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 COPYRIGHT DEPOSir. 
 
THE REFORMERS 
 
THE REFORMERS 
 
 A DRAMA OF MODERN LIFE 
 
 IN THREE ACTS 
 
 BY 
 EDWARD SHRUBB ZIETZ 
 
 ^ 
 
 PUBLISHED AT 
 
 THE BOOKERY 
 
 NEW YORK 
 
o 
 
 \n fz 
 
 COPYBIGHT, 1912 
 BY 
 
 Edward Shrubb Zietz 
 
 The rights of translation into 
 any foreign language reserved 
 
 APR -^ 1314 
 
 ENTERED AT STATIONERS* HALL, LONDON 
 PRINTED IN THE UNITED STATES 
 
 g)n!.D 36656 
 
 _.. M-4^ . 
 
TO THOSE WHO AEE 
 
 IN SYMPATHY 
 
 WITH ME 
 
 DO I 
 
 DEDICATE 
 
 THIS HUMBLE VOLUME 
 
SYNOPSIS OF PLAY 
 
THE REFORMERS 
 
 Stephen Ormsley, a prominent religious enthusi- 
 ast and social reformer, is employed by a certain 
 society to seize immoral writings and posters. His 
 wife, Viola, is a very energetic church worker, and 
 with her husband, who is a member of the same 
 church, is looked upon as a shining light. They 
 have one son, Walter by name, who was forced to 
 leave home, having been turned out and disowned by 
 his father on account of refusing to continue his 
 studies for the church. He was persuaded, very 
 much against his will, to enter a Theological School, 
 as he had set his heart on becoming an actor, 
 but his parents were greatly shocked at the idea 
 and would not hear of it. Walter, being home for 
 the summer vacation, tells his father he will not 
 return to the school, but is determined to enter the 
 theatrical profession. An argument ensues between 
 father and son, in which the mother joins. Walter 
 tells his father of the so-called Christian life in 
 training schools, of the hypocrisy, sin and deceit 
 within their walls, to which his father replies that he 
 is a child of the Devil and not fit to associate with 
 Christian people, or live under the same roof with 
 them. 
 
THE REFORMERS 
 
 Mr. Ormsley has a brother out West whom he has 
 lost track of for the last twenty years. This brother 
 (Richard by name), is a widower with an only 
 daughter, named Mabel, who is a clever actress and 
 very beautiful, her professional name being Thelba. 
 She is fulfilling an engagement at a New York 
 theatre where she meets Walter, who has secured an 
 engagement in the same company, having been as- 
 sisted by an influential friend. Walter becomes 
 acquainted with Mabel, falls in love, and asks her 
 to marry him. She refuses, telling him she is mar- 
 ried to her Art, the real reason being that she has 
 found out he is her cousin and a blood relation. 
 Mabel writes and tells her father of her discovery, 
 and how cruelly Walter had been treated by his 
 parents, mentioning that he had proposed to her and 
 she had refused him on account of their relationship. 
 
 Stephen Ormsley has an assistant (Alexander 
 Faker by name) whose business it is to tour in the 
 wake of theatrical companies, visit the chorus girls 
 at their apartments, assist any who are in distress 
 or stranded, give a tea party in a convenient spot 
 and distribute marked Bibles. Faker is a gray- 
 haired, shriveled up little man between 60 and 70, 
 while his partner is the reverse, being tall and robust, 
 having a thick crop of black hair. Mrs. Ormsley is 
 a fine woman of medium height, fair hair and large 
 eyes that take in most things at a glance. Walter is 
 tall like his father, but has what his father lacks, 
 
 10 
 
THE REFORMERS 
 
 namely, an honest, open countenance. Mr. Faker 
 writes to many wealthy people in different towns who 
 are interested in his work among chorus girls, and 
 receives in return much money, a great part of which 
 is laid aside and shared by his partner and himself. 
 They are together one evening in Ormsley's private 
 study, and thinking they are the only persons in the 
 house besides the servants, the door having been 
 locked, Ormsley removes from the bookcase several 
 books, then touching a spring, and causing a panel 
 at the back to slide sideways, he takes from the recess 
 a syphon, bottle of whiskey and some choice Havana 
 cigars. A smoke consumer is produced and set 
 going by Mr. Faker. They then sit down, smoke 
 and drink, when Ormsley suddenly rises and opens 
 a black bag, taking from it some French novels, 
 postals and a theatrical poster. The latter he places 
 on the wall, with the aid of two push pins, and it 
 being a hot night they have an electric fan at work, 
 which causes the poster to flutter and both to re- 
 mark that it looks like a Salome dance. They fill 
 up their glasses and pass impious remarks on the 
 postals, when Faker asks Ormsley where he got the 
 poster. " I got it from a boy at Coney Island for 
 50 cents," replied Ormsley. " I demanded it from 
 a bill poster and in return I got his paste brush 
 right between the eyes, and was glad to get out 
 of sight of the laughing crowd that had collected. 
 
 Having arrived in a quiet spot, a boy suddenly ap- 
 
 11 
 
THE REFORMERS 
 
 peared on the scene and offered me the poster for 50 
 cents, saying he had pinched it from the bill man 
 on the sly." 
 
 They are both interrupted here by the sound of 
 footsteps. They start to their feet, Ormsley grab- 
 bing the whiskey and cigars, and Faker the syphon, 
 all of which they hurry into the recess, forgetting 
 the smouldering consumer. Ormsley quietly unlocks 
 the door just as his wife turns the handle. She sniffs 
 and says : " What on earth is this smell here, 
 Stephen, and what is that smouldering there .f^ " At 
 this Mr. Faker comes forward and says " Good 
 evening," explaining the use of the consumer, and 
 saying that it was given to him by a chorus girl who 
 had made a promise to him to give up smoking. 
 After this enlightenment, Mrs. Ormsley catches sight 
 of the poster, fixes her glasses, and views same. 
 " Why is that horror stuck on the wall, and who is 
 this Thelba.'*" she remarks. "My dear Viola," 
 answers her husband, " I seized that poster from a 
 man at Coney Island and have hung it there to 
 show Mr. Faker the exact position of its hanging on 
 the wall, explaining how the best positions and places 
 are chosen to paste such corruption ; but who this 
 Thelba is I have not the remotest idea. 'Tis indeed 
 a pity such an immoral character is displayed about 
 our cities. I really must be more on the lookout to 
 stop this evil." 
 
 Mrs. Ormsley feigns disgust after taking a long 
 
 12 
 
THE REFORMERS 
 
 look at the poster, and is led to the door by her 
 husband, who returns, faces his partner and says 
 (in a breath with him) " We must be more careful 
 or she will scent us." 
 
 Mrs. Ormsley, having arrived at the floor below, 
 says in a noisy whisper : " The sharks ! I am posi- 
 tive I smelled whiskey and cigar smoke." 
 
 We will follow Mrs. Ormsley on one of her district 
 visits. She calls on a Mrs. Tattler regarding her 
 absence from church, but chiefly to get a donation 
 for the foreign missions in China. The door is 
 opened by Robert Tattler, a young man of 20, who 
 says his mother is out, but won't Mrs. Ormsley step 
 in as she will not be long. She enters, being 
 ushered by the young man into the sitting room. 
 The conversation starts upon general things leading 
 to religion. She speaks to the young man on the 
 error of his ways, telling him he ought to take an 
 interest in spiritual things and join the church. The 
 young man lets on he is impressed and promises to 
 stop sowing wild oats. Mrs. Ormsley having heard 
 that Robert is a pianist asks him if he will play a 
 piece. The young man plays and charms Mrs. 
 Ormsley, causing her to forget the pious conversa- 
 tion they have just had by suddenly throwing her 
 arms around his neck and imprinting three smacking 
 kisses on his lips. Robert is very much aston- 
 ished but quickly arrives at the conclusion that 
 it is all right and gets the habit inunediately. 
 
 13 
 
THE REFORMERS 
 
 They are disturbed by footsteps, when Mrs. Ormsley 
 hurriedly takes her arms from the young man's 
 neck, freeing him in time to get to the door just 
 as his mother enters. " Why mother, how long 
 you have been. Here is Mrs. Ormsley who has been 
 waiting quite a while to see you and whom I have 
 been trying to entertain with a little music." 
 
 " Yes, Mrs. Tattler," said Mrs. Ormsley, " your 
 son is indeed a beautiful pianist. He has charmed 
 me with his music and given me a very pleasant time 
 by playing a favorite piece of mine — the Lost Chord, 
 with variations. He has such a smooth touch." 
 
 Robert says good-bye to Mrs. Ormsley, leaving 
 her with his mother, but manages to whisper before 
 leaving the room, " Come again." 
 
 • ••••• 
 
 We will return to Thelba, whom we left writing a 
 letter to her father. After mailing it, she hurries 
 to the bedside of a poor dying widow who had sent 
 for her, and is let in by a little girl of 12, very 
 poorly clad, who says in a sobbing voice : " Mother 
 is dying." Thelba goes at once to the bedside and 
 hears the following story: 
 
 Since the death of her husband the dying woman 
 had been employed by a certain mission society at a 
 salary of fifty dollars a month to take charge of a 
 mission. The minister of the church connected with 
 this mission, having been recently married, is ques- 
 tioned by his wife as to the time the worker is sup- 
 
 14 
 
THE REFORMERS 
 
 posed to put in, and what salary she gets. Not 
 knowing himself, he is persuaded to ask the society. 
 Securing the information and also finding out 
 that the woman had not put in her full time 
 lately, owing to the sickness of her little boy, a com- 
 plaint is lodged and she is discharged, her place 
 being filled by the minister's wife. The poor woman 
 implores the society to keep her on for the sake of 
 her five children. They answer that they cannot as 
 her heart is not in the work. She sobs and entreats 
 until finally she is thrust out and the door slammed 
 in her face. Unable to earn enough to support her- 
 self and children she at last dies of consumption, 
 brought on by want and worry. The end of the poor 
 woman was made bright and happy by Thelba who 
 made a promise to care for the five orphans. 
 
 A week later Thelba receives an answer from her 
 father saying he is on his way to New York, and 
 asks her to be sure and have Walter with her as he is 
 anxious to meet the young man. He goes on to 
 state that he does not see why relationship should 
 interfere with their marriage, providing they love 
 each other. He also writes to his brother, telling 
 him he is alive and well, inviting him and his wife to 
 meet him at his daughter's flat. Having found out 
 the double hfe his brother Stephen is leading he 
 determines to denounce and expose him. Arriving 
 at his daughter's flat he is introduced to Walter, 
 whom he takes to immediately. He makes arrange- 
 
 15 
 
THE REFORMERS 
 
 ments with him and his daughter to keep out of 
 the way when the former's parents arrive, but to 
 keep within call, one ring on a hand bell for Mabel 
 and two rings for Walter. Mr. and Mrs. Ormsley 
 having arrived are ushered by the servant into the 
 sitting room and requested to take a seat. They are 
 no sooner seated than Richard Ormsley enters. They 
 both rise to greet him, but he waves them back, refus- 
 ing to meet their outstretched hands, telling them he 
 knows all about the Hfe they are leading under the 
 cloak of religion, that they are deceiving an hon- 
 est people by their moneymaking Pious Fake Busi- 
 ness, and that they are a hindrance, both to God and 
 to man. They are too astonished to speak, when Mabel 
 appears in the room in answer to one ring. She is 
 instantly recognized by them, they having seen her 
 at the theatre, from where they were turned out for 
 creating a disturbance, also recognizing her by the 
 posters. 
 
 " Thelba the actress ! " they exclaim. 
 
 " Yes, Thelba the actress," says Richard Ormsley, 
 " and my daughter, otherwise known as Mabel 
 Ormsley." 
 
 Two rings bring in Walter. 
 
 " What ! Walter here, too ! " they exclaim. 
 
 " Yes, Walter is here, too," says Richard Orms- 
 ley, " and about to marry my daughter, his cousin 
 and your niece." 
 
 At this they become frantic and create an uproar. 
 
 16 
 
THE REFORMERS 
 
 A policeman is called in and they are ejected, having 
 been told to leave the city as soon as possible or they 
 will be exposed. 
 
 Having consented to his daughter's marriage with 
 his nephew, he gives them his blessing and settles a 
 good round sum of money on them. 
 
 FINALE 
 
 17 
 
THE PLAY 
 
CHARACTERS REPRESENTED 
 
 Stephen Ormsley, Hypocritical Social Reformer 
 
 Viola Ormsley (his wife). Energetic Church Worker 
 
 Walter Ormsley (his son), A Theological Student 
 
 Annie Bird, A Servant to the Ormsleys 
 
 Alexander Faker ( Ormsley' s assistant), A Mis- 
 sionary to Chorus Girls 
 
 Roland Clifford (Walter's friend). An Actor 
 
 Mabel Thelba, An Actress 
 
 Nellie Harvey, Maid to Thelba 
 
 Robert Tattler, A Sower of Wild Oats 
 
 Mrs. Tattler (his mother), A Woman of Means 
 
 Mrs. Phoebe Lorne (widow), A Discharged Mission 
 Worker 
 
 Fay Lorne, Little Daughter of Widow 
 
 Paul Foxey, A Bill Poster 
 
 Sam Brimmage, A London Lad 
 
 Richard Ormsley (Thelba' s father), A Rich West- 
 em Land Owner 
 
 Mike McQuirk, An Officer 
 
 21 
 
SCENES REPRESENTED 
 
 ACT I 
 
 Scene 1 Mt. Vernon. Dining Room of Stephen 
 Ormsley^s Residence 
 
 ACT II 
 
 Scene 1 Lwna Park, Coney Island. Booths, 
 Stalls, Shooting Gallery, etc. 
 
 Scene S Madison Avenue. Sitting Room of Thel- 
 ba's Flat 
 
 Scene 3 Mt. Vernon. Stephen Ormsley's Private 
 Study 
 
 ACT III 
 
 Scene 1 Tenth Avenue. Rear Room of Tene- 
 ment, top floor 
 
 Scene 2 Mt. Vernon. Sitting Room of Mrs. Tat- 
 tler's Residence 
 
 Scene S Madison Avenue. Sitting Room of Thel- 
 ha's Flat 
 
 23 
 
ACT I 
 
ACT I 
 
 Scene 1 Mou/nt Vernon. Dining Room of Stephen 
 Ormsley''s Residence 
 
 Stephen Ormsley seated opposite his wife at 
 breakfast 
 
 Ormsley, Viola, I feel like a new man this morn- 
 ing, having been accepted by the Society as a fitting 
 and moral representative for carrying on the glor- 
 ious work of seizing all questionable books, postals 
 and theatrical posters I come across. 
 
 Viola. I am so glad, dear. I suppose the salary 
 is good, but, of course, the salary is a secondary 
 consideration, as God's work always comes first. 
 
 Ormsley. Precisely so, Viola. Yet, while God's 
 work should always be one's first consideration, the 
 second should be the financial part, for the Good 
 Book says " The laborer is worthy of his hire," and 
 five thousand dollars a year is not a too great 
 amount for such work. 
 
 Viola. Well, dear, in changing the subject, of 
 course you have read Walter's letter and have 
 already come to some conclusion regarding it. You 
 know he is to arrive this morning and will have 
 to be dealt with firmly in order to break him of this 
 mad infatuation for the stage. 
 
 27 
 
Act 1 THE REFORMERS Scene 1 
 
 Ormsley. Yes, Viola, I have fully considered the 
 question and reached a conclusion regarding it. I 
 intend my son to become a minister of the Gospel 
 and have sent him [as he states in his letter against 
 his Tvill^ to a good Bible school with one object in 
 view, viz., that of serving God in the right, best and 
 proper way, by preaching the Gospel. 
 
 Viola. Yes, dear, all this I know to be good and 
 proper, but I feel sure we shall be unable to bend 
 him in the right direction. He very much resembles 
 his Uncle Richard in stubbornness. You know your 
 brother always did like his own way if I remember 
 rightly. Those words of his " individuality " and 
 " originality " are still ringing in my ears. 
 
 Ormsley. Never mention Richard to me, Viola. We 
 never could agree, our ways being different ; he is not 
 one of God's chosen ones. For all I know, he may 
 be dead [whispers aside'\ and gone to his own place 
 like Judas, God knows. 
 
 Ring at the front door. Enter servant 
 
 Servant' Mr. Walter has arrived, sir [ addressing 
 Ormsley], and wishes to know if he is in time for 
 breakfast. 
 
 Ormsley. Yes, you may send him in. 
 Enter Waltee. Embraces mother. Shakes hands 
 
 with father 
 
 Walter. Glad I am in time for a bite — I feel 
 dam — er — er I mean damp and famished; came by 
 
 28 
 
Scene 1 THE REFORMERS Act I 
 
 the Erie, very tedious journey and so wet [shivers']. 
 Glad I managed to get a hack at the depot. 
 
 Viola. Well, my dear boy, I am so glad to wel- 
 come you home again and hope you will spend a 
 pleasant hohday and return to the school refreshed 
 and better able to continue your studies owing to 
 your rest here, so do take things easy Walter. Per- 
 haps I may find a little healthy recreation at the 
 church for you. 
 
 [Walter, aside, " Not if I know it.''] Takes seat 
 
 at table 
 
 Viola. Let me see, Walter. I believe you take 
 two pieces of sugar, do you not ? [Pours out coffee, 
 etc.] 
 
 Walter. Yes, mother [takes cup], thanks. [Sips 
 coffee, smacks lips.] Ah! This is decent coffee. 
 The bum stuff we poor students have to swallow at 
 the school — well, 'pon my soul, I feel like taking 
 Postum as " There's a reason." The faculty's table 
 is always well supplied like the monk's of old. 
 
 Ormsley. Walter, my boy, you must not com- 
 plain. God knows what is best for you, and the 
 work you are preparing yourself for at the school 
 combined with the fare — which I will admit might be 
 better — is the best training for one to become an 
 efficient preacher of the Gospel. You see, Walter, 
 the whole trouble is you seem to be opposed to the 
 plan God has mapped out for you. 
 
 29 
 
Act I THE REFORMERS Scene 1 
 
 Walter. God's plan, you say. Rather say your 
 own. You highly moral people never can see farther 
 than your noses. You are so narrow as to think 
 God's work is limited to one particular calling, viz. : 
 that of the church. 
 
 Viola. Walter, my boy, you surprise me. You sin 
 in speaking to your father like this. We both know 
 what is best for you and desire with all our heart 
 to see you follow the narrow way. 
 
 Walter [m a temper^' Narrow way be damned. 
 l^Bangs table with fist and rises. 1 
 
 Ormsley [rising also^. How dare you, sir! Leave 
 the room instantly and go to your room. Return 
 in one hour telling me your plans, whether you 
 intend to enter the employment of the devil, becom- 
 ing an actor, or return to the school at the end of 
 your vacation to continue your studies for God's 
 work. Go, sir, and in the meantime reconsider any 
 plans you may have made by the light of God's word 
 which [pause'\ you will find on your dressing table. 
 
 Walter faces his parents. Pauses in the act of speak- 
 ing. SighSy then slowly leaves the room, closing 
 the door quietly behind him. 
 
 Viola. I told you so, Stephen. His uncle's spirit 
 all over. We shall never bend him. 
 
 Ormsley. Then he shall be broken and leave this 
 house. No son of mine shall ever become an actor, 
 
 30 
 
Scene 1 THE REFORMERS Act I 
 
 with mj consent. I shall disown him and he shall be 
 dead to me. 
 
 Viola. Pray be a little calmer, dear, as you will 
 only make things worse. Try leading instead of 
 forcing. 
 
 Ormsley. I am his father and have the right to 
 choose what my son shall do, so please don't inter- 
 fere between us. \_Leaves the room, slamming the 
 door.'\ 
 
 Viola- Goodness! What a pious man. I am 
 obhged to agree with him as much as possible, but I 
 must let him know that I have a tender spot for my 
 son. I know the nice little pickings Stephen and his 
 partner are making out of this fake moral business, 
 but I mustn't grumble, for being his wife I benefit 
 greatly in having all I want. If he only knew that I 
 too have my little pickings [chuckling to herself she 
 leaves room^. 
 
 Enter servant. Clears table 
 
 Lapse of one hour 
 
 Enter Walter, ahead of his father by a quarter of 
 
 an hour 
 
 Walter [speaking aloud to himself]. Yes, Dad, 
 my mind is fully made up. [Seats himself and takes 
 a letter from inside coat pocket. Reads aloud.] 
 " My dear Walter : Yours to hand of the 16th. Do 
 keep up courage my boy, and as soon as you arrive 
 in Mt. Vernon, if the Dad cuts it rough with you 
 
 31 
 
Act I THE REFORMERS Seem 1 
 
 and wishes to tie you down to what you are not 
 fitted for, turns you out and disowns you as you 
 expect him to do by going against his wishes, step 
 Kvely up as far as Harlem, dig me out, and I am 
 the man for you. I can manage to fix you with the 
 show ' East Lyne.' Your favorite Chicago actress, 
 ' Thelba,' plays ' Lady Isabel.' By-by, dear boy. 
 Cheer up. Don't forget to dig me out in case of 
 fire. Yours always, Roland Clifford." 
 
 Walter \^speaking aloucfl. Dear old Rol, you are 
 indeed a friend in need. But for you I should be 
 truly miserable. Many happy hours have I spent 
 in your company and how often you have cheered me, 
 telling me to look for the silver lining in the 
 cloud, assuring me it was there. How I missed you 
 when your company left Chicago. It seemed as if 
 the sun had gone out. What an aching void I ex- 
 perienced that day, Rol, when the train took you 
 from me. Ah, dearest friend, we shall soon meet. 
 
 Sound of heavy footsteps. Enter Ormsley hurriedly, 
 
 Ormsley. Well, sir, I see you are punctual. 
 
 Walter. Yes, Dad, ahead of you by a quarter of 
 an hour. 
 
 Ormsley [advancing^ takes seat opposite his son'\. 
 Your decision, sir. 
 
 Walter. To become an actor. 
 
 Ormsley. No son of mine shall enter with my con- 
 sent such a low, disgusting and God forsaken pro- 
 
 32 
 
Scene 1 THE REFORMERS Act I 
 
 fession. Think again, my boy, before you make a 
 gap between us that it will be hard even for God to 
 close. Come, Walter, let us reason together. Choose 
 now whom you will serve. Which is it to be, Walter, 
 God's work or the devil's? 
 
 Walter. Listen, Dad, to what I am about to say 
 and try to take my view of the situation. I feel 
 a great longing for the life of an actor, as I 
 am always conscious of a still small voice speaking 
 to me, urging me to take up this noble work. I feel 
 I am doing God an injustice in listening to your 
 wishes and shutting my ears to this inward call. 
 The stage is the greatest teacher of mankind and 
 represents art in its highest form. It will take the 
 place of the church pulpit some day being the most 
 powerful teacher of God as yet unrecognized by 
 the masses. I am called to the stage. Dad, and not 
 to the pulpit and obey my conscience. There are 
 too many already of the wrong sort in our churches 
 as " pastors." Our training schools and theological 
 seminaries are full of students from all parts of the 
 world who have entered, not for God's work so much 
 as for the easy livelihood they will gain. An easy 
 livelihood with easy money covered by a pious cloak 
 and as many texts as possible committed to memory 
 is a hidden secret within many hearts. 
 
 Ormsley. Go on, son. I am listening. 
 
 Walter [continuing']. The school you have been 
 kind enough against my will to send me to [spoken 
 
 83 
 
Act I THE REFORMERS Scerie 1 
 
 with sarcasTri\ is full of farmers' sons with scarcely 
 any education at all, and these are the men supposed 
 to be called of God to preach the Gospel, being 
 bluffed by their farmer parents, and country clergy- 
 men of the yokel stamp that they are chosen of God 
 for His work of saving souls. What more noble work 
 can there be than the theatre with a pure, good 
 play. I tell you. Dad, God is using the theatre and 
 blessing it more and more. It will some day be the 
 drawing power for bringing many to a knowledge 
 of the truth [pauses'\. 
 
 Ormsley. Go one. I am all attention. 
 
 Walter [continuing^. God wishes men and women 
 in every calling to serve Him by letting their light 
 shine. St. Paul says, " Let every man abide in the 
 same calling wherein he was called. Let him serve God 
 in it and not come to the conclusion it is the wrong 
 place and that he is called into the church." What of 
 the souls in the so-called questionable occupations.? 
 Are they to be lost.^^ I tell you there is an under- 
 current moving in the world (as yet unseen) that 
 will swell and break, thus doing away with wrong 
 interpretations of God's word, making its real mean- 
 ing known to all men. We have the beginning in 
 the SOth century New Testament which is a better 
 translation from the original Greek. Hell abolished, 
 the love of God made manifest. Salvator mundi. 
 Christ the Saviour of all men. Light is becoming 
 
 34 
 
SceTie 1 THE REFORMERS Act I 
 
 brighter and narrow-mindedness is disappearing. I 
 have finished, Dad. 
 
 Ormsley. Good, a capital address. What a 
 power you would be in the pulpit, Walter [said with 
 sarcasTTh], Your answer is — what? 
 
 Walter. The stage, Dad. 
 
 Ormsley. Mj boy, think again. Can I not in- 
 fluence you in the right direction.? [said in a tremu- 
 lous voice. ^ 
 
 Walter. No, Dad, NO! I am determined to 
 throw in my lot with honest people. If you would 
 only believe me when I tell you what I have seen 
 of life in the particular school I have just left, the 
 disgusting habits of many of the students, some 
 living lives too dreadful to mention, being more 
 so coming from an institution of God. No, Dad, I 
 have had my share of trial and have been an unwill- 
 ing witness of pious wickedness. I now come out in 
 the open where the eyes of the world (as well as 
 God's) are on me. I throw in my lot with a people 
 whose ways and acts are above board and in the glor- 
 ious light. My final decision. Dad, is THE STAGE. 
 
 Ormsley [in a towering rage^. Then as your 
 decision is to become an actor, I do not hesitate to 
 tell you to your face that you are a child of the 
 devil and not fit to associate with Christian people 
 or live under the same roof with them. Go, you are 
 no longer a son of mine. I disown you, despise you, 
 forget you. Never darken my doors again. 
 
 35 
 
Act I THE REFORMERS Scene 1 
 
 Exit Walter. Front door closes. Viola falls for- 
 ward into room in hysterics, too late to interfere 
 between father and son and prevent latter from 
 leaving. Ormsley in center of room. Viola 
 lying across threshold. Servant. 
 
 CURTAIN 
 
 End of Act I 
 
 36 
 
ACT II 
 
ACT II 
 
 Three Months Later 
 
 Scene 1 Luna Park, Coney Island. Booths, Stalls, 
 Shooting Gallery, etc. 
 
 Curtain rises. Bill poster discovered fly posting. 
 Enter Ormsley, disguised, chuckling to himself, 
 seemingly pleased. Spies hill poster. Unob- 
 served by him pulls off false wig and beard and 
 hurriedly places same in hat. Coughs loudly and 
 approaches bill poster. 
 
 Ormsley. So, my man ! I have caught you in the 
 act of an illegal proceeding, have I [shakes head^. 
 Are you not aware that you are trespassing against 
 the law by posting play bills on other people's prop- 
 erty? I have a good mind to have you arrested — 
 but, on second thought, I will let you go, on condi- 
 tion that you give me that bill you are about to 
 place on the wall [points to bill^. 
 
 Bill poster. Who are yer, guvner, and where did 
 yer spring from? I'd like to know what it's got to 
 do with yer where I place these bills? 'Taint no 
 business of youm. I'll see you blowed fust. Step 
 lively out of this or yer might get hurt. 
 
 39 
 
Act II THE REFORMERS Scene 1 
 
 Ormsley. Don't be insolent, mj man, but give me 
 at once that rude poster. 
 
 Bill Poster. Stow it, boss, who in thunder are 
 
 yer? Again I says sheer off [jlourishes paste hrusK], 
 
 Ormsley. Who am I [sharply^ ? Have you never 
 
 heard of the Social Reform Society's representative, 
 
 Stephen Ormsley? 
 
 Bill Poster. Gee whiz, boss, yer don't say. Glad 
 to meet yer. I might a known by looking at yer 
 dial. Fancy yer being that crazy guy [crowd col- 
 lects^ . 
 
 Ormsley [in a rage'\. You low, God forsaken 
 scoundrel. How dare you insult me.'^ I'll have you 
 arrested. Give me that corrupt poster [advances 
 and calls on crowd to assist him in getting poster^. 
 Bill Poster. Steady, boss. Keep yer distance or 
 I'll have yer block off [business of flourishing paste 
 brush'l . 
 
 [Ormsley (beside himself) rushes on bill poster. 
 The latter plants brush right between his eyes, 
 smothering him with paste, amidst jeers and 
 laughter of crowd. In rage and fear Ormsley 
 takes to his heels, followed for a short distance 
 by the crowd who hurl at him anything handy. ^ 
 [Bill Poster, left alone, is suddenly sent sprawling 
 on top of pail (upsetting contents) by small boy 
 who grabs poster and runs. Bill poster quickly 
 rises to his feet, grabs pail, brush, bag, and 
 makes quick exit.~\ 
 
 40 
 
Scene 1 THE REFORMERS Act II 
 
 Enter Waltee and Roland Clifford in deep con- 
 versation 
 
 Walter. Are you sure, Rol, it was my dad? You 
 must be mistaken. What in the world would cause 
 him to run like that and with that howhng mob after 
 him? 
 
 Rol. I am perfectly sure it was your dad, Walt. 
 You just managed to see the tails of his coat as he 
 turned the corner. Did you notice that bill poster 
 that passed us like hghtning, looking scared to 
 death, as if the very devil was after him? 
 
 Walter. Yes, Rol, I did, but what has he to do 
 with it? 
 
 Rol. This much, Walt, I feel that your dad was 
 on his seizing business and met with a repulse, being 
 chased by the crowd who evidently took the bill 
 poster's side, knowing your dad's game. 
 
 Walter. You may be right, but why should that 
 bill poster run like the dickens with no one after him. 
 I noticed that he appeared to have fallen in his paste 
 pail. 
 
 Rol. Yes, I noticed that also, and now I come to 
 think of it there was a boy running Hke the dickens 
 as well, and it looked as if he had a poster in the 
 right hand. Perhaps he pinched it from the bill man, 
 and the latter was trying to catch the youngster. 
 
 Walter. It may be so, Rol, only the bill man 
 seemed too scared to be after the boy you speak of. 
 
 41 
 
Act n THE REFORMERS Scene 1 
 
 It is my opinion the man caught sight of a cop and 
 was beating it, having been seen fly posting. Any- 
 way it does not concern us. Let us resume the sub- 
 ject we were both interested in. 
 
 Rol, Let me see, you got as far as the proposal. 
 What did Thelba say when you asked her to marry 
 you, or I should have said popped the question.? 
 
 Walter. She was very nice about it and admitted 
 she cared a little for me, but told me she could not 
 marry me as she was devoted to her art. 
 
 Rol. That what they all say, Walt. She will 
 yield sooner or later, so cheer up, old boy [slaps 
 Walter on hack^. Never say die [laughs in good 
 humor'] . You know the old saying, " faint heart 
 never won fair lady " and I am perfectly sure 
 that I shall be your best man. Again I say " cheer 
 up ! " [Slaps Walter on back. Arm in arm both 
 exit, laughing joyfully.] 
 
 Return of Ormsley, out of breathy followed by small 
 
 boy 
 
 Ormsley [in a shaky voice]. Well, brat, what do 
 you want following me? 
 
 Boy. Don't get scared, boss, it's all right. No 
 one's a following of yer. I've got the poster yer 
 wanted and yer can have it for the small sum of fifty 
 cents, and what's more, I brushes yer down into the 
 bargain. [Business of exchanging poster for fifty 
 
 42 
 
SceTie 1 THE REFORMERS Act II 
 
 cents. Boy tries coin in teeth. Brushing down busi- 
 ness, etc.^ 
 
 Ormsley. Thanks, boy, here's an extra quarter 
 for you. Now run away and play [hoy starts to 
 run']. Hi, stay. [Boy turns.] Where do you come 
 from, boy.f^ 
 
 Boy. From London, guvner, and me name's Sam 
 Brimmage. Don't happen to have me cards on me. 
 
 Ormsley. From London, eh? I thought so. Tell 
 me, is that bill poster I have just had trouble with 
 your father .P 
 
 Boy. What? Me father, did yer say? Not on 
 yer Hfe, but I know'd him in London. His name's 
 Paul Foxey and he used to live in Somerstown. Yer 
 don't know where that is do yer, boss? Well, I aint 
 a'going to tell yer anyway. [Puts finger on nose. 
 Exit quickly.] 
 
 Ormsley [speaking aloud]. The young devil. I 
 thought that he and that scoundrel of a bill poster 
 came somewhere from the other side. The United 
 States Government never ought to allow such people 
 to land in the country. Enghsh people never make 
 good citizens — yet. Faker is an Englishman and I 
 must say he is an exception, having embraced Amer- 
 ican ideas and ways. He is Americanized all right, 
 there is not the slightest doubt about that. No 
 wonder he lost no time in taking out his papers, 
 changed his name from F-o-o-o to Faker [ha, ha, 
 ha]. I must not breathe his right name too heavily 
 
 43 
 
Act II THE REFORMERS Scene 1 
 
 for one never knows the way sound travels. These 
 are the days of wireless telegraphy and instead of 
 saying that walls have ears we must recognize the 
 possibility of air ears [^ha, ha^. I am an old hypo- 
 crite. I know it, and say, what of it? We hypo- 
 crites say in our hearts " don't do as we do, but do as 
 we tell you," and a mighty good thing for us that 
 many do, or else our incomes would sink considerably. 
 The so-called Christian Church is full of sharks. I 
 am one. / know it, and there are numbers like me. 
 Not one in a million is genuinely converted. I am 
 one of the 99, the 100th is lost. Where has he gone.^^ 
 'Tis I, I, I, I, — {^tragic attitude. Laughs mockingly. 
 Looking about him to make sure no one is around, 
 takes wig and heard from inside of hat, disguises him- 
 self with same, and exits quickly.^ 
 
 CURTAIN 
 
 End of Scene 1 
 
 44 
 
Scene ^ THE REFORMERS Act 11 
 
 ACT II 
 
 Scene 2. Madison Avenue. Sitting Room of Thel- 
 
 hd*s Flat 
 
 Thelha discovered seated at small table hy window y 
 
 writing 
 
 Thelha [places pen in stand and speaks aloud^. 
 There! At last it is finished! I wonder what dear 
 father will think when he reads it. I hope he will 
 consent to my marrying Walter. [Rising, Thelha 
 crosses to mantlepiece to see the time, taking letter 
 with h^r.] Gracious! Ten o'clock already, and 
 Walter is to be here at 10:30. I have been exactly 
 one hour writing this letter [business of passing let- 
 ter in front of fire to dry^. I may as well read it 
 through once before sealing it. [Seating herself 
 on sofa Thelba reads aloud.^ "My dear Father: 
 I am writing to ask your advice on a subject of 
 the greatest importance to me. The fact is, I have 
 had an offer of marriage from Walter Ormsley (son 
 of Uncle Stephen), who, strange to say, is playing 
 in the same company with me. His father, he tells 
 me, turned him out from home on account of refusing 
 to enter the church. He was sent against his will to 
 a Bible School and on arriving home for his vacation 
 he refused to return to the school to continue his 
 
 45 
 
Act II THE REFORMERS Scene ^ 
 
 studies, telling his father he did not feel called to the 
 work and wished to become an actor. The conse- 
 quence was he was turned out. He has been very 
 unhappy at home, father, his life having been un- 
 bearable, and the stories he told me of the lives of 
 many of the students at the school he was at were 
 simply dreadful. I could hardly credit them. He 
 says these so-called Christian schools are run more 
 by the spirit of the devil than by the Spirit of God. 
 He was, to use his own words, ' expected to live the 
 life of a recluse at home and was only too glad to 
 get away,' but found, on arrival at the school, he 
 was among more hypocrites. 
 
 In drawing my letter to a conclusion, dear father, 
 I must say that I love Walter with all my heart and 
 have refused him on account of the relationship 
 existing between us, of which, I am sure, he has not 
 the slightest knowledge. When I refused him, father, 
 I told him I was devoted to my art. This was the 
 only reason I gave, fearing if I told him I was his 
 cousin it would perhaps break his heart and cause 
 him to go away where I could never see him, and this, 
 dear father, would kill me. How my refusal seemed 
 to pain him! And how earnestly he pleaded with 
 me to give him a little hope, till I really could not 
 refuse. He asked me to let him come and see me 
 here and I granted his request feeling that perhaps 
 it was right to do so. He tells me he cannot live 
 without me. What can I say to him? He will be 
 
 46 
 
Scene 2 THE REFORMERS Act 11 
 
 here shortly and I feel I must tell him the truth. Is 
 it wrong for cousins to marry? I love him ever so 
 much, dear father ! Do write by return mail and tell 
 me what to do ! 
 
 Your loving daughter, 
 
 Mabel." 
 Rising, Thelba crosses to the writing- table, seals 
 letter and directs it, rings for maid and reclines 
 on sofa. 
 
 Enter maid 
 
 Thelba [without moving]. Is that you, Nellie.? 
 
 Maid. Yes, marm. Did you not ring for me? I 
 made sure I heard the bell. 
 
 Thelba. Yes, dear; I did ring. You will find a 
 letter on the writing table that I would Hke you to 
 mail for me at once. 
 
 Maid. Yes, marm. Is there anything else you 
 wish? [Crossing to writing-table for letter, is about 
 to go when Thelba calls.] 
 
 Thelba. One minute, Nellie. A young man will 
 call presently and ask for me. You might show him 
 in here. He will give the name of Walter Ormsley 
 [maid starts to leave the room]. Stay — there is one 
 other thing I wish to say to you. Don't call me 
 ' Marm,' Nellie ; it sounds so stiff. If you must say 
 something like it, let it be ' Miss,' or rather * Thelba ' ; 
 the latter sounds best. Why, Nellie, anyone would 
 think I was a sort of queen by the way you address 
 
 47 
 
Act II THE REFORMERS Scene 9. 
 
 me. Try to realize that I am something nearer than 
 your mistress ; look upon me as your sister and try 
 to remember that we are equal in God's sight. 
 
 Maid \shyly\ If you wish it, M — , I mean Thel- 
 ba, let it be so, but you are too good to me, and I — 
 er — I love you ! [Thelba, rising, approaches and 
 throws her arms round the neck of her maid and 
 hisses her.'\ 
 
 Thelba. I do wish it, dear ; but don't say I am too 
 good to you, for there is really no one good save 
 God. Go now, dear, and mail that letter before the 
 gentleman arrives. Don't forget to show him in 
 here. [Exit maid. Thelba reclines again on sofa 
 and tries in vain to set her mind on a copy of Dante.^ 
 
 Thelba [speaking aloud^. It is no use! [Lets 
 book fall to floor.^ I cannot read you to-day, poor 
 Dante ; my thoughts are astray. I am in love with 
 Wal — [ring at front door, firm footsteps. Walter 
 enters room, door closes behind him.^ 
 
 Thelba [in same position^. Is that you, Nelhe.'* 
 [knowing well Waltek,*s footsteps^. 
 
 Walter. No, Thelba, it is I, Walter. Had you 
 forgotten I was coming? 
 
 Thelba. Is it really you, Walter.? Are you not 
 late [sighs unconsciously. Walter approaches sofa, 
 picking up copy of Dante']. 
 
 Walter. So you read Dante, Thelba. Are you 
 interested in him ? 
 
 Thelba. Yes, a little ; but I think his imagination 
 
 4S 
 
Scene 2 THE REFORMERS Act II 
 
 a little far-fetched and his ideas of God peculiar. 
 Dante requires deep study. 
 
 Walter. You are right, Thelba, and I agree with 
 you as to his peculiar ideas of God. The same 
 ideas exist to-day [Thelba, rising, offers Walter a 
 seat beside her. Waltee continues}. In what way 
 do you think his ideas of God peculiar.'^ 
 
 Thelba. Because he pictures God as a sort of 
 monster instead of a God of Love. The underworld 
 of torment that he pictures — Oh ! [shudders] . It is 
 terrible ! 
 
 Walter. You are right, Thelba; it is indeed ter- 
 rible to picture God as such a monster, but it is an 
 old beHef, and it is even stronger to-day; I think it 
 is a profane idea of the character of the Love of God. 
 
 Thelba. I am glad you hold this view. You will 
 be able to do far more good in the world viewing 
 God in this light. But, tell me, Walter, what is your 
 opinion of the departed.? Do you think those lost 
 and reserved for everlasting torment who have led 
 indifferent and wicked lives here? 
 
 Walter. No, Thelba, I do not ; and the Scriptures 
 do not teach it. My belief is that every soul will 
 eventually be brought to a knowledge of the Truth, 
 and will reaHze hereafter, if not here, the purpose 
 of God toward them, and will be given the will, 
 strength, and power to accept of His gift of perfect 
 restoration to manhood, such as our father, Adam, 
 enjoyed before the fall. Death will end all suffering. 
 
 49 
 
Act II THE REFORMERS Scene ?. 
 
 There is no suffering and torment beyond the grave, 
 for if this were the case, the so-called Christian 
 Church would not calmly go about God's work as if 
 to-morrow would do as well as to-day, but on the 
 contrary, they would be crazed and terror-stricken 
 to know that the men and women they mingle with 
 (many dear to them) day after day, are hastening 
 on to an everlasting torment that has no end and no 
 escape unless taken advantage of here. The wages 
 of sin is death, Thelba. When we close our eyes in 
 death, we have our wages ; death is the penalty of 
 sin. If there are any judgments to come, let us not 
 mix them up with the penalty " death." The second 
 death (if there are any unfortunate enough to par- 
 take of it) will be extinction and entirely their own 
 fault, not the result of their sin in this present 
 world. I do not think there is the slightest reason 
 for picturing God otherwise than a loving and 
 righteous Judge. Do you know, Thelba, that the 
 devil's power is predominant in the so-called Chris- 
 tian church, hence the wrong interpretations and 
 teaching of God's word [pausing to take breath he 
 continues^. There are a number of words in the 
 Scriptures wrongly translated and these applied by 
 hard-hearted, unsympathetic, faking Christians to 
 those supposed to be unsaved have not only done 
 not the slightest good but on the other hand 
 have plunged scores into untold misery and set up 
 the backs of so-called atheists [pause^. 
 
 50 
 
Scene % THE REFORMERS Act II 
 
 Thelha. Go on, Walter, you interest me; I have 
 never before heard the scriptures explained this way. 
 
 Walter. I did not mean to preach a sermon, Thel- 
 ha. I let my thoughts carry me away. Let us con- 
 tinue the subject at some future time as I cannot be 
 with you very long this morning and I really must 
 say what I came to say [^smile^. 
 
 Thelha [nods and tries to draw Walter's 
 thoughts in another direction^. What do you think 
 of my new bracelet? [^Holds up arm.'\ Father sent 
 it to me on my birthday. 
 Walter takes Thelba's hand and examines bracelet 
 
 Walter. I think it is a beautiful present and 
 shows very good taste on your father's part. 
 
 Thelha [laughing^. I think so, too. Father has 
 always been good to me, Walter. He writes me such 
 dear long letters with heaps of news. I simply 
 treasure them and have a whole bunch of them care- 
 fully tied up with purple ribbon. His favorite color 
 is purple, you know. 
 
 Walter. Is it ? Well I myself think it is a beauti- 
 ful color and very nice of you to take such loving 
 care of your father's letters by tying them together 
 with ribbon of his favorite hue [smile^, but let me 
 change the subject, dear Thelha, by asking you 
 again to let me share your life. I love you, dear. 
 Will you not consent to marry me? Can you not 
 return my love by saying yes. I cannot live without 
 you, Thelha! 
 
 61 
 
Act 11 THE REFORMERS Scene '2 
 
 Thelha [^shyly^. I cannot, Walter, much as I 
 would like to. The fact is — really I cannot. 
 
 Walter. You cannot, Thelba, and yet you say 
 you would like to. What obstacle is there? Surely 
 there must be some reason, Thelba. Is it because of 
 my parents.? 
 
 Thelha. No, Walter. I do not hold you respon- 
 sible for the life your parents are living. It is true, 
 I do not approve of their methods of doing good, 
 but do not think me so narrow as to hold you re- 
 sponsible for their acts by refusing your offer of 
 marriage. I must tell you, dear Walter, that I do 
 return your love but I cannot marry you as there is 
 another reason besides my art as I told you. I have 
 always liked you, Walter — nay, more, I love you, 
 dear, but — it cannot be. 
 
 Walter. Tell me the reason, dear. Surely it can- 
 not be a very serious obstacle. 
 
 Thelha. Well it is this, Walter. We are cousins. 
 This is the hindrance to our marrying. 
 
 Walter. What! Cousins did you say? [surprise^ 
 Who are you then, Thelba? 
 
 Thelha [laughing^. I am your cousin, Mabel 
 Ormsley, daughter of your uncle, Richard Ormsley. 
 
 Walter [talcing Thei^ba's hand], MABEL 
 ORMSLEY, MY COUSIN! You surprise me. I 
 do not remember Uncle Richard. I was too young 
 when he went out West years ago. We all thought 
 him dead. 
 
 52 
 
Scene ^ THE REFORMERS Act II 
 
 Thelha. Well, he is alive and well and I am his 
 daughter. 
 
 Walter. But surely, you do not look upon our 
 relationship as an obstacle, do you? 
 
 Thelha [shyly drops her head on Walter's shoul- 
 der^. I do not know what to think. I have already 
 written to father for his consent. 
 
 Walter [hissing Thelba who does not seem to 
 mind^. Oh, you darling. What joy I feel. You will 
 be mine yet. I feel uncle will consent so I will wait 
 and hope. [Ring at front door.'\ 
 Knock and entrance of maid in response to " Come 
 in " from Thelba 
 
 Maid [handing a note^. A little girl brought 
 this note and asked me to give it to you at once. She 
 did not wait but ran off as if she were scared to 
 death. 
 
 Thelha [takes note, opens and reads it^. "My 
 darling Thelba. Come at once. I am dying and 
 wish before I go to have you with me. I have a 
 story to tell and a favor to ask which I am sure you 
 will grant. My little Fay will take this note. Come 
 quickly as I am getting weaker. 
 
 Phoebe Lorne." 
 
 Thelha. Oh, dear! Nellie, run at once for a taxi 
 [wrings hands^- 
 
 Walter. I will go, Thelba. [Walter runs for 
 taici.^ 
 
 53 
 
Act II THE REFORMERS Scerie 2 
 
 Maid assists Thelba to get ready. 
 Tooting of horn of taxi outside. Hurried entrance 
 
 of Walter. 
 Walter. I just managed to get a taxi on the next 
 block. 
 
 Thelba. Thanks, Walter. Please excuse me. I 
 will see you to-night and tell you all. [Aside to 
 Walter] Pray for poor Phoebe. 
 Exit Thelba, followed by Walter and maid. Front 
 door closes. Walter takes leave of Thelba at 
 taxi. 
 Re-enter maid who sinks on sofa and sobs loudly, 
 
 curtain 
 
 End of Scene 2 
 
 54 
 
Scene 3 THE REFORMERS Act II 
 
 ACT II 
 
 Scene 3. Mount Vernon. Private Study of Stephen 
 Orrasley^s Residence 
 
 Enter Ormsley and his assistant^ Al-exandee 
 Faker, former locking door. 
 
 Ormsley. You were just the man I wished to see. 
 Lucky I ran across you as we can have a good time 
 to ourselves without the fear of being interrupted. 
 Viola is out visiting and collecting for the church, 
 and there is no one in the house besides the servants 
 and ourselves, so take that easy chair there [points'] 
 and I will take this one \_easy chair each side of fire- 
 place] . 
 
 Faker. Thanks, Steve, I am more than pleased to 
 enjoy your company this afternoon, and to partake 
 of a little — let me see, stimulant is the word, is it 
 not? 
 
 Ormsley. Sure, stimulant is the word, and you 
 don't seem to forget that I keep some of the choicest, 
 Alec. 
 
 Faker. No, Steve, anyone who happens to once 
 taste your wines and spirits will never lose the taste, 
 for they remind one of " spearmint," the flavor lasts 
 [smacks lips and indulges in cackling laughter]. 
 
 Ormsley. You are an old villain. Alec, but I guess 
 
 55 
 
Act II THE REFORMERS Scene S 
 
 you are right [rises from chair and approaches book- 
 case, from which he removes several books, touching 
 a spring causing a panel at the back to slide side- 
 ways, disclosing a recess from which he brings forth 
 a syphon, bottle of whiskey and some choice Havana 
 cigars, which he places on table^. 
 
 How is your Little Mary feeling, Alec? Are you 
 conscious of a longing sensation considerably below 
 the neck, somewhere in the region of the bottom vest 
 button? Just look at this. [Holds bottle up.'\ Is 
 it not good for the eyes, Alec? Let me see, how does 
 that proverb go? [pauses to think^. I have it. 
 " Look not upon the wine when it is red." 
 
 Faker. But that is not red. It is the color of 
 amber. 
 
 Ormsley. Right you are. Alec, amber it is, but 
 real Irish malt whiskey. 
 
 Faker. Well, Steve, let us sample it, but above 
 all things let us be moderate in our drops [cackling 
 laughter^ . 
 
 Ormsley produces glasses from recess and fills same 
 partly with whiskey, hands one to Faker, takes 
 the other himself. 
 
 Ormsley. If you want soda. Alec, help yourself — 
 'tis here, also cigars. 
 
 Faker. Thanks, Steve [raises his glass meeting 
 that of Ormsley^. Your very good health. May 
 we always be the best of friends and partners. 
 
 Ormsley. Amen to that. Alec. I am thinking it 
 
 56 
 
Scerie 3 THE REFORMERS Act II 
 
 would be a bad business if we fell out and split on 
 each other, but that is not likely to happen, at least 
 with us, and let us hope that trouble from any 
 other source will not find us out. 
 
 Faker. I hope so, too. What an awful name we 
 should get if it became known what religious fakers 
 we are ; how we appropriate moneys intrusted to us 
 for charitable purposes for our own private 
 pleasures and ends. We should be compelled to fly. 
 
 Ormsley. Sh! Walls have ears. I cannot help 
 laughing when I think of your name. It reminds me 
 of that part in the catechism where it says " Who 
 gave you that name? " and in your case the answer 
 ought to be Nature, as you are a Faker by name 
 and Faker by nature [^laugh^ boisterously^. Don't 
 you see the connection, Alec.'* 
 
 Faker. Yes [/la, ha, cackling laughter], very 
 good, Steve, very excellent. You always were good 
 at connecting things [/lo, ho]. Ah, I had forgotten 
 \^rises from chair]. I beheve I brought a parcel with 
 me. Ah, there it is on the writing table \_points'\. 
 Hand it over, Steve, will you, and Fll show you what 
 it contains [parcel passed over and opened hy Faker 
 and contents set on table]. 
 
 Ormsley. What the deuce have you there. Alec? 
 Looks like an elaborate scent bottle. 
 
 Faker. Well, in a sense, it is a scent bottle; but 
 its real name is fumigating lamp. 'Tis also called 
 a smoke absorber or consumer. It is supposed to 
 
 57 
 
Act II THE REFORMERS Scene 3 
 
 destroy tobacco smoke and purify the air so that 
 there is no trace of sin in the shape of smoke left 
 behind. 
 
 Ormsley. You sly old ^dllain. The older you get 
 the worse you become. It strikes me you will need 
 a factory of absorbers to destroy smoke in you 
 [boisterous laughter']. 
 
 Faker. [Joins in laughter,] Good again, Steve. 
 You are very generous with your compliments to- 
 day. Would you like to know how I happen to pos- 
 sess this toy? [holds up consumer], 
 
 Ormsley- Yes, Alec, but I'll be bound you got it 
 the same way you get most things, and that is by 
 appropriation [ha, ha]. But go on. Alec, where did 
 you get it.? From one of your flock of chorus girls, 
 eh.f' [digs Faker in ribs and laughs]. 
 
 Faker, That's enough of it, Steve. Don't get 
 so painfully joyous. You seem to forget that I am 
 not so young as I used to be, and therefore a little 
 tender. 
 
 Ormsley, Tender, you say [ha, ha]. That's real 
 good. Alec, you old villain, you are a standing joke. 
 Where does this tender affliction lie.'' Not in the 
 heart, I warrant, and as for not being so young as 
 you once were should be a good reason for turning 
 over a new leaf, thereby making yourself fit to enter 
 the pearly gates [loud laughter from both] , 
 
 Faker, I think, Steve, you would do well in vaude- 
 
 58 
 
Scene S THE REFORMERS Act II 
 
 ville. Do you know you are a born comedian? 
 \laughter~\ . 
 
 Ormsley. Yes, I realize I have talent in that 
 direction, but one in the family is quite sufficient in 
 the business. Walter might resent my rivalry [loud 
 laughter']. [Whishey begins to work on both.] 
 
 Faker [takes long drink]. Well, Steve, to con- 
 tinue the subject where you interrupted. I got the 
 consumer from one of my dear girls [cackles]. She 
 happened to have it on the table when I called on 
 her to invite her to attend my class tea party. She 
 quite forgot to put it out of sight, and I persuaded 
 her to explain the use of it, also to confess the real 
 reason she used it. [Ormsley interrupts.] 
 
 Ormsley. And you explained to her how sinful its 
 use was when used to cover the sin of smoking 
 [laughs]. 
 
 Faker. Right again, Steve. How sharp you are 
 today. 
 
 Ormsley. And you persuaded her to give it to 
 you after one of your sermons on the evils of smok- 
 ing, eh? [digs Faker in the ribs and laughs]. 
 
 Faker. Not so playful, Steve, not so playful. I 
 will set it going now and you can pass the cigars 
 this way after you have helped yourself. The con- 
 sumer will do its work by absorbing our smoke 
 [cackling laughter. Consumer set going.] 
 
 Ormsley. What about the whiskey smell.? Does 
 it absorb that also.? 
 
 S9 
 
Act II THE REFORMERS Scene 3 
 
 Faker. Yes, it absorbs the smell. We do the con- 
 suming \hay ha, both join in laughter^. 
 
 Ormsley. Absorbing or consuming, whichever you 
 like, but in the words of the classics, I add necking 
 it, or in your London dialect, perching it down our 
 scraggs. [Loud laughter again from both. Ormsley 
 goes to bookcase and brings out another bottle.^ 
 
 Faker. What have you there, Steve? [eyes bottle 
 and exclaims^. Champagne! [rubs hands and 
 chuckles^. What brand is it? 
 
 Ormsley. [Places finger on lips and says Sh — ] 
 Mumm. 
 
 Faker. Glorious, Steve. This is an unexpected 
 pleasure. It isn't everyone that can mix drinks. 
 [Champagne opened by Ormsley, who helps Faker 
 and himself. 1 
 
 Ormsley. No, you are right, Alec, but you see 
 we are hardened sinners, but the world knows it not 
 [ha, ha']. 
 
 Faker. You need not go to the trouble of speak- 
 ing for me. Just leave me out of it, for you know I 
 pose as a moralist [laughter]. 
 
 Ormsley. I am aware of it, Alec. Now in chang- 
 ing the subject, tell me why you left England for 
 this country and a little about your missionary work 
 among chorus girls there. 
 
 Faker. Well, to commence, my story in brief is 
 as follows : Being pious-minded, I thought out a 
 plan of starting a good work among theatrical folk. 
 
 60 
 
Scene 3 THE REFORMERS Act II 
 
 I realized that touring companies had little, if any, 
 chance of entering a place of worship, being always 
 when each Sunday came around, either in a train 
 departing early on a long journey, or else arriving 
 in a town late and tired, having to find digs, as they 
 say, meaning suitable apartments. Realizing their 
 terrible condition in not being able to attend a place 
 of worship, I hit on a plan of being a missionary to 
 them, being very unhappy about them in those days 
 [ha, ha, from Ormsley^. Yes, Steve, my intentions 
 were good in those days. I have fallen since to what 
 I am [sighs^. I used to write to wealthy people in 
 different towns who were interested in missionary 
 work. I soon found that I was receiving a great 
 amount of money, more than I really needed to carry 
 on my work. The churches assisted me also, ap- 
 proving of my work. My plan was to get in if pos- 
 sible the same time as a theatrical company, get the 
 names off the play bills, writing to same, inviting 
 them to my lodgings. I soon found I had to engage 
 a hall, as the landladies often objected. I found I 
 could not get hold of the men. I seemed to be a joke 
 to them. The chorus girls stuck to me. I used to 
 give an address preceded by a tea and distribute 
 marked Bibles. I assisted any who were stranded 
 and in need of money, received many confidences 
 from the girls, and was let in and out of their 
 lodgings as I pleased. Many of them having what 
 they used to call combined rooms and living alone, 
 
 61 
 
Act II THE REFORMERS Scene 3 
 
 I used to visit. One thing led to another and I fell, 
 having stolen and put away large amounts of money 
 intrusted to me by wealthy people interested in my 
 theatrical mission work. I have ruined — many, I 
 mean I had to fly the country having been found 
 out. I married a beautiful girl of twenty-two sum- 
 mers. She was with a dramatic company. The fact 
 is, Steve, I had to do so. I turned my two daughters 
 (by my first wife) out in order to give her the home, 
 but my young wife soon tired of me and left me. I 
 was a bad character then as I am now. I hid my 
 sins under the cloak of religion. In the end I got 
 found out but managed to escape here to America. 
 This is my story, Steve. Now pass that Mumm, I 
 feel dry. 
 
 Ormsley \^passes champagne^. You have had a 
 few adventures. Alec. Never mind, they are gone. 
 Don't let remorse get hold of you. Enjoy the rest 
 of your life as you will be a long time dead. So 
 buck up ! Eat, drink and be merry for to-morrow 
 we die [forced laughter from hotK]. 
 
 Faker. I think, Steve, you might tell me a little 
 about yourself. You are no chicken, you know 
 [laughter^ . 
 
 Ormsley. Some other time. Alec. I had a little 
 adventure to-day with a bill poster. Tried to get 
 a bill he was about to post. Got into an argument 
 and had to fly smothered in paste, but I managed to 
 get the poster from a boy who stole it and who sold 
 
 62 
 
Scene 3 THE REFORMERS Act II 
 
 it to me for 50 cents. I will show it to jou. [Opens 
 bag, brings forth poster, postals and French novels. 
 Puts poster on wall with the aid of two push pins."] 
 What do you think of that, Alec? That is Mabel 
 Thelba, the charming actress. The wife and I went 
 to see her act last week. By the way, Walter is in the 
 same company. " East Lynne " is the piece. I will 
 add we got put out of the theatre by an officer. 
 The wife shouting out to Walter to come home. Sev- 
 eral people cried " Put her out." I remonstrated, 
 and we were both put out. Switch that electric fan 
 on Alec and I will open this window. 'Tis getting a 
 little close. [Electric fan started. Window opened. 
 Both hear noise and notice poster fluttering, caused 
 by breeze from fan. They look at one another and 
 say in a breath'] Salome dance. [Loud laughter. 
 Postals and books looked through. Impious remarks 
 passed.] 
 
 Faker [handling postals]. There's a wife that 
 will suit you, Steve, not so bad, eh? [laughter get- 
 ting more shaky], 
 
 Ormsley. Here's one of Zola's best works, Alec. 
 
 I got it from a — [both in a breath] what is that.? 
 
 Ormsley, throwing books and postals in bag, grabs 
 whiskey and cigars. Faker Mumm, glasses and 
 syphon. All are hurried into bookcase. Every- 
 thing put in order in time except smoke consumer 
 which is forgotten on table. Ormsley hurries 
 to door and quietly turns key. Viola enters]. 
 
Act II THE REFORMERS S eerie S 
 
 Viola. What on earth is this smell here, Stephen, 
 and what is that smouldering there ? 
 
 Faker [stepping forward^. Good evening, Mrs. 
 Ormsley. \^Points.^ That is a fumigating lamp or 
 smoke consumer and is used for destroying tobacco 
 smoke. I persuaded one of my misguided girls to 
 give it to me with a promise to give up the evil 
 smoking habit, having set it going to show your hus- 
 band how it works. [After being thus enlightened by 
 Faker, Viola catches sight of fluttering poster, 
 fixes glasses and views same.^ 
 
 Viola. Why is that horror stuck on the wall and 
 who is this " Thelba ".? 
 
 Ormsley. My dear Viola, I seized that poster 
 from a man at Coney Island and have hung it there, 
 showing Mr. Faker the exact position of its hang- 
 ing on the wall, explaining how the best posi- 
 tions and places are chosen to post such corruption. 
 But who this " Thelba " is I have not the remotest 
 idea. 'Tis a pity such an immoral character is dis- 
 played about our cities. I really must be more on 
 the lookout to stop this evil. [Viola feigns disgust, 
 after taking a long look at the poster, is led to the 
 door by her husband, who returns, faces his partner, 
 and says in a breath with him] We must be more 
 careful or she will scent us. 
 
 Mrs. Ormsley [the other side of door, aside]. The 
 sharks ! I am positive I smelled whiskey and cigar 
 smoke. 
 
 64 
 
Scene 3 THE REFORMERS Act II 
 
 Ormsley and Faker each sink into their chairs, 
 yawn, lapse into silence, and gradually fall 
 asleep. Noise of front door closing, Mrs. Orms- 
 LEY having gone out, 
 
 CURTAIN 
 
 End of Act II 
 
 66 
 
ACT III 
 
ACT III 
 
 Scene 1. Tenth Avenue, Rear Room of Tenement 
 Housey Top Floor 
 
 Enter little Fay, sobbingy quietly closes door and 
 approaches bed in comer of room on which lies 
 her dying mother. 
 Fay [gazing earnestly into her mother^s face, calls 
 softly^. Mother dear. [No movement or answer.^ 
 Mother dear, 'tis I, your Fay. [Still no answer S\ 
 Mother, oh mother [in a louder voice'\, 'tis I, Fay. 
 O speak to me, mother [loud sobbing from child]. 
 Thelba is coming. I have been to her and she 
 will be here soon. I ran all the way there and 
 back [tio answer or movement from the dying 
 woman]. Don't leave me, dear mother. I shall 
 be lonely without you. [Peering into her moth- 
 er's face, the child starts.] Are you asleep, mother.? 
 [no sound from the mother] or are you d — . Oh, 
 no, no, not dead, mother [child cries in anguish and 
 wrings her hands], Thelba is coming, mother dear, 
 and you will soon be better. God will not let you 
 die [sobs. Slight movement and labored breathing]. 
 Thank God, thank God! [from child], I will ask 
 God, mother, to make you well [child kneels beside 
 bed and prays. Noise of taxi stopping at street 
 
 69 
 
Act III THE REFORMERS Scene 1 
 
 door, hurried footsteps ascending stairs, room 
 door opens and shuts quietly. Thelba enters room. 
 Seeing child beside bed praying, she reverently ap- 
 proaches, waits a few moments, then calls gently.^ 
 
 Fay, Fay, 'tis I, Thelba. [Child looks up and 
 quickly rises, throws herself into arms of Thelba, 
 sobbing bitterly.^ 
 
 Thelba [unable to control feelings^. Don't cry, 
 my darling. Mother will soon be well. [Clasps 
 child to breast. Both approach bed from which come 
 sounds of heavy breathing. Church bell outside 
 strikes the hour. The sound disturbs the dying 
 woman, who speaks in a delirious voice. ^ 
 
 Pity me, help me ! Do not deprive me of my 
 work. My little Hugh was so sick that I could 
 not come [laughs, cries, screams and sobs. Rising in 
 bed she falls back exhausted. Thelba, putting child 
 gently aside pours a few drops of brandy from flask 
 between the lips of the dying woman; her breathing 
 becomes more regular.^ 
 
 Thelba [whispers to child^. Has no one been 
 with your mother all the morning, Fay.'^ 
 
 Fay. Yes, the lady on the second floor has been 
 here. She has been very kind and has promised to 
 look after us five children if mother dies, but tell me, 
 kind Thelba, is she going to die.'* 
 
 Thelba. I cannot tell you that, Fay. We must 
 leave that with God. He knows best. I hope she 
 will get better. The doctor will be here soon — I 
 
 70 
 
Scene 1 THE REFORMERS Act III 
 
 called on one on my way here. He was out, but I left 
 a message for him to come at once as soon as he came 
 in, so we must do the best we can till he arrives. Tell 
 me. Fay, where are your four brothers.? 
 
 Fay. The Gerry Society took them. Mother let 
 them go as she thought they would be better off 
 there. She kept me at home to help her. [Conversa- 
 tion disturbed hy delirious mother saying^ : 
 
 Keep me on, for the Lord's sake! What am I 
 to do.? [loud shrieks]. Jack, Jack [in a calmer 
 voice], bring me home a few velvety red roses for the 
 table ; some of those we saw the other day. Hark — 
 wedding bells! [Church bell, tolling the quarter 
 hour. Thelba pours more brandy between lips of 
 dying woman, and bathes her temples with cologne. 
 She grows calmer, her mind clears, recognizing 
 Thelba and Fay sh€ speaks.] 
 
 Have I been asleep? [Passes hands over eyes, 
 tries to sit up, Thelba gently lays her back and 
 arranges pillows, etc-] So you have come, Thelba. 
 
 Thelba. Yes, but you must not talk, Phoebe. Try 
 and rest. The doctor will be here soon and you will 
 soon be well. I am going to be your nurse. 
 
 Phoebe. No, Thelba, dear, I am past all human 
 help, I am dying, but going to meet him. I am not 
 afraid, for [spoken aside] though I pass through the 
 valley of the shadow of death I will fear no evil, for 
 Thy rod and Thy staff they comfort me. This is my 
 strength. Thelba [motioning Thelba and Fay to 
 
 71 
 
Act III THE REFORMERS Scene 1 
 
 listen, she continues^, I leave in your charge my poor 
 children. If you will promise, Thelba, to look after 
 them until they are able to look after themselves, I 
 can die happy. Will you promise this, Thelba? 
 [spoken in sorrowful tones^ . 
 
 Thelba. Yes, Phoebe, I promise. I shall be their 
 mother, and they shall be my children. 
 
 Phoehe. God bless you, Thelba, I can now die in 
 peace. Listen while I tell you my story. Three 
 years ago my husband passed away. He had 
 a good position with a banking house down town, 
 and we had a beautiful home and quite a large sum 
 of money saved [flask applied to lips^ when one day 
 he was persuaded to invest his money in a bogus 
 mining concern. The concern failed and we lost 
 every cent — mine as well as his — as he had per- 
 suaded me against my will to let him have my money 
 to invest with his own. We were reduced to poverty, 
 Jack lost his position through brooding over his 
 loss, our furniture was taken for rent. This latter 
 being too great a blow for Jack he shot himself 
 [flask applied^. I applied to the minister of the 
 church my husband and I had been in the habit of 
 attending, for help. A collection was taken up and 
 I was enabled to bury Jack in a respectable way. A 
 position was secured for me to take charge of a mis- 
 sion on the East Side at fifty dollars a month [takes 
 breath^. The minister of the church connected with 
 this mission having recently been married was asked 
 
 72 
 
Scene 1 THE REFORMERS Act III 
 
 by his wife what salary I was getting, also what time 
 I was supposed to put in [flask applied^. My 
 little Hugh was very sick then and I could not 
 attend regularly on account of him. Through 
 the minister's wife my salary was stopped and I 
 was discharged, my place being immediately filled 
 by her. [Groan of pain. Thelba applies flask 
 and Phoebe continues in a weaker voice^. I went 
 to the offices of the Society and implored them 
 to keep me on for the sake of my children. They 
 would not let me explain. They told me my heart 
 was not in my work, and I was roughly led into the 
 street and the door slammed behind me [sobs]. I 
 again applied to the minister of my former church, 
 explaining everything, and the sad plight I was in. 
 Inquiries were made and he, too, refused to believe 
 in or help me. I was poor and friendless. That is 
 why they trod on me. During my husband's lifetime 
 we were sought after at this church, as we were lib- 
 eral in our contributions. I managed to support 
 myself and children by going out to wash and clean. 
 I worked at all sorts of things, night as well as day, 
 at restaurants I earned a little more money, the tips 
 at the end of the week swelling my small wages 
 [pauses to take breath and continues^ . I have passed 
 through terrible temptation having been asked by 
 men to sacrifice myself for an easy life and g-o-l-d 
 [quick breathing^. I was almost yielding at times 
 for my children's sake, but, thank God, I got the 
 
 73 
 
Act III THE REFORMERS Scene 1 
 
 victory. I seemed to get sick all at once and not 
 being able to rest I developed consumption. This 
 is my story. Now sing, dear Thelba, to me. Sing 
 the beautiful song you sang to me last week. Jack 
 used to sing it often. Come here, Fay [child ap- 
 proaches^, kiss mother, and do not forget to kiss 
 i^y boys for me. Take my hand. Fay, and you 
 Thelba, kiss me and take this one [each kiss the 
 mother and take hand^. I am going home. Thelba 
 sing. Promise me you will teach my boys sympathy 
 and common kindness. Let them have nothing to do 
 with the Christianity of the churches [loud sobbing 
 from Thelba and Fay]. Sing, Thelba [whispers 
 Phoebe. Controlling herself by great effort Thel- 
 ba sings song of sleep. End of song, light having 
 gone down gradually during song. Phoebe lies 
 peaceful in death. Thelba, letting go the cold handy 
 gently leads Fay from the room, returns, covers the 
 face of the dead, then falls beside bed burying her 
 face among clothes, weeping bitterly^ . 
 
 CURTAIN 
 
 End of Scene 1 
 
 74 
 
Scene 2 THE REFORMERS Act III 
 
 ACT III 
 
 Scene 2. Mt. Vernon. Sitting Room of Mrs. Tat- 
 tler's Residence 
 
 (Discovered) Robert Tattler seated at piano, play- 
 ing finishing bars of waltz. Rising, he takes 
 cigarette from pocket case, lights same and 
 speaks. 
 Robert. Gosh, what a hot time I had last night 
 [puffs stream of smoke from mouth, watching same 
 as it curls upward and disappears^. I am like that 
 smoke — a wanderer in space. My mind certainly 
 wandered last night and I must have drunk consid- 
 erable by the feeling in my head this morning. Ah, 
 well! [Loud sigh and stretch.^ Life's a hollow 
 bubble and one may as well enjoy the hollowness. 
 Why should I sit down and think ? This is what that 
 guy preacher told me to do. He said I should culti- 
 vate beautiful thoughts [ha, ha"]. Of course I 
 agreed with him, but told him frankly that life was 
 far too short to waste time pondering on deep re- 
 ligious problems [ha, ha'\. There's one thing about 
 me, I tell them what I think, all pious guys I should 
 say [yawns^. Gee, what a thirst I have on me. 'Tis 
 enough to stop a clock [yarmis^. How nice Hilda 
 looked last night. Gee, that girl sets me all of a 
 
 75 
 
Act III THE REFORMERS Scerie 2 
 
 tingle. There's no doubt about it, she's pretty. 
 How the fellows looked with envy on us. She is as 
 much stuck on me as I am on her. We registered 
 as Mr. and Mrs. James Courtner \_hay ha. Crossing 
 to mantelpiece he looks at self in glass^^. I must 
 get a face massage to get rid of these lines l[eicamines 
 face in glass^. I look knocked up, all in, confound 
 these tell tale lines under my eyes [turns from glass 
 and yawn^ loudly~\. Gee, I must get a drink of some 
 sort, I am as dry as a bone. I wish the mater would 
 come. She said she would not be long. As soon as 
 she arrives I will beat it for a cocktail. That will 
 put me right. The mater is all right, a real pal. 
 Lets me do as I like, come in when I like, and bring 
 in whom I like [ha, ha^. I think I will bring Hilda 
 here to-night. It will save the trouble of registering 
 [ha, ha^. The mater never asks any questions and 
 she don't get any lies told. She is a woman of the 
 world. I don't blame her for having her fun. She 
 makes that old fool of a General part up. A fine 
 looking woman the mater [yawns^. She has prom- 
 ised to tell me who my father was. She says he's 
 dead. I don't care who he was but I admire him for 
 one thing: he left the mater well off. She is a 
 woman of means [ha, ha^. She has the General on 
 the string and I guess she has him pretty tight. 
 That Mrs. Ormsley from the church pays the mater 
 a good many visits. Of course she's after mazuma, 
 to use a Hebrew expression. That's all the church 
 
 76 
 
Scene ^ THE REFORMERS Act III 
 
 people are after: Money, not after the lost sheep, 
 as they would have us beKeve. Anyway they will 
 never get the mater into the fold, or me for the 
 matter of that, as there is too much good green 
 grass in the Hquid form, absinthe, and a fine thing 
 to drown one's sorrows [yawns^. I must say that 
 Mrs. Ormsley is a rather attractive woman. I will 
 try and have a talk with her the next time she comes 
 and if I don't prove her a fake my name's not Bob 
 Tattler. I will let on that I am impressionable ; and 
 will listen to her like a lamb \ha, ha] . I will prove 
 myself, as I always have, to be a lady killer, and a 
 church visitor shall be no exception. I will let her 
 rub all the pious talk she likes into me, and will win 
 and captivate her affections by my most bewitching 
 manner and with the assistance of a Httle music 
 [hearty laughter. Bell rings loudly. Robert goes 
 to zmndow, lifts curtain aside and peers out]. Gosh, 
 'tis she. Talk of the de — . [Robert goes out into 
 the hall to let visitor in himself, calling to servant.] 
 All right, I will open the door. [Door opened by 
 Robert]. 
 
 Viola. Good evening, Mr. Tattler. 
 
 Robert. Good evening, Mrs. Ormsley, this in a 
 pleasant surprise. So glad to see you. • Come in. 
 Mother will not be long. She has only gone to the 
 druggist [leads way into room and asks Mrs. Orms- 
 ley to be seated. Seating himself beside her]. 
 
 77 
 
Act III THE REFORMERS Scene % 
 
 Viola- What lovely weather we are having, Mr. 
 Tattler. 
 
 Robert. Yes, I only hope it will keep like this. 
 We cannot get too much of this weather, although I 
 think it would be more enjoyable if it were not so 
 warm. 
 
 Viola. Yes, I agree with you Mr. Tattler, but we 
 must not forget that our Maker plans everything as 
 it should be. 
 
 Robert [aside'\. Now for it. That's quite cor- 
 rect, Mrs. Ormsley, but we poor mortals are never 
 really satisfied. 
 
 Viola. Mr. Tattler, let me assure you that con- 
 tentment comes only by surrender of one's self to 
 God. Do you know that you would view life from a 
 very different aspect if you belonged to God. I have 
 not seen you at church for a long time. 
 
 Robert. The church does not interest me. 
 There's nothing bright or worth listening to there, 
 only dull, old-fashioned sermons by an old-fashioned 
 preacher who is a thousand years ahead of his time. 
 
 Viola. You are dreadful, Mr. Tattler, but I am 
 sure you do not mean all you say. 
 
 Robert. Perhaps I do not, and perhaps I do. 
 What's the use of trying to change one's nature. 
 What is bred in the bone is bound to come out in the 
 flesh. You very good people do not make allow- 
 ances for taints of blood. To use a little bit of 
 scripture, " We do that we would not do, and what 
 
 78 
 
Scene 2 THE REFORMERS Act HI 
 
 we would that we do not " [ha, ha'\. Have I got it 
 right, Mrs. Ormsley? 
 
 Viola. You poor, misguided boy. I am sad about 
 you. I do not think you mean half you say [Robert 
 laughs^. You make yourself out to be much worse 
 than you are. I am sure I shall win you over to 
 the right side [Robert hangs head'\. My dear boy 
 [Viola takes Robert's hand in her ozem'\, won't you 
 let me lead you into the narrow way ? Why will you 
 continue in such sinful pursuits? You are the talk 
 of the town. Can I not persuade you to stop sowing 
 wild oats? You ought to think of your soul's wel- 
 fare. Take an interest in spiritual things and join 
 our church, will you? [Robert puts on sad air'\. 
 What can you find in life without being one with 
 the church? What do you live for, my boy? 
 
 Robert [looking straight into Viola's eyes^. I 
 live for wine, woman and song. This is what I have 
 been brought up to live for and it is not so bad 
 after all. I get comfort and joy from them. All 
 you pious folk are much too strong on the hell busi- 
 ness. Now tell me, Mrs. Ormsley, frankly, do you 
 believe in hell? Do you really believe God is going 
 to keep in endless torture men and woman (even 
 children as some believe), for not believing in a 
 book, and that book called the Bible? Do you know 
 the men who wrote that book (they may have been 
 inspired) were human beings such as you and I? Be- 
 lieve me, dear Mrs. Ormsley, there were fakers in 
 
 79 
 
Act III THE REFORMERS Scene ^ 
 
 those days the same as there are in these days, but 
 the greatest fakers were those who translated 
 wrongly the Bible, from the Greek to the EngHsh 
 language. The people who believe such utter bosh 
 without looking into it are damned fools, excuse me, 
 Mrs. Ormsley — a slip of the tongue. I do not be- 
 lieve in this hell business. This is what puzzles me. 
 I cannot believe this is God's plan. 
 
 Viola. My dear boy, your argument is good and 
 I cannot help but agree with you. I am sorry if I 
 have vexed you. I did not mean it I assure you. 
 You know I am so interested in you; I love you as 
 if you were my son. 
 
 Robert. Love me? Do you mean it.? 
 
 Viola. Yes, I really do. I have a motherly feel- 
 ing toward you. In changing the subject, won't you 
 play me a piece on the piano.'' 
 
 Robert. Yes, certainly I will. [Rises and takes 
 seat at piano. Plays piece and charms Mrs. Orms- 
 ley. She rises and approaches the piano, being 
 drawn by the music, pauses at back of stool and bends 
 over Robert just as he finishes. He looks up, sees 
 Mrs. Ormsley and exclaims.~\ 
 
 Do you still love me.? [Mrs. Ormsley answers by 
 suddenly throwing her arms around his neck, im- 
 printing on his lips three smacking kisses.^ You 
 dear boy ! 
 
 Robert [aside^. Mine! Victory! 
 
 Viola. Oh, dear, what will you think of me after 
 
 80 
 
Scene 2 THE REFORMERS Act III 
 
 all the talk I have had with you. [Robert leads her 
 to sofa, with his arm around her waist, sits her on 
 his knee^. 
 
 Robert. I think you are fine. You don't regret 
 loving me, do you.^^ 
 
 Viola. You dear, bad boy, no, of course not, but 
 promise me you will not tell a soul of our conversa- 
 tion here to-night, and, and this — 
 
 Robert. Not on your life. You are mine, are 
 you not.? Say yes. [^Hugs and kisses Viola.] 
 
 Viola. Y-e-s. Oh, don't hold me so tight. You 
 are a bad boy [she laughs lightly and flings her arms 
 again around Robert's neck and glues her lips to 
 his^. 
 
 Robert [^hearing the hall door close^- Quick, the 
 mater! \_Freeing himself from Viola's embrace he 
 gets to the door just as his mother turns the handle 
 and enters. Viola at the same time reaches the 
 other end of the room, seating herself quickly.^ 
 
 Robert. Why, mother, how long you have been. 
 Here is Mrs. Ormsley. She has been waiting quite 
 a while to see you. I have been trying to entertain 
 her with a little music. 
 
 Viola. Yes, Mrs. Tattler, your son is indeed a 
 beautiful pianist. He has indeed entertained and 
 charmed me with his music. He played beauti- 
 fully a favorite piece of mine " The Lost Chord " 
 with variations. He has such a smooth touch [un- 
 perceived, they wink at each other^. 
 
 81 
 
Act III THE REFORMERS Scene 2 
 
 Robert. Well, I must be going, mother, so I will 
 leave jou and Mrs. Ormsley to yourselves. [Ejc- 
 tends hand to Viola.] Good bye, Mrs. Ormsley. 
 
 Viola. Good bye. 
 
 Robert [aside~\. Meet me at the comer, I will 
 wait for you. 
 
 Exit Robert. Door closes. 
 
 Mrs. Tattler. I am so pleased to see you, Mrs. 
 Ormsley, but sorry I can only spend a few minutes 
 with you as I am going to see " East Lynne " played 
 to-night. Charming Thelba plays " Lady Isa- 
 bel." Have you ever seen her? I know her father 
 quite well at Seattle, charming man, and very much 
 interested in my son. 
 
 Viola. I am happy to think someone takes an in- 
 terest in his welfare. If it is his soul's welfare it is 
 better, but it is impossible for the father of an 
 actress to save the soul of your son, Mrs. Tattler, if 
 he has not been successful with his own daughter. 
 
 Mrs. Tattler. I do not agree with you. You do 
 not know Thelba's father [aside^ I must not let on 
 that he is her husband's brother^ or you would alter 
 your opinion of him. He is a genuine Christian; 
 one that lives for God quietly, but does not harp on 
 it. Robert often tells me that Mr. Or — [coughs to 
 hide slip'] I mean Thelba's, father is the only man 
 who could convert him \ha, ha]. Poor Robert is 
 only what I have brought him up to be, but I love 
 him, Mrs. Ormsley. 
 
 82 
 
Scene 2 THE REFORMERS Act HI 
 
 Viola. I believe you. One could not help loving 
 that boy in spite of his sinful pursuits. Well, I 
 must really be going, Mrs. Tattler. But before I 
 go I would like to ask if you will contribute to our 
 Mission in China. A small donation will do. 
 
 Mrs. Tattler. Why, yes, Mrs. Ormsley, I will give 
 you something with pleasure. I will mail you a 
 check, or better still, will call on you to-morrow as 
 I shall be passing your house and give you what I 
 can. 
 
 Mrs. Ormsley [prising is conducted into the hall^. 
 Good bye, Mrs. Tattler. [Shakes hands.'\ 
 
 Mrs. Tattler. Good bye, Mrs. Ormsley. Come 
 again when I have more time to talk to you. Good 
 by. \^Door closes. 1 
 
 Mrs. Tattler [^reenters room, sinks in chair, and 
 laughs lightly^. That is all they want — money, 
 money, money [^yawns^ . I wonder where that boy of 
 mine has gone. [Sighs. Rising, exits singing lightly. 
 Door closes.^ 
 
 CURTAIN 
 
 End of Scene 2 
 
 83 
 
Act III THE REFORMERS Scene 3 
 
 ACT III 
 
 Scene 3. Madison Avenue. Sitting Room of Thel- 
 ba's Flat. Three Weeks Later 
 
 Thelba [discovered knitting hy open window]. 
 There is, after all, truth in the old saying, " Every 
 cloud has a silver lining," for it has proved true 
 regarding Walter and me. How happy I am to-day 
 and how happy Walter will be when he knows of 
 father's consent to our marriage. I must read his 
 letter again. [Picks up letter from table and reads 
 aloud.] "My darling daughter: I received your 
 letter as I was just leaving the house for the rail- 
 road station with the object of taking my ticket for 
 New York, intending to pay you a surprise visit, 
 but on second thought I have decided to postpone 
 the trip for a few days. This will give you ample 
 time to prepare for me, as I know you do not like to 
 be taken by surprise. I note all you say in your 
 letter regarding your cousin, Walter, and do not 
 hesitate in saying that I see no earthly reason why 
 you should not marry providing you love each 
 other ; if you do not, then of course there is no more 
 to be said. I freely give you my consent, Mabel, 
 and will in addition settle on each of you a good 
 round sum of money that will enable you both to en- 
 
 84 
 
Scene 3 THE REFORMERS Act 111 
 
 joy life as it should be enjoyed. When I arrive in 
 New York I will wire you and you need not trouble 
 to meet me, as I will hire a taxi and come straight on. 
 I will arrive soon after the telegram. Don't forget 
 to have Walter with you, as I am anxious to meet 
 the young man. I have written to his parents, tell- 
 ing them I am ahve and well and have taken the 
 liberty of inviting them to your place without ask- 
 ing your permission. My object in asking them to 
 meet me at your home is that I might have an op- 
 portunity of saying what I think of them, and their 
 treatment of Walter according to your letter. Their 
 doings are well known to me and I intend to let them 
 know my candid opinion of faking morality. If they 
 should arrive before me, do not let them see Walter 
 or yourself, as I have a Httle plan of my own in view 
 which I will explain when I see you. I will now con- 
 clude, reserving all further news until I see you. 
 Your loving father, Richard Ormsley." 
 
 [Thelba folds up letter and conceals same in 
 blouse.^ Darhng papa, how good you are to me. 
 [Tahes out watch.'] Gracious! Walter is due — how 
 the time flies ! [Ring at front door, which is opened 
 hy maid who ushers Walter into room. Thelba 
 advances and throws her arms around his neck and 
 hisses him. Leading her to sofa, Walter seats himr 
 self with Thelba beside him.] 
 
 Walter- What is the news, dear, you seem extra 
 happy to-day. Can it be that uncle has given his 
 
 S5 
 
Act III THE REFORMERS Scene S 
 
 consent? [Thelba nods, takes letter from blouse 
 and hands same without saying a word. Walter 
 reads it and exclaims~\ Thank God! [Presses Thel- 
 ba to his breast and showers kisses on her lips.^ 
 Uncle Richard is the dearest of men! [Thelba 
 sighs with happiness and exclaims S\ 
 
 I am so happy, Walter, I feel as if I have a new 
 lease of life. 
 
 Walter. And I, too, Thelba. When do you think 
 uncle will arrive.'^ 
 
 Thelba. Any time now. He should have arrived 
 before this. [Ring at bell. Enter maid with tele- 
 gram. Thelba rises, takes telegram, breaks envel- 
 ope and reads. '\ " Will be with you shortly. 
 
 Father." 
 
 Maid [waiting^. Any answer, Miss? The boy 
 is waiting. 
 
 Thelba. No, Nellie, there is no answer, but if a 
 lady and gentleman call before my father arrives, 
 conduct them in here, but first see who it is at the 
 door, and if it is my father you can let him in; if 
 the lady and gentleman, come and tell me, and what- 
 ever you do, don't answer any questions, Nellie. 
 You can peep to find out who is at the door. That 
 is all, dear. [Exit maid. Door closes. Thelba 
 takes her place again on Walter's knees and claps 
 her hands with joy.'\ Father will soon be here. 
 What a lovely day this is ! [Buries head on Wal- 
 ter's shoulder.'] 
 
 S6 
 
Scene 3 THE REFORMERS Act III 
 
 Walter. Your father's letter states that he has 
 invited the Mater and Dad here, also that he has a 
 plan in view. I wonder what thej will say when 
 they know all? 
 
 Thelha. I don't care, dear, what they say, for I 
 am too happy to care [looking up tenderly into her 
 lover's face, she kisses him and runs her fingers 
 lightly through his hair^- 
 
 Walter. I am so glad to hear you speak like this, 
 darling. Do you know, everything is beautiful to 
 me now? Wherever I look I seem to see God, the 
 air seems full of his love. By the way, Thelba, I 
 met poor old Tim Murphy on my way here and he 
 was very much upset over being refused membership 
 at the church he attends. He told me they would 
 not accept him on the understanding that he was in 
 the habit of taking drink. He assured me he never 
 took too much, and as far as he knew no one was 
 aware he took intoxicating liquor at all. He said 
 he always takes a glass of beer with his meals and 
 did not see any wrong in doing so, as it was no 
 worse in his estimation than the drinking of wine 
 by the deacons. The fact is, Thelba, old Tim is 
 poor and unable to contribute to the support of the 
 church. This is why they will not receive him. 
 
 Thelba. What a shame, the poor old dear, I feel 
 so sorry for him, but if I were he I would not let 
 that worry me, as he can rest assured he is not losing 
 
 87 
 
Act III THE REFORMERS Scerie S 
 
 much, for he would not be happy as a member of 
 such a church. What denomination is it? 
 
 Walter. Baptist, and do you know, Thelba, they 
 are the most bigoted and narrow-minded of all? 
 
 Thelba. Yes, I am aware of it, they reckon them- 
 selves the elect. I forget, Walter, what author it was 
 who said, in order to live a Christian life one would 
 have to be a member of no church. I may not repeat 
 it as she wrote it, but the meaning is plain, and if I 
 remember rightly, you will find these words in " The 
 Romance of Two Worlds." Poor old Tim must be 
 a member of no church [Thelba laughs^. He will 
 be far happier. 
 
 Walter. I agree with you, dear, and believe also 
 in the author's statement. She is a woman of 
 wide experience and common sense, clothed with the 
 blessed light of God, which permeates her writings 
 and fills her soul with a great love for mankind. 
 
 Thelba. I love to read such works. The writer 
 seems to glean the true drift of the scriptures. I feel 
 she will hold a very high place in the next world, as 
 her works have done and are still doing a great 
 amount of good. Her writings have made many a 
 scripture plain to me. 
 
 Walter. I again agree with you, dear. I begin 
 to think you are a philosopher. I don't think we 
 shall disagree, for our views seem to be alike. [Noise 
 of taoci stopping outside. Ring at bell. Maid en- 
 ters hurriedly.^ 
 
 88 
 
Scene 3 THE REFORMERS Act III 
 
 Maid. A gentleman who looks like your father, 
 Miss. I peeped from the dining room window. 
 
 Thelba \_laughing^. All right, Nellie, let him in. 
 \_Door opened by maid who ushers gentleman vis- 
 itor into roo7n.'\ 
 
 Thelba [having risen^ advances to meet the gentle- 
 man^. Father! [Throws her arms around his neck 
 and showers kisses on him.^ You darling, how 
 glad I am to see jou. Let me introduce you to 
 cousin Walter [Walter advances and shakes hands 
 with uncle. Introduction business]. 
 
 Richard. Well, my boy, I am more than glad to 
 see you. The last time I saw you you were quite a 
 little fellow. I don't expect you remember me 
 though. 
 
 Walter. No, uncle, I do not, but I must thank 
 you for [sh — from Richard, who holds hand up]. 
 
 Richard. Don't mention it, my boy, my consent 
 has been given and I will tell you frankly that at 
 first sight I like you very much and feel sure you 
 and Mabel are suited to each other. All things work 
 together for good to those who love God. 
 
 Thelba. How well you look, father. [Thelba 
 rings. Maid enters and takes Richard's haty gloves 
 and hand bag. Exit maid. Richard seats himself 
 in easy chair close to sofa where Thelba and Wal- 
 ter again seat themselves.] 
 
 Richard. Now listen to my plan. I have written 
 to your parents, Walter, and they may arrive at any 
 
 89 
 
Act III THE REFORMERS Scene 3 
 
 moment now, so I propose that you both be within 
 call. One ring to bring in you, Thelba, and two 
 rings to bring in you, Walter. You see I wish to 
 surprise your parents, Walter, by bringing Mabel 
 suddenly on the scene, making them aware that she 
 is the famous actress, Thelba, my daughter and their 
 niece; then, cap the whole business by bringing in 
 you, making them also aware that you are here, 
 their son, being a cousin of Thelba, and my 
 nephew. I will then astound them by telling them 
 that you are about to marry Mabel. What do you 
 think of my little plan, eh.^^ [Good humored laugh- 
 ter from g7Z.] 
 
 Thelba. I think you ought to have been a stage 
 manager, father, for you arrange scenes beautifully 
 [turns to Walter]. Don't you think so, Walter.? 
 
 Walter. Yes; I do. [All three laugh together 
 again.l 
 
 Richard. I am sorry, Walter, your parents are 
 leading such hypocritical lives. Their doings have 
 reached me out West through the papers; also by 
 other sources. I intend to tell them what I think 
 of them and will threaten to expose them if they 
 do not alter their ways. I have arranged with a 
 policeman to be within call to eject them gently, if 
 necessary. This is only fun on my part. Your 
 mother I am real sorry for. Your father's example 
 has been bad for her. She will repent, I am sure, 
 and alter her ways, but your father I have my 
 
 90 
 
Scene 3 THE REFORMERS Act 111 
 
 doubts about ; but perhaps he may alter, too. Any- 
 way if he does not repent here he will do so in the 
 next world, no doubt [good humored laughter^ . The 
 reformers shall be reformed. I know a young fellow, 
 by name, Robert Tattler, a very wild youth. He 
 wrote me a few days ago saying he had decided to 
 turn over a new leaf. I met him at Seattle eighteen 
 months ago. He was spending a few weeks there 
 with his mother. We got acquainted and have 
 corresponded ever since. Do you know that boy told 
 me all about himself and his mother. She is a bad 
 example to her son. He never knew his father. They 
 have plenty of money. At least the mother is a 
 woman of means. They live at Mt. Vernon, Chester 
 Hill, I think. 
 
 Thelba. Father, dear, do you know you would 
 make a fine preacher? [Walter laughs.^ 
 
 Richard. No doubt, my girl, but I believe in prac- 
 tice. Preaching is all very well in its way but it is 
 not enough and alone it will never bring the millen- 
 nium. 
 
 Walter. Uncle, you seem to view things in ex- 
 actly — [Walter is interrupted by loud ring at 
 front door bell. 'I 
 
 Richard. Let's beat it. [All three run through 
 door into hall and upstairs out of sight. Door is 
 opened by maid. Mr. and Mrs. Stephen Ormsley 
 are ushered into the sitting room and asked to 
 take a seat. A few minutes elapse. Richard enters 
 
 91 
 
Act III THE REFORMERS Scene 3 
 
 and the Ormsleys rise to greet him, holding out 
 their hands and xvith beaming faces both speak at 
 random. Richard waves them back and speaks in 
 a stern voice, saying, ~\ 
 
 Richard. No, Stephen, and you, Viola, I cannot 
 shake hands with such as you. Your disgraceful 
 conduct is well known to me. 
 
 Stephen [choked for words^. What — why — what 
 do you mean? 
 
 Viola [interrupting^. Yes, Richard, what do you 
 mean ? We do not understand you. 
 
 Richard. Well, I will make myself perfectly clear. 
 I do not approve of your reforming business. Your 
 doings in this part of the country have reached me 
 out West through the papers and through other 
 sources. You are leading corrupt lives under the 
 cloak of religion. 
 
 Stephen [in rage^. How dare you, sir.'' 
 
 Viola. Yes, how dare you ? 'Tis all a lie. 
 
 Richard. No, it is no lie. [Looks straight at 
 Mrs. Ormsley and says.^ I have received certain 
 information from a young man by the name of Rob- 
 ert Tattler. Do you know him.'' 
 
 Viola [colors up'\. Know him.? No, I know of no 
 such person. 
 
 Richard. Oh, very well. I thought you people 
 knew everyone, being continually before the public 
 
 92 
 
Scerie 3 THE REFORMERS Act III 
 
 eye. Anyway [/o Stephen], you know what Mr. 
 Alexander Faker left England for, I suppose. 
 
 Stephen [white with ragej. I know no such per- 
 son, sir, and you know it. 
 
 Richard. Well, perhaps I have gotten hold of the 
 wrong name, but you will not deny your unchristian 
 conduct toward your son, Walter, do you not know 
 where he is.'^ 
 
 Stephen and Viola [in a breath^. No. 
 
 Stephen. He entered the low, God forsaken the- 
 atrical profession. That is where he is and I have 
 disowned him, but as to where he lives I know not 
 and care less. 
 
 Richard. Not God forsaken, Stephen. There are 
 more noble souls there than in any other profession. 
 [Richard rings hand bell. Thelba enters.^ 
 
 Stephen and Viola [together, exclaim^. Thelba, 
 the actress. 
 
 Richard. Yes, Thelba, the actress, otherwise 
 known as Mabel Ormsley, my daughter and your 
 neice. [Thelba bows.^ 
 
 Two rings on bell. Walter enters. 
 
 Stephen and Viola [both exclairri]. What! Wal- 
 ter here, too ! 
 
 Richard. Yes, Walter is here, too, and about to 
 marry his cousin, my daughter and your niece. [At 
 this they become frantic and shout, creating a ter- 
 rible uproar.^ 
 
 93 
 
Act III THE REFORMERS Scene 3 
 
 Stephen and Viola \^together'\. We shall consult 
 our lawyer about this, you blackguard. Devils 
 [^cries Stephen, who shakes fist at his son, then at 
 his brotherl, you shall suffer! [Richard goes to 
 imndow hurriedly and blows whistle. An officer en- 
 ters, being let in by the maid in the secret, and in a 
 firm but gentle voice orders them out, Richard add- 
 ing they had better leave the city as soon as possible 
 or they will be exposed. Front door closes. Reen- 
 trance of maid and policeman. Richard join^ his 
 daughter's hand to Walter's and gives them Ms 
 blessing.^ 
 
 curtain 
 
 Finale 
 
 94