Act I
SCENE.—Room next to KARL’S studio. At the back of the stage to the L. is a glass door with portière towards the stage. When this door is opened one can see the studio. Bach of the stage to the R. a fireplace with burning fire. Round the fireplace an elevation about half a yard high reaching into the middle of the room. This elevation is bordered by a wooden railing with an opening on each side—in the middle of the railing an ancient Gothic chair, with back towards the public; the back of the chair must be so high that a person sitting in it cannot be seen by the public. On the R. a door leading into the entrance hall of the apartment. There is a little invisible door covered as the rest of the room, with wall paper, on the L. near the footlights. About a yard from this door, a settee with the head end towards the glass door of the studio. Next to this settee a small, ancient table, about one yard high. On the L. a curio cabinet (small); next to it a hall stand with some shawls of different colors. On L. next the settee a large, gilded, stand-up candelabra, as used in churches.
There are many sketches, framed and unframed, about the room—some statues, some heads, and a very elegant electric candelabra hanging in the middle of the room. The whole thing unharmonious but artistic. Down stage on the R. a medium-sized table littered with books, magazines and bric-à-brac; a large palette lies on the top of some books and scattered among the other things some tubes of paint and paint brushes.
(When the Curtain rises the stage is empty for a few minutes.)
KARL, comes in with hat and overcoat which he takes off
Heinrich! Heinrich!
[HEINRICH, coming from studio.
KARL
Where were you?
HEINRICH
Nowhere, sir.
KARL
The door is wide open; anybody could have walked in.
[HEINRICH goes into the studio and comes out with a velvet house-jacket. Calling after him:
Where’s today’s paper?
[He finds the newspaper.
Well, hurry up.
[HEINRICH comes back and helps KARL put on his jacket.
KARL, lights a cigarette
Did you take my dress suit to be pressed?
HEINRICH
Yes, sir: he will bring it back in an hour.
[Starts R.
KARL
Good! Here’s a crown. Get me a white tie, same as the last one.
[HEINRICH starts R.
Hold on! Put out a dress shirt on the bed, then look for my pearl buttons—they are probably in the top drawer—in a match-box. Stop! Give me that crown. Take this.
[Gives him a bill.
Get me a pair of white gloves, seven and a half. Oh! and Heinrich, before you go, put the Venetian chair next to the window. At three o’clock Mrs. Zanden will be here to have her portrait painted, and I shall be at home to nobody.
[Reclines on the settee.
Give me an ash tray.
[HEINRICH gives it to him.
All right; go along.
HEINRICH
Beg your pardon, sir—
KARL, seated on couch L.
What is it?
HEINRICH
Mimi is here.
KARL
Where?
HEINRICH
Waiting in the studio.
KARL, indifferent, reading newspaper
Send her away.
HEINRICH, goes to the glass door
Fräulein, Herr Marler does not need you today.
[Exit L.
MIMI, coming in
Hallo.
[KARL is silent, continues reading his paper.
[MIMI comes down L.
Don’t you want to work today?
KARL
No.
[Continues reading paper.
[HEINRICH goes into the studio.
MIMI, in bad humor, crosses to C.
Good-bye.
[Turns around.
And tomorrow?
KARL
No.
MIMI, sad
Good-bye. (Wipes her eyes.) You don’t love me any more... you don’t love me any more.
KARL
Oh! It’s going to start again!
MIMI
Ever since last fall you’ve been different. I knew it right away when you started to paint landscapes. When you are in love you paint Venuses. I know what it means when you start to paint trees.
KARL
You’re silly, Mimi.
MIMI
I know it. With her hat and coat on every model is silly.
KARL
Go home, Mimi.
MIMI, goes to head of couch
Yes, yes. Go home! Be a good girl. For a week now you’ve sent me home without my even taking my gloves off. I’m no use any more.
[Begins to cry but stops it at once.
Look here: I know everything.
KARL
Really?
MIMI
[From behind him, raises his head.
Look at me! Look at me! You want to get married? Tell me No—you don’t dare.
KARL
No.
MIMI, comes to L. of him
Oh, you tell me anything you want to my face; but I know you’re going to marry a girl named Elsa—the wife of your friend Mr. Zanden has arranged everything—look at me and deny it, if you dare. After all, what’s the use! you wouldn’t tell me the truth anyway.
KARL
You little mind-reader.
MIMI
She’s a nice one, Mrs. Zanden! Instead of taking you on herself, she marries you to a friend of hers. But I don’t care; you don’t love me any more—doing landscapes all the time.
KARL
Well, what do you want?
MIMI, crosses to R. of him and kneels
Tell me you do love me. (Pouting.)
KARL, bored
Yes, yes—of course.
MIMI, imitating him
Yes, yes, of course. Is that the best you can do?
KARL
Well, what shall I say?
MIMI
Oh! You painters! It’s always the same. First you say: “What an angel! What a Madonna! What a Venus! What color! What hair! What lines!” Then all of a sudden, it’s: “Oh, my dear! Why, you’ve gone yellow.” The next day you’re green, and then it’s: “I have no time today.” And, first thing you know, you’re—pooh! Landscapes. (Scornfully.)
[She goes to him above table at head of couch, takes his head in her hands.
Don’t you like me?
KARL, smiling
Why, yes.
MIMI
If you were really nice, you would at least promise to marry me. All the other artists promised. They weren’t so mean as you are! Oh yes, I know I am annoying you. I’m absolutely boring you.
KARL
If you were not such a dear little nuisance— [Reaches up and draws her down to him. —I would have done with you a long time ago.
[Kisses her.
And now, run away, little girl: go home.
MIMI
Don’t you want me tomorrow? or the day after tomorrow?
KARL
No.
MIMI, crossing to him at couch
You will never have me pose any more for you at all?
KARL, rises; crosses with her to door R.
I’ll look in on you this evening on my way to the Zandens’.
MIMI
But you can’t work in my house. I’ve only a lamp!
KARL
Ha! Ha! Ha! Well, we’ll put that out!
[Has taken her to the door.
MIMI
Oh, will we!
[Laughing.
Maybe you’ll get put out.
KARL
Bye, bye!
[MIMI exits.
[Lights another cigarette—the bell rings sharply. Calls, somewhat excited.
Heinrich! Heinrich!
HEINRICH, comes in from studio
Yes, sir.
[Runs through the door on the R., which he leaves open, and goes off to open the hall door.
KARL
[Fixes his tie nervously, puts away newspaper, puts out his cigarette in ash tray, and arranges his hair. He goes towards the door through which HERMAN and OLGA enter, HEINRICH closes the door from the outside, KARL bows.
Madame!
[Bows silently to HERMAN.
HERMAN, in a hurry
I only came to bring Olga, my boy: I must go back at once.
[OLGA has been looking around.
OLGA, going to C. and over to L.
So this is the famous studio.
KARL, looking around
Funny, isn’t it? More like a junk shop.
HERMAN
We might have chosen another day to begin Olga’s portrait—we have waited six years, so we could just as well have waited until tomorrow; but the preparations for tonight’s ball made Olga so nervous that I thought it best to bring her here. You know this ball is a kind of house-warming.
[Crosses over to C.
OLGA
We were obliged to invite such a lot of people, to clear off our social obligations.
HERMAN
I wish it was over. I hate these functions. Old Freebody, in whose business I started, was worth ninety millions, and he never gave a party in his life—or anything else, for that matter. When do you want me to call for Olga?
KARL, R. C.
Well, it gets dark very early now: in three quarters of an hour we won’t be able to see any more.
HERMAN
Well, then—
KARL, looking at his watch
Let’s say four o’clock.
OLGA, after looking at a picture L. very closely
Who is that?
KARL
Oh, some model.
OLGA
Wasn’t that the girl we just met on the stairs?
HERMAN crosses quickly to L.
I must have a look at her.
[Looks at picture.
[OLGA stands so as to hide picture.
Oh, better not.
[Makes a gesture as if he had seen something indecent.
Well, every minute counts—I must be off.
[Shakes his finger at KARL.
You’ll have to stop that sort of thing, now, Karl. You know you are one of the reasons of tonight’s ball. Isn’t he, Olga?
OLGA
Yes—tonight Karl is to fall in love with his future wife.
KARL, goes L. C.
I shall do my best.
[To HERMAN.
Sentenced to marry! Well, I’m prepared to meet my doom.
OLGA, seated on couch, with a little sigh
At last! I shall be glad.
HERMAN
So shall I. So will the girl. So will Karl.
KARL
I hope so. She’s a charming girl.
OLGA
Wait till you—
KARL
I know—I know. I shall adore her. But I have till this evening, you know.
HERMAN, crossing to OLGA
Well, I’m off. My agent may telephone any minute.
[He kisses OLGA’S hand.
I shall call for you at four o’clock, my dear. And don’t worry about tonight: the caterer has his instructions.
[Crossing to R., shaking hands with KARL, who holds him back.
KARL, shaking HERMAN’S hand
Aren’t you afraid to leave your wife?
HERMAN
Shall I tell you the truth? I’m hurrying because I’m afraid of changing my mind and taking Olga away with me.
OLGA
You’re not jealous?
HERMAN, at door
If I wasn’t afraid of appearing ridiculous, I would say: Be good! And now, good-bye.
[He goes off, KARL bringing him to the door of entrance hall.
KARL
[Coming back, closes the door, stands still for a minute—when he comes back, OLGA shivers slightly and touches her forehead with her hand.
[Crosses to L. C. by OLGA.
What is it?
OLGA, with a nervous, soft laugh
Nothing—nothing at all.
KARL, tenderly
Are you frightened?
[OLGA does not answer.
Tell me.
OLGA, nervous, confused, as if she was afraid of him
I don’t know, but—I feel as if—as if—
KARL
What do you mean?
OLGA, trying to laugh, but very nervously
I had the same feeling once in Dresden, when my mother took me to a boarding-school and left me there. I felt as if I were quite alone in this wide, strange world—and now—you know yourself. I have fought against coming here for six years.
[Looks around.
What a queer place. I don’t think I like it. [KARL crosses C. and up laughing. Strange monsters, cut off heads, and you in the middle of all this like a wizard. While my husband was here I did not feel it, but now these heads seem to stare at me.
[She shivers.
KARL
Don’t be nervous—every woman I paint comes here.
OLGA, seated on couch, quietly
And do you paint every woman that comes here?
KARL
No.
[Silence.
OLGA
Did you understand my husband just now?
KARL
I think I did.
OLGA
He has often pretended to be jealous, but this time there was a ring in his voice that made me feel that there was something behind it.
KARL
You don’t really think he’s jealous?
OLGA, crosses to chair
No. But this is the first time I’ve been alone with you.
KARL
Now we can talk things over. I’ve wanted to for a long time.
OLGA, leans against R. back of chair
We’ve done well to avoid it all these years. A good conscience is like a warm bath—one feels so comfortable in it.
KARL
Last Thursday, when we spoke about my painting your portrait, you seemed embarrassed.
OLGA, looks at him; their eyes meet
Don’t let us talk about it. I don’t want to.
KARL
Don’t be afraid of me. If I were not I, your fear might be justified; but as it is, surely we can trust ourselves to talk things over quietly. To think that seven years ago I was a teacher in Herman’s family—and I was there the day your engagement was announced—it was the evening of the day we—
OLGA, puts her hand on his, softly reproaching him
Karl.
KARL
—We kissed each other for the first time. Oh, I know. I was only a drawing teacher—but you—what were you? Just a poor little friend of Herman’s sisters. Sometimes you were asked to tea in their grand house. And there we met—a beggar boy and a beggar girl at the rich man’s table. Do you wonder? And then, just as we realized what we were to each other, one fine day Herman up and proposed to you. Such a dazzling offer—who could blame you?
OLGA, hurt
Please—please, Karl.
KARL
We were two poor little souls who found one another in the wilderness of wealth—only to lose each other. Even the memory of that one little kiss....
OLGA
Dear Karl, don’t. We have grown up to be sensible people—we have put it out of our thoughts.
KARL
Oh, I know it’s all over. To-day I’m—(humorously) the famous painter, your husband is my friend, and though we see one another every day, we have never spoken of it again. I wouldn’t even have the courage to ask you to sit for your portrait. I was afraid, and I think you were afraid. And so was your husband. And that is why until this day—
OLGA, steps down one pace from chair, gives him her hand
You are a real friend.
KARL, goes to her, gently
There’s nothing to be afraid of.
OLGA
Oh, it was only my husband’s voice—something in his manner that frightened me. He must know what we were to one another, though he has never made the slightest allusion to it, not one single word in all these years. But when he left us here alone, he seemed to feel—
[Breaks off.
But there is no reason for it, is there? We are not in love with one another, are we? And it’s just lovely to think that we have not entirely forgotten old times. Don’t you think so, Karl?
KARL, goes to chair
Of course I do.
OLGA
Because if we still loved one another, you would not marry, would you?
[Taking off gloves.
KARL
Of course not.
OLGA
So you will be married and you will be very, very happy—and I shall be happy, too, because it is my own idea, and I have picked out a nice girl for you—pretty and clever—
[KARL bows silent acquiescence.
And now—
[Goes up and knocks on back of chair—business of entering imaginary door, etc. She speaks in an everyday voice, in marked contrast to former tone.
How do you do, Professor? I have come to have my portrait painted.
KARL, quite enthusiastic, R. C.
Last night I made a sketch of you from memory.... Oh, I’ve made lots of sketches of you; but now, now I see you in another light.
OLGA, R.
How do you mean?
KARL
Yesterday I looked upon you as a model. To-day you are a motif—you are a revelation...? there is something in your eyes....
OLGA
Please, please, Karl, we agreed that—that—
KARL
Pardon me, I’ll try to remember.
[Goes up on platform.
OLGA
Let’s go to work now—it’s getting late.
KARL
Whenever you are ready—
OLGA
What am I to do?
KARL, steps behind her to take hat pins out of her hat
Take off your hat and your coat, please.
OLGA
Thanks, I can do that myself.
[She takes her hat and coat off. KARL takes her coat up on platform.
KARL, passing her chair as he goes up
Do you use perfume in your hair?
OLGA
I? Never!
[At chair up in alcove.
KARL
Oh, then it is the natural perfume of your hair.
[She looks at him reproachfully.
Pardon me: I stood too near.
[Looks at her in silence. She crosses back of large chair to couch L., and sits facing audience.
OLGA, nervously, turns her head to him
What is it?
KARL, leaning against big chair, looking at her dress
I was just thinking—didn’t your husband say an evening frock?
OLGA
Yes. Herman wants me painted décolletée—in an evening gown; just a head and shoulders, you know. I would have preferred a street dress.
KARL
I’m afraid I agree with Herman on that point. But have you?... Didn’t you?... Where is the dress?
OLGA
Oh, I thought you would only be painting my face the first sitting.
KARL, comes C., laughs
So you thought I began at the top of a portrait and painted down?
OLGA, hesitating
Yes.
KARL
Why, the drawing of the shoulders is almost more important than the head in the first sketch.
OLGA
Oh, dear. How stupid of me.
KARL, crossing L.
I’ll tell you what—
[He selects some draperies from those hanging in the corner.
I have some draperies here—
OLGA
Well—
KARL
You can arrange one of these around your shoulders like—like an evening gown.
OLGA, mechanically
Yes.
KARL, hanging drapery on cabinet L.
You will have to be quick because it will soon be dark. Here are the draperies—you’ll find some pins over here, and I’ll go into the studio while you—until you—
[Goes to door of studio.
OLGA, seated
Until when? Why?
KARL
Why, if I’m to paint your shoulders—well—
[Turns away towards studio.
—your blouse?
OLGA, terribly embarrassed
Of course—
KARL
Do just as if you were at home. I’ll close this door.
[Goes to door R. to entrance hall and locks it.
And now I’ll go into the studio... and you can lock this door yourself.
[He has opened the door of the studio and has made one step into studio, and now says in a low tone:
Oh! It’s snowing.
[He looks at Olga.
OLGA
Snowing?
KARL
Snowing hard.
[Silence.
OLGA
Hadn’t we better?—perhaps—perhaps—tomorrow—or—or—
[She has been saying this very slowly, as if afraid, but now suddenly regains confidence, as if she had had a saving idea.
Tomorrow I could bring my maid.
KARL
Oh, no, no. Your husband would certainly want to know the reason, and really—if this door is closed—
[He goes back to his studio.
It’s too bad! This snow takes all the light away. But never mind—never mind; the snow shovellers will be glad of it.
[He has spoken the last few sentences in a very low voice, as if the situation was painful to him. He goes backwards into the studio and now closes the door. [OLGA is standing with her back towards the studio, staring in front of her. She now shrinks together, shivers, turns around. Sudden resolution, she turns the key, locking the door to the studio. Slowly unbuttons her blouse, looks at the shawls, of which she chooses one, afterwards takes her blouse off quietly, putting the shawl around her shoulders. She has put the blouse on the settee before she arranges the shawl. She now picks up the blouse and wants to put it on the chair in front of the fireplace; her arm is already stretched out when she suddenly drops the blouse, utters a suppressed shriek, dropping blouse by chair, and crosses quickly to foot of couch.
[The DEVIL, in fashionable frock coat, a crimson carnation in buttonhole, a man of from thirty-five to thirty-eight years old, resembling in face classical Mephisto, very elegant, picks up the blouse and offers to OLGA in a most polite manner.
DEVIL
Pardon, Madame.
[Comes C. a little.
I think you dropped something.
[OLGA takes the blouse mechanically and looks at him frightened.
I must beg your pardon, Madame. I came from lunch. Karl was not at home. I waited and I fell asleep in this very comfortable chair.
[He rubs his eyes.
Forgive me, Madame, for opening my eyes at a moment when, for propriety’s sake, I should have at least kept one eye shut.
OLGA, puts blouse on couch and goes L., horrified and disgusted
Oh!
DEVIL, Right of couch L.
I am aware this is a base insinuation—of course you only come here—
[Ironical.
OLGA
To have my portrait painted.
DEVIL
I once had a similar encounter at a dentist’s; and the lady, to prove that my insinuations were false, did not hesitate to sacrifice a perfectly good tooth.
OLGA
I tell you, I—
DEVIL, very polite
Oh, I know—you speak the truth. I am even at liberty to believe it, though your truth is only partly in style. Truth should have nothing on at all, you know.
OLGA
The insolence! What right have you to speak to me? Who are you? What are you doing here? Karl!
[KARL tries door outside.
Karl!
[She opens the door of the studio, KARL appears on the threshold and looks surprised at the DEVIL.
DEVIL, crosses up R. C. very quickly
How do you do?
KARL, taken aback
How do you do?—er—how are you?
DEVIL, quickly
You don’t seem to remember me—we met at Monte Carlo—
KARL, up L. C.
Oh, yes.
DEVIL
Quite an eventful day it was.
KARL, comes down a little
Yes, yes, I remember. It was last fall, and I had just lost all my money at roulette. As I turned from the table, I caught sight of a stranger frowning at me.
[Pointing to DEVIL.
It was you. I was startled, because only a moment before I had seen you next to the croupier, and I thought I heard you laugh when I lost. But now I remember—you stood behind me, and when I had lost everything, you offered me, a total stranger, a handful of louis d’or.
DEVIL
You refused—beggingly.
KARL
Yes, but—
DEVIL, continuing
You took them—protestingly.
KARL
In five minutes I had won everything back, and 20,000 francs besides. Your gold seemed to have magic power, I remember. When you gave it to me it seemed to burn.
DEVIL
But you paid me back and invited me to supper. I had to refuse, because I was obliged to leave for Spain the same evening, but I promised to look you up the next time you needed me—
[Crosses to R.
and here I am.
KARL
Well, I’ll be—
DEVIL, interrupting quickly
Don’t mention it. I took a little nap in your chair.
[Goes up to back of big chair.
OLGA, goes C., pointing to big chair. Frightened
It’s very strange—this chair was empty; there was nobody there.
DEVIL, stepping towards her, bowing; in a tone allowing no contradiction
Then I was mistaken, Madame.
[OLGA goes over behind couch L. Silence.
[OLGA and KARL look at the DEVIL suspiciously.
KARL, L. C., embarrassed
Won’t you please sit down? Allow me to introduce you. I quite forget your name....
DEVIL, R. C.
Call me anything you like: we only call names when the party is absent; but I am here now—call me Miller, or Brown, or Black.
[Start from KARL. DEVIL stops him.
If you think Doctor sounds better, why not call me Doctor Miller?
KARL, very much embarrassed
Doctor Miller—
[Crosses to R. C. The DEVIL kisses OLGA’S hand devoutly at foot of couch.
Under ordinary circumstances, I should now take my hat and leave;
[Goes up C.; turns.
but my infinite tact compels me to force my presence upon you in this disagreeable situation.
[Sits down in chair C.
OLGA, crossing to KARL; to the DEVIL
How dare you! Karl! This man has the insolence to—
DEVIL, seated C. Very quickly
Your husband has been dead some time?
OLGA, R.
I’m not a widow.
DEVIL, very quick
Oh, divorced?
OLGA
No.
DEVIL
Well, if you think that I have insulted you, I should say the proper person to refer me to would be your husband.
[Rises; to KARL:
Of course, if you wish, I am at your disposal also.
[To OLGA:
But, Madame, this would be admitting—
KARL
What’s it all about? I don’t understand you. You come in here, I don’t know how or where from, and you—you act as if you had trapped us—
OLGA, goes to KARL R. C.
The idea!
DEVIL
Say what you like: I cannot go.
OLGA
Why not?
DEVIL
If I were to go now, it would be as much as to say: “Pardon me, I fear I intrude.” But if I remain, I show that I suspect nothing.
KARL
We don’t need your assurance.
[OLGA crosses to L. below couch.
DEVIL, bows politely; embarrassing silence
Suppose we talk about something else. I think we are in for a snowstorm.
[Standing R. of studio door. Silence.
[OLGA stands near the door leading to the studio, quite astonished.
Are you sending anything to this year’s exhibition?
KARL, uncomfortable
Perhaps—I may send something.
[Silence. The DEVIL lights a cigarette at table L. C.
DEVIL, puffs cigarette. On second puff
Permit me, Madame.
[OLGA, picking up blouse, as if suddenly awakened and realizing her position, goes into the studio, closing the door behind her.
Full of temperament—full of temperament. And pretty, too.
[KARL starts to light cigarette at table L. C.
KARL, dropping cigarette, crosses to chair up C., sits and looks at the DEVIL without speaking
DEVIL
Too bad she doesn’t love her husband.
[KARL turns quickly towards the DEVIL. Quick:
How do I know? The way she turned to you just now when she fancied herself insulted—it didn’t escape me.
[KARL takes up the ash tray and throws it angrily on table.
No; she doesn’t love her husband. He must be either a genius or a very common man. Marriage with them is always unlucky. Believe me, common men live so low that women are afraid somebody will steal in at night through the window which they forgot to lock. And Genius, well! That lives on the top floor—so many stairs, no elevator. Her ideal is—
[A motion of the hand, wanting to express an even, middle position.
—the second floor.
[KARL looks impatiently at his watch and goes towards the door of the studio. The DEVIL leans back blowing the smoke of his cigarette, indifferently.
This is the second time I have seen her shoulders.
KARL, coming down left of couch
What do you mean?
DEVIL
The first time I saw them was in Paris—
[Start from KARL.
at the Louvre—only they were on the Aphrodite. Am I right?
KARL, crossing to large chair R. C. In bad humor
How should I know?
DEVIL, lifting himself upright, cynically
Which shoulders have you not seen?
KARL, angry
I’ve seen the Aphrodite.
DEVIL, seated on couch
Well, you may take my word. I have seen them both. And, believe me, since Alcamenes, I have only known one sculptor who could model such shoulders.
KARL
Who’s that?
DEVIL
Good living. Such tender, soft lines are only possible for a woman who lives exquisitely well. I take it she is the wife of a millionaire?
[KARL goes again towards door of studio impatiently.
Is she dressing?
KARL, nervously
I suppose so.
DEVIL
Is there a looking-glass in your studio?
KARL, comes down L. of couch
Yes.
DEVIL
She must be very respectable.
[KARL looks at him astonished.
If a lady takes as long as that to dress before a looking-glass, she’s not a—model—anyway.
KARL, crosses around foot of couch to table L. C.
Look here! I think your remarks are, to say the least, in very bad taste.
DEVIL, standing erect
Do you mean that?
KARL, aggressively
I do.
DEVIL, patting KARL’S cheek
Then you must be respectable, too.
[Crosses to big chair, KARL stares at him astonished.
In a situation like this, only a very respectable man can be so infernally stupid.
[KARL crosses to R. OLGA opens door of studio, goes towards KARL without looking at the DEVIL, who is hidden in chair.
OLGA, dropping shawl on couch
What’s the time?
[Crosses to KARL, R.
DEVIL, looking up over back of chair
He’ll be here in ten minutes.
OLGA, angry
Who?
DEVIL
Your husband.
OLGA
Oh! So you weren’t asleep after all.
DEVIL
Oh, yes, I was.
[Rises.
But “What’s the time?” always means the husband. A woman’s intuition invariably anticipates her husband’s coming by ten minutes. If it wasn’t for that ten minutes, there would be more divorced women—
[He goes and unlocks the door of the hall.
—and less locked doors.
[KARL crosses to L. C.
OLGA, taking her hat
Will this never stop!
DEVIL
I tried to change the subject. I started to speak about the weather—the Exhibition—but Karl wouldn’t have it.
OLGA
Karl!
KARL
I? I haven’t said a single word.
DEVIL, crosses to big chair
But your actions fairly shouted. The way you jumped up, looked at your watch, went to the door—
[To OLGA:
He was afraid, the poor fellow.
KARL
Afraid of what?
[L. C.
DEVIL, to OLGA
That your husband would come before you had finished dressing. I don’t blame him.
OLGA, R.
What, again!
[Goes up to hat.
KARL, L. C.
Can’t you—
DEVIL
Come now! Let us be logical—let us look the situation in the face. Enter your husband—
[OLGA comes down R.
“Well, here I am: where is the picture?” “The picture?”
[Shrugs his shoulders.
“There is no picture. Karl hasn’t even touched a brush.” Your husband is astonished—he tries to speak—the words stick in his throat—he gasps: “Well, if you didn’t paint, why is she dressing?” Imagine the situation! You look at one another horribly embarrassed; Karl stammers something, but that only makes it worse. Nothing has happened—and yet the mischief is done. What mischief? Appearances—appearances. They’re like fly-paper. There’s no getting away from them.
[Speaking to OLGA:
You go home with your husband, and he doesn’t speak—and if you ask him: “Why don’t you say something?” his blood seems to boil. If you ask him to take a cab, he suspects that you want to avoid meeting somebody—every word that you utter tortures him. And if—
KARL, C.
And if it were so, we are not alone, you are here.
DEVIL, icy and cynical
Just so, I am here—one word from me would save the situation—but—I know myself—I’m a strange, whimsical, almost cruel man—and I’m afraid I won’t say the word. Tableau! Embarrassing silence! Then I say: “I regret that I should have come at such an inopportune moment.” I take my hat and walk out discreetly. If necessary, I can even stammer my excuses.
OLGA
If this is a jest, it’s a cruel one.
DEVIL, bowing low
Possible, Madame—but I can do better still. Of course, if you prefer it, I can make conversation—when your husband comes in, I can tell him that the portrait has not been touched and ask his pardon—
OLGA
Pardon? Pardon for what?
DEVIL, bowing For having—quite accidentally—seen your shoulders.
OLGA, horrified
Who are you?
DEVIL
I am one who always comes at the right moment—I come from Nowhere.
[Very bitingly.
I am here—
[Touching OLGA’S forehead.
OLGA
What do you want with me? You turn everything to evil. I have scarcely known you five minutes, and I seem to feel your fingers at my throat.
DEVIL
That’s because I like you. With most pretty women I take longer.
KARL, furiously, starts towards him
Look here: this has gone far enough!
[Makes a few steps towards the DEVIL, who stands erect without moving. At the same time, HEINRICH comes to the door, which he opens, and starts speaking at once.
HEINRICH
The tailor has sent an evening suit, but it is not yours, sir.
DEVIL
Put it on the chair in the bedroom.
KARL
But it’s not mine.
DEVIL, gives a sign to HEINRICH to go out and do as he was told. Speaking to KARL
It’s mine.
KARL
Yours?
DEVIL, makes motion to HEINRICH, who goes out
[During speech OLGA goes up and gets her hat. KARL walks back and forth L. C.
I had to have it pressed. I told the tailor to send it here. I must dress for tonight. I’m going to a ball the prettiest woman in Vienna is giving at the house of the Duke of Maranse.
OLGA, coming down R., frightened
But the Duke does not live there now—he’s Ambassador in Madrid; he has sold his house—to us.
DEVIL
I know. I met him in Paris. He told me—
OLGA
We are living there now—we are giving the ball.
DEVIL
Am I mistaken? Am I not invited?
OLGA, in a very low voice, dropping her head
Yes—yes, you are.
DEVIL, very polite
Madame, you asked me a little while ago what I wanted. That’s what I wanted. Thank you.
[Bows and turns towards C. Silence.
OLGA
But my husband—
DEVIL, turning to her
Will be delighted. I’ve just come from Odessa. I have good news. Wheat is rising—this year’s crop turned out worse than they thought it would.
OLGA, greatly pleased
Yes? The crop is bad?
[The DEVIL goes to big chair and kneels on it L.
DEVIL
So you do love your husband? You’re glad the crop is a failure?
OLGA
Of course I am.
[As if she was somewhat ashamed about her husband’s speculations.
We want the wheat to be bad because that will drive the price up.
KARL
What of that?
OLGA
My husband will make lots of money.
DEVIL, to OLGA
And you will get that new gown.
OLGA
How do you know I want a new dress?
DEVIL
You have a new hat—a very pretty one—and you will certainly want a new dress to wear with it.
OLGA
You must be married.
DEVIL
Married? Not the least—but I have an eye for feminine vanities. Oh, no! A wife is like a single eyeglass—it looks very nice, but one is better off without it.
OLGA, R.
You seem to have strong views against marriage. May I ask why?
DEVIL, shaking his finger
Because you are plotting matrimony against Karl, and I want to save him.
KARL, starts toward him; stops C.
I beg your pardon—
DEVIL
An artist ought never to marry—his wife will swear on the wedding day to stand by his side all through life. The day after the wedding she will stand in his way.
OLGA
Not the real wife.
DEVIL
The real wife is always the other man’s wife.
OLGA
You’re a cynic.
DEVIL
Oh, no, not cynical, only careful. A tigress who has married—I mean eaten—a man, is no longer dangerous—you can ride on her back through the jungle. But, you must wait till she has married—I mean eaten—somebody; then she is quite safe.
KARL
Better to keep away from the tigress—and stay at home.
DEVIL
Then why didn’t you stay at home P Why did you refuse a legitimate position—good, everyday morals—a decent occupation at so much a week? You wanted to go into the jungle—and there you are. Now fight your battle—hunt tigers—but don’t get married!
[He now changes his tone, goes into the church chair, on whose back he leans his two arms, speaking as if from a pulpit. It is almost dark, and during this scene it becomes darker yet.
And yet—what a splendid couple you two would make.
[OLGA, standing quite near the DEVIL but not looking at him, buries her face in her hands.
Wake up!
[To KARL:
You, with your talent, your splendid youth!
[To OLGA:
You, with your temperament, and beauty and longing!
KARL crosses to R.
Stop! Stop! I beg you—
[OLGA backs to R. of back of chair, as though to protect DEVIL.
—for years we have been just good friends.
DEVIL
[He now begins to speak in almost a whisper, but getting warmer and warmer, the more embarrassed KARL and OLGA become.
You may say what you like, but I can read your eyes; they say to me: “Don’t believe him, he lies.”
[Goes to fire and warms his hands, KARL stands below OLGA.
KARL
Don’t interrupt me. For six years we have been —good friends, nothing else. Olga cares nothing for me—and I—and I—
DEVIL, quickly
What will you give me to interrupt you now?
OLGA
I don’t know what you, who profess to know everything, know about us, but anyone who thinks Karl capable of one base thought must be very low and contemptible himself.
DEVIL
[Goes behind OLGA and whispers into her ear. At the end of the speech he is a little to the L. of them by the big chair.
It’s not a base thought: it’s a great thought—a thought that brings joy and warmth and light into your wretched little lives. But joy has its price—and you must pay it, you misers! The drunkard dies of drink, but while he is drunk angels in heaven sing to him. The poet dies in the ecstasy of his sweetest song. It is a coward’s bravery that turns away from the wine, the song—and the lips of woman. The smallest candle-end shows you it is worth while to burn up for the sake of a little warmth—a little light. The only end of life is to burn—to burn yourself up. You must flame and blaze like a torch and toss the fire about you. I know: your moralists tell you to love one another—don’t believe them—your grubby little earth with its paltry million years is not ripe for such a love as that. It can only breed monks, madmen, Methodists. Don’t be a fool, be a rogue—but be a jolly rogue—and the world is yours! Look at me! I own the earth. Here is the key of life—Love yourself—only yourself. Dress yourself in the softest garments—kiss the sweetest lips—drink of the wine of Life—Drink! Drink! Drink!
[Bell rings sharply—nobody moves.
OLGA, after a pause, in a low voice
My husband—
DEVIL
[Steps down from the chair, crossing C., snaps his fingers angrily, and says afterwards, in a cold, cynical tone:
Mr. Wheat.
[HEINRICH opens the door, and HERMAN comes in. HEINRICH follows him, but stops short at the door.
HERMAN
I’m afraid I’m late. My agent hasn’t telephoned me yet, but I didn’t want to make you wait too long. Rather dark in here!
[HEINRICH touches a button, lighting the lights, and exits.
HERMAN, sees the DEVIL, presenting himself
I’m Herman Zanden, of Zanden Brothers & Wilde.
[DEVIL mutters something and shakes hands with him C.
OLGA, coming down R. KARL goes behind big chair
Strange man.
HERMAN
Pleased to meet you.
[Converses with KARL a few moments; then to OLGA:
Well, my dear, where’s the picture? Mayn’t I see it?
KARL, in the big chair, leaning over back
There’s nothing to see—there is no picture.
HERMAN, looking at his watch
What have you been doing?
KARL
Nothing. (Silence.) It’s been dark for the last hour.
HERMAN
Yes, but I’ve been gone two hours.
DEVIL, steps to the front L. C. very politely
It was all my fault. We have been chatting. We’ve had a very interesting discussion. And Madame was kind enough to invite me for this evening.
HERMAN
Oh! I’m very pleased.
DEVIL, crosses to couch L. and sits
Thank you. I have just come from Odessa. I had a talk with the Russian Wheat King. He tells me—
HERMAN
Yes, I’ve heard; wheat’s going up.
OLGA, frightened
Isn’t that good for us?
HERMAN
No, dear. I did not tell you this is the first year I am short on wheat.
KARL
What does it mean to be short on wheat?
DEVIL, seated on couch L.
It means digging a ditch for others and falling into it yourself.
[To HERMAN:
I don’t think you’ve any cause for uneasiness. I have inside information that the American crop will be excellent.
HERMAN, C.
If that is the case, I shall be safe.
DEVIL
You will be quite safe.
HERMAN
Do you also deal in wheat?
DEVIL
Yes and no. I dabble in everything. And always at improper moments. (Rises.)
KARL, has been talking to OLGA, but now goes over to HERMAN
I’m afraid I can’t come before eleven o’clock this evening.
[Continues talking to HERMAN, and both go to fire.
OLGA, crosses and meets DEVIL, C.
I must speak to you at once—alone.
[Looks around as if she wanted to say that her husband and KARL were in the way.
DEVIL
Alone? Delighted!
[Crosses by her and goes up C. OLGA goes behind couch and DEVIL addresses HERMAN.
By the way, if you want to see something delightfully bad, you ought to take a look at the sketch Karl made yesterday of your wife.
HERMAN, coming down
Where is the sketch?
DEVIL
In the studio.
[HERMAN takes KARL’S arm and walks to door of the studio; in going into the studio speaks to KARL.
HERMAN
I’m sorry you didn’t start Olga’s portrait today. What were you talking about all the time?
[Goes into studio.
DEVIL, to OLGA
I’ll wait for you here.
[He steps back into the room just in time to see MIMI enter from the hall.
MIMI, comes right in, crossing to C. Excuse me—
DEVIL
You want to see the painter?
MIMI, excited
Yes, please.
DEVIL, very gently, pushing MIMI out of the door into the hall and speaking through the door
One minute, my dear. There are some visitors here. Sit down there. I’ll call you.
OLGA, comes quickly from the studio
I wanted to tell you—to tell you—
DEVIL, R. C.
It is not true.
OLGA
What is not true?
DEVIL
Whatever you are going to tell me.
OLGA
But believe me.
DEVIL
Surely no woman can expect that.
OLGA
But I am telling you the truth.
DEVIL
Ah! I might believe you if you said you were not speaking the truth.
OLGA
Must I think and speak only as you wish me to?
DEVIL
Not yet. Now what can I do for you?
OLGA, very earnestly L. C.
Don’t come tonight. Now my husband has come, I am myself again, and your manner grates upon me. I had begun to feel as if some strange force—some invisible hand—was clutching me —holding me in spite of myself. There is a mystery about you. It frightens me. I thanked God when I heard that bell ring. He came just in time.
DEVIL
To point a moral and break up a charming party. We were just beginning to understand each other.
OLGA
Oh please stop!
DEVIL
Are you afraid?
OLGA
No, but I ask you not to come to our house this evening.
DEVIL, with a very polite bow, then drawing himself up
I shall come.
OLGA
And if my husband asks you not to come?
DEVIL
Your husband has already asked me to come.
OLGA
And if, in the presence of my husband, I ask you not to come?
DEVIL
Well, I’ll make a compromise with you. If you repeat your invitation in your husband’s presence, I shall accept; if you do not, I will not come.
OLGA, breathing freely
That’s nice of you—the first really nice thing you’ve said. I like you much better.
[KARL and HERMAN come back from the studio, and HERMAN starts to talk at once to the DEVIL, KARL goes toward OLGA, who meets KARL up C.
OLGA, to HERMAN
Shall we go?
HERMAN
Yes, dear; put your coat on.
[Comes down L. DEVIL crosses to HERMAN.
KARL, meets OLGA, they go up to recess. He helps OLGA to put her coat on.
I see now how bad the sketch is.
[Holds mirror for OLGA while she puts her hat on.
OLGA
Please don’t look at me like that.
KARL
Even if I don’t look at you, I see you just the same, Olga.
OLGA, covering her face with her hand
We must give up the portrait, Karl... I’m going away... away somewhere.
DEVIL, L., with HERMAN.
You don’t say? You represent Holman & Co. in London? When I am in Odessa I am always old Mr. Holman’s guest. A charming old gentleman. No doubt you have heard the rumors. It seems they’ve been mixed up with some unfortunate ventures which have seriously affected their standing.
HERMAN, seated on couch
Strange! Another friend of mine spoke to me about it only yesterday.
DEVIL
Yes, but that isn’t all. He’s the president of some trust company, and in order to boom the stocks he—but it’s a long story, I won’t bore you with it now.
[Makes as if he wanted to go.
HERMAN
My dear sir, this concerns me more than I can tell you. The fact is—I—I am heavily interested.
[OLGA has her hat on and turns, listening to HERMAN and the DEVIL.
DEVIL
You don’t say. But it’s a long story.
HERMAN
Well, then—tonight.
DEVIL
Oh, I am so sorry. I have excused myself already to Madame, but I had forgotten all about a call I must pay at the Russian Embassy this evening.
HERMAN
Well, lunch with me tomorrow?
DEVIL, with a gesture of regret
I’m afraid it will be impossible. I leave tomorrow at nine o’clock for—Spain.
HERMAN, to himself
H’m! I must have this information.
[HERMAN crosses to C., speaking to his wife
My dear, won’t you please ask the Doctor to try and arrange to come to our house this evening?
OLGA, somewhat embarrassed
Well, but if pressing business....
DEVIL, L. C.
It is not so very pressing. Of course, it would mean a little sacrifice.
HERMAN, C., looking at OLGA
Well—
OLGA, R. C.
Much as I would like to see you, Doctor, I cannot ask you to sacrifice anything for our sake.
DEVIL, as if suddenly remembering something
Come to think of it, the Russian Ambassador left town yesterday, so if Madame—
HERMAN, goes up C. DEVIL crosses to her R. C.
Well, my dear?
OLGA, in a tone of resignation
I hope we shall have the pleasure this evening—
DEVIL, crosses to OLGA
Pardon me. You said—
OLGA, very slowly
I hope we shall have the pleasure of your company this evening?
[Goes to door R.
DEVIL, ironically
Madame, I thank you for your invitation; I shall be most charmed.
HERMAN, coming down to KARL
And you don’t come before eleven?
KARL, by big chair
No; I expect an art dealer.
HERMAN, suggestively
I know your art dealers. Fie! And you going to be married.
OLGA, curiously, and a bit jealous
What is it?
KARL
Oh, nothing.
DEVIL, up C. as if listening
I think somebody knocked at the door.
HERMAN
I didn’t hear anything.
DEVIL
Yes, there it goes again.
[Cynically.
Probably the art dealer.
[Goes to hall door, which he opens, steps out, speaking into the hall.
Oh, it’s you, my dear. Come in.
[Swings MIMI into room past OLGA, landing her C.
MIMI, as she comes in embarrassed
Good evening.
[HEINRICH enters from studio.
KARL, up C. embarrassed
Good evening.
[MIMI goes up L.
DEVIL, R. C., in a low tone to HERMAN
We’d better go.
[MIMI and OLGA stare at one another.
[Cynically to HERMAN:
The Art Dealer!
HERMAN, laughing, going to door
Well, au revoir.
[Exit.
DEVIL, to OLGA
Quite a little comedy.
OLGA, at door R.
You think so?
KARL, to MIMI, pointing to the studio
Please step in there, Fräulein; I’ll be with you in a minute.
[KARL turns to OLGA with hand out-stretched, as if to say good-bye. OLGA pretends not to see it and bows coldly.
DEVIL, whispers to OLGA
You were good enough to invite me for this evening: I am now going to repay your kindness. In five minutes I shall be back here to interrupt this tête-à-tête. Watch me forget my overcoat.
[He takes the overcoat which KARL had put on a chair at the beginning of the act when he came in. HEINRICH helps the DEVIL to put on the overcoat, but notices that it is his master’s.
HEINRICH
Pardon, sir; but this is not your overcoat. This—
DEVIL, aside to HEINRICH
Shut up!
[DEVIL goes off; HEINRICH follows him out.
KARL, comes C. to MIMI
Didn’t I promise you I’d come? What do you want?
MIMI, coming to him
Were you ashamed to have those people see me?
KARL
I told you, I’d come. What more do you want?
MIMI
I was downstairs in the lunch room and thought it all over. Dear Karl, don’t be mean—don’t get married.
KARL
But—Mimi!
MIMI
I never used to care, but now that I’ve seen those people I—I can’t bear it. Don’t get married!
[Cries.
KARL
You mustn’t cry—it spoils your beauty.
MIMI
Oh, I’m a fool.
KARL
Now, you’re talking sense.
MIMI
I’ve been a silly girl—but it’s all over now. I’m sensible again. You are going to settle down and marry Elsa and be the most famous portrait painter in all Europe.
KARL
Mimi, child—don’t speak of portraits. I feel at this moment as if I never wanted to hear the word portrait again. I’d like to run away from everything, Mimi. What do you say?
[Goes to couch L. and sits.
Suppose you and I get married and go away—far away into the country—or to the United States, where we’d never be heard of again.
MIMI, kneels beside him
Do you mean that?
KARL, recklessly
Yes—yes!
MIMI, gives him her hand
That’s mighty nice of you, Karl.
[Rises, goes L. C.
But no! even if you really mean it—which you don’t—
[Makes an effort to control herself.
KARL, interrupting
Mimi!
MIMI
No, Karl; I’d only keep you back—you must marry in your own set.
[Changes tone.
But don’t run away—with—with anybody. Good-bye.——-
KARL
No, don’t go! Now you have come, you might as well stay a while—take your hat off.
[Helps her off with her hat and jacket.
I’m glad you came back. Now, let’s be sensible—and talk it over. You know I really am fond of you—after all, I am your best friend and you are my—my—
[The DEVIL has silently opened the door and comes in.
DEVIL
My—my overcoat must be somewhere. Your stupid servant gave me yours.
[Takes coat off.
It’s funny, but every time I come here, you are helping some lady to take off her things.
[MIMI goes to couch.
MIMI, horrified
Well, I never.
[Exit.
DEVIL
You have every qualification for a ladies’ tailor.
KARL
You are very kind.
DEVIL
Don’t mention it.
KARL, impolitely
I’ll fetch your overcoat; I don’t want to detain you.
[Puts out lights and goes towards studio.
DEVIL
The hanger was torn off. I asked your man to mend it and bring it here when it was done.
[Sits up C. Silence.
I just saw something very touching.
KARL
What?
[Goes to C. and sits on arm of chair by DEVIL.
DEVIL
The way that woman clung to her husband’s arm as if for protection.
KARL
For protection? (Sneeringly.) From you?
DEVIL
Look here, my boy; do you think you are wise to be such a fool?
[KARL rises, starts away, DEVIL catches him by hand.
KARL
I don’t want to talk about it. You don’t seem to understand my position. I have seen this woman for years every day, and I never even thought—and if I had thought—I should have laughed at myself.
DEVIL, rises, takes both KARL’S hands
Look at her! She’s yours. Think what it means —joy, unspeakable joy—the most supreme joy one can have. And to think that you are too lazy to stretch out your hand! Why, another one would toil day and night, would risk life and limb for such a prize—and it just drops at your feet—a windfall.
KARL
I suppose that’s why—
[In a tone as if he didn’t think much of it.
—just a windfall.
[Sits on couch.
DEVIL, sits on table L. C.
Last fall, on the sixth of September—I shall never forget the date—something strange happened to me. I put on an old suit I hadn’t worn for a long time, and as I picked up the waistcoat, a sovereign fell out. God knows how long it had been there. As I turned this sovereign over to look at it, it suddenly slipped through my fingers and rolled away. I looked and looked, but my sovereign was gone. I become nervous: I can’t find the sovereign. I search around for half an hour, three quarters of an hour, still I can’t find it. I get angry, I get furious. I shift the furniture—no sovereign. I call my man—we both look everywhere until it’s dark. I’m perspiring and trembling—I have but one idea: I must get that sovereign back. Suddenly a suspicion comes into my mind—I get up from my knees. I scream at the top of my voice to my servant: “You thief, you have found the sovereign and put it into your pocket.” The man gets angry and answers me disrespectfully. I am about to strike him when I see the blade of a knife shining in his hands. I draw my revolver—
[Takes a shining revolver out of his pocket and rises.
—and with this revolver I nearly killed a man for a sovereign—
[Look from KARL.
—I didn’t need and had never missed—just a found sovereign.
[Puts revolver on table.
KARL, embarrassed
I give found money away.
[Turns on couch from him.
DEVIL
I would have given it away, but—it slipped through my fingers, and whatever slips through our fingers, that is just the one thing we want.
[Goes to KARL.
We break our necks for it: that’s human nature. And if it once slips through your fingers, you will run after your found sovereign. And then, when it is too late, you will discover it was worth having.
KARL
To draw a revolver for a found sovereign?
DEVIL, sitting by him
And that little woman will become dearer and more precious to you every day—you will realize that she could have given you wings—that her temperament, her beauty, her passion, would have been the inspiration of your work— all this you’ll realize when she has slipped away. You could have become a master—a giant! Not by loving your art, but by loving her—but you won’t know it till it is too late—too late.
[He now takes the shawl with which OLGA had draped her shoulders.
This shawl has touched her bosom—
[Throws one end over KARL’S shoulder, forcing him to see it. KARL clasps the shawl and touches his lips to it.
Think what you might have been to one another! What divine happiness, not because she is beautiful—no, but because you—
KARL, throws shawl L. of couch
Be quiet! Be quiet! Do you want to drive me mad?
DEVIL, rises and goes to head of couch
A life that has not been squandered—has not been lived—
KARL
Why do you tell me all this? Why? What do you want?
[Throws himself face down on couch.
What do you want?
[Horrified, turns to him.
Who sent you?
DEVIL, darkly
Nobody! No one! I am here.
[Touches KARL’S forehead.
KARL
No! And a thousand times no.
[Throws himself face down again on couch. Screams very loud.
No! Do you hear me? No! I have known her all these years, and we’ve been good friends only—and we’ll remain good friends, nothing else. I don’t want the found sovereign!
[Moving to end of couch.
DEVIL, coming down L. of couch; very emphatically
And if it slips away?
[Silence. Then quickly:
If another man runs away with it—?
KARL, suddenly jumping at a conclusion
Who?
[Looks at the DEVIL.
DEVIL, triumphant
I. (Silence.)
KARL
You?
[Laughs and turns from him.
DEVIL
Tonight! This very night she’ll be mine!
[Laughs.
Oh, what joy! What exquisite joy. For ten thousand years I have had no prettier mistress!
KARL, turning to him
What do you say?
DEVIL, sitting L. head of couch
Mistress, I said. Come tonight—to her house—when the lights are burning—when the air seems to be filled with music and perfume. You’ll see—before day dawns.
KARL
Enough! Enough!
DEVIL
How you will run after your lost sovereign! Every hour when you wonder where she is, she spends with me. A carriage passes: your heart stands still. Who’s in that carriage? Shall I tell you? We! You see a couple vanish around a corner, clinging lovingly to one another. Who were they? We! Always we. A light goes out in some window. Who put that light out? We! We sit in every carriage, we vanish around every corner—clinging lovingly together; we stand behind every window curtain in close embrace, looking into your tortured face, your maddened eyes—and we cling closer—closer—and we laugh—-we laugh!
[Laughs long.
KARL
[Throws himself face down, back to audience, on couch, in terrible state of excitement, screaming at top of his voice:
You fiend!
[Reaches for revolver with R. hand. DEVIL grabs his hand and holds revolver. KARL draws away and sits staring straight ahead, DEVIL rises, leaves revolver on table, lights cigarette, then comes below table.
[HEINRICH enters the room noiselessly, carrying a lighted candle, goes behind the DEVIL and helps him to put his fur coat on.
[DEVIL puts his silk hat on, gives a tip to HEINRICH, takes up the revolver, puts it into his pocket, and says to KARL with a sad smile, in a warm tone like a father speaking to his son:
DEVIL
You see, my boy, one may draw a revolver for a lost sovereign.
[Goes to the door. As he opens the door, a look of devilish satisfaction comes into his eyes.
CURTAIN