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The Moth and the Flame 
 
 BY 
 
 CLYDE riTCH 
 
 ALICE HAUSER 
 
 1402 Broadway New YorK City 
 
Tbe Moth and the Flame 
 
 ii:^ 
 
 BY 
 CLYDE FITCH 
 
 ALICE KAUSER 
 
 1402 Broadway New YorK City 
 
The Moth and the Flame 
 
 iUBHARV ofOONlafiESS 
 I ^woOopies Kectiiv^U 
 
 APR 9 1908 
 
 I -jwi»yni[fii tntry 
 1 .).jSi&D XXc, Ny, 
 
 GOt^Y a. 
 
 Copyright, 1908, 
 
 r .. ^- 
 
 "*? 
 
 .^^^ 
 
 .III rii'Jils rrs('r7'i'd 
 BY CLYDE FITCH and ALICE KAUSER. 
 
 PLEASE READ CAREFULLY. 
 
 The acting rights of this play are reserved by the author. 
 Performance is strictly forbidden unless her express con- 
 sent has first been obtained, and attention is called to the 
 penalties provided by law for any infringements of her 
 rights, as follovirs : — 
 
 " Sec. 4966: — Any person publicly performing or repre- 
 senting any dramatic or musical composition for which 
 copyright has been obtained, without the consent of the 
 proprietor of said dramatic or musical composition, or his 
 heirs and assigns, shall be liable for damages therefor, 
 such damages in all cases to be assessed at such sum, not 
 less than one hundred dollars for the first and fifty dollars 
 for every subsequent performance, as to the court shall 
 appear to be just. If the unlawful performance and repre- 
 sentation be willful and for profit, such person or persons 
 shall be guilty of a misdemeanor, and upon conviction be 
 imprisoned for a period not exceeding one year." — II. S. 
 Revised Statues, Title 60, Chap. 3. 
 
 TMP92-0092 87 
 
CAST OF CHARACTERS. 
 
 Edward Fletcher 
 Mr. Dawsok 
 Mr. Wolton 
 Douglas Rhodes 
 johkstonh 
 Fanshaw 
 Trimmins 
 Clergyman" 
 Howes 
 
 Mariok Wolton 
 Mrs. Lorrimer 
 Mrs. WoLTour 
 Jeanette Gross 
 Ethel 
 Kitty 
 Gertrude 
 Blanche 
 Maid 
 
 Mrs. Fletcher 
 Guests, Bridesmaids, Choristers, Servants and others. 
 
ACT I 
 
 Mr. and Mrs. Lawrence Wolton. At Home, Tuesday Even- 
 ing, January , at ten o^clock. CMldren's Costumes de 
 rigueur. East 69th St., N. Y. 
 
 ACT II 
 
 One year later. MtS. LaWfenCe Wolton requests the honor 
 of your presence at the Marriage of her Daughter Marion to 
 Mr. Edward Houghton Fletcher, Thursday, February 10, at 
 five o'clock, St. Hubert's Chapel, New YoVk. 
 
 ACT III 
 
 The Following Day. The Library at the Woltons. 
 
 AdT I 
 
 Dark Oak and Green. Reception Room. Hung vi^ith Dark 
 Green Draperies and Old Portraits. Gilt Furniture, Palms 
 and Bric-a-Brac. 
 
 Lights — Foot, Sidelights, Chandelier and first Border on 
 full until " Very well, sirj" Then first Border, Chandelier and 
 Sidelights off. (This is a di-fferent ■arrangement from printed 
 Plot but bound to answer better.) 
 
 Side Properties — Hoop and stick; sheet of music; Ethel, 
 of R. 1. E. Music racks, Ethel^ of r. 2. e. Small jingle 
 bell, of R. 2. E. to ring up mimic curtain. Lamb, crook, 
 trumpet, Mrs. Lorrimer. Black rag baby, ('Faxshaw, r. 2. 
 •E.) Favor84 dritmsj etc., Mrs. Wolton. Small bouquet for 
 Blanche. Jumping rope for Gertrude. Ball toy, Kitty. 
 Large ball for Trimmins. Scarfs for dance. These made of 
 tarleton, 18 in. wide, 8 ft. long. Favors, doll for Trijmmins. 
 Monkey, Johnstone, also cigarette case, cigarettes and 
 matches, c. to l. Two round tables with cloths and silver 
 (to seat 4 each) of c. to l. Two trays with 4 cups and saucers 
 each with bouillon. Two trays with 4 plates of cakes each. 
 Two trays with 4 punch glasses on one end and 5 on other. 
 Ice cream. Four champagne glasses on table {up stage). 
 Five champagne glasses brought on to lower table. Two 
 champagne bottles wrapped in napkins. Champagne or sub- 
 stitute. Of R. 2. E. One Bentwood chair for Fanshaw. 
 Heavy padded log to represent fall of body. 
 
 Disposition or Characters at rise of Curtain — Douglas, 
 Mrs. Lorrimer, Fletcher, ready of c to r. Ethel ready 
 of R. 2. e. 
 
THE MOTH AND THE FLAME $ 
 
 CpsTUMBs — Marion Woltox, Empire Child's, Pink. Mrs. 
 LoBRiMER, Watteau Shepherdess, Blue and White. Mrs. Woi.- 
 Tox, Queen Elizabeth, Green and Gold. Ethel, 1810 Child, 
 White and Green. Kttty, Modern Child, Pale Green. 
 pi^xcHE, Brittany Child, Blue. Gertrude, Grpy Organdie 
 over Yellow Modern. Bessie, Colored Giro. Lady Guests, 
 1830 Blue and Yellow Satin Pantelettes. Italian Child, Scotch 
 Lassie, Spanish Girl., Red Riding Hood, Swiss Peasant, Modern 
 Child — white swiss with hood and socks. Kate Greejs'-a-way, 
 {White.) Fletcher, Boy's Evening Dress. Dougj-as Rhodes, 
 White Sailor Suit. Faj^shaw, Black Velvet I^rd Fauntieroy. 
 JoHNSTOxE, White Duck Kilt Suit. (Pantelettes ar\d Socks.) 
 (Bed bote on head.) Trimmixs, Fauntlei*oy Riding Suit. 
 Gentlemen Guests, Neapolitan Boy, French Soldier, Hunting 
 Costume, Eaton Boy, French Peasant, Dutch Peasant sailor, 
 ^wiss, Charles IL 
 
 ACT I 
 
 Scene— r^e First Act takes place in the Woltons' house 
 during a latge fancy ball. All the guests are in children's 
 costumes — tha^ being insisted upon in the invitations. The 
 Stage represents a reception room. The end of a conserva- 
 tory, or ball room, being seen, through a large archivay. In 
 R. u. corner of the stage is a sm,all stage built with curtains 
 and foot lights, for an amateUr vaudeville performance, which 
 is taking place. 
 
 {At rise of curtain the room, is filled with guests in costume, 
 on chairs before improvised stage and the curtain of stage is 
 just falling, as one of the Lady Guests — loho, dressed (and 
 blacked) as a small Darky Girl) has been singing a popular 
 negro ballad ('' Warmest Baby.") The mimic curtain rises 
 again, owing to the applause of the mimic audience. The 
 chorus of song is repeated and the curtain again falls to 
 applause. There is a general movement among guests — loith 
 laughter and conversation). 
 
 Discovered— ^Marion Wolton, dressed in Empire Child's 
 goum, is sitting in one of the third row of chairs next the 
 foot-lights. Up to note her back is partly turned toioard the 
 audience. Kitty Rand, dressed in short skirts, is just behind 
 her. 
 
 Fanshaw — (leaning over to Marion) I think, Marion, this 
 was really a most amusing idea of yours, having us all come 
 as children. 
 
 (Enter Douglas Rhodes, c. r., sailor costume, white. He 
 meets Mrs. Wolton up c. Mrs Wolton enters c. l. They 
 talk). 
 
 MARioN^ta Kitty J Your costume, Kitty, is charming. 
 
6 THE MOTH AND THE FLAME 
 
 Kitty — (ivith a ball on rubber cord) My dear, I'm sure I 
 look a sight. I feel as if it were bathing hour at Narragansett. 
 
 Marioi^ — Here's Bessie. How splendid she was. (Rises). 
 (Enter Bessie, r 1 e. She laughs as she is greeted by shouts 
 of laughter and applause by guests. She joins Marion, who 
 shakes her hand) You were too funny, Bessie, (a guest rises 
 and Q-ffers seat to Bessie. She accepts it and sits) 
 
 JoHsrsTONE — {Monkey) {White kilt suit) {to Bessie as she 
 sits) Yes. Isn't this an awfully lovely party? (to Fan- 
 SHAw) Here, Fanshaw, it's your turn. 
 
 Guests akd All — Yes, come on Fanshaw, etc. (Fanshaw 
 exists R. 1 E.) (Rhodes comes from Mrs. Wolton nodding 
 pleasantly to guests as he passes round behind them, to 
 Marion, He shakes her hand) 
 
 Marion — Why so late, Douglas? 
 
 Douglas — I was dining with Mrs. Lorrimer; but I hope 
 you've saved me a seat by you. (Blanche exits, ready for 
 staffe, R. c.) 
 
 Marion — I'm sorry, but I haven't. There's the curtain. 
 {She sits and Douglas takes a place back of guests, shaking 
 hands with Trimmins as he does so) (Business) (Mimic 
 curitan rises, mtisic begins, all interrupt with " Sh-h." Fan- 
 shaw enters ow mimic stage dressed as Little Lord Fauntleroy 
 and sings. Mimic curtain falls to applause. Curtain is raised. 
 Black rag baby thrown to him during song. Fanshaw enters, 
 bows, and as he does so, Blanche throws a small bouquet of 
 flowers to him,. This he catches and makes entrance upon 
 stage by jumping over mimic foot-lights. He is congratulated 
 and thanked by Marion and resumes his seat) 
 
 Music Begins — {All interrupt again with " Sh-h." Curtain 
 is raised and enter Ethel, dressed^ as a child of 1840 in white 
 and green. She comes forward and sings (Henrietta) with 
 orchestral accompaniment, a flute obligato being a feature of 
 the l-atter, which, every little while indulges in loud variations, 
 entirely drowning the singer's voice, much to her annoyance, 
 and the only half-suppressed amusement of the guests. As 
 she reaches the chorus all {at Marion's suggestion) join in with 
 her and finish the song.) (Marion rises, giving the signal 
 that the entertainment is over.) (Servants come in and take 
 away most of the chairs, leaving one in centre of stage and 
 three up l. c.j (All rise and form groups — those of guests 
 near the door m^ove into ball room, and off r.J ^Ethel enters 
 R. 1 e., and Marion at once greets her. Kitty and Johnstone 
 joining them) 
 
 Marion — (c). Thank you ever so much. 
 
 Johnstone — Yes, indeed. Isn't this an awfully lovely party. 
 
 Ethel — (n.) (with large hoople and stick) (quickly, m,uch 
 put out) My dear Marion, I could choke that flute player. 
 
THE MOTH AND THE FLAME 7 
 
 Mahion — Don't be selfish, Ethel, the man wanted to be 
 heard, (goes up to Douglas she meets Douglas up c.) 
 
 Ethel — If I were a witch I'd curse him with asthma. Mr. 
 Johnstone, go and curse him for me. 
 
 JoHxsTONE — With pleasure. 
 
 Ethel — Just give him a piece of my mind, (enter fjirl l. 
 u. E.) 
 
 Jony[SToy[E—(/lattermgly) He doesn't deserve such a gift. 
 But isn't this a lovely party? Will you excuse me? (he goes 
 up stage to Blanche, offers his arm, xvhich she takes, and 
 they exit c. to r. Kitty and Ethel watch Blanche and 
 JoHXSTONE, amused) 
 
 Kitty — (to Ethelj Just look at Blanche. Do you suppo^se 
 she's going to 
 
 Ethel— She's going to with all her might and main, if he 
 will only ask her. 
 
 Kitty — A large if (laughing) ^Fakshaw and Ger- 
 trude join Ethel and Kitty down stage r.J 
 
 Fanshaw — Looks as if Johnny were getting pretty stuck on 
 Blanche, doesn't it? {goes to Kitty c. Trimmins moves up 
 c.) 
 
 Ethel — ^Yes, or just the other way round, {all laugh) 
 
 Gertrude — Who are you dancing the cotillon with, Ethel? 
 
 Ethel — Don't know. I've promised two men but I haveii't 
 made up my mind who I'll dance with yet. 
 
 Fanshaw — A nice person to engage for a partner. {callin(j) 
 Trimmins ! 
 
 Ethel — Sh-h! He's one of the men I've promised. 
 
 Fanshaw — {laughing) Never mind. I'm the other, {all 
 laugh. Gertrude says " Oh, Ethel ! " Gertrude goes toward 
 Marion. Ethel and Kitty at some time.) ('Marion exists n.J 
 
 Fanshaw — (to Trimmins down i..) Who are you dancing 
 the cotillon with, Trimmins? 
 
 Trimmins — (i..) Ethel Stevens! 
 
 Fanshaw — (c.) Who? 
 
 Trimmins — Ethel Stevens ! 
 
 Fanshaw — I'll bet a fiver you're not. She's dancing with 
 me. 
 
 Trimmins — {very pleased) Delighted! I owe you the five 
 with joy. (pushes Fanshaw out of the way. Crossing to 
 Gertrude J Will you give me the pleasure. (^Douglas out at 
 back. Douglas exists L.j 
 
 Trimmins — Thank you. (ofers his arm, which Gertrude 
 takes and they go out at hack) 
 
 Fanshaw — Well ! 
 
 Marion — Are you going to stand perfectly still and be 
 robbed in that manner? (laughing) 
 
 Fanshaw — Well, but what am I— — (interrupted by one 
 
8 THE MOTH AND THE FLAME 
 
 of the girl guests, who says, "I'm here!") Oh, so you are. 
 (f'lUs his arm in hers and they run of together) ^Mariok 
 exits up c.) 
 
 Ethel — Marion, isn't Mr. Ned Fletcher coming to-night? 
 
 Marion — Yes. (exit c. to L.j 
 
 Kitty — I'm so glad, he's quite the most amusing man in 
 town this winter, (sitting on chair r. c. which servant left) ' 
 
 Ethel — And so many people won't ask him to their houises, 
 you know. Mamma won't. ! 
 
 Kitty — Well, you know, your mother's a ridiculous persbtt, 
 she asks lots of awfully fast men ! 
 
 Ethel — Yes, but they are all relatives. 
 
 Kitty — (putting arm around Ethel, pricks her finger) I 
 don't believe Ned Fletcher is as bad as people hint. He's too 
 good looking, (fixing dress) 
 
 Ethel — And I don't care whether he's bad or not, he's 
 charming enough to make up for it. Besides I suppose all 
 men are bad. 
 
 Kitty — O — I don't know. 
 
 Ethel — I mean all nice men. (ready musib) 
 
 Kitty— Where has Mr. Fletcher been before this winter, 
 
 Ethel — My dear, he's one of those men who live all over the 
 place — most of the time in Europe, but he's been here always 
 off and on — and in Newport and in Lenox he has yachts and 
 things, don't you know! (exits down R.j 
 
 Marion — (enters c.) Girls, will you go into the ball room, 
 till the men get the tables ready here? (she speaks aside to 
 one of the serimnts and exits l. 2 e.j (Servants bring on small 
 table and place it r. loith bottles, lunch, etc., a broken glass 
 covered loith napkin to fall on stage. Place T cha'iVs about 
 table. Exit r. 1 e.J 
 
 Ethel — Of course, (to Kitty J (crossing to her) Do jou 
 notice how she won't talk about Fletcher and won't listen to 
 any one else either? 
 
 Kitty — My dear, she's heels over head. 
 
 Ethel — Poor Douglas Rhodes ! (half smiling, in part satire) 
 
 KiTTY^ — Serves him right for hanging around her all his 
 life ! Why didn't he flirt with one of us girls for a time, if 
 only to make her jealous! f Ethel sees Douglas enter and 
 tries to ivarn KittyJ ('Ethel gives Kitty a violent pull of 
 the arm to warn her to stop speaking of DouglasJ 
 
 Ethel (r.) (to DouglasJ You can't stay here, we're driven 
 out. 
 
 Kitty — Come, help us make fun of the other people. 
 
 Douglas — In a few minutes. I must give you a chance to 
 make fun of me ! 
 
 Kitty- — O, we've been doing that for years ! ('Ethel blows 
 Douglas' whistle which he has suspended from neck, she pull- 
 
THE MOTH AND THE FLAME 9 
 
 ing it out of his pocket) ('Ethel and Kitty smile coquettishly 
 at Douglas and exit at b. into ball room arm, in arm) (Distant 
 music off stage) (^Douglas follows up c.) (A pause) 
 (Enter Marion l. 2 e.) (Douglas up stage, looking admir- 
 ingly at her, and smiling. Then smiling and putting himself 
 into a boyish attitude, he says boyishly) 
 
 Douglas — Hello, Molly! 
 
 Mariok — (smiling back, catching his mood, speaks girlishly) 
 Hello, Dug! It does take one back to old days, doesn't it! 
 (doivn L.J 
 
 Douglas — (down c.) That was what I was thinking of, 
 Marion, the days of dancing school. How good you were to 
 always be my partner, even though I couldn't reverse without 
 treading on your toes! 
 
 Mariok — (smiling) You were a bad dancer — and death to 
 slippers, (crosses r.) 
 
 Douglas — (l. c.) And the children's parties with the old 
 games, " Post Ofl&ce," " Copenhagen," " Kiss in the Ring." 
 
 MAiBiiO's—( smiling mischievously ) You were good enough at 
 '■ Kiss in the Ring " to make up for your not reversing. 
 
 Douglas — (with real sentiment, crosses to her) Do you re- 
 member it all as well as I do? 
 
 Marion — (realizing his sentiment, and trying to change their 
 mood, but pleasantly ) Of course I do ! We were great 
 friends then, as we are now, and as I hope we always will be 
 Douglas. 
 
 Douglas — But if we played the old games again, would it be 
 the same? 
 
 Mariox — No, no, things are never the same. 
 
 Douglas — But would you let me choose you always? (crosses 
 to her) Would you pretend not to see me coming so I could 
 slap your hands on the Copenhagen rope and take my reward? 
 If we played " Post Office," would / have all my letters from 
 your lips ! Would you mind if in " bow to the wittiest, kneel 
 to the prettiest, and kiss the one you loved best," I choose you 
 again, openly, for all three? Would you give me all your 
 dances? 
 
 Marion — (more serious, though still smiling kindly, sweetly) 
 That's just it Douglas! You can reverse now, and there are 
 so many other girls wanting partners ! 
 
 Douglas — But (interrupted) 
 
 Marion — Besides after all, we're only children outside to- 
 night, our hearts have come of age ! 
 
 Douglas — Yes, Marion, but, boy's and man's, my heart's the 
 same. I want the same partner I did then, only I want her, 
 for the game of life ! 
 
 Marion — I am so sorry! 
 
10 THE MOTH AND THE FLAME 
 
 Douglas — Sorry? Then you won't let your hands lie on 
 the rope for me any more? 
 
 Marion— I am very fond of you, Douglas, and I always 
 was, but • (she hesitates) 
 
 Douglas — (a little bitterly, disappointed) I know what 
 you mean, (crosses Vi.) I was all right for dancing school, 
 
 but life is a more serious matter • (Mariok to chair c. 
 
 sits down) I know I'm not like you, Marion — I know what 
 an intellectual woman you are, and what an ordinary sort of 
 
 fellow I am. But I love you ! and I hoped (crosses l, c. 
 
 He breaks off and continues with his first idea) You went to 
 a woman's college, and I only to a man's — You made a study 
 of sociology — I, (smiling) principally of athletics. I know I 
 never read books, and you seem to read everything. But I love 
 you. You have your clubs for working girls, your charities, 
 I know the busy helpful life you lead. You have' so much in 
 it,, I was in hopes that what room was left for a husband was 
 so little even / could fill it. And somehow or other I've always 
 taken it for granted you more or less understood, and were — 
 willing. 
 
 Marton^ — I was — once ■ 
 
 Douglas — You were? 
 
 Marion — There was no one in the world I liked so much to 
 be with as you, and I think I, too, believed my happiness 
 was in your hands, and that some day we would decide to- 
 gether it was so. But I lately (she hesitates) 
 
 Douglas — Some one else? — — 
 
 Marion — I don't like you one bit less Douglas, only- 
 
 (rises) 
 
 Douglas — Only you liked some one else more! I was afraid 
 so, I've heard whispers and guesses 
 
 Marion — Don't let it make any difference with us, Douglas! 
 
 DouGLAS^You love him? 
 
 Marion — (c.) Yes. 
 
 Douglas — Very much? 
 
 Marion — You see every one is against him, and I feel that 
 I have a chance to save him. 
 
 Douglas — You believe in him? 
 
 Marion — (shortly) Yes. 
 
 Douglas — Would you believe anything against him? 
 
 Marion — (on the defensive, indignant) No?' 
 
 Douglas — If some one told you of something dishonorable 
 this man had done. 
 
 Marion^ — I would suspect the motive of the person who told 
 me. Do you. think I haven't heard plenty of gossip against 
 him? Every girl I know has done her best to take away his 
 character, and begged me to introduce him to her in the same 
 breath. 
 
THE MOTH AND THE FLAME 11 
 
 Douglas — And if / spoke against him? 
 
 Mariox — (leaning on back of chair) I know I couldn't 
 help it, after what you have told me, I should have to feel 
 you might he influenced by jealousy. 
 
 Douglas — To unjustly accuse a man? 
 
 Makion — O, Douglas, no, of course you would believe what 
 you said, but I wouldn't trust your judgment. Don't I know 
 every one is down on him. (down a little) Even you men — 
 are all the men in New York so proud of their past lives — not 
 to mention the present of several I know — Well if men turn 
 a cold shoulder then we women must give him our hands. 
 (up c.) 
 
 Douglas— (^c.j You girls don't understand. 
 
 Marion — (b.. c.) O, girls understand a good deal nowadays. 
 Society and some of the newspapers attend to that. He doesn't 
 pretend to be a saint to me — I find him perfectly frank— and 
 I am afraid he has been rather fast ! But I don't believe he 
 is capable of an outriglit dishonorable action, and nothing 
 would make me believe it ! 
 
 Douglas — No proof? 
 
 Marion — Only the proof of my own eyes. When I see him 
 do something contemptible, then I'll believe half the stories 
 I hear of him ! (up c. a little) 
 
 D juglas — I see you do love him. 
 
 Marion — I do, though you are the only person I have con- 
 fessed it to, not even to him-r-and forgive me, (down a 
 little) but I never liked yoa lers than I do now when you 
 have spoken against him. (uj) to arch) 
 
 Douglas — (foUoiving her c.) (u. of Marion^ No, tell me 
 you will forget it, and keep me the same old friend, and I'll 
 promise not to speak against him to you again. 
 
 Marion— (6-?ni/«i</^ Very well (theti shake hands) 
 
 Why^ I want yoa two to be the best of friends — you must 
 be 
 
 DouGiAS — (also smiling) O, I don't promise that — I haven't 
 given you up yet, and I shan't until 
 
 Marion — (smiling) When ? 
 
 Douglas — (sm,iUng) Until I see you going into the church 
 to be married. 
 
 Marion — You'll say nothing more against Ned? 
 
 Douglas — Not to you. (down r. , c.) 
 
 Marion — O, but you will to others? (follows) 
 
 Douglas — I will say what I have to say to — him. 
 
 Marion — To him? (enter Mrs. Wclton and Fletcher.^ 
 (Fletcher is dressed in dark sailor clothes) 
 
 Mrs. W. — Marion, here's another little boy. (Marion tua-ns 
 and greets Fletcher^ going to him. Douglas and Fletcher 
 
19 THE MOTH AND THE FLAME 
 
 see each other and say " Good evening " pleasantly. Mrs. W. 
 comes down l. Mariox and Fletcher c.) 
 
 Mariok — (r. c.) It's too bad you missed the vaudeville. 
 
 Fletcher — Did you do anything. 
 
 Mariox — (Laughing) (Exit Fletcher and Mariost c.^ 
 fDouGLAs turns around quickly, annoyed, to speak to Mrs. 
 WoLTox, but in his quick turning and in his movement of 
 annoyance, keeping his eyes on Mariok and Fletcher, he has 
 struck glasses and a bottle on the little supper table beside 
 them. They crash on the floor. He and Mrs. Woltox both 
 start) 
 
 Douglas — O ! Mrs. Wolton, forgive me, how clumsy ! 
 (starts to pick up) 
 
 Mrs. W. — No, never mind, (as enter servant) Here is 
 Howes ■ (to servant) Howes, see to this please, at once. 
 
 Servakt — (during bus.) Yes, m'm. Please Mr. Dawson is 
 here to see Mr. Wolton. 
 
 Mrs. W. — Mr. Dawson, my brother ! Why he's in Boston, 
 Howes. 
 
 Servant — Beg pardon m'm, but he must have returned to- 
 day. Most important he says m'm, where shall I show him? 
 The ladies and gentlemen are playing " Blind Man's Buff " 
 in Mr. Wolton's room. 
 
 Mrs. W. — This is the quietest place. Show Mr. Dawson in 
 here. Where is Mr. Wolton? 
 
 Servant — (trying not to smile) He's blind-folded, m'm ! 
 
 Mrs. W. — (smiling) Tell him. 
 
 Servant — Yes m'm. (exits at r. 1 e.) 
 
 Douglas — Shall we join the game? 
 
 Mrs. W. — Yes, come, I will take Mr, Wolton's place ! I 
 
 haven't played Blind Man's Buff for (she calculates a 
 
 moment, and then speaks amusedly) Good gracious I—wetJer 
 mind hoiv many years!! 
 
 Douglas — O, not so many as all that, I am sure ! (they go 
 out at back) (Enter servant r. 1 e. with Dawsok in cutaway 
 coat and usual vest and trousers) (Servant at once begins to 
 pick up the debris m^ade by Douglas^ 
 
 Dawson — What's going on here, Howes? 
 
 Servant^ — A children's party, sir. 
 
 Dawson — A what? 
 
 Howes — A children's party, sir. 
 
 Dawson — Who are the children? 
 
 Servant — Mr. Wolton and Miss Wolton, sir, and her friends. 
 Mr. Wolton's playing games now, sir, but he said he would 
 join you in a minute. 
 
 Dawson — (out loud involuntarily , but speaking to himself — 
 very seriously almost tragically) Playing games! My God! 
 
 Servant — Yes, sir — one don't know what rich folks'll do 
 
THE MOTH AND THE FLAME 13 
 
 next sir. We're in hopes in the kitchen they'll take no pre- 
 tending they're the servants, sir, and turn us loose in the ball 
 room, (smiliny — exits c. to Vi.) 
 
 Dawsost — (who hardly hears servant) Playing games, with 
 ruin and disgrace staring him in the face, (enter Mr. Wol- 
 Tox c. from Vi.) 
 
 Mr. W. — {uiho enters flushed and gay — an elderly man in 
 knickerbockers and evening coat, a sort of English Court 
 costume. The handkerchief which was tied around his eyes in 
 the game, has slipped and lies about his neck) Well, Fred, 
 what's the good news? 
 
 Dawsox — The worst there could be ! 
 
 Mr. W. — (who enters flushed and gay — an elderly man in 
 half whispers) What do you mean ! ! 
 
 Dawson — (dragging of the Blind Man's Buff handkerchief 
 from Wolton's neck) What do you mean by going in for 
 all this tomfoolery to-night with ruin and disgrace ready for 
 you in the morning? 
 
 xMr. W.— So soon ? 
 
 Dawsox — How much longer did you think you could stave 
 it off? 
 
 Mr. W. — {sinks exhausted into a chair) I didn't know. 
 
 Dawsox — Why didn't you tell me your credit was as ex- 
 hausted in Boston as here? (taking chair from table R. and 
 sitting R. of 'Wolton) 
 
 Mr. W. — I thought with you doing the negotiating it 
 mightn't be ! 
 
 Dawsox — Well it is; do you hear me, you haven't any such 
 thing as credit there nor here! nor anywhere for aught I 
 know ! To-morrow is the last day of grace, your sister-in-law 
 has to pay this money? 
 
 Mr. W.'— Yes. 
 
 Dawsox — What did you let her buy that house for? 
 
 Mr. W. — (testily) How could I help it! My brother didn't 
 appoint me her guardian! He simply left her money in trust 
 in my hands ! 
 
 Dawsox — " In trust in vour hands ! " (laughs cruelly) 
 
 Mr. W.— Don't do that'! 
 
 Dawsox — And you speculated with it, and lost every cent ! 
 
 Mr. W.— Yes. 
 
 Dawsox — What a scoundrel you are! (Woltox squirms 
 miserably in his chair, Dawsox adds quietly) And yet I 
 don't suppose there's at this moment a more popular man in 
 New Yori , socially, than you. 
 
 Mr. W. — No, I don't believe there is ! — but a damned lot of 
 good it does me! 
 
 Dawsox — Will your sister-in-law accept her ruin quietly? 
 
14 THE MOTH AND THE FLAME 
 
 Mr. W. — No, she's never liked me, she'll take pleasure in 
 exposing me ! 
 
 Dawson — But for you wife and child's sake! 
 
 Mr. W. — You know very well she hates them! They have 
 never taken her up; she wasn't possible socially. (Dawsoi«^ 
 laughs again bitterly) Don't do that! 
 
 Dawson — Well then after ruining yourself and your brother's 
 wife, you must ruin your oton! 
 ; Mr. W. — (a.larmed, uneasy) What do you mean? 
 
 Dawson — I mean that my sister's own money is enough to 
 pay for your sister's silence. Don't you understand? Your 
 sister mustn't know of course, that you've stolen her fortune. 
 Instead, your wife must be told, — poor Laura — and for her 
 daughter's sake, she must consent to beggar herself. Her 
 bonds will about meet the payment of the house to-morrow — 
 
 they must be sold the first thing — I will see to it, (as he 
 
 speaks, he is looking Wolton straight in the face. Something 
 in Wolton's face which grows upon him ivith conviction as he 
 speaks his last few words. He breaks off suddenly) What! 
 you've taken hers too ! (He leans over Wolton in the chair, 
 his hands on his shoulders, close to his neck, in a rage) 
 (Rises) You've beggared my sister, your wife and child ! 
 You • (interrupted) 
 
 Mr. W. — (with a big effort, rises, throwing off Dav/son's 
 hands) Sh! — For God's sake lower your voice! You'll be 
 heard ! 
 
 Dawson— (ivith a change of tone, but speaking with utter 
 contempt) By a couple hundred fools ! To-morrov/ thousands 
 will hear of your dirty dishonor!! {going r. a little) 
 
 INfR. W. — (to Dawson j But you, jow have money — won't 
 you come to my rescvie? 
 
 Dawson — I couldn't if I would. You have borrowed half a 
 fortune of me already. What I have left must go to take care 
 of my sister and niece. Do you think I'd support you! No, 
 the State will do that. 
 
 Mr. W.— That!! You'd let me go to ? 
 
 Dawson — ^^ou'U get twenty years at least! 
 
 Mr. W. — You won't help me escape? 
 
 Dawson^ — No. ' 
 
 Mr. W. — But Laura? she loves me, and Marion. They will 
 suffer for me; I may be weakly dishonorable, but I've alwaj^s 
 loved them and they me. Besides any puljlic dishonor which 
 comes to my name, must touch theirs too. 
 
 Dawson— I'm not so sure about that— I think there is 
 material for a divorce here. 
 
 Mr. W. — A divorce ! My God, must I lose everything ! 
 Show a little pity Fred! Remember the old days at school, 
 was I a bad boy? We were chums for years, you know it! — 
 
THE MOTH AND THE FLAME 15 
 
 You were my best man when I married Laura, and you were 
 the gayest at the wedding ! It's only been this curse of gambling 
 with the stocks that has driven me to the devil, — that and my 
 cursed luck. 
 
 Dawsox^ — Luck has nothing to do with honor. 
 
 Mr. W. — You don't know — oftener than you think, it has 
 everything ! (enter servant r.^ 
 
 Servant — Supper is ready, sir, can we have this room? 
 
 Dawson — Yes, Howes, I'm going! (goes R.j 
 
 Servant — Thank you, sir. (exits b..) 
 
 Mr. W. — Give me a word of hope, Fred ! — something— What 
 are you going to do? 
 
 Dawson — Nothing till to-morrow morning. 
 
 Mr. W. — And that's all you have to say? 
 
 Dawson — All. (The two men stand looking at each other 
 a moment in a sort of grim embarrassment, then Dawson 
 exits R. 1 E.) (Music ppp.) (It must be evident to the audi- 
 ence, though not to the hysterically excited Wolton, that 
 Dawson has a little, a very little pity, but doesn't wish to show 
 it, at any rate not yet.) ('Wolton ivho has stood a moment 
 lost in thought, an expression of despair in his face, shudders 
 and comes to himself. He looks around to see that he is 
 €ilone. He grasps Jm forehead tight a moment in his right 
 hand, drops his hand and with compressed lips nods his head 
 determinedly. He is standing by one of the smaller supp&r 
 tables, he looks doion at it and takes up a silver knife at one 
 of the places,- feels its dull edge and throws it down sneering.) 
 (A servant appears) 
 
 Mr. W.— How«s? 
 
 Servant^— Ct'owmr/ into the room and ^ going to W.) Yes, 
 sir. 
 
 Mr. W. — I am going up to my room, (with a motion of his 
 head, indicating upstairs) I am not feeling well. If my 
 absence should be noticed explain to Mrs. Wolton, but do not 
 disturb me — do you understand? 
 
 Serva.nt- — Yes, sir. 
 
 Mr. W.-t— Cn. no accoimt am I to be disturbed. No one is to 
 come to me until after the party is entirely , over, don't make 
 any mistake about that. , . , ... 
 
 Servant^No, sir. (^Wolton xcho is half . way between c. 
 and door r. turns for a moment looking about the room. He 
 is seized with a nervous, twitching of his muscles. He clenches 
 Ms fists, grinds his teeth to control himself, and bowing his 
 head, goes from, the room by door r.) f Kitty and John- 
 stone appear in ball room doortvay, at exit of Wolton^ 
 
 KiTTv — (looking into roqm on stage) . Here's a dear table, 
 all by itself. (Speaks as she appears in the doorway.) (The 
 
16 THE MOTH AND THE FLAME 
 
 two turn in the doorway and look o-ff r, at Ethel and FAif- 
 SHAW who are following them slowly) 
 
 JoHNSTOKE — Come along Fanshaw, here's a lovely quiet 
 table where we can say just what we like about everybody! 
 (They stand in doorway a moment, looking off r. waiting for 
 the other couple, with their backs to Woltok and room.) 
 (^Ethel and Fakshaw join the first couple in the doorway, 
 and all come forward, speaking.) ^Ethel r. of table; Fak- 
 SHAW down L. c.) (The following speeches are made as they 
 come forward to table.) 
 
 JoHNSTOKE — (•&.) (to Fanshaw and EthelJ How you 
 dawdle. 
 
 Ethel — Jack Wright tore my lace. 
 
 Fanshaw — (over l. c.) Trying to kiss her in Copenhagen. 
 (They are about the table. Johnstone at once sits doion first 
 in the chair the servant was holding for one of the ladies, 
 Servant then opens a bottle of champagne and pours in the 
 glasses) 
 
 Johnstone — (sitting) Come on. 
 
 Kitty — Look at him ! 
 
 Ethel — What a rude little beast you are, Johnny! 
 
 Fanshaw — Get up! {pushing hirn) 
 
 Johnstone— fc^owJM R.j Well, you girls dawdle so ! (^Kitty 
 and Ethel sit.) (Enter Mrs. Lorrimer from ball room, 
 dressed as a Watteau Shepherdess, She is greeted by a chorus 
 of four. Carries lamb and crook) 
 
 Ethel, Kitty, Johnstone, Fanshaw — O, look at Mrs. Lor- 
 rimer ! 
 
 Mrs. L. — {Pirouettes once around and makes a bob curtesy) 
 Good evening, (laughing) Well, I don't want to throw 
 bouquets at myself, but I don't think it's bad. 
 
 Ethel and Kitty — You're splendid ! 
 
 Johnstone — Love • (sits) 
 
 Kitty — Get Mrs. Lorrimer a chair, (They all move to m,ake 
 more room for her, and Fanshaw gets an extra chair from 
 arch up r.q 
 
 Mrs. L. — I'm afraid I'm a fifth spoke in your wheel ! {She 
 sits. A servant passes them bouillon which they take and eat) 
 
 Ethel — Don't be foolish; girls at a ball nowadays can't ex- 
 pect to have a man apiece. ^Johnstone lights a cigarette and 
 smokes.) (A servant in ball room is seen taking away the 
 bouillon cups, while a second passes Bouches a la Beine there.) 
 (^Fanshaw sits above Ethel l. of table. After taking lamb 
 and crook from, Mrs. L. and placing them down l. corner.) 
 
 Mrs. L. — How is the party? 
 
 Johnstone — Awfully lovely party ! 
 
 Kitty — A tearing success ! 
 
 Ethel — You ought to have seen the vaudeville! 
 
THE MOTH AND THE FLAME 17 
 
 Mrs. L. — How did your stunt go, Ethel? 
 
 Faxshaw — Great. 
 
 Ethel — O, my dear, a brute of a flute player ruined it. I 
 felt like thirty cents. 
 
 Fanshaw — No one could spend much more money on a 
 party than old Wolton is doing to-night. 
 
 Mrs. L. — Does Marion show her age in a child's dress? 
 
 Kitty — She looks charmingly, but then Marion isn't so 
 old. 
 
 Ethel — Perhaps not so old as she usually looks. 
 
 JoHNSTOxE — Aren't you a Kitty cat? 
 
 Mrs. L. — ^^Why doesn't she paint a little? 
 
 JoHNSToxE — What ! 
 
 Kitty — Marion? Paint! Her face! 
 
 Ethel — My dear, she'd die first ! (all laugh, saying 
 "Marion") ' 
 
 Mrs. L. — (grandiloquently) Not that I approve of painting! 
 (music stops) 
 
 All — (laughing) O, no. 
 
 Ethel — Nor I ! 
 
 All — (laughing) O, no! 
 
 Mrs. L. — Who's here? 
 
 Johxstoxe — Everybody. 
 
 Mrs. L. — Anyone I can marry? 
 
 Kitty — O, Mrs. Lorrimer, do be decent, you haven't been 
 divorced a year yet. 
 
 Mrs. L. — My dear, divorce isn't like death — you don't have 
 to go into mourning! Besides that's what I want to get 
 married for! I find I've a perfect passion for divorce! Just 
 like men have it for drink. The more I get the more I want ! 
 (laugh) I've only had two divorces, and I want another! 
 
 JoHifSTONE — You must be damned careful — I beg your 
 pardon 
 
 Mrs. L. — O, don't apologize, I say it myself! — careful about 
 what? 
 
 Johnstone — What sort of husband you choose. 
 
 Mrs. L. — Exactly ! None of your ideal men for me ! I 
 want a man with a bad record ! (laugh) Plenty of proof 
 concealed about his person, or not buried too deep in his past 
 for me and my lawyer to ferret out. fL.j I've a perfect 
 duck of a lawyer! He made up every bit of evidence about 
 my last husband; that won me my case, and my dears, it just 
 happened to turn out to be true ! (laugh) 
 
 Ethel — Speaking of records, who do you think is here to- 
 night? 
 
 Mrs. L.— iVed Fletcher !! 
 
 Kitty — Yes. 
 
 Mrs. L. — Girls — I'll tell you a secret 
 
18 THE MOTH AND THE FLAME 
 
 Johnstone — I don't want to hear it. (takes a chair l. c, 
 sits and lights cigarette) 
 
 Mrs. L.— I'm crazy about him! Where is he? (glancing 
 over her shoulder) 
 
 Kitty — You've no chance, he's going to marry Marion, if 
 she'll have him. 
 
 Mrs. L. — What a shame! And will she? 
 
 Ethel — ^She's mad about him! 
 
 Mrs. L. — The moth and the flame ! What a pity ! because 
 he'd be simply ideal for me! (l.) Why, do you know I hear 
 
 that he (stops suddenly, looking at Johnstone and 
 
 FanskawJ 
 
 Johnstone — What do you hear? I'm in this. 
 
 Mrs. L. — I forgot Johnny and Mr. Fanshaw — there are cer- 
 tain things you mustn't talk about before innocent little boys! 
 (ready thud) 
 
 Fanshaw — You couldn't tell us anything about Ned 
 Fletcher! 
 
 Mrs. L. — (laughing) I don't want to ! But I thought 
 Marion was always going to marry Douglas Rhodes. 
 
 Kitty— O, that's all off now. It's Ned Fletcher or nothing 
 with Marion. 
 
 Ethel — (lanighing) I believe she thinks she's going to re- 
 form him ! (all laugh) 
 
 Kitty — There's one thing he isn't after Marion's money. 
 
 Ethel — ^Is he so rich? 
 
 Johnstone — O, rotten! f Kitty slaps JohnstoneJ 
 
 Mrs. L. — Very well, do you know what I shall do? I shall 
 take Douglas. 
 
 ^THET^— (nastily ) Yes, catch his heart on the rebound, they 
 say it's easier that way! 
 
 Johnstone — That's one on you Mrs. Lorrimer. (party gag) 
 
 Mrs. L. — O, I'm not so very old, and have had two splendid 
 husbands already. I don't think I have to bother about the 
 easiest way. 
 
 Johnstone — Philopene, Ethel? That's one on you. 
 
 Mrs. L.— Has it been your method, my dear, because if so 
 I can't congratulate you on the result. You must look out 
 for a stronger rebound next time ! Try a divorced man, I hear 
 they come back with a terrific force ! I'll be generous, try 
 one of mine. (All laugh. As they stop laughing there is the 
 sound of something heavy falling in the room above. The 
 chandelier trembles slightly, the lustres sound. All four lift 
 their heads and listen a moment. (After counting three.) 
 A short pause.) 
 
 Kitty — What was that ! 
 
 Mrs. L. — The servants probably, upsi»airs ! (Enter Marion 
 
THE MOTH AND THE FLAME 19 
 
 frOTii ball room, smiling at the table of people as site passes) 
 
 JoHxsTvONE^fa^ she comes) Here's Miss Wolton. 
 
 Mrs. li. — My dear Marion, pardon me for not rising, but 
 I assure you I look much better sitting down ! ('Marion stops 
 by Mrs. Lorrimer^ 
 
 JoHNSTOKE — Not at all, Mrs. Lorrimer, they're awfully 
 lovely ! 
 
 Mrs. L. — Well, I'm sure they don't compare with yours. 
 
 JoHxsToxE^ — Oh, I don't know, there are others. ('Martox 
 goes down c.) 
 
 Mrs. L. — Marion, is Mr. Dawson here? 
 
 Marion — No, he's in Boston, why? 
 
 Mrs. L. — Oh, nothing, only he's an unmarried man, so I 
 thought I'd ask. (Servant in ball room takes away plates and 
 second servant passes ices) 
 
 Marion — (to Mrs. Lorrimer^ Why are you so late, Emily? 
 (back to Mrs. L.) 
 
 Mrs. L. — My little girl was seedy, and I couldn't get away 
 until I saw her asleep comfortably. It's an awful care for a 
 young woman, my dear, having a posthumous child ! 
 
 Marion— A what? 
 
 Mrs. L. — A posthumous child ! 
 
 Marion — (laughing) Hov) do you mean, Emily? 
 
 Mrs. L. — Why, born after it's father's divorce ! 
 
 Marion — Are you girls going to have coffee? 
 
 Mrs. L. — No. 
 
 Ethel — Nor I. 
 
 Marion — Very well then; join us for another game, 
 
 (doivn c.) (She makes a movement of starting) Unless you 
 men want to smoke. In that case take your coffee in the 
 library where you'll find cigarettes and other smolring materials. 
 
 Johnstone — (tcho has a cigarette in his mouth and has been 
 smoking all through the supper) I say! Oughtn't I to have 
 smoked here? 
 
 Marion — (smiling) No ! (she starts to go out through ball 
 room) 
 
 Johnstone — I beg your pardon. Well, any way it's an aw- 
 fully lovely party. 
 
 Mrs. L. — Marion, is it true you're going to be divorced — I 
 mean married? 
 
 Marion — (by doorway at 2). Married? I hope so, some day 
 (smiling, exit at b. into ball room.) fJoHN, is eating ice.) 
 ('Mrs. Lorrimer crosses to him. Kitty in front of table.) 
 ('Ethel takes up lamb doicn r.J ('Fanshaw exits c.) 
 
 Mrs. L. — Haven't you finished your ice, Johnny? 
 
 Johnstone — No. I like to squash mine, all up, and eat it 
 soft. 
 
 Mrs. L. — Johnny who made your bow? 
 
20 THE MOTH AND THE FLAME 
 
 JoHKs''roKE — Mother. (Kitty drives Johnky out of room 
 by hitting him with her ball. Mrs. L. crosses to Ethel and 
 takes lamb) 
 
 Ethel — (who has looked back over her shoulder into the 
 ball room, goes up to arch c.) Mr, Fletcher has joined 
 Marion. 
 
 Mrs. L. (coming c.) Oh, that's why Marion wished us to 
 hurry! She wanted this room for herself and Fletcher! 
 
 Ethel — Probably, (r. of Mrs. L.j 
 
 Mrs. L. — Let's go — as if we were gone for good, and then 
 stroll back casually in a few minutes, and see how we find 
 them! 
 
 Kitty — Isn't that eavesdropping? (n. of Mrs. L.J 
 
 Mrs. L. — Don't be absurd ! There isn't any such thing as 
 eavesdropping nowadays. Everybody listens to everything they 
 can, and everyone more or less knows they're being listened to. 
 
 Kitty — But what good will it do? 
 
 Mrs. L.— Why if we — come back and catch them with his 
 arm around her we can take it for granted they are engaged. 
 
 Ethel — I don't think that follows, I'm sure if I were en- 
 gaged to every man I let (she stops quickly. All laugh) 
 
 Kitty — (laughing) You gave yourself away that time, 
 Ethel! (They move out by door b. into ball room. As they 
 do so, servant enters from r., and Mariox enters meeting 
 girls and Mrs. Lorrimerj 
 
 Marion — Going to dance 
 
 Girls — Yes. 
 
 Mrs. L.^ — -No, play games. Kissing games, (all laugh and 
 exit R. c.) 
 
 Marion — Oh, Mrs. Lorrimer. (crossing down b. c.) (Enter 
 Fletcher c. from r.) 
 
 Fletcher^ — Why did you run away? 
 
 Marion — I was afraid if I didn't, the servants would never 
 get this room ready. 
 
 Fletcher — Have you a partner? 
 
 Marion — No. 
 
 Fletcher — (pleased to be with her and yet embarrassed) 
 May I — will you — that is — won't you dance with me? 
 
 Marion — (over l.J Yes ! 
 
 Fletcher — (near her) I wonder why I feel so diffident with 
 you. I think I never was diffident before ! (smiling) 
 
 Marion — (smiling) No, you haven't that reputation. 
 
 Fletcher — (smiling apologetically, but humorously) Dear 
 me, I hope you don't know what my reputation isn't — or is. 
 
 Marion — (seriously ) I don't judge a man by his reputation. 
 
 Fletcher — (involuntarily, half under his breath, humorously ) 
 Thank Heaven! (Marion looks at him,, hearing him. There is 
 
THE MOTH AND THE FLAME 91 
 
 a pause. She vaifs willingly for him to speak, hoping he will) 
 I've been a verj^ bad fellow. 
 
 Mariox — Some of the best men in the world have begun that 
 way. 
 
 Fletcher — They probably had some one to help — to believe 
 in them. 
 
 Martox — And haven't you? 
 
 Fletcher — Will you believe in me enough to (looks 
 
 off in ball room up a little, Mario^t follows.) (Fie loses his 
 control and speaks passionately.) Don't you understand, I 
 
 love you (he embraces her, she allows him. The embrace 
 
 lasts a moment) You can be my salvation! Will you be? 
 
 Mariox — (in his arms, looking up at him) I will — if I 
 can ■ 
 
 Fletcher — (whose eyes never quite look into Mariox's, 
 loosening the embrace) You will marry me? 
 
 MARio'jiT — Yes. (kisses him, then quickly moves down r.) 
 
 Fletcher — (follorcing her. Not looking at her) People 
 say I'm a blackguard ! 
 
 Marton — People say a great many things that aren't true. 
 What can a man do with all the world against him ! " People " 
 can force him into being as bad as they say he is. 
 
 Fletcher — Then you won't believe them. 
 
 Mariox — No, not if you deny what they say. (he holds out 
 his hand, she takes it. At this moment, Mrs. Lorrtmer and 
 Ethel appear at a., in ball room,, ostentatiously counting the 
 chairs and making small calculation about the cotillon in the 
 ball room, but really watching clyly Mariox and Fletcher. 
 Mariom sees it and speaks to Fletcher quickly under her 
 breath) Don't move! Don't drop my hand, but shake it as 
 if we'd been making a bet, and follow my lead ! (aloud) 
 It's settled them! You take my bet? 
 
 Fletcher — (shaking her hand and then dropping it casually) 
 A box of cigars, against a box of gloves! (sotto voce) 
 What is it? 
 
 Mariox — (sotto voce) Mrs. Lorrimer in the next room 
 watching us. (speaks in loiv voice satirically to Fletcher as 
 if she were speaking to Mrs. Lorrimer, crossing r. c.) Oh, 
 no, Emily ! I am going to marry Mr. Fletcher, but / intend 
 to be the one to announce that fact, and not you. ('Mrs. 
 Lorrimer and Ethel turn. They see Mariox and Fletcher 
 and pretend surprise; they remain in the ball room) 
 
 Mrs. L. — (with triimpet) Oh! Marion! are you here? 
 ('Mrs. L. down c. Ethel dotvn l.) 
 
 MARiox-^Ahem ! (with a quick amused side glance to 
 Fletcher) We've been watching you for some time, what was 
 the matter with the chairs? (Mariox r. c. and Fletcher goes 
 
 R.) 
 
m THE MOTH AND THE PXAME 
 
 Mbs. L. — (embarrassed) Nothing — we were merely choosing 
 places ? 
 
 Ethel — They lead from the other end, don't they? (join- 
 ing Fletcher over r.) 
 
 Marioit — Yes, you know Kitty is leading for me. (enter 
 Douglas c. He joints them) Who are you dancing with 
 Douglas? 
 
 Douglas — No one; I'm stagging it, 
 
 Mrs. L. — You don't mean to say Marion, you have more men 
 than women to-night ! 
 
 Marion — (with m,ock 'pride) Who says I don't know how to 
 give a party? 
 
 Mrs. L. — (to Douglasj Damn it! I wish I hadn't said I'd 
 dance with little Johnny, or I'd come to your rescue. (Douglas 
 secretly amused, hows his thanks. Ethel and Marion ex- 
 change an amused glance) 
 
 Ethel — (to Marion^ Douglas ought to give Johnny a vote 
 of thanks. 
 
 Mariok — (c.) Come, they are taking their places. (A 
 movement of all to go of r. c.) (Enter Mrs. Lorrimer and 
 Ethel. j (^Douglas touches Fletcher on the arm) 
 
 Douglas — (to Fletcher j — May I speak to you just a mo- 
 ment ? 
 
 Fletcher — Certainly— — - (all go hut MarionJ Excuse me 
 one moment, Miss Wolton, Rhodes wants a word with me. 
 (Marion starts slightly, and turning quickly, looks questiorv- 
 ingly at Douglas. He answers her gaze seriously and un- 
 flinchingly. (She turns to Fletcher^ 
 
 Marion — (to Fletcher^ No — I won't excuse you. (asstim- 
 ing a m.ore or less coquettish air) You must come with me 
 at once. ('Fletcher looks surprised, hut moves as if to ohey 
 her) 
 
 Douglas — But v/hy won't you trust Mr. Fletcher with me? 
 ('Fletcher laughs amused) 
 
 Marion — (nonplussed for a moment, then she changes her 
 
 mind) I was only jesting, (to FletcherJ But you won't 
 
 (to Douglas, looking at him meaningly and seriously) — keep 
 us waiting long, will you? I warn you, Mr. Fletcher, I shall 
 let them begin without us. (exits through ball room to r., as 
 Fletcher quickly fcisses her hand.) (Douglas waits till they 
 are quite alone. Fletcher moves down r.) 
 
 Douglas — (following down c.) (Quietly) Are you going 
 to ask Miss Wolton to marry you? 
 Fletcher — I am not. 
 
 Douglas — (momentary surprise — doubt, then relief — a sigh) 
 In that case I've nothing more to say, let's join the others. 
 (both make a move to go) 
 
THE MOTH AND THE FLAME 23 
 
 Fletcher — (who cannot resist saying it) You see Rhodes, 
 I have asked her already. 
 
 Douglas— (stops and turning, faces FLETCiiEH, whose hack 
 is toioard anidience) 
 
 Fletcher — (turning leisurely) About fifteen minutes ago — 
 but I can't see what business it is of yours, 
 
 Douglas — I love her. 
 
 Fletcher — That's no news to anybody ! 
 
 Douglas — And I don't intend she shall marry a — — - (he 
 stops. Short pause) 
 
 Fletcher — What? Why don't you finish? 
 
 Douglas — (more quietly) A man like you. 
 
 Fletcher — Oh, Fm not so very unique, lots of girls ritn 
 the risk of marrying a man like me! 
 
 Douglas — (follows down r. c.) I suppose you told her she 
 is more to you than any one in the world. 
 
 Fletcher — No. " Men like me " don't talk that rot. I put 
 
 my arms around her (stops interrupted by the movement 
 
 o/' Douglas.) (Douglas makes an involuntary movement, ex- 
 pressive of rage, controlled instantaneously , clenching his fists.) 
 (Finishes with a half smile at Douglasj And told her T 
 loved her. 
 
 Douglas — {suppressed anger) You couldn't say she was 
 more than, any one else to you, because it would have been a 
 lie! 
 
 Fletcher — (smiling) You flatter me. {crosses to l.) 
 
 (ready music) 
 
 Douglas — The one that is most to you is YOUR CHILD. 
 (Fletcher starts, is surprised) You can't deny the child 
 
 Fletcher — I " can " ! I can deny anything. 
 
 Douglas — -The lie could be proved to your face. On May, 
 1893, in Lenox, a young kindergarten teacher, — you blackguard 
 you ! 
 
 Fletcher — (a little angry) Who told you that story? 
 
 D0VG1.AS— {sneers) Vm not the only man who knows it! 
 Thai sort of thing never lies buried ! 
 
 Fletcher — The girl's all right now ! 
 
 Douglas — Oh, I know, you sent her abroad, and pay for 
 the thild. Weil, that's the mother's look out, and not mine. 
 But I don't believe she's the only case. One has only to look 
 at your life now — It was fortunate for you this winter that 
 Mrs. Cliptoa's divorce trial didn't come oif. (m) 
 
 Fletcher — {a little more angry) {Back to Douglas) Still 
 what has all this to do with you, and I'll deny it all besides, 
 if I feel like it, or need to. 
 
 Douglas — You knOw you're not fit to marry Marion Wotton!* 
 
 Fletcher — I know I love her. • .>tli io 'itv. 
 
 Douglas— For how long? f f..* i-^iyv^vl 
 
24 THE MOTH AND THE FLAME 
 
 Fletcher — I can't say, but neither can you — And besides, 
 she loves me! (to c.) 
 
 Douglas — Would she if she knew you? 
 
 Fletcher — (smilingly) Oh, come, Rhodes, drop it! I 
 don't care a damn what I have done, I'm going to marry her ! 
 I haven't made any bones about myself, I've told her I've 
 been a bad lot! (wp c.) 
 
 Douglas — Oh, yes, I know, you've confessed probably to 
 having been " fast," that nearly always appeals to a woman, 
 heaven knows why; I suppose it's the instinct for reformation 
 in them, but how much of your life does that word " fast " 
 convey to a pure girl like Marion? 
 
 Fletcher — (smiling) Quite enough! (serious) But if she 
 did know all there was to be known, Love forgives a great 
 deal. 
 
 Douglas — But not everything. There are certain things 
 Marion would never accept. She would refuse to take the 
 place that was the right of another. 
 
 F1.ETC11ER— (down to him) Oh, that's your point is it! 
 Well, hunt out Jeannette Gros if you can, it'll do you no 
 good ! (crosses l. c.) 
 
 Douglas — (follows quickly.) (Angry) You can't prove 
 that, because it's not true! 
 
 Fletcher — (facing Douglas. Angry too) I'll prove she 
 had other lovers before me. Good God, man, you don't know 
 what Marion Wolton's love means to me ! I've never loved 
 like this before ! Why, if it were possible for me to treat her 
 as I have — the other, I couldn't. 1 want to marry Marion 
 Wolton — I want to make her my wife! and I will! I've had 
 all there can be got out of my old life, and I'm sick of it. 
 Here's my chance at a new life, and do you think I'm going 
 to give it ujp ? No ! (forgetting and raising his voice) Do 
 you hear me. No ! ! 
 
 D0UG1.AS— (softly) Not so loud! 
 
 Fletcher — (lowered voice) No ! I'll fight for it with my 
 last breath, (crosses j..) 
 
 Douglas^ — Then I say again, you're a blackguard! 
 
 Fletcher — {laughs, turns back to audience) What do you 
 want to do, fight? You know we can't here. I give you liberty 
 to say to her all you can against me. 
 
 Douglas — She won't believe me. 
 
 Fletcher — Exactly— she loves me 
 
 Douglas — But there is one other I can tell the truth to, 
 who may believe me. (cross R.j 
 
 Fletcher — Look out you don't make yourself ridiculous, 
 going about the jilted lover, trying to take away the char- 
 acter of the accepted man ! (leisurely following him a little) 
 
 Douglas — I don't have to do any " going about ! " You are 
 
THE MOTH AND THE FLAME 25 
 
 well enough known in our world to keep most of our doors 
 closed against you. Few people are as blind as the Woltons, 
 and I will open his eyes ! 
 
 Fletcher — You'll tell her father? 
 
 Douglas — He is the one person she would listen to, and he 
 can verify what I say. 
 
 Fletcher— (^c^anr/e of tone, showing he fears this) Damn 
 it! I mean to be a decent man. 
 
 Douglas — (goes close to him and looks straight in his face) 
 Then go to Jeannette Gros and marry her! 
 
 Fletcher — (angry again) Go to H (back to c.) 
 
 (Change of tone) You think if I'm out of the way you'll get 
 her? (ready cotillon) 
 
 Douglas— She's told me she doesn't love me, and she proved 
 to me that she won't believe the truth of you without extraordi- 
 nary proof. There is only one person in the world who could 
 naturally interfere and give her anything like that proof, and 
 that's her father, and I shall tell him to-night, before I leave 
 this house, before you can announce your engagement! 
 
 Fletcher — With Miss Wolton's permission, I will announce 
 our engagement to-night in spite of you, and her father. 
 (music stops.) (Enter Mrs. Lorrimer, with a favor, Lamb 
 and Trum,pet.) 
 
 Mrs. L. — (c.) Oh, here you men are! If you think this is 
 going to be allowed, you are very much mistaken ! What do 
 men'think we ask them to parties for? Eh? Anyv/ay a cotil- 
 lon is a leap year dance, on such an occasion you are our 
 natural prey !' Come, sir! (pretending to blow trumpet) 
 
 Douglas— fR.^ No. (smiling apologetically) Postpone my 
 pleasure till a little later in the evening, will you? Don't be 
 angry with me, I want to have a few words with Mr. Wolton, 
 then I'll come and give all my favors to you ! 
 
 Mrs. L. — (c.) That sounds attractive'; I'll let you off. 
 (makes lamby squeak.) (Smiling turn to Fletcher.) But I 
 won't let you off. 
 
 Fletcher — (il., smiling) Don't, please! I'm very happy to 
 be your consolation prize, (takes lamb.) (Music dance.) 
 
 Mrs. L. — I'm a dangerous woiyian to make that remark to. 
 word. 
 You'd better be careful, or I might take you literally at your 
 
 Fletcher — Oh, if you only would, (pulls lamb's head) 
 
 Mrs. L. — What a charming speech. (She and Fletcher go 
 into ball room and off R.j (^Fletcher makes lamb squeak.) 
 ('Mrs. Woltokt, her arms full of a set of gay favors, crosses 
 the ball room from, r., and Douglas sees her and takes a step 
 or tivo towards her, and then waits till she has finished speak- 
 ing to the girl. Mrs. Wolton turns and Douglas addresses 
 her.) 
 
26 THE MOTH AND THE FLAME 
 
 Douglas— Mrs. Wolton, is Mr. Wolton in the ball room? 
 
 Mrs. W.— No, I think he's in the smoking room — Aren't you 
 going to dance? (coming into room) 
 
 Douglas — Not just yet— later (half hows apologeti- 
 cally. (M.) (At the same m,oment the music swells and the 
 procession of dancers, in couples, dance in five or six couples 
 into the front room, the line curving away to r. to suggest 
 that there are very many more couples in the ball room out 
 of sight. As they dance they are laughing and talking — the 
 first couple turn, the other couples making bridges under 
 which the first couple goes, and passes into ball room and off 
 R., followed by each couple the same.) (Music softens.) 
 CMrs. Wolton has drawn to one side r. c, ivhen the dancers 
 came in.) (In this dance, scarfs are u^ed by dancers.) 
 
 Douglas — Mr, Wolton there? 
 
 Mrs. W. — (mildly surprised) He? 
 
 Douglas — I want to see Mr. Wolton very much to-night — 
 now. It is a matter of the greatest importance, (enter serv- 
 ant R. from hall room.) 
 
 Mrs. W.— fc.j Where is Mr. Wolton, Howes? 
 
 Servant — (r.) He has gone to his bedroom, m'm. (crosses 
 behind Mrs. W. down n.) 
 
 Mrs. W. — (surprised, but not too much so) What? 
 
 Servant — He said he was on no account to be disturbed 
 until the party was over. . 
 
 Mrs. W. — (a little anxious) Was he ill? 
 
 Servant — He didn't appear so, m'm. 
 
 Douglas — (l. to Mrs. W.) Was he feeling ill to-night? 
 
 Mrs. W. — (with a i-eUeved voice, showing no anxiety) No, 
 not at all. He was in splendid spirits. Probably he was bored 
 and thought he would be quieter upstairs. 
 
 Douglas — I don't want to be offensive, but I must, if posr 
 sible see him to-night. 
 
 Mrs. Vf— (speaking very casually) Howes, you might ^6 
 and say to Mr. Wolton, Mr. Rhodes wants to speak to him 
 about something very urgent, (to Douglas J If he doesn't 
 want to come down stairs again, he can send for you to 
 come up. 
 
 Servant — Beg pardon, m'm, but he was so very strong with 
 me that I shouldn't under any circumstances go to him, I don't 
 
 quite like to ■ (he hesitates embarrassed at having to not 
 
 obey Mrs. Wolton's request at once) 
 
 Mrs. W.— Really, he made such a point of it! Oh, very well 
 then, you needn't go, Howes, (with a nod of dismissal.) 
 (Servant exits into ball room and off c.) 
 
 Mrs. W. — (lowers her voice so that Howes shan't hear her, 
 as he goes) Mr. Wolton is rather hard on the servants if 
 they fail to obey his orders to the letter. I'll go myself and 
 
THE MOTH AND THE FLAME 27 
 
 see if he won't see you. (enter Marion c. from ball room, as 
 her mother starts u.) 
 
 Marion — Mother, where are you going with the favors? 
 
 Mrs. W. — To your father for a moment. 
 
 Marion — (c.) But you can't, we need them, (crosses r.) 
 (Music stops.) I'll go for you. ('Mrs. W. exit c. as Marion 
 exits r.^ ^Fanshaw appears from ball room, enters c.) 
 
 Fanshaw — Come on Rhodes, we need your help, (seizing 
 
 DOUGLASJ 
 
 Douglas — How long will it take? 
 
 Fanshaw — Oh. only a couple of minutes. (^Rhodes and 
 Fanshaw exit c. followed by Mrs. Wolton.) 
 
 Trimmins — (of stage) Mrs. Lorrimer ! Mrs. Lorrimer ! 
 (enters c. r.J Oh, Mrs. Lorrimer, won't you dance through 
 with me? ("Trimmins does this) 
 
 Mrs. L. — Do excuse me. (adds a little sotto voce and coax- 
 inghj) And as a favor to me, go and take out poor Susie 
 Woodruff. You know it's only " snap the whip " figure, so 
 it won't make much difference to you if she is a bit heavy. 
 (Trimmins makes a bored grimace, and goes up stage. Mrs. 
 L. catches him) Yes, to please me! It isn't as if it were a 
 waltz and you had to get her around all by yourself! 
 
 Trimmins — (smiling) Very well, to please you ! But Susan 
 Woodruff she's the limit, (doubles up his arm and feels his 
 muscles meaningly, and exits c. to l.) (Marion enters r., 
 tragically. White, frightened, she staggers quickly into the 
 room and stopping for a second, gasps in a horrified vihisper) 
 
 Marion — Mother ! (crosses to arch up c.) Mother ! ! 
 (music " Won't You Come And Play With Me.") (Singing 
 heard pp. off r.) (Marion l. c. turns, frightened, goes down. 
 Her mother comes to her from i.. They meet near c.) 
 
 Mrs. W. — (frightened, puzzled) Nslhai is it? What's the 
 matter ? 
 
 Marion — (for a moment, canH speak. She opens her lips, 
 but the words refuse to come. Then she manages to gasp out) 
 Father ! 
 
 Mrs. W.— Your father — what? (starts and looks at her 
 questioningly, frightened, as the music swells, and is joined 
 in by the voices of the dancers) 
 
 Marion — He is dead ! 
 
 Mrs. W. — Dead ! ! (she makes a movement towards door 
 R. Marion stops her) 
 
 Marion — It's too horrrible! — he has killed himself (adds 
 
 the letter in lower tone, almost fainting.) (The dancers ap- 
 pear in the ball room hand in hand in single -file, led by 
 Fanshaw and dance vyildly in — all singing " Won't You Come 
 And Play With Me." They make a big circle about Marion 
 and Mrs, Wolton, dancing out through the ball room to r.. 
 
2S THE MOTH AND THE FLAME 
 
 the music and singing becoming fainter as they disappear. 
 The two women are left alone.) (Re-enter Douglas from ball 
 room R.) 
 
 Douglas — May I go up? (he sees the condition of Mrs. 
 WoLTOK and the expression of Marion) Is your mother ill? 
 
 Mario^t — Help me take her to — my room — I will tell you. 
 (dancers cross l. and back as they exit.) (Music changes to 
 waltz.) (All go out r. Mrs. Lorrimer, on end, drops their 
 hands at c. Mrs. Wolton and Mariok shudder as they go 
 out R. 1 E.) 
 
 Mrs. L. — (c.) Where is Mr. Rhodes? 
 
 Fakshaw— (^R.J He was here a moment ago. (enter serv- 
 ant R. 1 E. He has his overcoat on and carries his hat. Mrs. 
 LoRRiMER tiirns down c.) 
 
 Mrs. L. — Have you seen Mr. Rhodes? 
 
 Servant — He is just coming m'm. 
 
 Mrs. L. — (looking at Servant and seeing something in his 
 face and manned.) (Servant crosses hurriedly) Is there any- 
 thing the matter? Where is Mrs. Wolton? (^Douglas enters 
 R. before Servant can answer. Mrs. Lorrimer at once turns 
 to him, ignoring servant, who, on a run, botes slightly and 
 exits -L.) 
 
 Mrs. L. — (to DouglasJ What's the matter? 
 
 Douglas — (•&.) A most terrible thing has happened. 
 
 Mrs. L.— What? 
 
 Douglas — You must help me to get rid of all the guests ! 
 (ready back lights out) 
 
 Mrs. L. — To get rid • (interrupted) 
 
 Douglas — (interrupting) Mr. Wolton has committed suicide. 
 (ready calls) 
 
 Mrs. L. — (starts and shudders, speaks very rapidly) Mr. 
 — how awful! What are you going to do? You can't tell the 
 people now. What in the world did the man mean by not 
 waiting till the party was over! (crosses l.) If it isn't like 
 you men ! Your own comfort before anybody else's — Well — 
 the only thing is to pretend it hasn't happened at all — Make 
 some excuse for Marion and her mother — the guests needn't 
 know anything about it, and finish the party! 
 
 Douglas — Mrs. Lorrimer! Impossible! 
 
 Mrs. L. — It would be sort of uncomfortable for us who 
 knoWi (she adds sincerely) — and the poor Woltons, of course 
 it is awful for them. 
 
 Douglas — I thought if you spoke to Fanshaw and stopped 
 the cotillon and told a few of the guests (interrupted) 
 
 Mrs. L.— (aghast) What! The truth? 
 
 Douglas — No, say Mr. Wolton has been taken suddenly and 
 most dangerously ill 
 
THE MOTH AND THE FLAME 29 
 
 Mrs. L. — (to Douglas^ Very well, I'll do what I can. 
 (back lif/hts out) 
 
 DouGi-As — Stop ! (music stops.) ('Douglas goes to doorway 
 into ball room and dratvs the heavy portieres, shutting out the 
 ball room.) ('Martox enters r. at door r. 1 e.) 
 
 Marion — (to Douglas, who stays at curtains c.) They are 
 going? 
 
 Douglas — Yes. 
 
 Marton- — They know? 
 
 Douglas — Not the truth ! 
 
 Marton — Thank you. 
 
 Douglas — Mrs, Lorrimer is arranging it. (Footman of 
 stage calls " 43."J (Begin calls.) (These numbers are re- 
 peated in a'kother voice and farther away.) (A moment's 
 pause.) 
 
 Douglas — I wish I could comfort you. 
 
 Marion — (smiling, strainedly at him) Thank you. (Foot- 
 man calls " 56 !— 56 !— 89 ! "/ (Footman calls '"33!— 33!— 
 61 ! " Douglas holds back the portiere into ball room) 
 
 Marion — I'd better go back to mother. How good you are 
 to us — believe me I appreciate it all Douglas, all. " (Enter 
 Dawson hurriedly r. Shoivs excitement and emition.) (At 
 the same momerit enter Fletcher from ball room at back. 
 The tioo men speak the loord " Marion " at the same time, 
 and turning, see each other. Dawson also observes the pres- 
 ence of Douglas.) Uncle Fred ! (Crosses to him l. c.) 
 (Footman calls "115! "J (To Dawson j You know! 
 
 Fletcher — (gently, persuasively joining her) Why didn't 
 you send for me at once? 
 
 Dawson— Gentleman, you will forgive me, if I thank you 
 both and say the guests are leaving. The family would like 
 to be alone. 
 
 Douglas — I understand, but if I can be of any use? 
 
 Dawson — Thank you. 
 
 Douglas — (going up c.) Shall we go, Fletcher? 
 
 Fletcher — Good-night, Rhodes, (politely) My place is 
 here; it is my privilege to stay by Miss Wolton. (ready lights 
 out. No calls.) ('Dawson looks up surprised. Rhodes looks 
 angry. Fletcher contiwues. to MarionJ May I speak? 
 ('Marion bows her head In assent) Mr. Dawson, your niece 
 has promised to-night to be my wife. At such a terrible mo- 
 ment as this, I claim the right of membership of the family, 
 to be with you and help all I can. You will accept my offices? 
 (Holding out his hand) 
 
 Dawson — (shaking his hand) Certainly. You have won a 
 wife in a thousand. But you may be called on to do more 
 perhaps than you imagine. 
 
 Fletcher — I am entirely at your service. 
 
30 THE MOTH AND THE FLAME 
 
 Douglas— fi..^ (Near, doorway hack, to all. At curtains, 
 leaves curtains open.) Good-night ! (A II turn sUxfhtly. 
 Douglas hows slightly and exits. Fletcher going to Mariojt J 
 
 Dawsox — (watching them) Thank God ! His money will 
 save them ! (Servant enters r. 1 e. speaks softly to Dawsox.^ 
 
 Servaxt — Mr. Dawson ! fDAwsosr starts, nods to servant, 
 ivho holds door r. open.) 
 
 Dawson — I'm coming, (slowly, seriously, meaningly ) 
 Fletcher, I want a long talk with you to-night before you go. 
 
 Fletcher — ^Very well, sir. (^Dawsox sighs heavily and exits 
 R. Servant leaves r. door open.) (The two, Mariox and 
 Fletcher^ hear the door shut behind them,, and make a move- 
 ment, they realize they are alone.) (A heavy front door 
 slams.) (Lights out.) xThere is silence.) (Taking Mariox 
 in his arms) My poor little girl ! — My poor little girl — Cry 
 lor God's sake cry! 
 
 Mariox — (tvith an outburst) Oh, it is so horrible! (She 
 sobs loud and hysterically in Fletcher's arms, her own arms 
 about his neck) — so — horrible^ • 
 
 curtaix 
 
 (At close of Act I, servant after saying " Mr. Dawsox," 
 and being replied to by Dav^sox, exits r. by the same door he 
 has just entered. After Dawsox's exit, another servant turns 
 on electric button and the light go out on the stage as well 
 as in the ball room,. If possible have morning light com.e into 
 the room from window l. The servant, after having turned, 
 out the lights, draios the curtains open at back toithout per- 
 ceiving the presence of Fletcher and Mariox^ and exits off 
 R., through the ball room.) (Have curtains begin to fall after 
 Mariox's first " Oh, it is horrible!'^) 
 
 ACT II 
 
 ScEXE — A church. At i.. are the steps leading to the chancel 
 and the chancel rails. Beyond the rails are palms grouped 
 which conceal the altar. Past the chancel, up stage l. is the 
 exit into the choir. Down stage l. is the exit to the vestry and 
 robing room. To r. of c. begin the pews of the church on 
 each side of a broad centre aisle. The stage is set a little 
 diagonally so that the aisle runs rfom, upper r. toward c. stage. 
 This will m,ake a roio or tioo more pews above the aisle than 
 below it. White satin ribbons are stretched above the aisle 
 on each side, across the entrances to the pews, this ribbon the 
 ushers lift aside as they seat the guests. The exit r. is made 
 by the c. aisle. 
 
THE MOTH AND THE FLAME 
 
 31 
 
 Discovered— TAree ushers, Johnstone> Fansbtaw and TaiM- 
 MiNS. Johnstone is sitting in the first pew, Fanshaw standf- 
 ing outside and leaning over its front, talking to Johnstone, 
 Trimmins is leaning with his back against the side of the first 
 pew across the aisle up stage. They are dressed in long frock 
 coats, with buttonholes of white orchids. Theg are engaged in 
 putting on white kid gloves. 
 
 Bunch 
 
 Amber Medium 
 
 Window 
 
 Transparent 
 
 Blue and White Border 
 
 Drop 
 
 Door 
 
 Blue and White Border Stops 
 3 Lights on Strip 
 Tormentor 
 
 Bunch 
 
 Amber Medium 
 
 Window 
 Transparent 
 
 Q Lamps on Strips 
 Backing Arch 
 ) Platform 
 White Bunch 
 
 2 Lights 
 
 Drapery Border 
 
 Tormentor 
 
 Blue and White Border 
 
 White Foots with a Few Red Lamps on 
 
 Diagram of Lights 
 
 in 
 
 Act II. 
 
THE MOTH AND THE FLAME 
 Back drop (2 transparent windows) 
 
 Window 
 
 
 Window 
 
 
 Font Screen to choir 
 
 
 Smilax and roses 
 
 
 Pew Pew 
 
 Door 
 
 
 Pew Pew 
 
 Low Stool and 
 
 Leg Drop 
 
 
 Palms 
 
 (Arches) 
 
 
 Garlands on 
 
 
 
 PiUar 
 
 
 
 PiUar 
 
 
 
 Palms 
 
 Large 
 Platform 
 
 
 Garlands on 
 
 
 Arches of 
 
 
 
 Chancel Rail 
 
 Pew Pew Pew 
 
 Pew Smilex and 
 Roses on 
 
 
 
 Front of Rail 
 
 Palms 
 
 
 Drapery Border 
 
 Garlands on Ends of Pews 
 
 
 Tormentor 
 
 
 Tormentor 
 
 Drapery 
 
 
 Drapery 
 
 Interior of Church Oak Woodwork 
 
 Pews Rail Ceilings 
 
 Steps and Wainscoting 
 
 Stone Walls and Pillars 
 
 Dark Red Carpet on Floor and Platforms and Steps 
 
 Cushions on Pews 
 
THE MOTH AND THE FLAME 33 
 
 Fanshaw — Is Fletcher in the vestry yet? 
 
 Johnstone — Heavens, no, how long do you want him to hang 
 around? But he won't be late, he's serious this time. 
 
 Trimmins — I'm glad to hear it, because he's going to marry a 
 splendid girl, (a short pause) I hope to goodness he really 
 loves her. 
 
 Johnstone — Oh, he does, I'm sure. I'll bet you if you like, 
 will you put up a silk hat on it? (rises) 
 
 Fanshaw — Yes, I'll take you ! 
 
 Johnstone — All right, (exit from pew.) (Holding out his 
 hand, which Fanshaw takes and they shake.) Done ! 
 
 Fanshaw — And I hope I'll lose. And if I were he I'd 
 tremble in my boots with a past like his, and the present 
 getting so conspicuously favorable. 
 
 Johnstone — Oh, I don't believe in your boomerang pasts ! 
 
 Fanshaw — And I don't believe Fletcher can have one single 
 memory of his own which he wouldn't rather forget since he 
 has become to care for Marion Wolton. (crosses to r. to pew.) 
 ('Johnstone cross l. c.) 
 
 Trimmins — Yes, but don't you think a fellow can sow his 
 wild oats and be done with them, and become a good man and 
 an honest citizen. 
 
 Fanshaw — Of course I do, else good Lord, where'd i be ! 
 We can't all be ideal chaps like Douglas Rhodes. But there 
 are oats and oats, and Fletcher's are — oats ! 
 
 Johnstone — Well, he's sorry for them, (crosses to pew r.) 
 (As Douglas Rhodes enters, Trimmins exits b..) ('Rhodes is 
 also dressed as an usher and comes up the aisle in time to hear 
 John's speech, as he joins them.) 
 
 Douglas — Who's sorry for what? 
 
 Johnstone — Fletcher for — for — for — everything ! 
 
 Douglas — Hum — — ('Douglas goes up -l.) 
 
 Fanshaw — If he's honestly sorry, he's no business marrying 
 Marion Wolton. 
 
 Johnstone — Why not? 
 
 Fanshaw — He has a debt to be paid. He can't wash his 
 hands of the kind of things he's done, if he were in earnest 
 in regretting his old life, he would do something to make up 
 for it. 
 
 Johnstone — Well, isn't he! He's going to marry a nice 
 girl and settle down. 
 
 Fanshaw — If he were in earnest he'd marry instead one of 
 at least two girls I know of — not this one. 
 
 Johnstone — Oh, come there's no reason why he should do 
 a quixotic thing like that, he has a future before him. 
 
 Fanshaw — He has their futures before him. 
 
 Johnstone — Don't preach. Why should he be dragged 
 down • 
 
34 THE MOTH AND THE FLAME 
 
 Fanshaw — (interrupting) To where he dragged them? 
 Johnstone— Exactly, Fletcher's no fool. And then there's 
 Mr. Dawson. He swears by Fletcher now, they're regular 
 
 Fanshaw— Ever since Mr. Wolton's death. I ■ don't under- 
 stand it. 
 
 T)ovGi.AS—( coming down r.j Yes, Dawson really believes 
 in Fletcher — well perhaps he's right. There must be some good 
 in everybody and perhaps Fletcher is just beginning to come 
 to the top. Let's hope so. 
 
 Johnstone — ^Hang it, fellows brace up anyway. This isn't 
 a funeral you know. Hello there's the organ. (Organ music 
 begins.) (Organ music selections appropriate and usual on 
 such occasions continue uninterruptedly till place is indicated 
 in the Mss. for them to stop.) The people will be conning now. 
 (He exits r.J (Two other ushers make a movement, throwing 
 off a curtain, lazy nonchalant manner, and getting themselves 
 into onore digni^ed readiness for their duties.) 
 
 Douglas — (rises crosses to l.J I tell you, Fanshaw, this is 
 a hard day for me. 
 
 Fanshaw— But I'm glad you decided to come. It would 
 have made all sorts of gossip if you hadn't. 
 
 Douglas — (sighs) Yes. Anyway as it's got to be now we 
 must all make the best of it. 
 
 Fakshaw — No one besides me dreams your life is still 
 wrapped up in Marion Wolton. 
 
 Douglas — (embarrassed but pleasantly.) (With a half 
 laugh) And I suppose, that ought to be some consolation, but 
 I don't know as it is. However, I shall never be able to thank 
 you enough for the comfort you've been. A man must have 
 some one to talk to. And it isn't every fellow who can have 
 a friend like you. 
 
 Yav;&Tc1a.w-^( embarrassed, but pleased) Shut up! Here's 
 Fletcher's mother, she came on from Richmond yesterday. 
 (He goes doivn c. aisle to meet her.) And behind are those 
 girls they 'want put into the front pews. ("Fanshaw a7id 
 Douglas (gioiS r.J ' (At the same moment that the two disap- 
 pear, Mrs. Fletcher appears on the arm' of the third usher, 
 Trimmins.j 
 
 ' ;Mrs. F--(to Trijmmins, as he shows her into the first peio -l.) 
 You know Mrs. Wolton, of course? 
 
 TRiMaiiKS^^The bride's mother? (bows in affirm,ativ^e) 
 
 Mrs. F. — When she comes^ won't j'ou sh6w her in here with 
 me please?' ' ^Trtmmins bows and exits R.^.i (^Mrs/Fletcher 
 sits, then kneels a moment, and then reseats herself with a 
 touch to the trimming of the waist of her gown somewhere.) 
 (As enter n. Fanshaw ;rtj(/t Mrs. Lorrtmerv Johnstone with 
 
THE MOTH AND THE FLAME 35 
 
 Kitty ffwrf Trim Mixs icith Etkei., ladies outside.) (Ushers 
 exit R. as soon as guest is seated.) '"■' ' '''• ' '- 
 
 Mrs. L. — (On being shown into the firsi pew down stage.) 
 Is this the^ farthest front you can seat us? (In a dissatisfied 
 tone.) 
 
 Fanshaw — (goes of r.) This is the front pew. 
 
 Mrs. L. — (laughingly) Of course so it is: How silly of 
 me! (She passes to the end of the pew nearest to the audience) 
 
 Kitty — (as she follows into the peto to Johnstoxk.^ Are 
 we late? 
 
 Johnstone— fo;f l. 1 E.j No you're awfully early. ('Trim- 
 
 MINS off" U.) 
 
 Ethel — (following into pew.) Oh, I say, girls. Isn't that 
 a shame, we're early. (The three women are standing in the 
 peio ihey all turn around to glance back into the church which 
 is supposed to be filling with guests, every once in a while 
 some one being seated by an usher in one of the pews visible to 
 the audience. After a glance round the three sit doion.) 
 What do you think of Douglas Rhodes being an usher? 
 • Mrs; Iy.-=— Oh, my dear, it doesn't take these men long to 
 get over a hopeless passion! 
 
 Kitty — If he is over it. 
 
 Gertrude — Of course he's over it, or he wouldn't be here, 
 v/ould he ! 
 
 5'Irs. L.— Every time I've tried, to make love to him, he has 
 seemed to me' awfully in love with hie r still. (Laugh.) (Enter 
 guests) .(Stop organ No. 1.)' ' ' .' • 
 
 Kitty — I was wondering this morning where in the world 
 Marion- met Mr. Fletcher? 
 
 Ethel — Perhaps it was at that Christian thing-a-may-gig 
 she's interested in. 
 
 Kitty— You mean the Young Men's Christian Association? 
 
 Ethel — Yes, I'd bet on it's being the Young Men's. (Laughs) 
 
 Mrs. L.— Oh, my dear, you know he isn't that sort of a 
 man at all. He's much more my style ! 
 
 Kitty- — Well you know none of us ever met him till he 
 began to go to the Woltons. (Enter ushers and guests.) (A 
 neu) selection is started on the organ and all half rise and 
 ttim, but turn back again at once info their places com- 
 placently.) 
 
 Ethel — I think Marion's been getting to be a perfect stick 
 any way these last few years with all the plain covered books 
 she reads and all her " university settlement " stuff in the 
 slums, and her working girls' clubs and things. But that 
 makes it all the funnier for her to marry a man she's really 
 not known very long, don't 5"ou think so? 
 
 Gertrude — Where did he come from anyway? 
 
36 THE MOTH AND THE FLAME 
 
 Ethel — Everywhere — which you know is as good as nowhere. 
 He's that sort of a man. (Stop No. 2.) 
 
 Mrs. L. — Oh, no, his family comes from Virginia. And he's 
 a Harvard men. (Enter Trmmiks with guest to pew.) Was 
 in the fastest set there, so he must have some position ! 
 (Laughs.) 
 
 Ethel — And he's rich. 
 
 Kitty — But Marion wouldn't marry for money. 
 
 Ethel — Then why is she marrying him? 
 
 Mrs. L. — I don't know, I think she must be in love with him. 
 
 ¥iTTAT£.\.—(with a laugh.) Ha! And then everyone says she's 
 so sensible! (Organ No. 3.) (Door slams.) (Another dif^ 
 ferent selection is started on the organ and a door is shut 
 o-ff the stage.) (The three women all half rise and turn again) 
 
 Kitty — Here they come ! 
 
 Gertrude — No, not yet. (The three sit again with a mur- 
 mur of disappointment.) 
 
 Gertrude — Well. I only hope Marion will be happy, she's 
 taught so many others how to enjoy the best of life. 
 
 Ethel — I don't see how you can sympathize with her in her 
 philanthropic fads ! I believe in being charitable, but there's 
 a right and a wrong way ! 
 
 Kitty— ( quietly ) Yes, I don't suppose there's a fashion- 
 able subscription list in town that hasn't your name on it. 
 
 Ethel— iVo^ one .And as near the top as I can get. 
 
 Mrs. L. — (leaning over to speak to EthelJ I agree with 
 you ! I went down to one of Marion's working women's eve- 
 ning meetings — and really I was bored to death. 
 
 Ethel — Isn't the church trimmed horribly, looks as if they 
 did it themselves. It would be just like Marion to have some 
 silly sentiment about it. (Stop organ No. S.) 
 
 Kitty — (strongly) 1 like Marion for her sentiment. I only 
 hope she isn't marrying Fletcher because of it, in the hope 
 that she will make his life, and perhaps have to spoil her own. 
 
 Blanche — (leaning over and speaking to the three women 
 in front) Doesn't the church look lovely ! 
 
 Ethel — (who said it looked horridly) Perfectly lovely ! 
 
 Mrs. L. — Girls, who is that dowdy looking creature? 
 
 All — (turning and looking back into the church) Where? 
 
 Mrs. L. — On the left hand side of the aisle with a last 
 winter's coat, don't you see, with the huge sleeves ! 
 
 Ethel — Oh, yes with the cheap fur trimming and the mangy 
 muff — who is it? 
 
 Blanche — Oh that: It's one of the groom's country rela- 
 tives. 
 
 Mrs. L. — She looks it. The kind that gets cards only to the 
 church. (All laugh.) (All down stage rise again, excitedly 
 
THE MOTH AND THE FLAME 37 
 
 showing an increase of excitement over the first time they 
 rose and looking back) 
 
 Ethel — Are they coming? 
 
 Blanche — No (General murmur of disappointment.) 
 
 It's the bride's mother. (All sit again.) ('Mrs. Wolton enters 
 R. on the arm of Douglas. She is very handsomely dressed 
 in black velvet and white lace. She is shoion into the pew 
 with Mrs. Fletcher. They exchange greetings.) ^Douglas 
 exits r. at the same time the clergyman enters l, behind the 
 chancel rail and goes back l. c. behind the palms, etc.) (Mean- 
 while the following dialogue is taking place) 
 
 Mrs. L. — (leaning over) You mean how it doesn't. 
 
 Kitty — (half turning to look back) Suse Printly's Balti- 
 more cousin has just come in — do you think she's a beauty? 
 
 Ethel — You mean that awfully blonde girl. 
 
 Mrs. L. — (laughingly) Yes, that's she. Fifty cents the 
 small cottle, seventy-five the larger size! {All three laugh) 
 (Short pause) 
 
 Ethel — I suppose you've heard she's engaged? (Book bus) 
 
 Mrs. L. — No, to whom? 
 
 Ethel — Oh, only an American, (pause) 
 
 Mrs. L.— Weddings always give me a homesick feeling, I 
 like them so. 
 
 Kitty — Well you've had your share of them, you know. 
 
 Mrs. L. — Not at all. I've only been married tioice. Do you 
 know who I have my eyes on now? 
 
 Kitty — No, who is it? 
 
 Mrs. L, — Mr. Daicson! 
 
 Ethel— What? 
 
 Kitty — You're serious ... to marry him. (Stop organ 
 No. 4.j 
 
 Mrs. L. — Yes ! Everyone will tell you he's one of the best 
 men in the world. 
 
 Ethel— But my dear, that's a change for you ! How'll you 
 ever get him into the divorce court? 
 
 Mrs. L. — Nonsense ! I don't want to. Haven't you heard 
 . . . my house in Dakota's for sale. I don't belong to the 
 Divorce Club any more . . . the membership is getting en- 
 tirely to mixed! (They took back into the church at the 
 people.) (Mrs. Woltox leans over to Mrs, Fletcher.^ 
 
 Mrs. W. — I am so nervous I could almost cry out ! Oh, I 
 shall be so relieved . . , really, I can't tell you , , . when the 
 ceremony's over. (Organ. Wedding march.) ('Fletcher and 
 his groomsman enter l. In front of the chancel rails and go 
 to L. V. Guests all rise, showing excitement and turning half 
 loay face off the stage, looking down the c. aisle. Mrs. Wol- 
 ton and Mrs, Fletcher stand facing the altar. Mrs. Fletcher 
 takes Mrs. Wolton's arm affectionately and holds her arm 
 
39 THE MOTH AFD THE FLAME 
 
 tight in friendly sympathy. The faint sound is heard of boys' 
 and men's voices singing with the organ the wedding hymn. 
 All watch off the stage, moving very slowly ' as if following 
 the slow movement of ■ a procession coming up the c. aisle.) 
 (Meanwhile the followin-g dialogue occurs.) 
 
 ExHEL^The Trimmins boys are the second ushers. 
 
 Mrs. L. — Which is the one you were engaged to? 
 
 Ethel — I forget, I've flirted with them both so long, but T 
 think it's the right hand one ! (The head of the wedding pro- 
 cession appears. The ehoisters singing, follov^ed by the six 
 ushers (^Douglas and Fa:nshaw leading) folloived by four 
 bridesmaids.) (The bride enters leaning on the arm of Mr, 
 Dawsok, the choristers exit extt&me t.. tt. and continue singiiig 
 off stage softly until time indicated for them, to stop. The 
 bridesmaids and' ushers take their places, grouped properly 
 about the chancel steps. MaIrion staitds at the c. of chancel 
 rail L. c. where she is joined by Fletcher/ ^/?e groomsman 
 standing to one side of him. Dawson stands on the- opposite 
 side of Marion. The clergyman has come forumrd and stands 
 facing them on the other 'side of iJie chancel railing. 'The 
 guests open their prayer books with a flutter of the leaves.) 
 (fMARioK- gives bouquet to Daw&oj^.) (Music stops for a mo- 
 charming Mr. D^^wson appears by the chancel rails. I nerer 
 '^aw him in a more becoming place, and if it's a possible thing 
 I shairhiake a rendezvous to weeit him there one day! (Music) 
 (Begins again softly, and accompanies the service. At first 
 it is heard quite distinctly while the clergyman is going through 
 unheard the first part of the marriage ceremony.) (A short 
 pause in the dialogue — count Q.) 
 
 'E!>TMY:x.—^(whisper^ to Kitty and Mrs. Lorrimbu) How com- 
 posed she is. 
 
 Mrs. L.^ — (whisp&ring back) One would think she was a 
 v/idow ! I couldn't do better myself ! (A short pause in the 
 dialogue. Count 10) (Clergyman looks up and raises his 
 voice a little, addressing the congregation in the church . 'i : 
 but not too loud so as to be too evident) ■ ; ''' ' yn''. 
 
 Clergyman- — "If any man .v. (a door is .^hut 'heavily of 
 stage. )r (At sound of door slam,, t)ovGjjAS exit r. and returns 
 after Jea:^nette's entrance, going dire€tly to Mrs. Wolton, 
 who seems overcoTne) can show just cause why these two per- 
 sons should not lawfully be j(ilned together . . . (a commo- 
 tion among the guests, who t2irn away from the altar, to look 
 back into the church) . . .let him now speak. (Douglas goes 
 L,, top of aisle, to block the passage) or else hereafter forever 
 hold his peace. . . ." f Jeannette enters, going to the foot of 
 the chancel steps cries "Stop!" She is a young and attrac- 
 tive looking woman, fashionably, but quietly dressed.) (All 
 in the church are stunned. The groom turning, sees her, and 
 
THE MOTH AND THE FLAME 39 
 
 starts, but controls himself, glaring at Jeaxnette. Marion 
 gazes in terror and horror at her, her bouquet drops unnoticed 
 by her. Mrs. Woltox starts to leave her peio but is held back 
 and persuaded fey Mrs. Fletcher to remain quietly where she 
 is. Mr. Dawson steps down one step toward JeannettkJ 
 
 Dawson — (to JeannetteJ Who are you? 
 
 jY:x^—^(with a gesture toward Fletcher^ Ask him! " .• 
 
 Dawson— What right have you to interrupt this ceremony?)': 
 
 Jean — (icith a gesture as before) Ask him,! • f/ 
 
 Fletcher — She has no right ! (^Jeannette makes an ex- 
 clamation of denial aloud) '■ 
 
 Marion— Swear that Ned, swear it to me before this aJtat. 
 
 F^letcHer — (hesitates a mom^ent) I swear it. ■ . '■ ■«' 
 
 Marion— f So clergyman) Go on wath the ceremony. ("Daw- 
 son steps back to his place. The clergyman takes tip his 
 prayer book. Jeannette comes up one of the chancer steps) 
 
 ,Tean— Stop ! , •. . 
 
 Fletchers— Is there no one here to put this womaii out? 
 (He speaks to the groomsman.) (^Dawson speaks fo Fanshaw, 
 who e.vits l. it. and immediately after the m,usic ceases.) 
 (Meantchile the ^following dialogue.) . ■■<■■ ■■> u . ; ' ■ . 
 
 Kitty — Isn't this perfectly awful! I'm going! (going): 
 
 Ethel— I'm not. I'm going to stay. ' . -i.ij ..il 
 
 >1RS. L. — There may be something we can do. ■■ ('Ki'SV^'- arid 
 Gertrude ea!i^ r. with several of the dtlier guests.) '\y •m\>'v. 
 
 Clfrgy — (to Jeannette) Can j^ou show any-' ■ rfeaison? w4jy 
 this marriage should not . . . (interrupted) , i'J 
 
 3y.xis^( int errupting ) I can. 
 
 CLHR^tY-— Then do so. 
 
 Ji3AN — I iviill. (She exits a. quickly.) (Mrs. Wolton gods 
 to the two bridesmaids up stage, irho at the same time' are 
 joined b\f the two bridesmaids down stage.) (Guests go out.) 
 
 Mrs. W. — (as she goes) Henry! (Dawson joins them.) 
 Take them into the choir rooms please. (To- the bridesmaids) 
 (She motions off l.Iu". And Dawson with bouquet and John- 
 stone -Maids exit J.. V. As they go, Mrs. Wolton and Douglas 
 meet and speak. TJie clergyman has been sjjeakingtoMARio^^) 
 (Ushers-^ urge (jfuests to leaii-hand exit vl. %oitk guests after 
 Jeannette ^ce^Mi'Mfe")' ■ - . '' ;/. ,in:;:,'.i 
 
 tv< Fletcher— (^o clergyman}' I say that wotaah cannot stop 
 this ceromonyvgo ort! >■. : m' f v,:i:,l . ■: . v ,- 
 
 'MARioN-^ffo clergymxi<n;')\ 'You heard Mm give me his wtord 
 .K^.p^on. -■• "'■ ..v\ v',v\ ■.. .>A , V ^ , '-,■.,■•.,.•; 
 
 -• -Cleugv— 'I -am very sorry^ but the church does not allow me 
 to. I must give her the chance to prove herself. (^Fletcher 
 speaks to his grooni.^nanJou:ssoN who exits i.. mto vestry.) 
 {At the same time Jeannette re-enters &, binnging. by.tJueJieind 
 
 .■<mall child, Edward, with her. She leads him straight to 
 
.40 THE MOTH AND THE FLAME 
 
 the foot of the chancel steps, and pointing to Fletcher, 
 speaks.) (All through the rest of this scene, the child keeps 
 hold of the skirts of the mother . . . keeping close to her side) 
 
 Jean — This is that man's child . . . and mine. ("Mrs. Lorri- 
 MER exits R. also Ethel.j (Re-enter Dawson without bouquet.) 
 (^Fletcher speaks to the clergyman. Mrs. Fletcher leaves 
 the pew and joins Mrs. Wolton. Douglas joins Mrs. Lorri- 
 mer and all the guests and ushers leave the church quietly. 
 Mariok starts to go to Mrs. Wolton.^ 
 
 Marion — Mother ! 
 
 Jean — (turning and facing Marion^ Ah ! . . . you go to 
 her, in what must be the greatest sorrow of your life . . . 
 well, so will he . . . (with her arms around the child) come to 
 me when begins to understand, and that's why I am here. 
 
 Fletcher — (to clergyman) Ask her for proofs ! She won't 
 have them ! It is a question of her word or mine, and surely 
 there can be no such question, when the woman is that sort of 
 thing! (turns to Marion j Marion! (The clergyman goes to 
 Jeannette, up stage c, with whom he talks. Marion joins 
 Fletcher and they come down the steps to l. c, hut she does 
 not look at him. Mrs. Wolton starts to go to Marion. 
 Fletcher stops her) 
 
 Fletcher — {to Mrs. Wolton) — No. I wish to speak to 
 Marion alone. (Mrs. Wolton and Mrs. Fletcher speak to- 
 gether up stage r. c. Mrs. W.^ turning hack, faints. Daw- 
 son and Mrs. Fletcher take her out l. u. y..) 
 
 Fletcher — (to Marion j Do you despise me? 
 
 Marion— T can't. ... I love you. 
 
 Fletcher — I didn't deceive you, did I? You will remember 
 I confessed that before we met my life had not been fit to 
 be lived in the same world with you. 
 
 Marion — I know, but I didn't imagine anything so bad as 
 this. 
 
 Fletcher— Yes, I realize that now, as it is only since I have 
 known you that I have realized how low il. was. Yet, Marion, 
 this sort of thing exists all around us, I am not the only one. 
 . . . (interrupted) 
 
 Marion — (interrupting) Don't — don't try to excuse it. 
 
 Fletcher— At any rate ... it was before I knew you. 
 
 Marion — (looking up in his face for the first time, slowly) 
 Since you've known me have you been good and honest? 
 
 Fletcher — (without any hesitation, looks hack at her, 
 honestly) Yes. (They hold this position for a moment.) 
 (Clergyman leaves Jeannette. She speaks after him, follow- 
 ing.)- 
 
 Jean — This is not legal proof, you say? 
 
 Clergy — It is not sufficient. 
 
THE MOTH AND THE FLAME 41 
 
 Jean — But it's moral proof. ('Marion turns and goes back 
 to her place . . . motions Fletcher to follow. He does so, 
 hut almost timidly.) (Clergyman turns from Jean J Listen ! 
 So long as he remains as he is there's a chance that the world 
 won't always be able to fling my boy's shame in his face. And 
 I tell you sir, the agony she would suffer now is nothing . . . 
 nothing to what her life with him would be. And think what 
 it is to . . . (her emotion racks her) watch your child, your 
 own flesh and blood, day and night, all its life, terror stricken 
 . . . (she controls her emotions) lest you find some trace of 
 his father in him! 
 
 Marion — (turns to clergyman) We are waiting. 
 
 Clergy — But . . . (interrupted) 
 
 Marion — (interrupting) I love him, I am not willing to 
 give him up for that woman ! 
 
 Clergy — But she swears a compact of marriage was made. 
 
 Marion — Has she proofs? (^Fletcher glares at Jeannette, 
 his muscles grow rigid) 
 
 Clergy — No. (Fletcher relaxes) 
 
 Marion — Very well, I have his word against hers, that is 
 enough. 
 
 Clergy — (to Fletcher j But I believe you do not denv the 
 child? 
 
 Fletcher — (tentatively ) Yes . . . yes, I do deny it. 
 
 Marion — (quickly) This man's past, sir, is not yours, nor 
 mine. But his present does belong to me, and his future shall 
 be mine too, to make, not hers to mar. 
 
 Fletcher — (impatient) Come ! We've lost enough time, 
 let's finish this. (Clergyman goes to his proper place behind 
 the chancel rails) 
 
 Jean — (coming up one step of the chancel steps) You shall 
 not go on with this marriage, 
 
 Fletcher— f/ia//' angry) She has shown what she is by the 
 way she has chosen to stop it. 
 
 Jean — That's a cowardly lie ! And it was only when I saw 
 by the papers that my letters had been useless that I decided 
 to humiliate myself in this way. Do you think I would so 
 degrade my womanhood for the sake of anything on God's 
 earth, but one . . . my child, (to MarionJ Do you think I 
 could do anything but loathe him! . .(with a gesture toward 
 Fletcherj 
 
 Marion — But I love him. 
 
 Jean — So did I once. And now I'd save you if I could from 
 all I know you'll have to suifer. Once you're his he'll tire of 
 you. . . . 
 
 Marion — (interrupting) . .You forget one thing ... he is 
 going to place a wedding ring on my hand. 
 
43 THE MOTH AND THE FLAME 
 
 Jeak — Well look at that ! (she rips her glove off violently 
 and shows a toedding ring) He placed it there ! and said he'd 
 take me to a church and make our compact binding. 
 
 Fletcher — (loho has started frightened, at first, has con- 
 trolled himself and speaks with intense qui^t) This Woman's 
 from the streets. She's up to all the tricks. 
 
 Jean — (outraged) How dare you ! I am not what he calls 
 me!, I swear that here in this holy place. He dragged me 
 through the streets and any dirt upon my skirts his feet have 
 left there, 
 
 Fletcher — Be silent, (to clergyman) If you will not finish 
 the service we will find some one who will. 
 
 Marion — {to clergyman) No, I will not leave here till we 
 are married, I will not insult the man I have chosen for my 
 husband by doubting his word for hers. I v/on't believe he 
 made her v/hat she is. 
 
 Fletcher— Marion ! 
 
 Marion — Ned ! (to clergyman) Go on ! Go on with the 
 ceremony ! 
 
 Jean — You shall not go on ! He's done his best to make 
 me what he says I am . . . and God knows he might have 
 succeeded . . . (emotion) but for my boy's sake I fought the 
 fight for honor. . . . (completely controlling her emotion) 
 The day he tricked me , . . (with a look of scorn at FletcherJ 
 I stood before him as pure a woman as you stand now, and 
 since he left me there has never been an hour when I couldn't 
 look straight into my child's eyes, not one minute I couldn't 
 feel his two arms about my neck without a shudder. 
 
 Fletcher — (more angry) I won't stand this ! 
 
 Jean— (^fo Marion, continuing in the same key and tone as 
 her former speech . . . arid pleadingly) Don't make vows 
 that will take away this innocent boy's name. 
 
 Marion — You must answer to your child for his name and 
 honor. 
 
 Fletcher — (enraged to Jeannette^ If you don't go now 
 I'll. . . . (stops himself) 
 
 Jean — Before God, yours, (to MarionJ mine, . . . (clasp- 
 ing her hands on her breast) and his God (with a look of 
 scornful warning at Fletcher^ that man is his father, and my 
 husband. 
 
 Fletcher — (in a fearful rage) You lie! (enter Mrs. W: 
 and Mrs. F.j 
 
 Marion — (surprised . . , pained) Sh-h . . , go on. 
 
 Jean — (coming betiveen Marion and Fletcher, she cries out 
 ... a wild, heart-broken, desperate cry) No ! you shall not 
 write Bastard on the forehead of my child! 
 
 Fletcher — (beside himself) By God! (He strikes Jean- 
 nette a blow . , . which sounds , , , Marion cries out and 
 
THE MOTH AND THE FLAME 43 
 
 recoils. The iipo mothers step foricard with exclartw.tlons of 
 frif/ht and anyer. Dawsok comes from the choir l; u., 
 brought by the sound of the cry, and goes to Marion'. Jea^t- 
 NETTE falls ichen struck. The child clings with both arms 
 about its mother's waist) 
 
 Mario-s^( after a moment, drawing- in a long breath, to 
 Fletcher) Coward ! (Her uncle takes a step forward to her 
 . . . he carries her wedding bouquet. She seizes it from him 
 and dashes it at the feet of Fletcher, and then throwing back 
 her head loith an expression of scorn, turns from him. takes 
 the arm of her uncle with determination and goes doivn the 
 chancel steps out of the church. Fletcher stands crestfallen. 
 Mrs. Woltox and Mrs. Fletcher look at each other, horrified, 
 speechless) 
 
 ACT HI 
 
 Scene — The library at the Wof.Toxs. A handsomely and 
 luxuriously furnished room,, somewhat disarranged by the 
 preparations for the roedding. It is here that the wedding 
 presents are displayed and along the two sides r. and l. and 
 partly across the end at b. are placed long and narrow im- 
 provised tables covered tcith all sorts of gifts — silver, glass, 
 etc., etc. There are five piano lamps grouped together at the 
 upper corner of table l. There are faded flowers about. 
 
 Time — The folloioing day. 
 
 Discovered — Mrs. Lorrimer at l. of table r. c, a maid and 
 man servant are hiisy wrapping up and addres.nng some of the 
 wedding presents. 
 
 Mrs. L. — (who has just finished writing an address on a 
 parcel) This is one to go by express, Howes. 
 
 Servaxt — (taking it) Yes, m'm. (placing it to one side 
 where are others tied up and addressed) Beg pardon, m'm, 
 but it's a great pity Miss Marion should lose a husband and 
 all the wedding presents as well. 
 
 Mrs. L. — Oh, it isn't always a pity, Howes, to lose a husband 
 — it's very often a very good thing. (Maid gives Mrs. I>orri- 
 mer another parcel to address which she does — copying from 
 a card tohich the m,aid gives her with the parcel. Maid exits 
 
 Servant — (giving Mrs. Lorrimer a visiting card) This is 
 the address, m'm — still, if you'll excuse me for saying so, Mrs. 
 Lorrimer — if it was me, I'd keep the presents just by way of 
 a kind of consolation, (she and the servant tie up another box) 
 
44 THE MOTH AND THE FLAME 
 
 Mrs. L. — (addressing ) Ah, but you see their associations 
 would be painful. I have had two husbands and I have each 
 time moved out of the house I occupied with each on the day 
 after losing him. 
 
 Servakt — You know what trouble is, m'm, to have lost two 
 husbands. Grippe, m'm? (giving her another parcel.) 
 (Howes to table up stage) 
 
 Mrs. L.— Not exactly. Another kind of epidemic. The law, 
 Howes. ('Howes up c. gives parcel. Mrs. Lorrimer addresses 
 it from a visiting card.) (Enter maid with Ethel and Fan^ 
 SHAW, c.) 
 
 Maid — I will tell Miss Wolton. (exit l, v.) CFanshaw^ 
 Ethel and Mrs. Lorrimer greet each other) 
 
 Fakshaw — (c.) How do you do? (Shakes hands. Mrs. L. 
 motions ivith her head a dismissal to the servant, and he gets 
 boxes R. of table R. and goes out c. r.) 
 
 Ethel — (goes to sofa and sits) Do you think Marion will 
 see us? 
 
 Mrs. L. — I don't know, Fm sure. She is with her mother, 
 
 Ethel — You don't mean 
 
 Mrs. L, — Yes, but she isn't a bit like she was yesterday. 
 She's crying like a child, poor thing, what she's gone through. 
 
 Fanshaw — Have you seen the papers? (has large bundle 
 of them) 
 
 Mrs. L.— No. 
 
 Fanshaw — It's in all of them, and some have big pictures. 
 
 Ethel — Yes, my dear, with all of us in. Marion in a low 
 necked dress. You're a sight, but my picture's rather good. 
 
 Fanshaw — (who has gotten papers from coat tail pocket) 
 Perhaps you'd like to see them. 
 
 Mrs. L. — No, no; put them away quick. Fll see them home. 
 I take every blessed paper. (^Fakshaw up to table where he 
 puts hat and papers) 
 
 Ethel — What are you doing — sending back wedding pre- 
 sents? (crosses c.) 
 
 Fanshaw — Oh, I say, is that necessary? 
 
 Ethel — I don't believe I would, there are lots of things she's 
 been dying to have. 
 
 Mrs. L.— My dear Ethel. 
 
 Fakshaw — (i..) Yes, why couldn't she— er — forget— er — 
 overlook — er — any old thing with some of them — I mean those 
 she wants? (turns up, looking at presents on table l. u. e.^ 
 
 Mrs. L. — (fi.) Well, there are some things I should think 
 she'd be glad to send back. After all, twelve dozen oyster 
 forks are too many for a small family like a newly married 
 couple. 
 
 Ethel — (c.) How many sugar spoons did she get? 
 
THE MOTH AND THE FLAME 45 
 
 Mrs. L. — Thirteen, which to say the least is an unhicky 
 number . . . {rises, puts arm about Ethel and comes l.) 
 and there's that bankrupt stock of piano lamps, (cross l, to 
 sofa, sits on sofa with Ethel.^ fFAisrsHAW up c. Ethel 
 crosses r. c.) (^Fanshaw comes down i..) 
 
 Ethel — (half laughing) That's true! By the way, have 
 you sent back Mrs. Bayley's presents yet? 
 
 Mrs. L.— Yes, why? 
 
 Ethel — Go on, tell her, Fanshaw. (rises and goes to c.) 
 fMRS. L. and Faxshaw sit on sofa. Fanshaw r. of Mrs. x..) 
 
 Fanshaw — {laughing) Oh, it's nothing, only I sent it to 
 Mrs. Bayley myself three Christmases ago as a philopene. I 
 suppose she thought I wouldn't remember, but she forgot both 
 our initials are marked on the bottom. 
 
 Ethel — (at table r., examining presents.) (Laughing) Yes, 
 my dear, and Marion found them. People really ought to be 
 more careful. 
 
 Mrs. L. — Think of a woman with all Mrs. Bayley's money 
 
 (interrupted) 
 
 Ethel — My dear, it is the rich who do these sort of things. 
 Every year all my second hand Christmas cards and calendars 
 
 come from my wealthiest friends ! And there's that thing 
 
 (lifting « vase) Isn't it hideous? I don't know who sent it. 
 but (interrupted) . 
 
 Mrs. L. — / do. 
 
 Ethel — (innocently) Who? 
 
 Mrs. L. — / did. 
 
 Ethel — Good gracious, (laughs) I assure you I haven't 
 any taste. ^Ethel down c. Fanshaw rises) 
 
 Fanshaw — No, not a bit. {goes back of sofa and up to 
 table L. V.) ("Ethel up stage by table) 
 
 Ethel — How many presents did Marion get, anyway? 
 (looking among the things on the table R.J 
 
 Mrs. L. — I don't know, (satirically) I didn't count them. 
 
 Ethel — -1 don't believe she got very many — Marion has al- 
 ways taken up so many poor people, I'm sure I never can tell 
 what she sees in them ! (^Ethel crosses r. of table) 
 
 Mrs. L.— Oh, yes, Ethel, I know how you choose your friends. 
 The other day I heard you were running after the Lloyds — 
 that settles it, I said — they are either going to have a box at 
 the Opera this year, or give a series of dinners, or a big ball. 
 Ethel knows what she's about. 
 
 Faxshaw — Exactly — Ethel knows her business, but you left 
 out one thing — they have the best cook in town, too, 
 
 Ethel — (taking up a box with a large silver fish knife in it) 
 Who gave her this fish knife? 
 
 Mrs. L. — The Conrads, didn't they. . . . f Ethel bui'sts out 
 laughing) 
 
45 THE MOTH AND THE FLAME 
 
 Ethel — Ha! ha! ha! etc., etc. If that isn't appropdate ! 
 You know the old man Conrad made all his mone}^ out of 
 imitation sardines ! 
 
 Fao^shaw — And very bad imitations, too. 
 
 Mrs. L. — Well, if I could make as much as Conrad, I'd be 
 willing to imitate codfish! 
 
 Ethel — (takes up a small box at which she has been look- 
 ing) Here's my present. I might as well take it home with 
 me and save you the trouble, (puts it in her pocket. She 
 looks at silver hand glass) 
 
 Mrs. L.— '(dryly) Thank you ! Was that your present, in a 
 Tiffany box — a small diamond pin? ,";'i ,-r,i? 
 
 Ethel — Yes, wasn't it sweet? r 'm,' , 
 
 Mrs. L. — Rather. I saw those pins marked down at Wana- 
 maker's Christmas time. 
 
 Ethel — For heaven's sake, don't tell Marion. (Re-enter 
 maid, c.) 
 
 Maid — Mrs. Wolton will be down at once, madam 
 
 (Maid exits at back, l. u. e.) (^Fanshaw crosses r, to table) 
 
 Ethel— ft^j^o goes back to Mrs. L.) Wasn't it awful yes- 
 terday^ — in the church! (cross c.) 
 
 Mrs. L, — (with a sigh) Awful, (rises, cross to c.) 
 
 Ethel- — (i,.) (kneeling, loith one knee on the sofa) Still I 
 will say one thing, I've always been dying to have it happen. 
 
 Mrs.' L.— Ethel ! What a little beast you are. 
 
 Fansh AW— (down r.) Oh, she didn't mean to Marion partic- 
 ularly. Did you, Eethel? 
 
 Ethel- — No, if I had my choice I'd rather see it happen to 
 Kitty, she's always pretending she's so sincere and all that. 
 
 Mrs. L. — Marion is well rid of a man like Fletcher. 
 
 Ethel — Oh, I don't know — I believe I'd take him to-morrow 
 if he asked me. 
 
 Mrs. L. — Well, I wish he would — it would serve you just 
 right. 
 
 Fanshaw — Oh, but you couldn't to-morrow, even if he did 
 ask you — you forget. 
 
 Ethel — Oh, of course I did. My dear, I meant to tell you 
 when I came in that I'm announcing my engagement to-day. 
 
 Mrs. L. — Good gracious, to whom? 
 
 Ethel — To Mr. Fanshaw. 
 
 Mrs. L. — Good heavens. Allow me to condole (cross 
 
 to Fanshawj I mean congratulate you, and so you're going to 
 be married. (Ethel crosses up c. Shake hands) 
 
 Ethel — Oh, no, only engaged for a little while, just for fun. 
 ^Mrs. Woltojt enters l. 9 b.) 
 
 Mrs. Wolton — (tu. c.) Good morning, Ethel. I'm going to 
 ask you to excuse Marion. She isn't seeing any one this morn- 
 ing, (c.) (^Mrs. L. sits chair r., and Faitshaw r.) 
 
THE MOTH AND THE FLAME 47 
 
 Ethel— I understand — of course— give her my love and tell 
 her not to mind — every one's on her side and, — she looked per- 
 fectly lovely. Tfell her she had the prettiest wedding dress 
 anyway of the season. (She goes to kiss Mrs. Woi.ton, Viho 
 draws back. Both Mrs. W. and Mrs. L. are aghast at the 
 flippant manner of Ethel. Ethel raises her eyebrows, shrugs 
 her shoulders) Good-by, good-by. Come along Fanshaw. 
 (Exit c. R.j 
 
 Fanshaw — (crossing to Mrs. W.,' c.) Oh, Mrs. Wolton, 
 don't mind Ethel. She doesn't mean what she sounds like. She 
 never does mean what she sounds like. Besides, she's a little 
 rattled this morning. You see she's engaged again. 
 
 Mrs. W. — Engaged? 
 
 Faxshaw— Yes, not to Johnny. I'm it. fExHEL re-enters 
 c.) 
 
 Ethel — Come along, Fanshaw. 
 
 Faxshaw— All right Fm coming. (Takes up hat and papers, 
 Ethel motions for him to leave papers— he does so and exits 
 c. loith Ethel.j 
 
 Mrs. L. — How is Marion? 
 
 Mrs. W. — (c.) In the same extraordinary frame of mind — 
 I'm afraid she'll be ill. 
 
 Mrs. L. — You mean, so composed? 
 
 Mrs. W. — Yes, so hard — she hasn't shed a tear — the only 
 person she's at all human with is that poor creature upstairs. 
 And you know she's sent for him, 
 
 Mrs. L. — (surprised) She's going to see him? 
 
 Mrs. W. — She insists upon doing so. 
 
 Mrs. L. — I wonder why? I never want to see any of my 
 husbands again — (crosses to Mrs. W.J after they've once dis- 
 appointed me. 
 
 Mrs. W. — I suspect — I don't know — Marion refuses to talk 
 about it, but her sending for this Mrs.— er — -Miss— er — dear 
 me, I don't know what to call her — but you know who I mean 
 
 — I think Marion has an idea she can help her to — er 
 
 (she hesitates) 
 
 Mrs. L.^-You don't mean to marry Fletcher? fMRs. Wol- 
 Tox nods her head.) (Incredulously.) She still wants to? 
 
 Mrs. W. — Anything for her child's future. 
 
 Mrs. L. — (very seriously reflecting) Well, I can understand 
 that, (she rouses herself and finishes in her old manner) 
 But my dear, I can sympathize with her too, poor thing. I 
 know what's before her — you see both mine were brutes." 
 
 Mrs. W^. — (rises, cross r. to Mrs. L,.) Will you mirid if I 
 say something very frank to you? 
 
 Mrs. L. — (tentatively) Well — frank things are always dis- 
 agreeable. 
 
48 THE MOTH AND THE FLAME 
 
 Mrs. W. — Anyway, I am going to run the risk. You know 
 you are considered — rather — er 
 
 Mrs. L.— I suppose you want to say heartless? 
 
 Mrs. W.— Oh, no ! 
 
 Mrs. L. — Well — then frivolous 
 
 Mrs. W. — Yes — perhaps^ — and — a few other things — but you 
 aren't. . 
 
 Mrs. L. — Yes, I am. 
 
 Mrs. W. — No, you're not. — These qualities are all only on 
 the surface, (both sit on sofa) They are the rouge and 
 powder of your character— underneath I believe you are plain 
 and sincere. 
 
 Mrs, L. — (laughing) I'm not so mad about being plain, but 
 sincere I would like to be. 
 
 Mrs. W. — It's your wretched luck in your married life 
 that has made you what you are ! 
 
 Mrs. L. — (sincerely, with much feeling, and almost breaking 
 down) You're right. It was a case of hardening my heart 
 and laughing in the world's face, or — or having it laugh in 
 mine perhaps. 
 
 Mrs. W. — What you need now as jou did in the beginning 
 is a good husband — like mine was. 
 
 Mrs. L. — Good men don't grow on bushes and besides, good 
 men don't seem to care about me. 
 
 Mrs. W. — I know just the man, and I believe he's been in 
 love Mdth you for years, though he may not know it himself! 
 fMflS. Lorrimer looks at her questioningly. Mrs. Wolton goes 
 to her and putting her arm around her neck, whispers in her 
 ear) I want you for a sister-in-ls^v/. 
 
 Mrs. L,. (embarrassed, pleased) Mrs. Wolton ! 
 
 Mrs. W. — Call me " Laura," and I shall feel as if matters 
 had progressed a little. (Enter Dawson — suddenly and un- 
 cerem,oniously c. Both women start slightly and exchange a 
 quick covert meaning glance. Rise) 
 
 Dawson — Ah, Laura — I attended to that for you at once. 
 Has she come? 
 
 Mrs. W. — Yes, she's upstairs. 
 
 Dawson — Good. (^Mrs. L. coughs) Mrs. Lorrimer 
 
 (shaking her hand) I have followed you here^they told me 
 at your house. 
 
 Mrs. W. — (rather hopefully) You want to see Mrs. Lorri- 
 mer? 
 
 Mrs. L. — (very quickly, aside to Mrs. Wolton with humor) 
 Say " Emily " — that may help a little, too ! 
 
 Mrs. W.— You want to see Emily? 
 
 Dawson — (a momentary surprise at the name) Emily, 
 sweet name — er — yes, if you will allow me, alone, (goes r. 
 and takes out handkerchief and mops brow) 
 
THE MOTH AND THE FLAME 49 
 
 Mrs. W. — Alone ! — very well ! (aside to Mrs. L,.) I'd no 
 idea it would come so soon. It must be that. 
 
 Mrs. L. — (blushing) No, no, it's something else (be- 
 lieving though that it is) 
 
 Mrs. W. — (still aside) One thing delights me, you're as 
 
 much in love as he is (aloud) Good-bye, Emily, (v. c, 
 
 cross L. E.j 
 
 Mrs. L. — (aloud, with emphasis) Good-by, Laura! fMRS. 
 WoLToic exits L.) 
 
 Dawson — Mrs. Lorrimer (cross c.) I want to speak 
 
 to you on a matter of the greatest privacy. 
 
 Mrs. L. — Yes. (very quietly) 
 
 Dawsox — You are the only woman in the world who can 
 help me. 
 
 Mrs. L. — (seriously) I consider that a true compliment, 
 Mr. Dawson. 
 
 Dawsox — I hesitate because I do not know if I have the 
 right to ask you to share my secret with me. 
 
 Mrs. L. — As far as I am concerned, I give you that right, 
 
 Dawsox — You will help me at no matter what inconvenience 
 to yourself? 
 
 Mrs. L. — Yes — but I may not— er — consider it an " incon- 
 venience " to myself, (smiling) 
 
 Dawson — Very well then — the terrible trouble of yesterday 
 is not the only calamity that may happen to my sister and 
 her daughter. 
 
 Mrs. L. — (rising — surprised, disappointed, but still afected 
 seriously by his serious manner) It is of them you wish to 
 speak to me? 
 
 Dawson — Yes. 
 
 Mrs. L. — It is for them you wish my help? 
 
 Dawson — Yes. 
 
 Mrs. L. — (with one sigh, dismisses her disappointment and 
 holds out her hand — crosses to r. of table r.) It is yours 
 for the asking. 
 
 Dawson — Thank you ! (presses her hand) Mr. Wolton 
 killed himself to escape being convicted of a crime, (sits l. 
 of table B..) 
 
 Mrs. L. — (withdraws her hand slowly from, his, and whispers 
 in tremulous surprise and horror) What ! ! ! 
 
 Dawson — He had misappropriated funds entrusted to his 
 care, exposure became inevitable- — you know the rest. 
 
 Mrs. L.— But Marion, Mrs. Wolton? 
 
 Dawson— They know nothing! 
 
 Mrs. L. — Nothing! (looks puzzled) But how 
 
 Dawson — The night of the catastrophe Fletcher announced 
 his engagement to Marion, and claimed his right to bear a 
 share of the family's trouble. I took him at his word by ask- 
 
50 THE MOTH AND THE FLAME 
 
 ing him to come to the rescue of his future wife's name and 
 honor with — money! 
 
 Mrs. L. — And he did! 
 
 Dawson — Yes;— willingly ! He was splendid that night. 
 
 Mrs. L. — That's why you suddenly became his champion! 
 
 Dawson — ^Yes, I couldn't believe the tales against him, when 
 he had proved his love for Marion by such a big act of gen- 
 erosity. 
 
 Mrs. L. — He knows everything? 
 
 Dawsok- — Everything, that same night. 
 
 Mrs. L. — And he has never breathed a word? 
 
 Dawson — That was only natural up to yesterday, but now 
 (interrupted) 
 
 Mrs. L. — He doesn't threaten to tell? 
 
 Dawson — He does, unless Marion marries him. He's mad 
 about her. The good in him has loved her up to now, now 
 it's the devil in him. He's not the same man! 
 
 Mrs. L. — And what do you want me to do? 
 
 Dawson — ^Advise me. 
 
 Mrs. L. — I? Advise you? 
 
 Dawson — Yes. Shall we tell Marion? 
 
 Mrs. L, — About her father? 
 
 Dawson — Yes. 
 
 Mrs. L. — No, no ! Not if we can help it ! 
 
 Dawson — But • (interrupted) 
 
 Mrs. L. — And Fletcher must be paid every cent he gave. 
 
 Dawson — Not easily done. Of course you will understand 
 I have nothing, what I had went at the first, and I shall need 
 all my income now for Laura and Marion. 
 
 Mrs. L. — You will borrow this money in your name. 
 
 Dawson — I have no security, (a moment's pause, both think 
 — rise) 
 
 Mrs. L." — Do you carry a life insurance? (crosses L.j 
 
 Dawson^Ycs, quite a heavy one. 
 
 Mrs. L. — Why not borrow on your life insurance this sura? 
 
 DAWso:ti—( pleased) Of course, of course ! What a fool I've 
 been not to think of that! How clever you are! But again, 
 it must be borrowed privately for many reasons, (again a 
 moment's pause, while both think) 
 
 Mrs. L. — (showing decision and determination) I think I 
 knov/ some one. 
 
 Dawson — Who ? 
 
 Mrs. L. — Don't ask me till I've seen him and found out— I 
 will go now— (crossing up c.) — at once, and make a beginning, 
 and you must go to Fletcher and keep him from coming here. 
 
 Dawson— That won't be necessary, for surely Marion 
 wouldn't see him. 
 
 Mrs. L. — On the contrary she has sent for him! 
 
THE MOTH AND THE FLAME 51 
 
 'Dawson— (astonished) She isn't still in love with him ! I'll 
 go to him and say I've come to talk business, I think that's 
 the best way to put it. 
 
 Mrs. L. — Yes, and now, go right away! 
 
 Dawson — (with a world of appreciation and sentiment in his 
 voice and manner) Without thanking you? 
 
 Mrs. L. — Yes, please, because I don't want you to thank me 
 in a hurry — I want you to take a good long time over it. 
 (a moment's pause, they look at each other. Dawson seizes 
 her hand half shamefacedly, and kisses it.) (He starts for 
 hat, which he placed on table as he entered) 
 
 Mrs. L. — (draioing him back — half shyly) Oh— answer me 
 just one question. ... 
 
 Dawson — A dozen. 
 
 Mrs. L. — What have you — a nice man — I mean — a man like 
 you. . . . (Interrupted ) 
 
 Dawson — (Interrupting) What kind of a man? 
 
 Mrs. L. — ^A " nice " man — you are a nice man, aren't you? 
 (8m,iling sweetly and rather archly at him.) 
 
 Dawson — (Embarrassed) Well — I — I'm afraid I shall have 
 to leave the answer with you— am I? 
 
 Mrs. L. — Yes, I think you are — and why have you never 
 married? 
 
 Dawson — -Well, you see, some people marry so often, some 
 others of us don't marry at all, just to strike a sort of balance! 
 
 Mrs, L. — (Laughing) That's mean of you to say to me! 
 Come, answer my question honestly. 
 
 Dawson — ^Well, I've only known one woman in the world 
 who wouldn't bore me. 
 
 Mrs. L. — There are such things as happy marriages, aren't 
 there? 
 
 Dawson — I should like to risk one, only ■ (He hesitates 
 
 and stops.) 
 
 Mrs. L. — This "one woman in the world?" 
 
 Dawson — Oh, she's absurd, impossible ! 
 
 Mrs. L.— Why? . . . 
 
 Dawson — She wants to divorce all her husbands. 
 
 Mrs. L. — Well, but don't give her a chance! 
 
 Dawson — Eh, what? 
 
 Mrs. L.— Don't give her a chance — any reason. 
 
 Dawson — By George ! I never thought of that. 
 
 Mrs. L. — (delighted) You stupid! 
 
 Dawson — (delighted) Don't you know who I mean? 
 
 Mrs. L. — (Very self-consciously) No — how should I? 
 
 Dawson— Can't you guess? 
 
 Mrs. L. — I don't want to guess, I want to know for certain. 
 
 Dawson — You are " the only woman in the world ! " (He 
 bows low before her, his r. arm bent, his hand on his chest.) 
 
^0 THE MOTH AND THE FLAME 
 
 Mrs. L. — (Takes his arm) Well, I am ready to run the risk 
 if you are, ('Mrs. L. and Dawsok cross n.) But now we 
 mustn't lose any more time — take a cable car, I will, it'll be 
 quicker than a cab. Perhaps you won't approve of cable cars 
 for me, though. They are the most emotional mode of con- 
 venience I've ever tried — This morning in two curves I sat 
 in three men's laps ! 
 
 Dawsok — Ah, (Laughing). Don't let those curves get to 
 be a habit, or I'll sue the company for alienating your af- 
 fections. 
 
 Mrs. L. — (Laughing) Come ! (Takes his arm again and 
 they meet Marion, who enters l.j 
 
 Mariox — (As she comes) Tired out, Emily? f Dawsok goes 
 up stage to door.) 
 
 Mrs. L. — Tired ! I never felt so rested in all my life ! I 
 haven't tied up very many. (With a look and guesture toward 
 the table of presents.) I've been interrupted — (X Dawson up 
 stage) — and now you must excuse me for a little while, but 
 I'll come back and do some more. (^Marion goes r. of table, 
 Mrs. L. up l. c.) 
 
 Dawson — I'll go at once — (To Marion j — an errand for 
 Emily — Mrs. Lorrimer. (Emphasis on the name and a mean- 
 ing look.) Good-bye (Going. Both ivomen sag '• Good- 
 
 bye," but Mrs. L. folloivs him. Marion's back is turned. 
 Mrs. L. quickly gives Dawson a large bunch of violets she 
 carries in exchange for a small rose-bud he wears in his but- 
 ton-hole- — He cannot get it into his coat. There is amused con- 
 fusion, Marion turns and Dawson quickly exits c.) (Mrs. L. 
 down L. of table.) 
 
 Marion — (r. of table) It's like the death of someone, isn't 
 it? This is the death of my marriage, and these gifts are its 
 clothes. 
 
 Mrs. L. — Has — er — she gone? 
 
 Marion — No — she's waiting up in my room. 
 
 Mrs. L.— What for? 
 
 Marion — (quietly) — I mean to make him marry her if I can 
 here to-day. (c.) 
 
 Mrs. L. — (doubtfully) — Do you think you can? 
 
 Marion — If he loves me I think so. I shall ask him to prove 
 his love by doing the one honorable honest thing there is for 
 him to do. (to sofa) 
 
 Mrs. L. — You believe in this woman? 
 
 Marion — He has practically acknowledged that what she 
 says is true. 
 
 Mrs. L. — (tenderly) — And you dear, and your love 
 
 (crosses to Marion.) (Interrupted) 
 
 Marion — My love — for him. (sits on sofa) The blow he 
 struck Jeannette fell on my heart and killed my love. A man 
 
THE MOTH AND THE FLAME 53 
 
 who would strike a woman will do most most anything, and 
 think where he did it, and why? Because she was pleading 
 and fighting for the rights of his child ! 
 
 Mrs. L. — I am glad dear you can take it so calmly. 
 
 Marion — {calmly) Oh, no, it isn't exactly that — I am 
 reasonable, I see I've escaped a great misery and I'm grate- 
 ful • {enter servant) But I suffer terribly, for the moment 
 
 I close my eyes, I see only the dreadful scene of yesterday. 
 
 Servant — Mr. Fletcher, ma'am. 
 
 Mrs. L. — Oh! He's missed him! 
 
 Marion — What? (rises) Who's missed who? 
 
 Mrs. L. — Nothing. Nobody? 
 
 Marion — (to servant) Show him in, Howes, (servant hows 
 slightly and exits c.) 
 
 Mrs. L. — {quickly) Let me go the other way. {going to l., 
 reaches door) 
 
 Marion — You're coming back? 
 
 Mrs. L. — Yes. (kisses Marion^ 
 
 Marion — What a sweet rose that is. (touching Dawson's 
 rose in Mrs. L's dress) 
 
 Mrs. L. — Yes, it's the loveliest rose I've ever seen, (exit 
 L. quickly as enter Fletcher, c.) 
 
 Fletcher — (speaking seriously but pleasantly , evidently ex- 
 pecting that everything is to he made all right hetioeen them) 
 Thank you for sending for me, but I would have come without 
 your message ! 
 
 Marion — (looks at him, surprised at his tone. Speaks 
 quietly) Jeannette is upstairs waiting. 
 
 Fletcher — (starts, his whole manner changes, he realizing 
 now that he has to fight for what he wants and against lohat 
 he doesnt want) Why? 
 
 Marion — I've promised her you shall marry her, if I can 
 make you. 
 
 Fletcher — You can't. No, no, Marion, (pleading) You 
 won't throw me over for yesterday. I lost my temper I know, 
 and I'm sorry for it, but I love you (interrupted) 
 
 jNIarion — (interrupting) Prove it by doing what I ask. 
 
 Fletcher — (angry) Never ! (goes r.J 
 
 Marion — (follows him) If you make the reparation there is 
 in your power, it would save you from being utterly con- 
 temptible in my eyes ! 
 
 Fletcher — You say that ! ! ! 
 
 Marion — Yes, will you do what I ask? 
 
 Fletcher — (angry) No ! 
 
 ^Marion — (angry) Then I do right to despise you ! (down 
 L.; 
 
 Fletcher — No, because it is my love for you that keeps me 
 
54 THE MOTH AND THE FLAME 
 
 back. ■ ('Marion' laughs a bitter satirical laugh) I will mdtiJT 
 only you! ' ' 
 
 Mariox — Me ! Ha ! (laughs again — crosses r J 
 
 Fletcher — (angrily — close to her) And I will marry you. 
 
 Marion — No, you'll not! (faces him) 
 
 Fletcher — I will force you to marry me. 
 
 Martok — How dare you to take that tone with me ! 
 
 Fletchers — I dare niore than that. 
 
 MARion— (goes to bell r.) Take care or I'll have the servants 
 turn you out of the house ! f Fletcher laughs an ironical 
 laugh) Will you marry Jeannette Gros ! 
 
 Fletcher — (more angry) No ! (he follows her) And I 
 won't leave this house, either, (takes her hand) 
 
 Marion — Don't touch me! 
 
 Fletcher — I won't leave thie house because it's mine; \ And 
 so will you be! v. n- , 
 
 Marion— No ! 
 • Fletcher — Yes you will, because I'll buy you with your 
 father's reputation ! 
 
 Marion— With what! 
 
 Fletcher — With your father's good name. 
 
 Marion — You — scoundrel, (c.) 
 
 Fletcher — We sre well mated, for you are the dfiujrhter 
 of one! (^Marion immediately touches the bell.) fBell is 
 heard ringing in the distance) You had better dismiss the 
 servant when he comes, I am sure you would rather he didn't 
 hear all I have to say. 
 
 Marion — (almost under her breath) You cannot injure my 
 father! 
 
 Fletcher— Ask your uncle, Mr. Dawson ! f Marion looks 
 up questioningly , as if she suddenly remembered something ) 
 (Servant enters c.) 
 
 Marion — Ask Mrs. Wolton to please come here at 'once. 
 
 Servant— ^Yes, m'm. (crosses room and exits L.' ^ e.) 
 
 Fletcher — You remember the night of your fancy dress ball 
 
 and your father's — death (He pauses — Marion doesnH 
 
 answer, but looks troubled) He took his life to save it from 
 being — disgraced, because he was a thief ! 
 
 Marion— Stop ! (she draws herself up and looks Fletcher 
 in the face. He stops. She goes to door l., 02yens it. He 
 goes R.) (Enter l. Mrs. Wolton, a little frighted. Marion 
 takes her hand and leads her down stage l.J ^Mrs. W. sees 
 Fletcher, but does not bow. Fletcher bows. Marion takes 
 Mrs. Wolton's hand and the two tiwmen stand l. c, facyng 
 Fletcher %cho stands r. c.) 
 
 Marion — You repeat, if you dare, the vile slander of my 
 father ! 
 
 Mrs. W.— Your father? 
 
THE MOTH AND THE FLAME 45 
 
 Fletcher — AH that I said is true and more ! 
 
 Mrs. W. — What is true? What did he say? (a pause) 
 fFi.ETCHER remains dogc/edly silent) 
 
 Marion — Ah ! You daren't repeat it before my mother ! 
 ('Fletcher sneers) You know she would prove the lie in 
 your face! Did you think you would frighten me into marry- 
 ing you ! Do you think a man with a reputation like yours, 
 could injure the reputation of a man like my father, loved 
 by everyone ! 
 
 Fletcher — And who cheated those very people who loved 
 
 him — that's only what I did. He was no better than I 
 
 (^Mrs. Wolton makes a movement and an effort to interrupt 
 him) 
 
 Mariox — (to Mrs. Woltonj Let him finish, mother. 
 (holding her back) 
 
 Fletcher — He left you both beggars, and robbed his own 
 sister besides. 
 
 r^lRS. W. — It is not true! 
 
 Marion — (not believing him) How is it, then, that we have 
 everything, everything we could wish for ! How is it we have 
 lived in our old home, lied our old life, if we were beggars ! 
 
 Fle-jtcher — How?^thanks to my money, I've paid for it all! 
 CMarion opens her lips to speak, but cannot; a short pause) 
 
 Mrs. W". — -You ! (^Marion stops her loith her hand on her 
 ar7n.) ^Marion and Mrs. W. cross to sofa u) 
 
 Fletcher — (quietly) It is true! This is my house you're 
 in! (A pause — the two 'women are stunned, speechless, un- 
 able to comprehends and believe, yet unable to contradict) 
 (Re-enter Dawson, c.) 
 
 Fletcher — Ah ! (Relieved as Dawson is his proof.) ('Daw- 
 son /ooA:* from one person to the other, realizes the situation. 
 He looks a little frightened at the two ivomen) (An avjkward 
 momeni's pause) Question /iim if you doubt my word. 
 
 Marion— My father! Is what he says true? (The ivomen- 
 arb afraid to question) 
 
 Dawson — (to Fletcher j Have you told them? 
 
 Fletcher — The truth? Yes! . 
 
 Dawson — (to Fletcher) Your reason? 
 
 Fletcher — I didn't come here to do it, she made me angry. 
 She dro\e me to it. 
 
 Marion— ('m a hard, tuneless voice) He says my father 
 was not honest — is that true? 
 
 Davison- — (answers with difficulty) Yes. (A sob comes into 
 Marion's throat and she almost breaks down, but she at once 
 controls herself) 
 
 Marion — He says his money has been supporting us since — 
 since 
 
 Dawson— ('io Fletcher — A manly way to put it! 
 
56 THE MOTH AND THE FLAME 
 
 Fletcher — (cross i..) (Bursting out again) — I wanted you 
 to feel an obligation to me — I don't want to lose you. — You 
 loved me yesterday, if you were once bound to me, you'd love 
 me again — you can't change like that over night. 
 
 Marion — If yesterday had left any love in my heart for 
 you, you would have destroyed it by what you have done to-day. 
 
 Mrs. W. — (who has gained control of herself) But I don't 
 understand how it was his money 
 
 Dawson — (interrupts) At the time of your husband's death 
 a large sum of money was needed to keep his wrong doing 
 from being made public. I took Fletcher into my confidence, 
 and he lent us this sum. 
 
 Marion — You should have told me. 
 
 Dawson — I wanted to save you. 
 
 Marion — No! no! it was placing me in a terribly false 
 position. It was placing all of us ! Well, / take the debt now 
 on my shoulders ! Between us three we will manage to pay 
 it up in time — I am ready to give up the rest of my life to it. 
 (cross R. to Fletcher j Don't be afraid, you will be paid ! 
 
 Fletcher — And you still persist in your refusal to marry 
 me? 
 
 Marion — Yes ! Yes ! Yes ! ! A thousand times now more 
 than ever. 
 
 Fletcher — And do you think all those years you are trying 
 to scrape up the money I'll hold my tongue? I don't care 
 about the money, I only care about you. — If I can't have you, 
 do you think I'm going to accept the disgrace you helped heap 
 upon me yesterday? Not I, if I know it! Throw me over 
 and I'll make public your father's record — every dishonest bit 
 of it ! (strikes table) 
 
 Mrs. W. — (cries out) No ! No ! (crosses to Dawson j 
 
 Dawson — You dare threaten? 
 
 Marion — No, no ! He can't mean it. 
 
 Mrs. W. — (taking Dawson's arm) No, no ! He wouldn't 
 bring this disgrace upon us ! What good would it do him ?' 
 
 Fletcher — Then persuade her to marry me. 
 
 Dawson^No. Rather the disgrace ! 
 
 Marion — (down r. to Fletcher^ I never thought I would 
 humble myself before you, but I do, now, and I beg you for 
 the love you say you have for me, spare the name of a man, 
 who at least never harmed you ! Don't dishonor my father's 
 memory. Isn't it enough revenge for you that my mother and 
 I know it ! (loith tears.) f Fletcher is a little affected, but 
 Dawson does not see this and interrupts. He pulls Marion 
 away from before Fletcher^ 
 
 Dawson — No — I won't have you pleading to him ! {Places 
 her to L. and Marion puts arms about her mother.) 
 
 Fletcher — I know who I have to thank for all this — Rhodes ! 
 
THE MOTH AND THE FLAME * 57 
 
 Mahton — There is no need to mention hi*^ name. (Arms 
 about her mother) 
 
 Fletcher — Isn't there ! It was he who brought Jcanette 
 here — it was he we both have to thank for yesterday's ordeal. 
 
 Marion — (to Dawso^t half-heartedly) What? (She places 
 Mrs. W. on sofa) 
 
 Fletcher — (r.) You didn't believe me when I told you of 
 your father! But this is as true as that was. And the night 
 you promised to marry me, Rhodes threatened to do this very 
 thing. 
 
 Marion — (l.) It isn't possible! He wouldn't have sub- 
 mitted me to yesterday's humiliation ! 
 
 Fletcher — How else could she — living quietly in a little 
 town in Switzerland — know of our affairs here? 
 
 Dawsox — (c.) I confess Rhodes tried to prejudice me, but 
 I was too much impressed with Fletcher's generosity. 
 
 Fletcher — That money was nothing. I'd do it all over again 
 to-morrow if Marion would only marry me. 
 
 Marion — Douglas tried to influence me, too. 
 
 Fletcher — He wants you himself, that's why ! 
 
 Marion — (in despair) Then I have no one— no friend to 
 believe in ! Not even you, Uncle Fred, for you should have 
 told me about my father in the beginning. (After Fletcher 
 has crossed, Dawson goes up r. of l.) 
 
 Fletcher — (crosses to Marion) You have me! 
 
 Marion — Oh! Can't I make you understand, you least of 
 all! (Servant enters c. and announces — " I^Irs. Lorrimer — 
 Mr. Rhodes.''^ Those on the stage look up surprised) 
 
 Mrs. W. — Oh ! this is more than I will bear ! Mr. Rhodes, I 
 must beg you to excuse us. 
 
 Douglas — To excuse you? 
 
 Mrs. L.— I have brought Mr. Rhodes • (interrupted) 
 
 Mrs. W. — Then, I must ask you to take him away if he. is- 
 unwilling to leave without you ! 
 
 Dawson — No, Laura, wait ■ (interrupted) 
 
 Marion — Mother is right. It should have been enough for 
 Mr. Rhodes to have witnessed our humiliation yesterday. It is 
 adding another insult for him to come here to-day. 
 
 Mrs. L. — Marion, you don't know what you're saying 
 
 Douglas — (stops Mrs. Lorrimer) No! Miss Wolton is 
 
 doubtless right • (movement from Marion) you did not 
 
 tell me Mr. Fletcher was here, or I shouldn't have been per- 
 suaded to come. I prefer to go 
 
 Mrs. L. — No, not without my telling why you came. 
 
 Douglas — No, I must ask you to keep the reason entirely 
 to yourself — and Mr. Dawson, (stars to go) 
 
 Dawson — (stops him,) Not yet. I understand now why you 
 
58 ' THE MOTH AND TME FLAME 
 
 have come with Mrs. Lorrimer. It is not fair that your reason 
 for coming should not be known. 
 
 Fletcher — We know it, Miss Wolton has sufficiently ex- 
 plained. His presence here at this moment is only another 
 insult. 
 
 Douglas — Oh, you wish me to go? (Mrs. L. begins to cross 
 to R. back of Douglas to r. of table) That puts another color 
 on the matter. I am at a loss to imagine how Mrs. Wolton 
 could accuse me of the sentiments she did. I will stay and 
 wait for an explanation from her. 
 
 Marion — I will give it to you if you will excuse me for a 
 moment, (going. Mrs. L. has crossed to h. of table r.) 
 
 Dawson^ — (meeting her) What are you going to do? 
 
 Marion — Bring her here— she is in my room 
 
 Fletcher — (^uneasy) Jeannette. 
 
 Marion — {ignoring Fletcher^ speaks to Dawson in reply to 
 Fletcher's question) She will tell us who brought her to New 
 York, and that will answer — Mr. Rhodes, {she exits l. 3.) 
 
 Fletcher — {to Dawson) I refuse to remain to see this 
 woman, {up c. — takes his hat) 
 
 Dawson — I have no wish to detain you — but kindly give your 
 address that I may communicate with you. 
 
 Fletcher — My bankers you know, that is all that is neces- 
 sary, as I shall very likely sail — what day is this? 
 
 Dawson — Friday. 
 
 Fletcher — {bitterly) Oh, yes, of course, my wedding day 
 was on Thursday! I think I shall sail in to-morrow's steamer. 
 {up c.) (Marion re-enters l. Sees Fletcher going, her voic^ 
 stops him) 
 
 Marion — You are going — wait. This gentleman has asked 
 me a question, which I think you can answer for me, by answer- 
 ing a question of mine to you. How did you know of my mar- 
 riage to— of my marriage of yesterday? 
 
 Jeannette — From a friend who wrote me and sent me the 
 newspapers. 
 
 Marion— (wjertwm^/t/) A man or woman friend? 
 
 Jeannette — A woman! 
 
 Marion — {starts— 4t is the first shock of doubt she has had) 
 Douglas Rhodes had nothing to do with your appearance 
 ye=;terday in the church? 
 
 Doug'as — (r. c.) {Astonished— hurt) You thought that? 
 
 Jeannette (l. c.) Oh no, Miss Wolton» he had nothing in 
 the world to do with it. 
 
 Marion — {stands up as if shot, her face full of shame and 
 grief — turns sloioly toward Douglas, bows her head, half 
 lohispers) I beg your pardon. 
 
 Dawson— (fo Fletcher) You see you were wrong, Mr. 
 Fletcher. 
 
THE MOTH AND THE FLAME 59 
 
 Fletcher — Possibly. Good-bye. 
 
 Mr8. W: — And oiir secret, my husband's- — - (hesitates, 
 searching for a word — does not finish) 
 
 Fletcher — Oh, I was only trying to bully your daufi;hter into 
 marrying me — a drowning man, you know — I thought I could 
 make her love me again if I once had a good chance — that's 
 all. Well — I've bought lots of pleasure at the cost of other 
 people's, now I'm going to pay my debt I suppose with some 
 misery on my own account but — well, — I shan't disturb Wol- 
 ton's memory. (Mrs. Wolton whispers aloud to herself in- 
 voluntarily — ''Thank God!" Fletcher continues speech) 
 
 Because, because ■ (a sob comes in his throat) I can't 
 
 help it, I still love his daughter, (after a long look at Marioist, 
 exits c.) (Mariok has turned from Douglas and listened to 
 the end of Fletcher's speech. As he goes, Jean^ involuntarily 
 seizes Marion's hand. Mariok frees herself from Jeaknette 
 with an encouraging look at her, and foUoivs Fletcher out c.) 
 (Jeax up l. c. a little, watching for Marion) 
 
 Mrs. L. — Well, bad as he is, there is something about that 
 man that takes right hold of me. (to Dawson) It's lucky 
 I've fallen in love with you or I might have had one more 
 inninjL; in the divorce club. 
 
 Dawson — I'm only afraid there's a little danger of you try- 
 ing it again, anyway. 
 
 Mrs. L. — With you? Oh, no! The day we are married I'm 
 going to begin writing letters to the newspapers in favor of 
 abolishing the institution. 
 
 Marion — (enters c, down c. Jeannette goes to her quickly, 
 calm and hopefully) Go to him, he is waiting. (Jean, gives 
 an exclamation of emotional relief and joy) Be tactful, he 
 wants to sail on to-morrow's steamer — don't . . . (interrupted) 
 
 Jeannette — I understand — he shall sail alone, if he will only 
 leave his name behind for my boy. 
 
 Marion — That he will do — he said so. (as Marion turns, 
 Jeanette takes her hand, turns and leaves the room) 
 
 Mrs. L. — (l. c.) (crosses to Marion) Now, Marion, I want 
 you to know why Douglas came, (music cue) 
 
 Douglas — (rises, comes c.) Please (he shakes his 
 
 head) 
 
 Dawson — But she must know some time. 
 
 Douglas — Not before me. 
 
 Dawson — Have you forgotten, Marion, our debt to Fletcher? 
 
 Marion — (realizes what it is) (to Douglas) You would 
 — Oh no, rather leave the debt with him to repay. 
 
 Douglas — Why ? 
 
 Marion — Because I owe you now more than I can ever re- 
 pay, for the wonderful friendship you have given me all my 
 life ! I haven't the right to accept anything more from you. 
 
60 THE MOTH AND THE FLAME 
 
 Douglas — Let me be the judge of that 
 
 Mariok — Still after all that's gone by you don't hate me? 
 
 Douglas — {forgetting himself) Hate you? No. I 
 
 (Mariok crosses to sofa, sits. Mrs. L., as he begins to speak, 
 has touched Dawson's arm meaningly. Dawson moves quickly 
 and softly to Douglas^ and with a quiet, soft, firm touch on 
 his arm, stops him before he can say " I love you.") 
 
 Dawson — (aside to Douglas) Wait — trust to me who love 
 you both, and wait. 
 
 Douglas — (to Marion) You'll leave the debt with me? 
 
 Marion — Yes ! (Mrs. L., Mrs. W. and Dawson all exchange 
 happy, hopeful glances. Douglas and Marion look at each 
 other) 
 
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