, as well as appreciate your action. ( Gives her a box of flowers. ) Leola. For me. Lucille. Yes. Leola. From whom? Lucille. I don't know. Leola. (Smiling.) My, bless their hearts. (Takes box and opens it.) Lucille. (Opens the other box.) I know from whom these are without opening the box. Leola. From Will ? Lucille. No. I'll bet there from my new acquaintance — the theatrical manager. Leola. (Noticing card.) Oh, Ted — thank you. Ted. Shall I get a vase. Lucille. Yes, you'll find some in the library. Bring two. Ted. All right. (Exits.) Lucille. (Noticing card.) You were right — they're from Will. Leola. I'm anxious to know who sent those' American beaut- ies. Lucille. Possibly Tom. Leola. That may be. Lucille. Did you send him an invitation ? Leola. Yes. Lucille. Do you think he'll come? Leola. He said he would. 22 Lucille. I thought perhaps he wouldn't. Leola. Why ? Lucille. The exhibit is at my house, you know. Well, we won't miss much anyway. Leola. Lucille! {With some little surprise.) Lucille. You're not anxious to see him, are you? Leola. He's always been very kind and pleasant to me. Lucille. He's a failure all around. His play was a fisle. They shelved it after the first week. Leola. I thought it was clever. The people didn't appre- ciate its real value. It was too heavy for them that's all. Lucille. That's his second failure. Leola. I'm sorry he didn't succeed, and I hope he don't give up. Lucille. Poor fellow, I really ought to feel sorry for him, too. Leola. He's done you a great honor and you really ought to at least* sympathize with him. Lucille. I pray you, what honor. Leola. He's asked you to be his wife. Lucille. (Laughs.) The idiot. Leola. Not for asking you, I'm sure. Lucille. Certainly not. Quite the reverse. He's done you the same honor and I suppose by this time he has honored one or two more. Re-enters Ted with tico vases. Ted. These large enough? Lucille. Yes, plenty. (Takes a vase and arranges flowers.) Leola. (Same play.) Enters Will from right. Will. Hello, girls. Lucille. (Somewhat frightened; turns.) Will, where did you come from? Will. The office. Lucille. How did you get in here? 23 Will. Your door was wide open. I thought I'd take you by surprise. {Observing room.) My, but you've got things in tip- top shape. Lucille. Yes, thanks to Ted. Will. Oh — been here all day, Ted? Ted. Part of the afternoon only. Lucille. Accept my thanks, Will, for these flowers. (She 2>l Good-night. {Kisses her.) Mrs. Erford. Good-night, Tom. Don't think I'm trying to dis- courage you; I don't want you to overdo it, that's all. Tom. I understand. Mrs. Erford. Whom do you expect at this late hour? Tom. Mr. Wilbur. It's a matter of business. Mrs. Erford. Don't stay up too long, and don't smoke any more cigars. {Exits left.) Tom. I won't. Good-night. (Sits. He places his hand into his coat -pocket and finds the letter used in Act II. He tears 39 it to pieces, rises, crosses to fire-place and throws them into the flames. Door bell rings. He crosses to talking tube to left of door center. Talking into tube.) Hello! (Listen for a momenta- then talk into tube.) Yes, I'm alone, come right up. [He crosses down center, bearing an expression of doubtful surprise. He places his manuscript into the desk drawer and re-crosses to door center and opens it. Slight pause. Talking off right.) This way, Lucille. {He opens door icide and steps hack.) [Enters Lucille.) Lucille. {Grasping Tom's hand warmly upon entering.) Tom, I want to thank you first of all. Tom. Anyone escort you? (Closes door.) Lucille. No. Tom. (Coming doicn.) Be seated. (Offers chair.) Lucille. (Sits.) You're surprised to see me here, I pre- sume ? Tom. I am, indeed. .. (Sits.) You followed me rather quickly. Lucille. I came on the subway express. I made good con- nections. (Pause; hesitating.) I — I don't know just how I should explain my visit at this late hour; I might have waited until to- morrow, but there's something seemed to tell me that I should go that very moment. Well, I'm here, and I suppose I — I must tell you why. - Tom. I'll leave that to you. Lucille. You don't intend to change your mind? Tom. In what way? Lucille. You're not going to tell Leola or Will about to- night? Tom. I haven't thought about that. I may have been mis- taken. Lucille. I don't want you to tell them — I don't want them to know. Tom. Then I am not mistaken? Lucille. You won't tell them, promise me? Tom. If I had had such intentions I would have availed myself of that opportunity tonight. 40 Lucille. I was afraid you would write her a letter of ex- planation. Tom. Matters are bad enough as they are. {Bell rings.) Excuse me. {He crosses to tube.) Hello! {Listens. Then into tube.) Yes, the door is open. {To Lucille. ) Quick, Lucille, into this room. {Crosses quickly toicard door right.) Lucille. Who is it. {Runs.) Tom. It's Will. Lucille. How did he guess? {Crosses right.) Can I leave by the rear door? Tom. You won't be able to find the way. Lucille. {At door.) Don't tell him. Tom. I promise. {She exits, closing door.) {Tam crosses toicard desk.) Enters Will, rather hurriedly and somewhat excited. Will. Have you seen Lucille? Tom. Yes. Will. Where is she? Tom. Where is she? Why — I saw her last at her home. Will. She's gone. Tom. {In apparent surprise.) Gone? Will. Yes. Tom. Gone where? Will. That's what I'm trying to find out. She wanted to get some wire to hang picture. I offered to get it for her. She in- sisted upon going herself, however, explaining that I wouldn't get the right kind. I then proposed to take her to the store in my machine. She consented, but before I could put on my hat and coat she disappeared. I followed and saw her enter the subway and board a south-bound express. Having failed to over- take here, I returned to her apartment. Tom. Are you out hunting for her? Will. Yes. Tom. Do you expect to find her? Will. I haven't the remotest idea where to look for her. 41 Tom. You certainly didn't expect to find her here, did you? Will. Leola suggested that I call on you; that's why I'm here. Tom. A strange suggestion for her to offer. Will. I thought so too. Tom. You might have known better. Will. That's true, too, but possibly you can offer a sugges- tion as to where she may be. Tom. Home, by this time, where else? Will. I doubt it. There's a hardware store not three squares away. Why should she take the subway — the express at that. Tom. She hasn't been living there very long. Possibly she didn't know 7 a store was so close at hand. W t ill. That may be. I'll drive back to her apartment. (Starts up center.) Tom. Do you intend to take Leola home in your machine? Will. Yes, Ted suggested that I take her home. Tom. How soon will that be? Will. If Lucille has returned we'll leave very soon after 1 get there. Tom. {Taking watch from pocket.) In possibly twenty minutes, then? Will. Yes, if Lucille is home. Tom. Will you drive by here on your way? Will. Yes. Tom. Leola is very anxious to see that painting there (Point- ing to picture on wall. ) , by Jules Girardet. If she desires to step in and look at it tonight I will be pleased to show T it to her. Will. I'll tell her about it, Tom. Good-night. Tom. Good-night, Will. (Will exits; Tom crosses to door right and opens it.) Lucille! Lucille. (Entering.) I heard everything he said; I can't imagine why Leola sent him here. Tom. It's not very clear to me either. Have you a tele- phone? 42 Lucille. Yes. Tom. Ring up Leola and tell her you will be home presently. Make an excuse for staying away so long. The 'phone is over there. (Pointing left to 'phone.) Lucille. (Crosses to 'phone and places reveiver to ear.) Grand Central 2456. (Pause.) Tom. Don't forget to tell her that the store was closed. Lucille. Hello! Leola? (Slight pause.) Yes — (Pause.) Lost — why? (Pause.) Who is — Will? (Pause.) Why, how perfectly ridiculous. (Pause.) No, the stores are closed. I'll have Will get some the very first thing in the morning. (Pause.) He will if I tell him. (Pause.) In ten minutes. (Pause.) Yes, it's rather late. He'll take you home in his outo. (Pause.) Yes, I'll hurry. Good-by. (Hangs up receiver.) Tom. (Crosses to door center.) Leave by the side door to your right. Lucille. (At his side.) You must never tell Will of my visit tonight. Tom. I promise not to breathe a word of anything that trans- pired this evening. Lucille. I thank you, Tom. (Extending hand; Tom takes it.) I — 1 never really appreciated the value of sincerity like yours until tonight. I never saw life before as I see it now. Tom. Love is a mighty big thing after all. Life is so empty, so crude, so worthless without it. (Door bell rings.) Just a minute, Lucille. (Crosses to tube.) Hello! (Listens.) Yes, take the elevator. {Listens for a second, then to Lucille.) Leave by the side door. It's a friend of yours and mine. I know you wouldn't want him to see you. Lucille. Is it Will ? Tom. No, you must hurry. Lucille. Good-night. (Exits.) Tom. Good-night, Lucille. (Tom closes the door and crosses toward his desk. He takes a portfolio from his inside vest-pocket and looks around the room, 43 finally he crosses to the maritime-piece and lays it next to the humidor; he starts back, but again recrosses and puts the port- folio on top of the humidor. He recrosses to the desk and seats himself. A rap is heard on the door center.) Tom. Come in! {Ted enters and crosses down center.) Tom. Take off your coat; it's rather warm in here. (He takes off his coat.) Hang it on the chair. (He does, and then crosses down towards Tom.) Sit down, Ted. Ted. (Sits.) Who authorized you to make a secret exami- nation of my records? Tom. Nobody. My position commands that privilege. Ted. You had better not say anything to the faculty before the bank examiners have made a more thorough examination. Tom. In other words, you mean to question my ability as a man of figures? Ted. That will be proven after the" audit. Tom. I'm very sorry, Ted, that you are taking so bold a stand against yourself. Ted. You have a fine way of saying things. Why don't you come out with the truth and say that you've been trying to launch some substantial accusation against my character. Your entire time has been devoted to this sort of thing ever since you realized that I was your rival for the hand of Leola. Tom My action was not prompted by any personal affair. My suspicion was arroused by the careless manner in which you spent your money. The first inkling of your defalcation came to me more by accident than by a desire to detect. That memoran- dum charge against Fealy-Moore & Co. for eight hundred dollars is only one out of ten similar ficticious charges. Ted. They are not ficticious; a check deposited by them for that amount was returned on account of "no funds." Tom. I have substantial proof that it is ficticious. I didn't expect an argument on this score. WTien you enterred here this evening, the first thing you said referred to your shortage. How 44 did you know the nature of your call ? Ted. You insinuated in that direction. Tom. I simply told you that the bank examiners would be at the office in the morning. Ted. Why did you insist upon seeing me this evening? Tom. I didn't insist; I left it to your own good judgment. I intended to tell you everything when we met at Lucille's, but I realized your great embarrassment. Ted. You were mistaken. Tom. And yet you trembled like a leaf. Ted. {Forcing a smile.) Ha! Tom. Ted, I'm not going to try to get the truth from you by lies. IT1 treat the matter openly. The bank examiners will not be at the office tomorrow. I simply used that lie to make you understand why I desired to see you. Ted. I knew that myself. Tom. Be informed, however, that I will be at the office very early myself. Ted. That's your business. Tom. For God's sake, Ted, don't make it so hard for me to help you. {Ted becomes uneasy.) Do you for one minute presume that I am trying to come between you and Leola — that I am doing this to further my own interest? -If so, you are great- ly mistaken. My purpose of requesting you here is to arrange some way to make the defalcation good. You will soon become the husband of the sweetest and dearest girl in all New York, and I would very much hate to see her dragged into disgrace when there is still ample time to prevent it. Your action tonight will either make me your defendant or the plaintiff. Which shall it be? Ted. You'll be in a better position to determine that in the morning. Tom. {Taking a bunch of keys from his pocket.) Remember, I'll be down very early. {Shows him the keys.) Ted. {With surprise.) How did you get them? {Feeling in his pockets.) 45 Tom. In very much the same manner you got the money. Ted. You stole them! Tom. That's a rather broad term. I didn't incriminate you of stealing the money. I simply said you took it. Of course, you intend putting it back again. I, too, do not care to keep these keys after tomorrow morning. Ted. What is your game? {Grasping the keys.) Tom. You don't mean to tell me you're from Missouri. (Jerks them away.) Who loaned you the money? Ted. What money? Tom. The money with which you intend to lift the forged papers? Ted. (Leaning over table.) Will you help me? Tom. For the sake of the girl you love — for the sake of the girl who loves you, I'll do all I can to shield you. Ted. I did take several thousand, but by tomorrow I'll have everything made good. Tom. You have made it very hard for me to assist you. Why didn't you open up like a man and tell me the truth? Ted. I hoped to have everything in an undetectable shape by the early morning. • Tom. You have the money, then. Ted. Yes. Tom. Here are the keys. (Gives them to him.) Remember, I am doing this at the cost of my position. Ted. I've always been damn jealous of you, Tom. I couldn't help it. I just had to win her or die. Tom. I have lived up to my agreement; I've stepped aside and left the field clear for you. I never-the-less still love her and by the memory of that love I mean to see her supremely happy. Do you know in what way I mean? Ted. Yes. Tom. She loves you, Ted, and I want you to make her happy.> That's why I offer my assistance now. You must proove yourself worthy of her in every way. 46 Ted. I will, after this. Tom. I brought several of the valueless papers with me to use as evidence in case I needed them. I'll give them to you. You can destroy them the first thing in the morning. {Rises and crosses to door right.) You will find some cigars in the humidor on the mantle-piece. (Exits.) {Ted remains motionless for a few moments, apparently in deep thought. He rises suddenly and walks nervously up center. He then crosses left to mantle-piece. After laying the portfolio to one side he takes a cigar from the humidor and lights it. His eyes become fixed on the portfolio. He turns and looks toward the door right Upon seeing that he is still alone he opens the port- folio and takes a roll of bills from it and places them in his pocket. Tom re-enters with an envelope.) Tom. {At his desk.) Here they are. (Hands them to him.) Ted. (Takes them.) I'll destroy them now. (Movement as though to tear the envelope.) Tom. (Stopping him.) Check them over first. Ted. I don't think it's necessary. (He places it in his pocket.) Tom. You are complimenting my ability now. (Starting to- ward left.) How do you like that cigar? Ted. Somewhat strong for me. (He watches Tom anxiously.) Tom. (Places portfolio to one side 3 feeling of it while doing so. He opens the humidor and takes a cigar.) How did you manage to get all the money in so short a time? Ted. My father will make it good. Tom. Oh. (Lights cigar.) Ted. (In an effort to attract his attention elsewhere.) That's a very fine oil painting. By whom is it? Tom. (Crosses to his side.) Thats' by Jules Gerordet. Leola admires his work very much. Ted. Yes, she has two of his paintings. Tom. Let's get back to our first subject. Ted. It's rather late. I — I think we understand each other. Tom. An unexpected change has taken place. 47 Ted. (Doubtfully.) Change? Tom. Yes, I cannot offer you my assistance. Ted. ( Nervously. ) Why^— what — ? Tom. You are not possessed of the qualities to reform. Ted. What — what do you mean? Tom. (Directly in front of him.) You were merely a de- faulter until tonight; now you are a thief! TED. (Aghast.) Tom! Tom. Ted, I was in hopes my test would fail; I saw you take the money from that portfolio! Ted. What money? Tom. For God's sake, Ted, don't deny it! Place your hand in • that pocket. (Points to pocket in coat. Ted places his hand into the pocket.) Give it to me! Ted. ( Gives him the money. ) I don't know why I did it ! Tom. (Takes it.) Why didn't you tell me you needed the money ? Ted. I don't know, Tom, I don't know why I took it — I don't know ! Tom. It's the same old story: The habit is easily acquired after it is once started. Ted. I'll never do it again; I'm through with it — I'm done with it! Tom. For how long? Ted. For good — for always! Tom. And you are the choice of the girl I love. A thief, a bold, every-day, low, common thief, the fiancee of one of the fairest young women in the world? Ted. Don't, don't! I'm done with it for good — for good! Tom. Once a thief, always a thief! Ted. No, no, no! Tom. Yes! Yes! What proof — what assurance — what trust can so weak a man as you offer now. You have destroyed the last bit of confidence I had in you. A thief is also a liar by reason of his profession; you didn't win Leola over me by fair 48 means ! Ted. Leola loves me! Tom. Would she love you if she knew you as I do, would she love you then? {Ted drops his head) No! Every spark of love she ever had for you would vanish! Why deceive her? Ted. (Appealin-gly.) Tom, I love her! Tom. I love her too! And I'm not going to allow a man of your calibre to cheat me out of so great a claim! {Door bell rings. He crosses to talking tube.) Hello! {List- ens.) Yes, come right up with her. Ted. Who's there? Tom. Leola and Will. Ted. {In complete surprise.) Leola! {After regaining his almost stupifted faculties, he crosses toivard Tom.) For heaven's safle, Tom, don't tell her! Tom. {Determined.) I will tell her! She must know! Ted. Don't tell her tonight, consider it — tomorrow you may think differently. Tom. Have you no sense of honor at all. » Ted. Don't tonight! I'll make my own confession, but not tonight — not tonight! {A rap at door.) They're here! For God's sake, Tom, don't tell her — don't. {Takes hold of Tom's hand pleadingly.) Tom. Come in. {Starts up.) Ted. {Grasping his hand in a final appeal.) Tom! {The door opens upon this scene; Leola and Will enter; Tom turns, looks at Ted and then crosses down center. Leola and Will are surprised and look at the scene with some little amazement. Tom then faces about and assumes a studious pose.) Will. I didn't expect to see you again tonight, Ted. {Ted's gaze is fixed upon Tom.) Leola. {At Ted's side.) Why, Ted, you're as pale as a. ghost. What's happened ? Ted. Nothing, Leola. {Takes a step toward Tom. who re- mains motionless.) 49 Leola. {Crossing toward Tom.) Tom, you're not saying a word. Tom. (Calmly.) You have rendered me a great service, Leola. Ted too, has done wonders this evening. I'm deeply grate- ful to both of you. To make a long story short, we agreed upon these positions to find out the natural effect it would have on you and Will. It will serve as a strong and fitting climax in my new play. {Ted brightens and crosses to Leola.) Will. Well, of all the eccentricities of man. For originality, you've got anybody I know beat by a mile. Tom. An undeserving compliment. Leola. {To Ted.) Is this your appointment? Ted. Yes. Leola. {To Tom.) And the excuse you offered to bring me here was to show me a painting by Jules Girardet. Tom. Yes, I hope your desire to see it is as great as my sincerity of purpose. {Pointing toward picture.) There it is. {He turns on the electric light.) {Leola and Will cross up and look at the picture Ted crosses to Tom and grasps him warmly by the hand, while the curtain drops upon the picture.) CURTAIN. 50 THE FOURTH ACT. The Scene is the same as that of the Third Act, Fourteen months are supposed to have elapsed. The icalls are hung with several paintings used in Act. II. A telephone is on the desk. The curtain rises upon the dark, unoccupied room. The telephone rings repeatedly. Slight pause. Tom enters from door center, attired in evening dress. He crosses to the desk ond turns on the electric lamp. lie then removes his coat and exits right. Tele- phone rings again. Slight pause. Tom re-enters with a lounging robe on his arm and crosses to desk telephone and answers the call. Tom. Hello! {Pause.) No, you'll find him at the theater. (Pause.) He didn't say. Good-by. {Hangs up the receiver and put on his lounging robe. He is just at lighting a cigar ivhen the telephone rings again. .Answering.) Hello! {Pause.) This you, Burt? (Pause.) Yes, right here. (Pause.) Yes. (Pause.) Yes. (Pause, looks at icatch.) Rather short act. (Pause.) They did? Bully! (Pause.) I'm sorry, but I really can't. (Pause.) Oh no, I'm not afraid to face the audience, I'm per- fectly calm. (Pause.) If they insist upon a curtain speech, I'd consider it a favor if you would answer for me. (Pause.) They won't know the difference. (Pause.) You think so? (Pause.) Yes, you might do that. (Pause.) Oh, tell them — tell them I died suddenly. (Pause.) You never can tell, you know. (Pause.) Yes. you might make that excuse. (Pause.) Ring me up after the third act and let me know how it takes. (Pause.) All right. Good-by. {Hangs up the receiver and looks at his watch.) Enters Will from door center, rather hurriedly. Will. What on earth are you doing her, Tom? (Coming doirn.) Why aren't you at the theater? Tom. I'm indisposed. 51 Will. Indisposed? And smoking a dark Havanna at that? Tom. Force of habit. Will. Is that straight goods? Are you really sick, or can't you stand the nervous strain? Tom. Neither, Will. Will. W T hy in thunder are you in hiding, then? Tom. You don't understand my position. Will. I don't understand you at all. The curtain just dropped on the second act; the audience went wild and called for you. Lucille and I were dumb-founded with surprise at the play. Lucille almost fainted when the climax came at the end of the act. Tom. I was afraid she would. * Will. Why, you've got Lucille, Leola, Ted, yourself, and even myself mixed up in the story. Tom. I see you recognize all the characters. Will. Is all of it true to life? Tom. Up to the end of the third act. The last act is my own creation; you don't want to miss it; it will tell you why I am here and not at the theater tonight. Will. I don't want to miss any part of the play. I came to get you. My machine is waiting. {Looks at watch.) We'll have to hurry. Tom. Don't wait for me and don't tell anybody I'm here. Will. I'll be hanged if I know how to take you. Tom. Take me seriously — and go. Will. I was just about to laugh at you, but I guess I won't. You must have a purpose, of course, but I fail to even imagine any feasible reason. Tom. Will you do me a favor? W^ill. Why yes. Tom. Would you take my mother home in your machine after the play? Will. That's what I intend doing. By-the-by, I've got sev- eral surprises for you. 52 Tom. Several surprises? Will. Yes, Number one: Leola received a decree granting her absolute separation from Ted. Tom. When? Will. This afternoon. Number two: She is at the theater this evening, and I invited her into our box. (Tom bears an ex- pression of pleasant surprise.) Number three: Ted is also at the theater; I met him at the stage door; he looks very poor and his manners were most peculiar. He asked for you. Tom. (Slowly.) Poor fellow, I tried my best to make a man of him. Will. Leola looks exceptionally well; she immediately asked for you. (Tom turns aside somewhat depressed.) She is en- joying the play immensely. (Pause.) Tom. (Brightens slightly.) You'll miss the third act if you don't hurry back. Will. I'm afraid I've missed part of it already. (Starting up.) I'll ring you up after the act and let you know how it takes. Tom. Thanks. Will. We may have to get you in order to satisfy the en- thusiastic audience. Tom. No fear of that; I'd advise you not to, even though they do insist. Will. I'll see you after the show, then. (Exits.) (Tom looks at his icatch, crosses to the 'phone, removes re- ceiver; pause.) This the operator? (Pause.) This is apart- ment eight; kindly discontinue connection with my 'phone after ten o'clock. (Pause.) Not in. (Pause.) Yes. (Pause.) Thank you. Good-by. (Ted bursts into the room through door center.) Ted. (Coming down center furiously.) I've found you at last, you coward! Tom. (Rising.) Ted! Ted. You weren't satisfied with stealing the affections of my 53 wife and haunting her almost to death, but you dare to place the entire thing, lies and all, before the very public. Tom. Only in character. Ted. You've made it plain enough. Tom. And true to life, 1 hope! Ted. Yes, damn you! I'll kill you for that! (He confronts hint tcith a pistol.) Tom. {Jumps to one side, at the same time grasping his pistol hand. A struggle folloics, the pistol discharges and the bullet goes icild, breaking the looking-glass above the mantle-piece. Tom succeeds in icrenching the weapon from Ted's hand.) So you've come to kill me! You very nearly succeeded, too. {Crosses to- ward chair right, extracting the bullets from the barrel unper- ceived by Ted, and lays the pistol on the table.) You're not very much disappointed, are you, now since you've had a little time to think it over and realize the full extent of such a deed? Ted. I'll get you yet! (Crosses up center.) Tom. Where are you going? Ted. Where do you suppose? Tom. I didn't suppose you'd go very far at present. (Picks up revolver playfully.) Sit down here. Ted. ( Coming doun. ) Well ? Tom. Kindly be seated. (Ted sits; Tom folloics.) What motive have you for wanting to take my life? What is there within you that is pouring oil on the flame? Ted. You know 7 that as well as I. Tom. Primarily, let's say then, it's love! Ted. That's not all, and you know it! Tom. I'm trying to make my point. I said primarily — the cause of your agitation — the spell-binding power that first made you a liar, then a defaulter, a thief, and now a murderer! Ted. (Turning as though apprehending the extent of his degradation.) Tom! Tom. The powers Avithin you, poisoned by your numerous misdeeds, are easily controlled by mere impulsive flashes of 54 thoughts and ideas enslaving you to execute them in all their im- maturity. Man does much in this frame of mind at the im- pulse of a moment; he afterwards regrets. It's the concentration of your entire mind and energy upon the object of your insane passion, as against the lone, weak defenseless soul, which ulti- mately bears the burden of your sins and meets with eternal dam- nation ! Do you fully appreciate what I'm saying? Ted. You always were damn sentimental. Tom. That's the great difference between us. {Leaning over the table.) Ted, I'm going to take you into my confidence; a strange thing to do with a man of your calibre. You say I'm sentimental; that's the power within me that controls my mind; I have been a slave to that power, and often against the will and determination of my mind. In a moment of great dejetcion, caused by the same feeling of love as yours, acting upon the con- ditions of the powers within, my heart and soul prompted me to make a pledge to my Creator to face death at a certain hour. The hour is very close, and I stand ready now without fear to pay the debt. Ted. That's in your play. Tom. In reality, too! I have since found much in life to live for. The love which bound me to my sentiments has since worn off. I never valued life so much as I do tonight. Ted. I'm beginning to understand you, Tom. Tom. (Grasping his hand.) I'm glad you do, Ted! You are still very young and have much to live for; brace up, study the powers within you ; turn bad into good, and pray God to forgive you! Ted. (Lowering his head.) I will! Tom. (Rising.) Here is your pistol. (Gives it to him.) Stand where you are. ( Ted rises.) Now put your right arm out like this. (Holds his arm in firing position; Ted folloivs.) The pistol is cocked — press the trigger! Ted. (His hand trembles and the pistol drops to the table.) I couldn't do it now — I couldn't, Tom! (Pause.) 55 Tom. You are in the midst of a great battle; fight with the heart of a loyal soldier and you are bound to win! Ted. Forgive me, Tom. {Extending hand; Tom take it.) I don't deserve it! Tom. You must sin no more! Ted. I promise! I'm going out West and begin life all over again. Tom. That's the bravest thing you ever said. Ted. {Turning to go.) Good-night. Tom. Here are your bullets and the pistol; you may need them out West. Ted. I don't want to touch them! I'll never handle another in my life — never! {He crosses to door and exits.) Tom. . . ( Turns out all but one electric light and then sits on chai rright. He takes his watch from his pocket, looks at it and then sinks back into his chair. .Softly.) Only three more minutes! {He clasps his hands firmly and lowers his head, tchile the cur- tain drops. The curtain rises after a slight pause. An hour is supposed to have elapsed. Tom is discovered sound asleep on the chair. ) The door center opens and Will enters, followed closely by Mrs. Erford, Leola and Lucille. Will. {Upon entering immediately crosses toward Tom.) Tom! {Pause.) Oh Tom! {No answer.) Mrs. Erford. {Crosses to table, spies the pistol.) What's this? {Seeing Tom, screams histerioally.) Tom! Tom! {Shake him.) Tom. {Awakening.) Mother! {He rises.) Mrs. Erford. {Anxiously.) Are you safe? Tom. {Embracing her.) Yes, thank God! Mrs. Erford. {Sobbing.) My boy! My boy! You frightened me. Tom. {Embracing her.) I'm sorry, mother Mrs. Erford. Your play ended so much like this that for a moment I feared — Oh, God forgive me! The pistol, the glass, and 56 you here, apparently lifeless. What other conclusion could I more quickly arrive at? Tom. There — there mother, it's all right. {Pointing to broken glass.) That was a mere accident. Mrs. Erford. How did it happen? Tom. Well,- you see they needed a pistol in my play; I bought this one for that purpose, but when I arrived at the theater they already were supplied with a pistol, so I took it home with me." Mrs. Erford. But the shot — how did that happen? Tom. The dealer sold me bullets instead of blanks. I tried One for fun. Mrs. Erford. Why weren't you at the theater? Tom. I'll explain that later. Mrs. Erford. Your play is a success*. Tom, a success! Will. It's the greatest thing on Broadway. Tom. Bully! (Turning, sees Leola and Lucille.) Why, Good- evening, Leola. I didn't know you were here. (Shakes her tcarmly by the hand.) Leola. I congratulate you, Tom. I never enjoyed a play more in my life. Tom. (Modestly.) Thank you. (To Lucille.) Hello, Lucille! [Shakes hands.) Lucille. Congratulations, Tom, i'ts great! Will. The audience simply went wild at the end of the third act. They called for you repeatedly. Your leading man finally stepped before the curtain and announced that you were indisposed. This seemed to satisfy them until one of the young gallery-gods yelled down through his megaphone-shaped program: "He's soused!" Tom. (Laughing.) I suppose the majority believed the boy. (Tom crosses to Leola.) Will. There are always some that will imagine so, anyway. (He notices that Mrs. Erford is removing her hat.) Keep your hat on, Mrs. Erford. 57 Mrs. Erford. Why? Will. I ordered a dinner at Rector's. -We'll drive over im- mediately. Mrs. Erford. Oh! Well, 111 just put it back on again. (Does so.) Will. You had better get your things on, Tom. {Tom's at- tention is too much occupied in Leola.) I say we'll have to hurry; it's nearly mid-night now. (Lucille and Mrs, Erford cross toward door center; Will crosses toward Tom. ) Pardon the interruption, Leola. (Places hand on Tom's shoulder.) My wife and your mother are waiting for you; are you coming? Tom. Oh, pardon me, I wasn't listening to you. I'll be ready in a minute. ( Crosses right toward exit. ) Will. I'll crank the machine in the meantime. Tom. I'll be right down. (Exits right.) Will. (At door center.) Are you coming, Leola I Leola. I'll wait for Tom, if you don't, mind. Will. All right. {Opens door, Lucille and Mrs, Erford exit.) Jerk him up a bit if he doesn't hurry. (Exits.) Leola. (Crosses to desk and picks up the revolver; she steps back in surprise, examining it closely.) Tom re-enters. Tom. (Upon seeing Leola.) Very kind of you to wait for me, Leola. Leola. (Hides the pistol behind her back.) My, but you dressed quickly. Tom. My coat is all I needed. Leola. Was Ted here this evening? Tom. ( Undecidedly. ) Why — no. Leola. Were you asleep all evening? Tom. No, I fell asleep shortly before you entered. Leola. At what time did this accident occur? Tom, What accident? Leola. The discharge of this pistol. Tom. Why, shortly before I fell asleep. 58 Leola. Wasn't that a rather late hour to experiment with a pistol in an apartment house? Tom. It was more by accident. I emptied the barrel as soon as I discovered they were not blanks. Leola. Lucky, wasn't it that they had one at the theater? It would have been a case of criminal negligence on your part to allow its use in the play. Think what might have happened. Tom. I never thought of that. Leola. You didn't have time, Tom. You improvised the first thought that entered your mind as an excuse. Tom. What excuse, Leola? Leola. You never handled v this pistol before it was dis- charged; it's Ted's. I know that beyond a doubt. Where is he? Tom. I — don't — know. Leola. You have always tried to shield him, Tom. Perhaps it would have been better for both of us had you not. Tom. {With an involuntary move toward her.) Leola! Leola. I would not have been disgraced for one. Tom. That was the one thing I tried hard to prevent; that I failed was no fault of mine. I wanted to see you happy — -very happy. I realized that there was no greater happiness on earth than to love and be loved! Leola. I could never have loved him had I known him for what he is. ToM. Love makes cowards of the brave and weaklings of the strong. If my acts were to blame for any of your discomforts, I humbly beg your pardon. {Botes.) Leola. You have one great fault, Tom. You think too little of yourself. {The door bell rings.) Tom. Excuse me. {Crosses to talking tube.) Hello! {Pause.) Yes, we're on the way, Will. {To Leola.) They are waiting for us. {Opens the door.) Leola. Tom, are you quite sure that Ted will not molest you in the future. Tom. I am positively sure of that. 59 Leola. Everything seems so much like your play, with the exception of the end. Tom. Don't you like the way it ended? Leola. {At door.) No. Tom. Suppose I change it so that it will end thfs Way. {He opens his- arms, making a slight move toward her.) Leola.- (Sinks into his ready embrace.) Tom! Tom. Leola! {He kisses her lips passionately, while the curtain drops.) CURTAIN. THE END. 60 LIBRARY OF CONGRESS 017 401298 2 *