id CECIL B. de MILLE fmi^^mmi^^mxmm fSAMUEL FRENCH, 28-30 West 38th St» New York 4 THE REJUVENATION OF AUNT MARY. The famous comedy in three acts, by Anne Warner. 7 males, 6 females. Three interior scenes. Costumes modern. Plays 2% hours. This is a genuinely funny comedy with splendid parts for "Aunt Mary," "Jack," her lively nephew; "Lucinda," a New England an- cient maid of all work; "Jack's" three chums; the Girl "Jack" loves; "Joshua," Aunt Mary's hired man, etc. "Aunt Mary" was played by May Robson in New York and on tour for over two years, and it is sure to be a big success wherever^ pro- duced. We strongly recommend it. Price, 60 Cents. MRS. BUMSTEAD-LEIGH. A pleasing comedy, in three acts, by Harry James Smith, autbor of "The Tailor-Made Man." 6 males, 6 femaJes. One inicricw sceae. Costumes modern. Plays 2J4 hours. Mr. Smith chose for his initial comedy the complications arising from the endeavors of a social climber to land herself in the altitude peopled by hyphenated names — a theme permitting innumerable com- plications, according to the spirit of the writer. This most successful comedy was toured for several seasons by Mrs. Fiske with enormous success. Price, 6© Ceats. MRS. TEMPLE'S TELEGRAM. A most successful farce in three acts, by Frank Wyatt aad ■Wil- liam Morris. 5 males, 4 females. One interior scene stands through- out the three acts. Costumes niodern. Plays 2J4 hours. "Mrs. Temple's Telegram" is a sprightly farce in which there is an abundance of fun without any taint of impropriety or a«y cle- ment of offence. As noticed by Sir Walter Scott, "Oh, what a tangled web we weave when first we practice to deceive." There is not a dull moment in the entire farce, and from Ac time the curtain rises until it makes the final drop, the fun is faM and furious. A very exceptional farce. Price, 6Q Cents. THE NEW CO-ED. A comedy in four acts, by Marie Doran, author of *TQtQpeet and Sunshine," etc. Characters, 4 males, 7 females, though any number of boys and girls can be introduced in the action of the play. One interior and one exterior scene, but can be easily played in one iwte- rior scene. Costumes modern. Time, about 2 hours. The theme of this play is the coming of a new student to the col- lege, her reception by the scholars, her trials and final triumph. There are three especially good girls' parts, Letty, Madge and Estelle, but the others have plenty to do. "Punch" Doolittle and George Washington Watts, a gentleman of color, are two particularly good comedy characters. We can strongly recommend "The New Co-Ed" to high schools and amateurs. Price, 30 Cents. (The Above Are Subject to Royalty When Produccdl SAMUEL FRENCH, 28-30 West 38th Street. New York City New and Explicit Descriprive Catalogue Mallut Frti 8> \\ THE GENIUS A Comedy in Three Acts By WILLIAM C. and CECIL B. de MILLE Copjnight, 1904, By William 0. de Mille and Cecil B. de Mille All Rights Eeserved CAUTION; — Professionals and amateurs are hereby warned that "THE GENIUS," being fully protected under the copyright laws of the United States, la subject to royalty, and any one presenting the play without the consent of the authors or their author- ized agents, will be liable to the penalties by law- provided. Applications for the acting rights must be made to Samuel French, 28-30 West 38th St., New York, N. T. SAMUEL FRENCH PUBLISHEB 2i~30 Wist 38th Stbmt Ksw Yo«K London SAMUEL FRENCH, Lt». 26 Southampton Stber STRAND 75 3£-o Sspecial notice should be taken that the possession of this book without a valid contract for production first having been obtained from the publisher con- fers no right or license to professionals or amateurs to produce the play publicly or in private for gain or charity. In its present form this play is dedicated to the reading: public only and no performance of it may be given except by special arrangement with Samuel French, 28-30 West Thirty-eighth Street, New York City. Section 28 — That any person who wilfully or for profit shall infringe any copyright secured by this act, or who shall knowingly and wilfully aid or abet such infringement, shall be deemed guilty of a misdemea- or, and upon conviction shall be punished by im- prisonment for not exceeding one year, or by a fine or not less than one hundred nor more than one thousand dollars, or both, in the discretion of the •ourt. Act of March 4, 1909. - i I 2 -x I, 2 3 i THE GENIUS CHARACTERS Jack Spencer ^ ^^**- Victor LeMercier - - - A Painter. Otto Vogelsburger A Musician. Brian McGonigal - - - A Sculptor, Percival Clutterbuck - A Connoisseur. Cyril Farquhar - - - -A Would-be Artist Cyrus Jenkins - - - - A Business man. Nell Graham A Model Josephine Van Dusen - A Dilettante. Lilly Scott A School Girl Mrs. Van Dusen - - - A Mother. Miss Trevor ----- /4 Society Girl Mrs. Van Brown-Smythe A Lady. FhACE :-New York City. TiUE:-The Present. THE GENIUS SYNOPSIS OF SCENES ACT I:- Studio of the three artists on Washing- ton Square. ACT II:- Studio of the Genius on Fifth Avenue. Two weeks later. ACT III:- An Art Exhibition room. One week later. THE GENIUS SCENE '.-Studio of Otto, Victor and Brian o» Washington Square South. A dingy, hare^ looking room. Windows hack R. c. and L. c Door to bedroom R. 3 e. Door to hall l. i. b. Stove R. I. E. Platform made of dry goods boxes at back between windows. Plain tahli down R. c, with three dilapidated carved oak chairs. Piano in upper left hand corner. Piano stool in front of it. r. c. Easel with unfinished picture of Cleopatra. Stool in front of easel and stand left of it on which are brushes, palettes, etc. Revolving sculpture stand L. c, with unfinished figure of Cleopa- tra in clay. Left of this a small stand with sculptor's tools and modelling clay. In front of l. c. windows a box on which arci musical manuscripts and two or three bound scores, r. of r. c. window a box on which are plates, cups, saucers, sauce pans, etc. (/«- framed pictures are hung on the wall wher^ ever possible. One or two pieces of ragged but artistic drapery over windows. A bust in plaster on piano. Large cast of human arm on wall. View through window shows Park and Washington Arch. Shade drawn over window R. c. but up on the other. Floor of room unpainted with a couple of worn-ont rugs. Plaster casts about room. 7 8 THE GENIUS DISCOVERED :-At rise empty stage. A moment's pause then Otto enters from ». 3 E. He is a large, portly German about forty years old. He wears his hair fairly long, and has a jolly, good-natured face. He is dressed in old trousers and flowing tie and has on an old long red dressing gown. He speaks with a strong accent. He yawns as he comes in, and crosses to xvindow i. c. Otto, (Looking out of zvindow) Sol Voiic« more der sun. (Crosses to box up r. and takes a tin cake box; out of it takes a coffee box which he opens, looks into and holds upside down and^ shakes.) Ve haf squeezed it dry. (Takes out tea box and does same business.) Null und Toid — (Takes out Uneeda wrapper and peers into its depth.) Empty is der cradle — (Putting it down.) So much for der larder — ^now for der treasury — (Comes down to r., side of table and sits emptying his pockets. He takes out an assortment of small things and lays them on the table. While he is doing this Victor enters r. 5 e. He is a thin, nervous Frenchman, and is dressed in faded trousers, a negligee shirt, no tie, and a dilapidated velvet jacket. He crosses to window and looks out. He speaks with a French accent, and, at present in very mourn- ful tone.) Victor. (Looking out of window.) Ah, Otto, haf you seen xc Sun? Otto. (Still searching his pockets.) Ja. THE GENIUS ( Victor crosses to box up r., examines the emfty boxes which Otto has left open, picks one up and shakes it; then comes down l. of table emptying his pockets. Otto has found a pipe and soms tobacco. He fills the pipe and begins to smoke while Victor is emptying his pockets, and during this, Brian enters from door R. B. He goes at once to the empty tins, ex- amines them and then turns, comes down he- hind table, starting to empty his pockets; he is dressed in old trousers, shirt and vest, wears a linen collar and has his sleeves rolled up — he does not wear a coat — he is a young Irish- man, a gentleman, and speaks with a slight accent, but not a regular brogue. As he starts to sit the others stop him.) Otto. Wait, Brian, you didn't look at der sun. Brian. And what's the use of looking at the «un? You can't eat it. Victor. (Dolefully) He is all we hare in ze house. Brian. I say, Otto, you had three dollars yesterday. Otto. Ja, my sohn, but I had to pay der piano rent. Victor. And so we have a piano for breakfast. Brian. (Turning to clay stand and removing covering on figure.) I'd rather have coffee and rolls. Otto. But I must haf my piano; I am not yet juch a genius dot I can compose a Sonata on der 10 THE GENIUS window sill. Victor. In short, my friends, we are again, as zay say in zis country, "up against him." Otto. Ve haf been "up against him" so long I should think he'd be tired. Brian. (At stand.) Well, cheer up, boys. Luck's got to turn soon. Otto. Dot is all a mistake; der only kind of luck dot is sure to turn, is good luck. Victor. He is right. Brian, we have come to ze end. Brian. {Back of table) Oh, buck up, boys, the darkest hour comes just before the dawn. Otto. Veil, I guess dis is one of dose Arctic nights vich last six months. Brian. (Crosses to piano) There must be something we can sell. (Looks and point over at music on piano) Otto. You needn't look at dot Wagner, because I simply won't do it. (Brian ci'dsses c.) I sold der Italian composers, und der French composers, und Schubert, und Chopin — ^but I von't sell dot Wagner until — until dinner time, anyhow. Brian, (c. pointing to picture on zvall r. ) Well there's that "Summer" of yours, Victor, the dealer offered you five dollars for it. Victor. (Starting to his feet) Ah, sacre bleu! Five dollars for ze masterpiece of my life — ^non, I will starve; I will die wiz my arms around ze pic- ture — five dollars ! (Stands looking at picture R. crosses r.) Otto. (Brian goes to easel) Also! Don't get excited! It improves der appetite. Now — THE GENIUS ii (Pointing to cdst of arm on well) Dot Angelo cast of yours, Brian — Brian. (Comes center) I say, we discussed that before. I brought it all the way from Florence, and Vm not going to sell it for a meal — ^that goes — (Snapping his fingers) like that! Otto. Ja — ^but, it's such a comfort vile it's going. Brian. Will you toss up and see which of the three things goes? Victor. NON, I will starve! (Sits — hack of table) Otto. I vill not for two reasons ; firstly, I von't put der immortal Wagner on der flip of a coin; second, ve haf no coin to flip. Brian. Then I guess we'll cut breakfast, and wait for something to turn up. (Sits) Otto. (Striking light for his pipe) Der first thing dot turns up vill be our toes. Brian. Well, come on, boys, let's get to work and forget ourselves. (Starts modeling. All three up and start working) Otto. (Crossing to piano) I am going to com- pose a symphony to hunger. Victor. It is almost time for Nell to come. Brian. By jingo! I forgot Nell. (Victor crosses at back of easel) I say, how can we pay her for posing ? Otto. (At Piano) Don't get excited, der is a von dollar bill in my hat band. Brian. In your hat band? Otto. Ja. I vos afraid I might forget it vas Nell's salary. Brian. She mustn't know how hard up we are, 12 THE GENIUS if she did, she wouldn't take a cent from us., and it*s about all she has to live on. Victor. {Up r. c. and down c. Going over and bringing plates etc. to easel.) Ah! she will not know. I will paint ze remains of food on ze plates. Brian. {Crosses to Victor) Victor, my boy, you're a bit emotional, but at times you're a positive genius. Victor. {To work painting plates) Perhaps, but zere is no money in being a genius. Brian. {Back to clay) That's true enough; to be successful here one must be fashionable. Otto. {At piano writing music) Ja. If we tould get dot Perc'val Clutterbuck to make a few nice speeches about us, it would be easy. Brian, (r. c.) Percival Clutterbuck! Why, he doesn't know the difference between a Michael Angelo and a Michael Flaherty. Victor, (l. c. Sarcastically) Ah, but he is a iconnoisseur. What he praises ze people buy. Brian. Well, I hope he praises this stuff of ours. {To Otto) He is coming this morning to look at it. Victor. "This morning"? Otto. Don't be alarmed, he ron't like it — it's too good. Brian. Cheerful thought, eh, Victor? Victor. It is true. I would have sold zat "Summer" — {Points to picture R. ) for a thousand dollaire, if he had not said it was bad. Otto. Say, children, ve von't talk about him, it makes me so mad. I can't compose anything but discords. THE GENIUS 13 Victor. Ah, here! (Crosses c. showing plates) We have been enjoying bacon and eggs. Brian. By Jove! Victor, they're great. I feel as if I had been eating Jhem! (Victor crosses to table) Otto. So much for imagination I don't. Victor. {To easel) Otto, you haf no romance in your soul, you miss ze finest part of your life. Otto. I miss my breakfast, all der art in der vorlds cannot take der place of von little mutton chop. Brian. (At stand) Otto, ye're no idealist Otto. My sohn, Idealism has its boundaries, und breakfast is outside der limit. Ideals belong in der head. Der digestive apparatus rejects dem with scorns, und means "Ve cry for chops, — und you give us ideals." (Outside a whistle in heard. Sieg- fried's call. All men sigh) Victor. Ah — It is Nell. (Otto answers whistle ) Brian. (Victor and Brian stand C.) Now look as happy as you can. ( The halldoor is opened and Nell enters. She has on a long ulster-lik^ garment which covers her dress underneath. She has a paper package in her hand which she lays on stool c.) Nell. Hello, everybody. (Kisses Otto) You boys are up early this morning. (Crosses to c. Victor and Brian look uneasy) How long have you been through breakfast? Otto (l. c.) Since half past eight o'clock — (Aside) — yesterday, Nell. (c. noticing dishes) Ah, but the dishes 14 THE GENIUS haven't been washed — (Tucking up her sleeves) Well, I'll do them for you. {The three men look — stop her) Otto. No — not now, let dem wait. Nell. No, indeed. Haven't I brought you up better than that? (Starts for the dishes. They again stop her) Otto. Vait — don't touch them. Nell. Why what on earth is the matter? Otto. Vy — you see, ve are just thinking of oui inspirations — und don't vant to talk about dishes. Nell. Ho — ho — ^tell that to the papers and not to me. (She starts to cross to the plates amid wild glances from the three men. To Otto) I know what it is. You've been eating something that I've forbidden. (She sees the plates and takes one up. Looks reproachfully at each of the three men who cannot meet her eye. Victor posing stand) Otto. (Sits on piano stool) Ja. You see — Victor and Brian, dot is, some von told dem — dot oil paint — ^had a peculiar flavor — und — Nell. (Shaking her head) Oh, boys, boys, why didn't you tell me before? Brian. Tell ye what, Nell? Nell. That you were down to your last cent. Brian. (Crosses up to posing stand) No, we're not. Here's Otto now, has so much money his pockets won't hold it. He has to keep it in his hat. (He takes Otto^s hat from piano and extracts a dollar bill from hat-band. Half holds money to Nell then joins Victor) Nell. (r. c.) And you've been giving me money every week — THE GENIUS 15 Victor. But it was economy, any other model would haf cost twice as much. Nell. (Crossing to Otto) And I'm very angry with you. Otto. (Brian crosses to sculpture) I don't see vy? "^"^ELL. Why! Because you haven't treated me fairly. You give me my share of all the good things, and I want my share of the troubles, too. Otto. But trouble is peculiar, because der more you give to other people — der more you've got your- self. Nell. You promised my father that I should be like your own daughter, and yet the minute things go wrong you don't tell me a word about it. Otto. Nell, ven I first came to America und vas really hard up, your father had nothing him- self but he gave me half of it, and afterwards he gave me der best gift of all ; der little girl who has made sunshine in der life of three poor devils who are happy as long as she is happy — Nell. And the only way you can make her happy, is not to keep things from her. Brian. Sure Nell, we don't keep things from you. If it weren^t for you there wouldnt' be a button on any of us, but what's the use of worryin' you with business and money and all that? Nell. (Crossing to Painter's stool — gets pie) Well, I'm going to heap coals of fire on your head; what do you suppose I've got for you? (Taking up paper parcel — to c.) Brian. A sofa pillow — (Nell shakes her head) Victor. A lace L.) I cannot be rude ; the worst I can be is a little eccentric; now, clear out! (Crosses down r. They start to go. Jack waves them out) Otto. Veil, I hope you're in a better temper ven ve come back — at present your genius is too natural to be amusing. (Jack crosses c.) Brian. (At door) And don't forget, Jack, that you neither smoke nor drink — Jack. (Walking about) Go to the devil. Otto. Don't go out, because everyone will recognize you. (Jack waves them away) THE GENIUS 55 Victor. And remember you have nevaire been kissed by woman — Jack. {Takes fez off his head and throws it at Victor. The three artists laugh and exit. Jack stands c. looking miserable. Looks at his watch; then sinks on couch down r.) Four o'clock — a beautiful day, and that auto just eating its head' off in the stable oh, well — (Sighs, crosses and locks door l. 3. e. then raises visor of one stand of armour and takes out bottle of whiskey; raises visor of other stand, takes out box of cigars, puts them on fable; opens bottom of music stand and gets siphon and glasses; pours out whiskey and' drinks zt'ifh sign of delight , then lights a long cigar. Knock is heard. Jack r. with an exclamation of disgust, auickly puts things back in visors and music stand.) Jack. Yes, who's there? {Whistle is heard) Why. its Nell. (Jack stops, the whistle is heard again, and Jack dashes over to door l, opens it and admits Nell zvho is quietly but zvell dressed) Jack. Thank Heaven! {Taking both her hands) Nell, you're just in time to save my reason. Nell. Why, what's the matter? {Both down c. Jack r. of Nell) Jack. I can't make out wh'^ther I'm a lion in an ass's skin, or an ass in a lion's skin. Nell. {Laughs) In either case, the other animals haven't recognized your voice — Where" are Otto and the boys? Jack. At Mrs. Van Brown-Smythe's tea. I didn't go — because I'm not feeling well. Nell. What is it? Jack. Inflammation of the genius, I guess — 56 THE GENIUS take off your hat and talk to a fellow. Nell. I can talk just as well with it on. Jack. No, you can't; somehow, when you take off your hat, and make yourself at home here, the hard lot of a genius seems a little easier to bear. Nell. Well, if you'll be good and let me give fou a lesson, I'll stay. (Crosses R.) Jack. Won't you let me off today ? {Following her) I don't feel artistic — Nell. {Sits on settee) No, you mustn't shirk your work; now, first, draw me a head. (Jack sighs, piits blank canvas on easel, and quickly draws in charcoal a caricature head) Jack. {As he draws) This is all a fake, any- how; I'll never be able to draw anything except a bob tail flush, and a check. {Brings it down) There, that's the best I can do. One of my ancestors — Nell. It's rather impressionistic — Jack. Yes, ancestor on my mother's side — {Puts it hack) Say, how is all this going to end? Nell. I don't know — I never thought of that. Jack. Well, I've been thinking of it a great deal, and the more I think the more difficult I find it to get out of the woods ; my reputation keeps on growing and there's no stopping the game without showing us all to be cheats and swindlers. Nell. {Rising) There is only one thing to do — you've got a reputation and you must live up to it. Come, take off your coat and get to work on this clay. (Jack takes off coat and Nell rolls up her sleeves — through the next scene they aref' working on the clay, Nell instructing him, they bring modeling stand down c.) THE GENIUS 57 Jack. (r. of stand) Ah, Nell, youVe doing your best to keep a leaky ship afloat. Nell. (l. of stand — Intent on modeling) Use your thumb — like this. Jack. T haven't got a thumb like that. Nell. Don't be silly ; you know what I mean. Jack. Shall I tell you what I mean? Nell. Tell me first how things are progressing between you — and Miss Van Dusen. Jack. That's easily told — they're not pro- gressing at all. Nell. Won't she listen to you now? Jack. {Rolling little halls of clay and throwing them at bust) Well, you see — I - — I haven't called on her in over a week, and, oh, — I don't think she cares about me. (Business — throws clay at bust) Nell. But it's not like you to accept defeat in this way, after doing so much, too. Jack. I don't intend to accept defeat. (Bus. slaps clay on Nell's hand) Jack. Oh, I beg your pardon. Nell. But I thought — Jack. Yes, but my plans are all changed now — Nell. And you never told me anything about it. Jack. I didn't tell anyone. (Looking at her) You see, I wanted to ask you first, how girls look at these things. (Putting big nose on bust with clay) Nell. (-l. of stand) What things? Jack. (r. of stand) Nell, do you — do yoti believe a man's affections can change? Nell. Well, from what little I've seen of the world — I should think they can. 58 THE GENIUS Jack. What does a girl think of a man whose affections have changed? Nell. It depends whether they have changed to her, or from her. Jack. Suppose they have changed to her? Nell. Then — it all depends upon circumstances. Jack. (Crosses to stand r. c. — Washing and drying his hands) The circumstances are that a chap thinks he is in love with a girl who doesn't care a rap for him. He meets another girl, who shows him, for the first time in his life, the charm of real womanliness, without knowing it he becomes more and more dependent upon her advice and tompanionship, until one day he realizes that he doesn't love the first girl at all, and that if the other goes out of his life — there'll be nothing left in it. Nell. (l. of stand) We're forgetting the lesson. Jack. Yes, let's forget it — because I'm the chap, and you're the girl. Nell. Mr. Spencer, I — (Takes part of towel and cleans hands) Jack. I'm an awful fool — Have a piece of soap — Nell, you're the best influence that ever came into my life, don't go out of it — Nell. A little more than two weeks ago you were planning to marry Miss Van Dusen; you didn't even know there was a girl called Nell Gra- ham. Jack. Of course, I didn't, or I wouldn't have been planning to marry anyone but her. (Both are in front of stand) Why, when I'd known you two days I began to thank my lucky stars that Josephine THE GENIUS 59 had refused me. Nell. If you could be mistaken once, why not twice ? Jack. Now, that's unkind. This is the first time in my life I've ever changed my mind about a matter of this sort, and you are the last one who should blame me for it. Nell. Why? Jack. Because, you are the cause of it; youVe saved the happiness of two lives, Nell — hers and mine. She would have been miserable with me, and the thought of a whole life full of Art — Oh — (Shudders) Nell. I've lived in the world of Art all my life. Jack. But you've lived by Art, and not for Art. When you look at a fine piece of work your eyes sparkle and you love it because it's good and big, not because "the tone-color reminds you of Rubens." (He has wiped the clay off his hands and tried to take hers. She draws away) Nell. Mr. Spencer. (Crosses l. taking towel and sits r. of table) Jack. (Holding end of towel and following her) Please don't call me Mr. Spencer ; it puts a stone wall between us. Nell. You really haven't had time to know your own mind. Jack. (Sits on table) Time isn't a matter of days and weeks ; I've wanted you all my life. Don't blame me because I didn't meet you till two weeks ago. How much time did Romeo need to know that he loved Juliet? About ten minutes, and, besides, I forced myself to be slow. For a whole week I wouldn't let myself believe that you were 6o THE GENIUS the one woman. Don't you see it's a matter of life and death ? I want you and me to be chums — and the only proper way to be chums is to be married. Nell. You are a rich man. I am an artist's model — Jack. I know that — but it's got nothing to do with the question. Nell. But don't you see that if I marry you — Jack. Now, don't say the old thing about my friends not receiving you and all that; we're not living in a problem play — this is real life. Nell. You will find it more real than you think. Jack. My dear girl, I'm not one of those idiots who believe that money conquers all things, but the fact that I'm rich doesn't prevent your having more culture in 3^our little hand than I have in my whole body. Why, the first time I ever saw you, I knew you were a lady, because you didn't tell me you ^ere. Come, don't let my money stand between us. All rich men are not scamps. I thought I cared for Josephine and if I hadn't met you I might have gone through life without knowing what love was. But I did meet you, Nell, and now I'm free to ask you to be my wife. Nell. Are you sure I could make you happy? Jack. Sure? Sure if you will only say you will have me. {Taking her hand) Why, if you'll only promise to marry me — {A knock at the door interrupts him) Nell. {Starting away from him) There's someone at the door. Jack. Yes, I heard him too — It's not the boys' knock. {They move stand up c. Putting on his coat, and pausing with it half way on) Ah, Nell, THE GENIUS 6i don't forget what I just told you. (Another knock interrupts him, and he quickly finishes putting on his coat) Say, wait until I get rid of him, and then we'll go on with the lesson where we left off. That's the worst of a studio. Everyone comes right in whether he's wanted or not. Nell, (r) Who is it? Jack. (r. c.) Whoever it is, I'll get him out in two minutes. Wait behind the screen. Nell. Why should I? — Jack. It would have been all right for us to have been alone together before I was a genius, but geniuses seem to have a difterent code of morals, and — (Leading her toward the screen) It's all right for them but rough on the girl. Nell. Still — I don't see — Jack. You don't know how these people talk. What is all right on Washington Square is most improper on Fifth Avenue. Nell. (Down r.) I don't like to hide as if I'd done wrong — Jack. Then there's only one alternative — either you must go behind that screen or let me tell them we're engaged to be married. Nell. Oh! Well — I'll go. (Toward screen) Jack. I'd rather tell them we're engaged. Nell. No, that would look like a sacrifice on your part. Jack. Nonsense! (Nell goes behind screen) Well, I won't be a minute. (Knock is repeated. Jack calls out "all right" and starts to open door. Loud) Yes, yes — (Jack goes and opens door, admitting a woman heavily veiled) Miss Trevor. This is Mr. Spencer? 62 THE GENIUS Jack. {Nervously) Er — yes — {Putting on his manner) Good afternoon. {Taking a few steps R. c.) Miss TrevOr. Are you alone? Jack. {Looking around as if half frightened) er — yes — {Crosses down r.) Miss Trevor. {Sits l. r. of table) Can you spare me a few moments on a confidential matter? Jack. Er — yes — {Aside) I wish I'd gone to the tea! I had a bad dream last night — they always come out — Miss Trevor. Mr. Spencer, in my whole life IVe never done anything which would make the world better for my having lived in it. Jack. (r. c.) Oh, I'm so sorry — Miss Trevor. Life has been a mad whirl of social functions. Jack. {Aside) How tactless! Miss Trevor. But when I first saw your wonderful work in painting and sculpture, I knew that, at last, a field was open to me — Jack. {Crosses c.) But I don't take pupils. Miss Trevor. You don't understand me; fate has been very generous to me in the matter of physical charm. Jack. {Looks around nervously) Ah, indeed! {Crosses r. c. sits on settee) Miss Trevor. {Crosses to Jack — taking off her hat and veil with it) My friends have told me that if I would consent to pose, the artist would be inspired to great things. I've thought it all over and decided, that just as your gifts belong to the ATorld, mine belong to you. (Jack thundetstruck. Sitting beside Jack) Will you not make me the THE GENIUS 63 model of your next picture? Jack. Why, thank you, really, I don't think — (With a sudden thought) You know my next picture is a — a little conception of the Creation. Miss Trevor. The Creation ! A subject worthy of you! Jack. — and the only figures I show are — Adam and Eve — at twilight. Miss Trevor. Well, as to Eve? Jack. {Twirling string of gown) Yes, but, of course, I can only use professional models. Miss Trevor. And yet it seems a pity that you should be driven to use mercenary people in a work like that. Jack. Yes, but, of course, it can't be helped. Miss Trevor. Suppose I show you — (Business picking handkerchief) That there is one woman who, for the sake of Art, can rise above the con- ventionalities. Jack. (Rising — Taking her meaning) What! (Aside) Tve called a straight flush! Miss Trevor. You are an artist and you will understand, that is all I ask. (Jack crosses l.) Of course, I must come to you secretly. Jack. (c. Miss Trevor rises) But — Miss Trevor. And even you must not know my name, (Drawing a sigh of satisfaction) Well, that's settled. (Jack is too dazed to speak) Now, when do you want me to begin? Jack. (Sits on chair r. of table) I — I don't know — I — (Aside) Four years from next March — Oh, why don't those men come back? — I'm getting so nervous. Miss Trevor. (Rising) I will be ready at any 64 THE GENIUS time; this afternoon — if you wish. {Crossing to him) Jack. (Jumping up) No, no not now — I haven't got my ideas together. I I — (Des- perately — back to settee) don't you see you're disturbing my atmosphere? Miss Trevor. Then I'll leave you — (Putting on her hat) and remember, no one is to know but you and I. Jack. You need have no fear, I'm just as much ashamed of it as you are. Miss Trevor. (Crossing to door) I'll come in every day to find out when you're ready to begin — au revoir ! (Exit) Jack. (Going up c. As door closes) No, no, I won't begin for months, for years, I may never begin — (Looks at door) Oh, Lord! What a life! (Knock at the door. Jack opens door admitting woman heavily veiled. Working down c.) I'm very sorry, madam, but I have all the models I can possibly use; if you will send me your name and address, I'll let you know the first vacancy that occurs. I'm very sorry, but, of course, I didn't know you were coming — (Bowing) Good day. (The woman removes her veil and is discovered to he Josephine) Josephine! (Jack glances at screen and seems to he ill at ease) Josephine. Jack, are we alone? (He sees Nell's hat and throws it over screen) Jack. Didn't you bring a chaperone? Josephine. No, what I have to say is for no other ears than yours. Jack. Then we'd better wait — I — I expect my friends back every moment THE GENIUS 65 Josephine. (Crosses to table l. sits) I left Mrs. Van Browne-Smythe's as soon as they arrived. I had to see you, Jack ; I hope you do not think me unmaidenly in coming to see you? Jack. (Getting more and more uneasy) Nothing is unmaidenly that is done in the cause of Art. Josephine. But this is a personal matter. Jack. (Aside) My finish! Josephine. I've just found out why you've avoided me for the past week. Jack, (c) Oh! (Looks toward screen and squirms) Josephine. You were afraid, now that you are famous, that your attentions might compromise me, but I, too, have been thinking, and decided that rather than ruin the happiness of two lives, I would come to you and disregard the conventionalities — Jack. (Crosses r.) Eh? What? How do you mean ? Josephine. (Rising and following to c.) By telling you that I regret my foolish words, and will accept your offer of marriage — (Jack too dumb- founded to speak, sinks on sofa) It was noble of you to conceal your genius, but, after all, was it quite fair to me? Jack. (To her c.) Josephine, what you are saying is very flattering to me, but you're deceiving yourself. You don't care a rap for me. Josephine, (l. c.) You are cruel — Jack, (c) No, really, suppose that after all, I knew nothing of Art, that I were the plain Jack Spencer you used to know — Josephine. My eyes have been opened, and I can see your soul — 6$ THE GENIUS Jack. Can you — where? Josephine. Whether or not you can create with your hands, I can see for myself the soul of a great artist. Jack. {Crosses r. c.) But, my dear girl, you're deceiving yourself. My soul hasn't changed a bit. I've got the same old soul I've had for years. Josephine. {Following to c.) Ah, Jack, I have a woman's instinct, which tells me what you are. For years I have been waiting for the perfect man — and now I know you are he. Jack. {Coming c. turning on her^ Who told you that? Josephine. Everyone knows that your lips have never been touched by woman. Jack. {Turning away) I'll kill that damn Frenchman. Josephine. {Crossing to him) That is why I know you would understand if I came myself — to bring you my answer. {A loud knock at the door, up L. c. Josephine starts) Oh, we're discovered! Jack, hide me. {Crosses l. above table) Jack. {To c) Why, it's all right. Josephine. No, no, I mustn't be found alone with you. Jack. Why not? We've done nothing wrong. Josephine. No, but if a girl is found alone with a genius, her reputation is ruined. Jack. {Indignantly) No — I don't believe it. (Looks at screen) Josephine. It's true — ah, you must hide me! Jack. {Crosses r. 2.) All right. Here — (Crossing to R. 2. E.) In this room. (Josephine starts to go in — then recoils with a cry) THE GENIUS 67 Josephine. (Starts back) Oh, — no, no — Jack. What's the matter? Josephine. It's a bed room! Jack. (Desperately) I can't help it; you don't expect me to sleep in the park do you? Josephine. (Crosses l. c.) Oh! I couldn't go in there? Jack. (Falling to c.) It's the only place IVe got. (Another knock) Josephine. (Seeing screen) Ah, I'll go behind this screen. Jack. (To r. c. Stopping her) No, no — not there ! Josephine. (They dodge each other) Yes — yes — Let me go. Jack — Jack. No, no, you don't understand. It might be improper on Washington Square, but it's all right on Fifth Avenue. (Knock) Josephine. They're coming in — my reputation — (Tries to go to screen) Jack. (Holding her back) Who would dare say anything against it? Josephine. (To him behind settee) Jack. There's only one alternative — you must announce our engagement! Jack. What? No, not — not so soon, that is, we're not engaged — (Another knock) Josephine. Then I will go behind that screen. Jack. No, no — I take it back; I'll tell them anything you like. Josephine. (Front of settee — Calming down and going down r.) Very well. Open the door. (Jack, with an agonised look at the screen goes and opens door. Percy comes in) /. 68 THE GENIUS Jack. (With slight surprise) Oh, how d'ye do, Clutterbuck. I thought I heard someone knock. Percival. (Coming l. c. Jack c.) Knock! I should say you did! (Seeing Josephine) Jack. You are knocking so much better. Percival. Why, Josephine, where is your mother ? Josephine. At Mrs. Van Browne-Smythe*s — Percival. (c) Surely, you have not been rash enough to come alone to a studio — (Turning to Jack) Spencer, how could you permit her to do so? Jack. Permit her — Gosh! (Up stage c.) Josephine. (To Jack) But it's all right, Percy; Jack and I have decided to announce our engagement. (Head on Jack's shoulder) Percival. Your engagement. (Turns to Jack who is forced to nod) Josephine, (l. c. Crossing to Percy) Congratu- late me, Percy; Fm the happiest girl in the world. Percival. (l. Mournfully) I congratulate you both. Jack. (r. More mournfully) Thank you. Josephine. And now I must be going back to Mrs. Van Browne-Smythe's. Mamma and I will stop for you on the way home, Jack. Jack. (Despairingly) All right. Josephine. Good-bye, Percy. (Turns and holds out her hands to Jack. In a tone full of love) Good-bye, Jack. My Genius. (Holds out both her hands) Jack. (Takes her right hand absent-mindedly, shakes it, then takes left same business) Good- bye — THE GENIUS 69 Josephine. (At door) But only for half an hour. (She exits. Jack classes door and comes down R. c. Percy at table) Percival. Spencer, you must be a very happy manr Jack. (r. c.) Yes, mustn't I? Percival. {To c.) You know what my feeling toward her has been; but you've beaten me fairly. {Holding out his hands) Be good to her, Spencer — Jack. {Crosses c. Taking his hands — Both c.) Clutterbuck, don't give up hope, old man, you've still got a chance. Percival. What do you mean? Jack. A girl as young as Josephine doesn't know her own mind — she may really care more for you. Percival. Even if she does, I cannot, in honor, make iove to my friend's fiancee. {Crosse's and takes hat from table) Good-bye, Spencer; I came to talk business, but if you don't mind, I'll put it off till tomorrow. {Up to door.) Jack. I don't mind. Percival. {Up to door l. 3. e.) You see I really thought quite a lot of that girl. {Sighs and exits. Jack crosses l. c. turns and Nell comes slowly out from behind screen) Jack. Nell, I — I don't know what to say to you — Nell. (c. Trying to smile) There is nothing to be said. Jack, (lc.) You must despise me — Nell. (c. holding out her hand) You poor boy, you did it for me. Jack. {Taking her hand) Nell, you're the best ^ THE GENIUS little Pal a man ever had. (She starts for door L. R.) You're not going to leave me? Nell. I must. Jack, (l) But you'll let me see you tomorrow — Nell. (Shaking her head) No — Jack, (l) You don't mean our friendship has got to stop? Nell. It is better for us both that it should. Jack. But, Nell, it's the best thing in my life. Nell. You must put it out of your life. Jack. But it's you I love — you! Nell, (c) You are engaged to Miss Van Dusen. Jack. I can't help it — (Crossing R.) I didn't want to be — (Turns to her) I won't marry any- one but you. She knows I don't want to marry her — Nell, (c) You have promised, and she will hold you to your word. Jack. It's all this genius business. I'll denounce myself as an imposter ; I'd rather go to prison than marry her. Nell. You mustn't break faith with the boys. Jack. And if I remain famous she'll make me marry her. Confound it! I don't want to be a human sarcifice to Art. Oh, Nell, isn't there any way out of it? Nell. No — Good-bye — Jack. (r. turning to her) Nell, you can't leave me alone in this horrible world of Art. I'm like a child in a desert. Nell. Oh, you can manage without me now. Jack. (Going to her) I'll never be able to manage without you as long as I live. (She starts to go, he takes her hand) Only tell me one thing THE GENIUS fi — Do you care, too? Nell. You mustn't ask me — that — Good- bye — Jack. Not good-bye, Nell, just — so long — {He stands c. watching her off — "Nell" — He presses her hand, and she exits quickly l. 3. e. He pauses and waves to her from the door, then closes the door, goes up to the window and waves from there, then turns and begins to get angry. He rips off his coat and throws it down, reachets inside door R. 2. E. and gets out automobile hat and coat; while he puts them on, sticks a cigar in his mouth, and meanzvhile the three artists enter l. 3. e. laughing and talking. They stop on seeing Jack) Otto. {Rushing over to Jack) Jack, my boy, I congratulate you. Brian. {In line with Otto) So you've brought it off at last. Victor. {In line with Brian) Miss Van Dusen is waiting for you down stairs. Otto. But vat are you doing? Brian. Sure, he's breakin' the rules. Victor. Ze automobile, mon Dieu! He will be recognized ! Otto. Jack, vere are you going? Jack. {Through his teeth) I'm going to the stable, and I'm going to have that auto loaded up to nozzle with gasoline, then I'm going carefully through this town, till I get out into God's country ; then I'm going to pull that lever as far out as shell go, and make up for two weeks ; I'm going to leave a line of dust half across the state, and I'm coming back when I get ready. {To door) Victor. But your promise to us — / 72 THE GENIUS Jack. Oh, 1*11 keep my promise. Otto. But your fiancee — Jack. Fiancee — be damned — (Rushes off L. 3. E.) -:- Curtain -:- 2nd Curtain all three artists heads out door back to audience THE GENIUS 73 - :- The Genius - :- ACT III TiUE:-One week later. Music at rise. SCENE:- Art Exhibition Room in New York City. The stage shows one of a connected series of art rooms. Large arch R. 2. e., and l. 2. e. leading into rooms R. and l. Entrance at back on extreme l. leading into room devoted to sculpture, and through this entrance a glimpse is caught of several pieces of sculpture. The room is richly hung, and all entrances have portieres. Large circular settee, such as used in art galleries up c. Small settee R. and l. The entire back wall is covered with pictures, most of those in Act i being used. Pictures on L. wall. Piano standing below R. arch. Cyril. {Entering upper l. with Cyrus. To Cyrus) It was very generous of you, Mr. Jenkins, to lend your Spencer to the exhibit. Cyrus. {To c.) Oh, I couldn't refuse. The Committee called on my wife and asked her for it. {They stroll around together and off R. 2. E.) Mrs. Van Brown-Smythe. {Enters right upper with Percy. Down c. to Percy) Yes, this exhibi- tion is a positive triumph for you, Mr. Clutterbuck. Percy. For me? tt j • Mrs Van Brown-Smythe. (r) Yes. Had it not been for you, Spencer might still have been hiding his light under a bushel ; the world of Art can never pay you its debt of gratitude. Percy (r. c. Complacently) Oh, you flatter me, Mrs. Van Brown-Smythe; What I have done in the way of giving him help and advice, h^s perhaps aided him a little. (Miss Trevor rises up 74 THE GENIUS and off R. slowly) Mrs. Van Brown-Smythe. A little! why, everybody knows he owes his present position to you alone. Your discovery of him has made you the critic of New York. Percy. To the trained eye — (Indicates painting) His talent was quite self-evident. There is no credit due me for discovering that, (Walking) but ir has gratified me very much to see how my friends have upheld my opinions. Mrs. Van Brown-Smythe. (Indicating two pictures — l.) Why, could anything be plainer than the genius of his work? Only compare his painting with his pupil Le Mercier. Some people have said that their styles are similar, but we who know can see the difference, the wonderful transi- tion of tones, (Josephine and Mrs. Van Dusen enter r. crosses to c. The instant Josephine enters, Percy up c.) the depth of conception in every stroke of the brush, mark the master, while the work of his pupil is, after all, mere imitation. (By this time the others have strolled off R. and l.) Mrs. Van Dusen. (Crosses l. c. To Mrs. Van Brown-Smythe.) Why, my dear how do you do? (She talks zvith Mrs. Van Brown-Smythe) Percy. (To Josephine) You have not yet publicly announced your engagement? Josephine. No, Mamma wanted to refurnish the drawing-room first. Mrs. Van Dusen. (To Mrs. Van Brown- Smythe) Mr. Spencer himself gave me the color scheme pink plush against pale green wall paper. He is so delightfully original in these matters. (Jack THE GENIUS 75 enters through arch l. down c. Looks rather haggard and unkept. As sooyi as he appears all four people rush to him, Mrs. Van Dusen l. of Percy, and Mrs. Van Brown-Smythe l. of Mrs. Van Dusen Josephine r. of Jack. Lilly jumps up and stands admiring Jack, then off R.) Oh, there you are! How do you do? I was so afraid you weren't coming — everyone has been waiting for a glimpse of you, etc., etc. (Jack tries to greet them all at once, and smiles in a sickly way) Jack. (Coming a little below ottoman c.) Good afternoon, good afternoon — Percy. Your three pupils were asking for you. {Exit Cyril and Lilly r. 3. e.) Jack. Don't tell them I'm here; I wish to say a few words to Miss Van Dusen before I see them. Percy. Oh, very well, we'll leave you alone together. (To the two ladies) Come, ladies, let me show you the new piece of sculpture only cast yesterday. (Mrs. Van Brown-Smythe bows to Jack up l. with Percy. He leads Mrs. Van Brown- Smythe to L. u. E.) Mrs. Van Dusen. (Crosses to Jack) Remem- ber, you can be seen from both sides. Jack. (l. Looking at her blankly) Yes, but — Mrs. Van Dusen. (Shaking her finger at Jack and laughing) Oh, a word to the wise; your engagement will not be announced until tomorrow. (Join the others and exeunt l. u. e. Jack turnls to Josephine, who has seated herself on settee c.) Jack. (Way down r.) Josephine, there is some- thing I want to say to you. Josephine. (On circular settee) Yes, come here and tell me. 76 THE GENIUS Jack. (Sitting by her, hut keeping as far away as possible) You may have noticed that my manner during the last week has been absent — pre- occupied — Josephine. Yes, I have noticed it, and I knew there was something on your mind — something that stands between the perfect affinity of our souls. Jack. A term you used the other day has been ringing in my ears, and I must tell you the truth. Josephine. The truth? Jack. Josephine, I am unworthy of you. Josephine. Ah, you must let me judge of that Jack. You said you had been waiting for the "perfect man" and that you had found him in me. Josephine. (Looking at him lovingly) Yes. Jack. You were never more deceived in your life ; that is why I would not touch your lips — I wished you to know all — Josephine. All ! What do you mean ? Jack. I don't know how to tell you — Josephine. (The idea dawning on her) Have you a past? Jack. Yes, that's the word; I have more pasts than I can remember. (Josephine rises, crosses down c. Jack rises — following. He looks hope- ful) Now you know why I am unfit for you; I will not drag you down to my level — and I release you from your promise to me. (Josephine slowly turns and looks at him, then holds out her hands which he is forced to take) Josephine. Forgive me — Jack. Forgive you! For what? Josephine. For shrinking from you. Jack. (Trying to release his hands and hack THE GENIUS 77 away from her) You were right. Don't try to save my feelings — Oh, when I think of what I am — I shrink from myself. Josephine. No, I was wrong ; I did not realize that genius is not like the common herd. (Jack releases his hands) There is nothing wrong in your admiration of other women. Jack. ( Crosses down l. ) But, you don't under- stand — Josephine. (Following him) I am a poor, ordinary woman; my brain is not sufficient to be your sole mental companion; no one woman can supply the feminine compliment of a soul as large as yours. No, I will not be jealous of them. Jack. But I tell you I'm thoroughly bad {Crosses R. c.) I haven't told you half — I'm a drunkard — a gambler — I walk in my sleep. Josephine. (c)What would be bad in the rest of the world, is only your freedom from the narrow laws of men. Jack. But, my dear girl, I'm a brute; if you marry me I'm sure I should beat you — I'm subject to fits of unreasonable rage ; I walk in my sleep — (Crosses to c.) Josephine. (Follows) No, I wont' listen to another word — we must learn to forgive each other little things. Jack. Little things? — Josephine. Yes, in the light of our perfect understanding all these external facts are very small. (Jack up to ottoman c. — Josephine following him) and I will help you overcome temptations. If you strike me, I shall know it is not you, but just a physical reaction from your «■■ 78 THE GENIUS work. (Jack sinks in settee. Josephine looking off R. 2. E.) Here come your pupils, I'll go to Mamma. Now don't think about it any more ; you should have trusted me from the first. (Turns and exit L. 3. E. Enter the three artists r. 2. e. They stop as they see Jack) Brian. (Crosses to ottoman) Ah, there ye are ; how did ye get away from the crowd ? Jack. They haven't seen me yet. Otto. (Below Brian) Veil, cheer up, anyhow, I don't know vat is der matter lately — ever since you told me of your engagement you haf been silent — and blue. Victor. (Below Otto) But et is good for ze business, you haf nevaire looked so like a genius before — Jack. . I guess you'd look blue if your last hope had just gone out that door. Otto. Vy, Has Miss Van Dusen broken her engagement ? Jack. (Rising) No, hang it all! She won't. I've told her I'm everything from a wife beater to a horse thief, but she thinks that being a genius makes up for everything. Brian. (Coming down c. with Otto and Vic- tor to settee r.) Why, do ye want her to break the engagement? Jack. (On settee l.) Say, are you men blind? Can't you see that my one thought is to make Jose- phine throw me over? I can't go back on my word — Victor. (In front of settee r.) But vy haf yott changed your mind? Jack. Boys, I've got a confession to make. THE GENIUS 79 Otto. Don't tell it to us, write it; it vill bring in more cash than all der three arts together. (Crosses to settee r. and sit) Ve can call it "Con- fessions of a Genius." (Three artists sit on settee R.) Jack. Don't hit a man when he's down — I'm serious. Otto. Veil, vot is der confession. Jack. (Rising and crossing to c.) I'm trying to break off my engagement with Miss Van Dusen — because I want to marry Nell Graham. (The three men look at one another amazed. They rise) This genius business has got everything balled up. Otto. So; now I see vy Nell has been so quiet for der last veek. Jack. (Eagerly) Has she? Do you think she cares ? Otto. And you haf made lofe to her vile you were engaged to this Miss Van Dusen? Jack. No, I haven't. The minute I became engaged, I stopped seeing Nell. Otto. (Crosses to Jack c. Brian to Otto's place) So — you play with our little girl — by tarn! dot's too much. Vee help you vin Miss Van Dusen, and you repay us by making our Nell un- happy. Jack. Now, go slow, old man, I asked Nell to marry me and — Otto. You asked her to marry you! Jack. Yes. Otto. Gott in Himmel! How many women do you vant to marry, anyhow? Jack. (Getting angry) One, damn it all! Otto. (Crosses l. Pointing out l. u. e.) Then 8o THE GENIUS go and marry der only von you haf any right to. Jack. Oh, Fluff! (Takes Otto by his lapels and sits him on settee l.) Now, be quiet and let( me talk sense for a minute. My being a genius is the only thing that makes Josephine want me; if I could try and win Nell. Very well, it is perfectly plain then that I must cease to be a genius — Brian, (r. c.) But our agreement. Victor, (r) Ze promise not to betray us. Jack, (c) That's the point. You must release me from that promise ; the only way that this mess can be cleared up, is for me to denounce myself as an imposter. Victor. (Sits on settee r.) But, mon Dieu! It will ruin everything. Jack. I can't help it; I won't marry any one but Nell — unless I'm carried to church on a stretcher ! Otto. If you denounce yourself as an imposter, you may be — Brian. Sure, we'll get a good laugh out of it, anyway, and if Jack really wants to marry Nell — why, (Looking Jack up and down) she might do worse. Otto. I suppose you know vat you are doing? Jack. Sure! I'm throwing off my old man of the sea; I'm getting out of Art — Josephine will hate me, and I'll be plain Jack Spencer once more^ Otto. But vat can ve tell der public? Jack. Tell them the truth. Victor. Mon Dieu! It is not professoinal eti- quette. Brian. Well, if your mind's made up, I guess we don't want to hold you — and we're rich men THE GENIUS 8i now. Otto. Sure, if you vant to tell der public vat a liar ve are — go ahead ! Victor. (On settee r.) Eet vill be our revenge on Clutterbuck. Jack. Poor Percy! These last few weeks havc*^ given me a fellow feeling for him. Otto, (l) Now listen; ve vill agree to let you denounce yourself on two conditions. Jack, (c) Anything you want — what are they? Otto. (Rising c. to Jack. All rise) First, you must not speak of love to Nell till you are free,. Jack. Well, of course not. Otto. And second, you must let us break der news to Mr. Clutterbuck, and tell him vat is going to happen aftervards. Jack. Afterwards — what do you mean? Victor. (Crosses R. c. to Jack) My friend, you are a brave man; not many men would risk telling ze American people zat he had made a fool of zem. Jack. Ah, but I won't put it that way. Brian, (r) That's the way they'll take it, sure, they'll be like wild animals. Otto. Don't you remember vat happened to der false pretender in Russia? Jack. No. Did something happen to him? Otto. Dose he had deceived first killed him, und den threw him down to an awful fate at der hands of der waiting populace. Jack. (Faintly) Perhaps I'd better treat the whole matter as a joke. Brian. If ye can, by all means. Come on, boys, 82 THE GENIUS my tongue is swellin* with the things it wants to say to Clutterbuck; (They go up l. u. e.) Victor. (Embracing Jack and then taking his hand) Adieu, my friend, we will often think of you. (To others) Jack. Don't say it like that; I haven't struck the morgue yet. (Victor shakes his head sorrow- fully. To Otto) I'll give you ten minutes with Clutterbuck, and then — Otto. Und den — der avalanche! Now, (Rising for door l. 3.) vere is dot Clutterbuck? (The murmur of crowd heard off r.. They go off l. u. e. Jack goes softly over the r. arch and peeps through, shakes his head, then slowly feels his arms, assuming boxing attitude and makes a few feinting and side- steppings. Exit r. 2. e. Nell with written letter enters l. 2. e. calling) Nell. Jack, Jack ! Fancy my calling him Jack, and yet why shouldn't I, we have known each other over three weeks. (Dress business. Business with letter) "Nell dear — Don't forget tonight's the night! Come around early and see the animals feed. Clutterbuck has had his evening clothes varnished, and has promised to make all these Art critics look like thirty cents. Many of the four hundred will be on hand, also some ladies of the Old Guard, with fur hats and tin skirts, it certainly looks alluring. I hope the new gown fits, my typewriter put it on for me yesterday, and I dictated letters to absent friends as she strolled about the office. I sent her home with a bottle of Omega Oil at 6 P. M. Do come ! it's an eternity until we meet — Thine, — Jack." THE GENIUS 83 Jack. (r. c.) Ladies and Gentlemen, I wish to speak to you on behalf of my confreres, etc. (Without seeing who it is. Recognising her) Why, Nell — I beg your pardon. Nell, (c) What on earth are you doing? Jack. Just rehearsing for a speech IVe got to make, but I didn't expect to see you here — Nell. I came to see the boys' work. What (Crosses down l. to settee) are you going to speak on? Jack. I'm going to show the white feather ; the boys have released me from my promise, and Fm just going to quit the game. Nell. You're going to tell the public that you're a what shall I call it ? Jack. Don't let's call it anything. Nell. They won't be so considerate — (Sits) Jack. (Crosses to settee l. sits beside Nell) Anyhow, I'm going to do it, because it's the only Way that leads to — (Stops embarrassed) Nell. To honor? Jack. We'll call it honor for the present. But Nell, I can tell you this much; for the last week I've done nothing but miss the good old times — Nell. Of two weeks ago? Jack. You can laugh at me, Nell, but my whole life consists of the two weeks when you came to the studio. Ever since you left it, the place has been gloomy. Nobody's kept his temper and — well, the meaning has just gone out of life — that's all Nell. (Rises and crosses R. c.) Come, we mustn't talk like that, it's against the rules. We must just let bygones be bygones, and be good 84 THE GENIUS friends when we meet. Jack. (Rises to 2. c.) It seems to be easy for you Nell — but — well — Let's wait and see what happens when I tell the world I'm only a fake. Nell. I'm afraid they won't like it. Jack. That's what the boys said, but I've got to go through with it — or die a single impostor. (Enter Otto l. u. e. He has his handkerchief in his mouth; rushes across, sinks on divan c. and removing his handkerchief bursts into a roar of laughter. Nell r. of settee. Jack l. of it) Otto. Ach Gott ! Ach Gott ! Oh ! (Laughs) Jack. I'd give fifty dollars to be able to laugh like that. Nell. Don't keep it all to yourself. What is it? Otto. Ach, dose boys, dose boys! I couldn't stand it; I had to leave. Jack. Had to leave what? — you idiot. Otto. Victor und Brian. They are telling Clutterbuck vat der people vill do to him ven you denounce yourself. Der poor chap is half crazy. Nell. It's a shame to scare him so. Jack. Do you mind pointing out to me just w^here the humor comes in? Otto. If you could have seen his face — talk about imagination — dose boys worked on his feelings until he believes dat you und he vill be lynched. Oh, it vas so funny — (Laughs. Jack sitting and rising business) Jack. (l. Trying to laugh) Yes, that would be quite a good joke on both of us, wouldn't it? Otto. (Up l. ) Dey are coming in here — Come, fJell, you must see der sport. (Taking her l. to Jack) Ve vill come back und be in at der death. THE GENIUS 85 Nell. (Coming over and offering her hand) In case I don't see you again till it's all over, I wish you good luck. Jack. Thank you, Nell — I do, too. Otto, (l) Now, be careful. Jack. Don't do anything in a hurry — Jack. {Up r. ) Oh, I'm tired of being careful. {Murmur) I don't care if the whole place blows up. I'm going to tell the truth and take the conse- quences. Oh, Lord! Here comes the crowd. {Darts out r. 2. Otto and Nell off l. The crowd begins to fill up the stage) Mrs. Van Brown-Smythe. {Entering zvith Cyrus l.) Yes, I give my little Artistic Teas every other Wednesday. I would be delighted to have you and Mrs. Jenkins drop in. Cyrus. {Down to c. then crosses to r. c.) Thanks, we'd be tickled to death. I'm not much of an artist myself. (Otto and Nell enter l. followed by Brian and Victor. Otto, Brian and Victor smothering laughter. Brian l. c.) Mrs. Van Brown-Smythe. Oh, since you secured your Spencer, the papers allude to you as "The well-known Patron of Fine Arts." {They talk aside, Otto, Nell, Brian and Victor on and down L.) Lilly. {Enter r. crosses to c. below ottoman. With Cyril r. c.) And he looked at me with his beautiful brown eyes and said, "To the artist nothing is bold." Oh, it was so sweet, I just wanted to cry. Cyril. {To Brian) But where is the master? Brian. One moment! Oh, he'll be here. I think he's going to give us a little talk on Art. 86 THE GENIUS (Crozud exclaims with delight. Percy rushes on wildly L. u. E.) Percy. Spencer, where is Spencer? — Ah ^ — (Meets Jack c. who enters r. u. e. and seizes him) Spencer Jack. {Putting him off) Not now, Clutterbuck, I've got a speech to make. Percy. No — you must hear me ! What is this foolish story your pupils have been telHng me? {Others have stopped with a sort of hushed awe as Jack entered. They now talk in whispers among themselves. Percy and Jack down r.) Jack. You mean about my being a swindle? Percy, (r. c.) Yes, yes! Jack, (c) That's not foolish; it's the sober truth. Percy. {Noticing the crowd) Hush! They'll hear you! Jack. I'm going to tell them in a minute — Percy. No, no, you mustn't. We'll pretend to be talking about that picture. {Points to picture L. and gesitculates. The crowd watches every move- ment) Don't you see, it will prevent your winning Josephine ? Jack. {Looking righteous) I will not win her — by fraud. Percy. But it will prevent my winning her, too. Jack. How so? Percy. I have called you the genius of the country; my artistic reputation is at stake. If you go — I go. Jack. Well, I'm sorry, old man, but I don*t really see what I can do. Percy. Spencer, you haven't the heart to ruin THE GENIUS 87 me in cold blood! Jack. My dear boy, I didn't tell you the work was great — you told me. (Percy makes a gesture of despair and crosses R.) Besides, you can tell them you were mistaken, that, upon reflection, you don't think the work is as good after all. We all make mistakes. (Crosses l. near piano) Percy. (Quickly to l.) But, you don't under- stand. A critic is not allowed to make a mistake. What he says, he has to stick to. Jack. Oh, you can find some way out of it ; the people will find out anyhow, that Fm only an ordi- nary sort of man. (He, by accident, sits on piano and makes a discord. Immediately the buss of the crowd stops, and everyone listens intently, with an expression of complete happiness) Mrs. Van Brown-Smythe (To Mrs. Van Dusen) What a wonderful dissonance! Cyril. (To Lilly) He's explaining a point in harmony. Josephine. (To herself) He has reached the soul of music! (All talk) Percy. (To Jack. Movement toward c.) There, you see — look at that crowd! Do you realize the adulation, the position you are ^ving up? Jack. (Toward c.) You just bet I do! I haven't made an honest movement for three weeks, but it's got to stop. I'm going to get my ammuni- tion and then the fun will begin. I'm sorry for you, Clutterbuck, but I've got a duty to perform, and when I think of these last three weeks, the devil and all his angels shan't stop me. (Rushes off L. I. E.) 83 THE GENIUS Otto. (Coming over in front of settee l. to Percy) Veil, haf you convinced him? Percy, (r. c.) He won't listen to reason; he's determined to ruin us all. Otto, (c) But you should haf some influence over him, you who haf guided his genius from childhood, who tenderly trained his budding talents und den revealed dem to der admiring populace? Percy. Stop ! Stop ! You'll drive me mad ! Otto. Dot vould be a pity! Der vorld cannot afford to lose such a skillful critic! {Crosses to L. of settee l. Victor l. Enter Jack with large, flat parcel. Percy rushes to him) Brian, The Artistic Columbus of America. Percy. {Wringing his hands) My reputation — Jack. I can't help it ! I have a duty to perform. (Percy down r. Jack crosses l. in front of settee, then turn speak to Otto) Say, Otto, hold 'em back all you can, I'm going to begin. Otto. Veil, I'll do vot I can, but be careful. {Joins Victor, Brian and Nell. Percy sinks in despair on bench r. Jack crosses to l. and turns io address the crowd) Jack. Ladies and Gentlemen — (At the first words the crowd is absolutely silent) I — I have an important announcement to make — {The crowd does not move) There have been so many nice things said about my about the work you see around you, that it is only fair that you should know — that — I — that is — {Coughs) I say that it is only just — that I should tell you — that — I — didn't do it; in fact, I'm not a genius at all — and never painted a picture in my life {A murmur from the crowd; they begin talking THE GENIUS 89 excitedly) I want to apologize for appearing to deceive you, but, in short, Vm glad you like the work of my three friends. Otto. By tarn! He's done it now — Mrs. Van Dusen. What does he say? Mrs. Van Brown-Smythe. He is not a genius? Cyrus. Absurd ! Cyril. His three friends! Miss Trevor. Nonsense etc. Percy. (r)No, no, listen to me. Crowd. (Turning to Percy) You told us he was a genius. We have your word for it; what have you to say? etc. Percy. (Standing on settee r.) Yes, I told you he was a genius, and I've made a mistake. Crowd. No, no. What — mistake — no. Percy. Then I maintain that he is a genius. The very speech he is making proves it. Since you force me, I will tell you what is the matter. My poor friend has been thinking over his new picture of "The Creation" until the depth of his thoughts has unhinged his mind! (The crowd amazed, talk excitedly, putting their hands to their heads, etc.) Jack. (Mounting settee l.) No, that is not true ; I am as sane as you are, but I am not a genius, I am an imposter; I don't know anything about Art! I don't know the difference between a water color and an aqua marine ! Percy. You see, his modesty has taken an acute form. Crowd. Yes, yes — that's it! Jack. Don't listen to him; I ought to know whether I am a genius or not. I didn't paint one of those pictures 90 THE GENIUS Crowd. Your name is on them — you signed them. Jack. Yes. I am a liar — a thief — a stealer of reputation, an unprincipled scoundrel, but not a genius! Percy. You see he is raving mad — Crowd. Yes, yes, poor fellow, so young, etc. Jack. (Becoming wild) But, I tell you, I'm not mad. Great Scott! Don't you know the difiference between a mad man and a damn fool? (Lilly giglges) Confound it all — I tell you the plain truth for the first time in weeks, and nobody believes me. What's the matter with you people? Cyrus. Oh, he's getting violent — Cyril. Send for an ambulance. Jack. I never saw such a pack of idiots in my life. If you won't believe me, look here — (Hastily taking parcel and unwrapping head he drew in Act II) Maybe this will convince you — (Showing it to them) there, this is a specimen of my best work; I never did in my life anything better than that. If that's what you call Art, I'm the greatest artist that ever lived. Percy. (With a shriek of joy crosses L. c.) Ah, he admits it ! The master's own hand betrays him ; don't you see this could never be done by anyone but a genius? Look at the wonderful motion, the bold, yet suggestive treatment! The depth of meaning in every line; it has all the fine points of a Millet with the originality of a Spencer! Crowd. Yes, yes, we see — wonderful! Superb! Jack. (Throwing picture away, rushes to settee c, and leaps on it) You thick headed flock of sheep, don't you see he's talking Tommy rot? He's THE GENIUS 91 making fools of you. I don't know what a Millet is, but if Tve got it I didn't mean to. I'm giving you the sober truth. Why, up to three weeks ago, I never saw the inside of a studio. Crowd. No, no — Clutterbuck knows — you are mad! Jack. No, no, I'm not mad, but damn it all, you'll make me mad in a minute, if you don't listen to me ; you ought to see I'm not lying. No lie was ever so hard to tell as this. Percy. (Crosses c. r.) The frenzy is coming on; leave him with his pupils — {The crowd begin to go out R. 2. entrance shaking their heads, saying : 'Toor fellow/' etc.) Jack. (c. shrieking) But I tell you I'm a fake, an ordinary, everyday, common fake, (Turning to the three artists) Boys, tell them I'm a fake. (r. B. Brian up among crozvd. The crowd turns to- ward Otto) Otto. Ja, he is a fake — Percy, (r. who has hurried among the crowd) That's right, humor him or it may get serious. Jack. (Among crowd r.) No, don't humor me. People, people, don't leave a fellow creature branded as a genius without raising your hand to save him. I'm not fooling you, I'm a real fake. Percy. (Among crowd l. ) Humor him ; tell him he is a fake. Crowd. Yes, yes, you are a real fake. (To each other) Cyrus. Poor young man. Mrs. Van Brown-Smythe. So much geniu5. Miss Trevor. Abnormal, — etc. (The crowd off, Jack expostulating with them) 92 THE GENIUS Jack. (Getting hold of Cyril and Cyrus) Here, you two, don't you believe me? Cyril. (Almost in tears) Ah, master, be calm, you'll feel better tomorrow. Jack. Oh, you ass! (To Cyrus) You see I'm in earnest — Cyrus. It comes from giving up too many things; I was afraid somethin' would happen to you. (Exit with Cyril. By this time every one is off except Nell and the three artists. Percy has restrained Josephine from going to Jack, and taken her off. Cyril and Cyrus are the last to go) Jack, (c) Of all the concentrated, double- barrelled idiots I ever saw these people are the champions ! Not one of them believes me, I wonder if, Good God ! Maybe I am a genius. (He sinks on central settee in despair. Otto comes to him. Victor and Brian down r.) Otto. Also! I always said you could not tell vat der public vould do next — (To Nell) Tie up dot picture. It is worth its weight in gold. (She does so) I congratulate you — Jack. (Looking at him) Huh! Victor. (Coming forward) We felicitate you. Jack. I suppose you mean that there is no danger now of our ever being discovered. That I have been branded a genius, and in spite of all I can do, I will remain a genius as long as I live! Brian. But, it'll be much easier than before, sure, you can do anything you want to now ; your reputation is so firmly established that ye can't harm it. Jack. (Starting up) But I — I (Turning to Victor and Brian) Boys, ask Nell to promenade THE GENIUS 93 \vith you, I've got some things to say to Otto which are unfit for her to hear Brian. {Up r. c.) Come, Nell. (Nell joins the tzvo men, and they go out r. 3. e. leaving Jack and Otto. Jack turns to Otto) Jack. Otto, look at me — hard — {He does so) I'm going to ask you a question, and I want you to tell me the truth. Otto. Haf you not had enough of der truth for von day? Jack. No, I must know one thing more. {Coming down c.) Otto. Veil, ask me — Jack. Is there anything in what those people say? Otto. You mean about your being mad? Jack. No, no, I mean during the last three weeks it isn't possible that I may have become a genius, without my knowing it. (Otto bursts into a loud laugh) Otto. {Down to settee l. — sits) Ach Gott! — du Heber! — A Genius Oh! {Laughs) Jack, (c) But I might as well be — I set a trap for Josephine and I've fallen into it myself. Think of it, Otto, I'm doomed to live for Art — Art for breakfast, dinner and supper — and all the time I've got to realize that I'm nothing but a sort of Peroxide blonde — Oh, Otto, you've taught young girls music for twenty years — you ought to know something about them. Otto. Ja — I do — Jack. {Crosses r.) Isn't there any way I can convince her that if she marries me, she ruins both our lives? 94 THE GENIUS Otto. (Crosses c.) Veil, dere is von scheme you haf not tried. Jack. What is it? Otto. You must fight fire mit fire: you must convince her that her interests of Art demand, demand dot she gives you up. Jack. By Jove! Otto, I never thought of that! Otto. Tell dot marriage and genius do not mix. Jack. Yes, I see the idea, Otto, I believe you've struck it. Otto. Tell her she must be der Beatrice to your Dante. 'I Jack. I don't know who Beatrice was, but I'll play her across the board. Now you just get her in here and then come back in ten minutes with Nell in one hand and a bottle of carbolic acid in the other — I'll need one of the two. Otto. (Up l. c. Starting up) All right. (Stops) Here she comes now — looking for you — Jack. (r. c.) Who, Nell? Otto, (c) No, Josephine. Und she has a hungry- look in her eye. Jack. Wait, stay here and help me create the proper atmosphere. (Grabbing him and pulling him down R.) Let her overhear — I'll give you the cue. Otto. But above all things she must think you love her madly. Jack. Trust me. Look out, here she is! (He changes his manner as Josephine enters l. u. e., and pauses on seeing the two men talking. They pretend not to see her. Wildly, sinking on settee) No, no, Otto, I cannot give her up — Otto. (Above settee) Oh, master, think of THE GENIUS 95 your Art. Jack. Art ! What is art to me compared to Jose- phine ? Otto. (Josephine up l. c.) Art is everything to you, you do not belong to yourself, but to der vorld. Jack. (Otto to l. of settee) But, Josephine — (Rises, hand on Otto's shoulder) Ah, Otto, you do not know what you ask. Otto. Master, you know in your heart dot you must give her up. Jack. (Turning r.) No — no — Otto. If you do not tell her so (As though to go w/> L.) I villi Jack, (r) What ! You would tell that sensitive soul that our marriage cannot take place? No! Sooner than have her hear one word of this — I would kill myself ! (Facing front) Otto. (Majestically) And your Art? (Aside to him) Go ahead, be convinced now. Jack. (Sorrowfully) True, true. But oh, I wish I could spare her the pain of it. (Sinking on settee) Otto. If she is your real inspiration, she vill be der first to tell you dot your life must be given to your vork. Jack. (Springing to his feet — alarmed) And can I never marry? j O'lTO. (Up c.) Yes — but not your inspiration! Jack. Yes, yes, you are right, but oh, how can I tell her — It would — (Turns and pretends to see Josephine for the first time) Great Heavens! — Josephine — Josephine. (Coming down l. c.) I have 96 THE GENIUS heard — Jack. (Turning away — in a voice broken with grief) You — have heard. Josephine. Everything ! Jack. (Waving Otto away) Otto, leave us. (Otto silently exits r. u. e.) Josephine. (c)Is it true? Must I give you up? Jack. It is for you to say. You can be my wife — or my inspiration. Josephine. Why can I not be both? Jack. Because I am a genius, and as soon as a genius marries his inspiration — it stops inspiring! (Turns away) GAL— 25 Josephine. Is that true? Jack. It is more than true — it is artistic. (Down R.) You must be the Beatrice to my Dante. If you marry me, the romance will go out like a candle. (Crosses to c.) Oh, don't you see that a genius, because he is a genius, must marry a woman and not an artist? He must have someone to cook, and darn his socks. Josephine. Oh, don't — (Crosses l. c.) Jack, (c) I am cruel only to be kind. It means even more to me than to you. But you ican imagine the effect of a genius seeing his inspiration in curl- papers Josephine. Yes, you are right. I never thought of that before. Why, marriage is the worst thing that can happen to Art. Jack, (c) I give you my word, Josephine, that if you marry me, you will find my Art will soon die. \ If you wish to believe in my genius, you must not see me after Tuesday. THE GENIUS 97 Josephine. No ? Jack. (Gently) It is for you to choose, Jose- phine. But if Art is the biggest thing in your Hit, you must give me up — Josephine. (Facing front enraptured) Then, I could make my life a sacrifice to Art. Jack. You have a chance to be a sort of Joan of Art. Josephine, (c. With growing inspiration) Yes, yes. I will do it. (Taking Jack's hands) Oh, thank you, my friend, for showing me the true way — Jack. There is one more thing — Percy Josephine. Ah, don't speak of him now. Jack. Yes, for this is the last time I may ever talk to you. He loves you, Josephine. Your souls are congenial, and it would make me happy to know that you returned his love — Josephine. It would make the sacrifice complete. Jack. Yes Josephine. Then I will marry him — (Enter Otto and Nell — stand at back) Jack. (Taking her hand) Thank you — Good lady, and now farewell. (Dropping her hands — crosses l.) Josephine. Do not grieve, believe me, we will both be happier. Jack. (Percy enters. Crosses down to R. c.) I am sure of it. (Josephine crosses to Percy r. u. E.) Percy, take her, my boy, make her happy — 23. Percy. Joesphine, what is the matter? Josephine. (To him — starting off R.) Come — my engagement is broken. Percy. Then I want to tell you that for yes^rs 98 THE GENIUS I have (They exit r. u. e.) Jack. {Following them to r. c.) Phew! Otto, if I ever in my life tell another lie — (Otto and Nell come down) Otto. Veil vot has happened? Jack. (r. c.) Josephine has chosen Art and Percy, and thrown me over. Tm going to retire permanently and let you pupils carry on the work. Nell. (l. c.) As pupils of Spencer, your future is assured — Jack. Yes, but I want to talk about my own future. Otto, (c) Veil, in der first place — Jack. Otto, if you're looking for the ice- water — you*ll find it in the front room — (Music cue ready) Otto. Ice-water ? Jack. Yes — out that way — (Points out R. u. E.) Otto. (Taking the hint) Oh, excuse me. (Exits L. u. E.) Jack. (Taking Nell's hand as she starts to move away) Nell, I told you Td lose no time the minute I was free. Come, let's go somewhere and forget that Art exists. There's a real world out there, full of real men and women, and real happi- ness and sorrow. Let's go and live in it and be real people. Life is calling to us, Nell, will you come? Will you? Nell. Will I what? Jack. Oh, you know — go on — Nell. (Turning to him) Yes Yes. (Jack takes her in his arms. The three artists come on at THE GENIUS 99. back. They see Jack and Nell, cmd turn their hacks, pretending to discuss the pictures) -:- Curtain -:- m BILLETED. A comedy In 3 acts, by F. Tennison Jesse and H. Harwoorf. 4 males, 5 females. One easy interior scene. A charming comedy, constructed with uncommon skill, and abounds with clever lines. Margaret Anglin's big success. Amateurs will find this comedy easy to produce and popular with all audiences. Price, 60 Cents. NOTHING BUT THE TRUTH. A comedy in 3 acts. By James Montgomery. 5 males, 6 females. Costumes, modern. Two interior scenes. Plays 2J4 hours. Is it possible to tell the absolute truth — even for twenty-four hours? It is — at least Bob Bennett, the hero of "Nothing But the Truth," accomplished the feat. The bet he made with his_ business partners, and the trouble he got into — with his partners, his friends, and his fiancee — this is the subject of William Collier s tremendous comedy hit. "Nothing But the Truth" can be whole-heartedly recommended as one of the most sprightly, amusing and popular comedies that this country can boast. Price, 60 Cents, IN WALKED JIMMY. A comedy in 4 acts, by Minnie Z. Jnffa. 10 males, 2 females (al- ough any number of males and females may be used as clerks, :.). Two interior scenes. Costumes, modern. Plays lYi hours. he thing into which Jimmy walked was a broken-down shoe factory, hen the clerks had all been fired, and' when the proprietor was in rious contemplation of suicide. Jimmy, nothing else but plain Jimmy, would ha-