mo 
 
PS 3543 
 .E22 D5 
 1920 
 Copy 1 
 
 JOHN VEIBY 
 
 SOUTH BEND 
 INDIANA 
 
 Price 50 Cents 
 
DIRECT ACTION 
 
 A One Act Pla^ 
 
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 JOHN VEIBY 
 
 SOUTH BEND 
 INDIANA 
 

 Aei3^ NHOf 
 
 ^q 'oe6i 'paiii6iA^<}oj 
 
 ©as i5r,6 58 
 
NOTE -/'Direct Action" zi'as written for the Religious 
 Dram^. Prise Competition closed December ist, 1919. 
 Since then I have reznsed the play. J. V. 
 
 CHARACTERS 
 
 Alexander, Professor 
 
 Darwin, 
 
 Huckleberry, 
 
 Holy Cross, ) Boys from 12 to 14 years of age. 
 
 VOLAIRE, 
 
 A Namless Boy, 
 
 Marion, a Mother of seven children. 
 
 Marcus, a Minister's son. 
 
 Bruno, / , , , ^ . o- r^ • 
 
 c. y Members at the one Big union. 
 
 Stone, ) 
 
 Mabel, a young girl. 
 
 Blake, Author of "Vers Libre" 
 
 Edgar Allan White, Civil Engineer. 
 
 Mrs. White, his mother. 
 
 Marion's children and other people. 
 
 Time : Christmas Eve. 
 
 Scene: A closed room, not very large, a rug covers the entire 
 floor. In the center a table on which a magic crystal, a few books 
 and some writing materials: chairs, and in the foreground a 
 lounge. Everything new. 
 
 Alexander [A middle aged man: dress, velvet smoking jacket, 
 silk shirt, red necktie, etc. seated at table, rises as one laboring under 
 a mental strain; paces the floor, goes to windozv and pulls dozmi the 
 slmdes. Back to center, recites calmly:] "Serene I fold my hands and 
 wait. My own shall come to me." [Sits in chair at left side of table 
 facing right, gazing into the crystal. Outside some young people are 
 passing, singing the popular sofig, "There's a Long, Long Trail 
 Azvinding Into the Land of My Dreams."] 
 
The stage grows darker until it is for a few moments entirely 
 dark, then it is suddenly flooded with a beautiful even light. The 
 background and side walls, {represented by drop curtains) have 
 now disappeared, leaving the floor in front and back and on the 
 sides bare. The scene nozv appears to be something like a large ante 
 room with doors, open and half open, leading to other apartments 
 and rooms differently decorated and lighted, all empty. The sing- 
 ing dies away : instead, some strains of music, light and gay, are 
 heard. A boy, {Darwin) appears in the inner apartment going 
 from romn to room- as if seeking someone. He carries a rather 
 large pasteboard sign. 
 
 Darwin [enters, the music ceases: He becomes aware of the pro- 
 fessor and stops for a moment. He is healthy and good looking and 
 in manners and speech bold and free. His clothes are ivorn but not 
 shabby. He goes to the center and places the cardboard on the table 
 so its inscription "Subjects Wonted, Inquire zvithin." can be seen 
 from the audience', and looks at the professor, zvho is still gazing 
 into the crystal, inquiringly. He then places the sign between the 
 professor and the crystal.] 
 
 Alexander [Without embarrassment becomes azvare of the boy.] 
 So you have come again, at last. No — I must be mistaken — I 
 thought I had seen you before. 
 
 Darwin. You see me now, don't you? 
 
 Alexander. Yes. 
 
 Darwin. What is the meaning of this sign? [Takes sign and 
 reads] "Subjects Wanted, Inquire Within." 
 
 Alexander. It means everything to me. [Motion to the boy to 
 sit over in the foreground. Darvin does so, leaving sign on the 
 table.] What is your name? 
 
 Darwin. Darwin. 
 
 Alexander. Charles Darwin? 
 
 Darwin. No, only Darwin. 
 
 Alexander. And where do you come from? 
 
 Darwin [rises threateningly]. Who wants to know? 
 
Alexander. My dear boy: your manners need improvment, and 
 if the place you come from 
 
 Darwin [Puts his hand firmly on the professor's mouth. Impera- 
 tively]. Don't preach to me! 
 
 Alexander [removes the hand gently]. What's the matter? 
 
 Darwin. You heard what I said. 
 
 Alexander. Perhaps you are right, preaching is indeed a habit 
 hard to break. 
 
 Darwin [sits down again], 
 
 Alexander [continues]. Once I knew a boy, his parents preached 
 to him day and night on each and all occasions. In the morning a 
 tumbler of water was enough to start a temperance lecture : Never 
 touch liquor, a horse has better sense than that. And when they 
 took that boy out into the country on Sunday afternoon they observ- 
 ed the cows ruminating and at once they began to preach : Don't 
 chew tobacco. Cows know better than that. 
 
 Darwin. And in the evening, when we sat around the fireplace 
 the smoke got them going: You must never smoke, for if our Lord 
 had meant that men should smoke he would have put a chimney 
 into their heads, — they always preached to me. 
 
 Alexander. To you? 
 
 Darwin. Yes, to me for I am that boy. 
 
 Alexander. The boy I am speaking of at last got so sick and 
 tired of it all that 
 
 Darwin. Last night I ran away. 
 
 Alexander. That too? [pussled] That's the funniest thing. 
 
 Darwin. I jumped a freight train, rode in a box car all night 
 bumping along : I could hardly sleep, and when I woke up this morn- 
 ing I was here. 
 
 Alexander. How far away from here is your home town? 
 
 Darwin [angry]. Who wants to know? — Do you intend to send 
 me back again? 
 
 Alexander. Nothing was farther from my thought. Sit down, 
 be quite. 
 
 Darwin. All day I have been looking for something I could do, 
 and then I saw this sign. 
 
Alexander. Ah, yes, the sign — a King is coming. 
 
 Darwin. A King? 
 
 Alexander. I saw him once, in a dream. A boy like you, most 
 fair. In his voice was gladness, and in his laughter, joy. A dream 
 of Paradise was he : dispelling gloom wherever he went. In the 
 dreary homes and in the crowded streets where people walk like 
 convicts damned already. 
 
 Darwin, x^nd he comes here tonight? 
 
 Alexander. I wait for him. 
 
 Darwin. Is this the place? 
 
 Alexander. Yes, I am preparing a supper in his honor, and need 
 some guest, therefore this sign. 
 
 Darwin, Am I invited? 
 
 Alexander, All are invited. 
 
 Darwin. What does it cost? 
 
 Alexander, Nothing. 
 
 Darwin. Oh joy. 
 
 Alexander. On one condition — that you help prepare the feast. 
 
 Darwin. What can I do? 
 
 Alexander. Hang out the sign, as the guests are slow coming, 
 and if you have some friends 
 
 Darwin. Sure, I'll bring them. 
 
 Alexander. And then if you should meet the King himself, you 
 remind him of his promise that he would come again. 
 
 Darwin [goes over the table], I will, but say. — Professor, How 
 shall I know him? 
 
 Alexander. The time I saw him he wore a garment of purest 
 white trimmed in red. Red was the sash around his waist, on his 
 feet were sandals, and on his head a wreath of vine leaves. 
 
 Darwin. I do not think I'll meet one like that around here, but I 
 shall look for him. 
 
 Alexander. Write on the sign — 'Leave sign outside.' 
 
 Darmin [starts to do so, stops]. Say professor, since we have 
 company tonight I need some new clothes. 
 
\ 
 
 Alexander. I was thinking of that myself. 
 
 Darwin. The boys I meet may need some. 
 
 Alexander. Buy what you need, the stores are open and my 
 credit good [gives him his card]. 
 
 Darwin [takes sign]. So long. [exit]. 
 
 [Meanwhile Marion ivith her seven children, their ages rang- 
 ing from five to fifteen, has appeared in the inner room, 
 the children running about' Enters], 
 
 Marion. Are you the landlord? 
 
 Alexander. I guess I am [motions her to sit dozmi. The children 
 remain in the background, some seated, some standing.] 
 
 Marion. And have you rooms for rent? 
 
 Alexander. No, not exactly. 
 
 Marion. My husband worked in this building, he was a carpen- 
 ter, and before he died he told me if the house we rented should 
 happen to be sold as it v/as advertised to be, or if a fire should de- 
 stroy it, this would be the place for us to go. 
 
 Alexander. Perhaps it is, the prophet said: The time shall 
 come when they who build the houses shall live in them.' 
 
 Marion. I have some money left. 
 
 Alexander. That's not the question. 
 
 Marion. And my children are of some help now, and I can cook. 
 
 Alexnder. You can cook? That's the funniest thing. 
 
 Marion. There's nothing funny about that; I can show the best 
 of references. 
 
 Alexander. No doubt : what surprises me is : I need a cook, and 
 in the nick of time you came to help prepare a banquet. 
 
 Marion. Who are the guests? 
 
 Alexander. They who prepare the supper shall also eat it. There- 
 fore get busy. Get your children ready now to help you and you 
 shall get more helpers as they come. In the inner room you will 
 find the telephone and if there is anything you need, just call for it. 
 
 Marion. My husband sure was right: this is the place for me. 
 Come children, [they go and in going close all the doors to the 
 inner room assisted by Alexander.) 
 
[The entrance from the street is nozv left side, back.] 
 
 [Enters Darwin zt/ith Huckleberry, Holy Cross, both of them 
 fairly well dressed; and Volaire, finely dressed in a style foreign 
 or from a former period. He has a rougish expression and the 
 m-anners of a courtier. All, except Volaire, carry some packages. 
 The professor shakes hands zvith them as they are presented to 
 him by Darwin. 
 
 Darwin. This is Huckleberry — and this is Holy Cross. I don't 
 know the name of this one ; He cannot Speak United States. 
 
 Voltaire [bozus gracefully and profoundly]. 'Je suis Votaire'. 
 
 Darwin [zinshes to see that bozv repeated anr formally introduces 
 him to the other boys]. Say, what's your name, meet my friend 
 Huckleberry, [boy bozi's as before]. Shake hand with Holy Cross 
 [bozi/s again as before]. 
 
 Darwin [to Alexander]. What shall we do now? 
 
 Alexander. I was just thinking. 
 
 Darwin. I thought of something already You need a butler, and 
 a boy would be the better than an old man. 
 
 Alexander. You are right, Old people should be respected. They 
 always were in any noble or heroic age. When Knighthood was in 
 flower, the Knights had pages. 
 
 Darwin. And Holy Cross would be good as butler, he looks so 
 cross. 
 
 Alexander. Well, you tend to this, [turns to Volaire, zvho is 
 wandering around looking at things, obserzrng him curiously]. 
 
 Holy Cross [to Darwin]. Shall I put on the livery now? 
 
 Darwin. Yes, go in and change right away, and don't forget to 
 get a tray and then you wait out in the hall. 
 
 Huckleberry. And when you come in you must stand like a 
 dummy. 
 
 Holy Cross. Like this, [strikes the attitude]. 
 Darwin. Yes. 
 
 Huckleberry. And you must act like you didn't know a darn thing. 
 [Exit Holy Cross]. 
 
 8 
 
Darwin [to Alexander, referring fo Voltaire]. This boy ought 
 to be Americanized, don't you think? 
 
 Alexander. May be. 
 
 Darwin And Huckleberry is the one who can do it. 
 
 Huckleberry. I'll fix him. 
 
 Alexander. Well, go ahead. And meanwhile both of them can 
 help our mother. 
 
 Darwin [to Huckleberry]. Take my package along. 
 
 Huckleberry [calling to Voltaire]. Hey, there! [beckons to 
 him with his finger^ . Come on in ! 
 
 Voltaire [follows Huckleberry, leaving Alexander and the stage 
 cernioneously.] 
 
 Alexander [to Darwin]. You could learn a great deal from him, 
 — he is polite. 
 
 Darwin. Do you want me to do like this, [itnitates the bow], 
 
 Alexander. That's over doing it. And I want you ta assist me 
 receiving the guest. 
 
 Darwin [bozvs properly, yet playfully]. 
 
 Alexander. That's better, [seated]. Some day I shall let you 
 read "Lord Chesterfield's Letters to His Son". 
 
 Darwin [zvho has moved a chair over to the side 7'ight]. Are 
 they any good? 
 
 Alexander. In a way, yes. 
 
 Darwin. I'll sit here and be the office boy. 
 
 Holy Cross [in livery, enters, presents tray in the most approved 
 style]. 
 
 Alexander, [makes the motion of taking a card and does not 
 find any]. Where is the card? 
 
 Holy Cross. He didn't have any. 
 
 Alexander. W^hat's the use then? 
 
 Holy Cross. His name is Marcus. 
 
 Alexander. Let Marcus come in. 
 
Marcus [a middle aged man enters eautiously]. 
 
 Alexander [motions him to sit doztm]. 
 
 [Pause] 
 
 Marcus. I am a minister's son. 
 
 Alexander. You are fortunate. I should say. So many great men 
 have had a minister for their father. There was Robert Ingersoll. 
 
 Marcus. Yes, he was a minster's son. 
 
 Alexakder. And then there was Friederich Nietzsche, I believe. 
 
 Marcus. And what a minister's son he was. 
 
 Alexander. And then we have — [changes] but probably you, too, 
 are a preacher? 
 
 Marcus. No, I was raised too near the sanctuary. For this and 
 for some other reasons I lost my father's faith. I tried other things 
 but failed. The Will to preach was in m.y blood. It urges me on. 
 [rises] I feel it coming now. It lifts me up. 
 
 Alexander [tries to interrupt him]. 
 
 Marcus. Now listen ! At last I found a faith, a gospel that 
 brought me fame and I gloried in the fact I was considered the great- 
 est soap box orator that ever was, — you must have heard me, or heard 
 about me, my name is known from coast to coa«t. One moment, 
 please, and I am through. This could have gone on forever, but 
 then the crowd lost faith in me, they wanted action, direct action. 
 Thus ended that career. [Sits dozen, dejectedly]. Direct action up- 
 sets everything. 
 
 Alexander. What can I do for you ? 
 
 Marcus. I saw your sign "Subjects Wanted''. Have you a new 
 faith? Another theme for oratory? A new faith, that's what I 
 need, that's what we all need, brother. 
 
 Alexander. I have no new faith and do not feel I need one. 
 But there is work to do. Just now we are preparing a supper, and, 
 if you will help us 
 
 Marcus. Did you say work? If it was work I wanted, I have 
 two positions offered me already. One is to sell stock for an Oil 
 company in Montana, the other to promote the manufacturing of a 
 
 10 
 
new storage battery. But, to tell the truth, I have no faith in either. 
 For what is an oil well, when the well runs dry? Nothing but a 
 hole in the ground. And what is a dry bakery to begin with, [pre- 
 pares to go]. If it had a drive for something. 
 
 Alexander. Nothing of that sort. 
 
 Marcus . Sometime later I may help you. 
 
 Alexander. Think it over. 
 
 Marcus. I shall, [goes out.] 
 
 Darwin. Why could not Marcus stay? 
 
 Alexander. He lives by faith, and we by doing the works 
 
 Huckleberry [enters and presents tray as usual]. 
 
 Alexander, [to humor the boy makes a movement as if to take 
 the card, and, to his surprise, finds one. Looking at card reads] I. 
 W. W. card number 144,001. That's the funniest thing. 
 
 Huckleberry. There is one more. 
 
 Alexander [takes the other and reads]. I. W. W. Card number 
 1,010,071. Show them in. 
 
 [Enter Bruno and Stone, well dressed young men and, gen- 
 erally speaking, not different from other American youths]. 
 
 Bruno. Professor Alexander, I believe, my name is Bruno, and 
 this is Mr. Stone. 
 
 Alexander. Gentlemen, I am glad to meet you [hands back their 
 cards]. In fact I wished to meet you — just now I read your pam- 
 phlet 'Direct Action.' It interested me. [looks for it on the table 
 but cannot find it . It the funniest thing : I had it here. 
 
 Bruno. Never mind the pamphlet, professor, we came not here to 
 discuss direct action, but to satisfy an idle curiosity. Would you 
 mind telling us for what purpose is this building? 
 
 Stone. If 3^ou ha^ve no objection. 
 
 Alexander. None whatever, be seated. 
 
 Darwin [assists in placing chairs so Alexander becomes seated 
 betzvecn Bruno and Stone]. 
 
 11 
 
Bruno. It may seem strange to you who planned this building 
 that we who worked on it the whole summer should be ignorant of 
 what we were building? Generally we can tell, but this one is 
 different. 
 
 Alexander. Not strange a<t all. In planning, too, perhaps, we 
 grope in blindness. Some builded better than they knew, while others 
 perhaps, in spite of all their care, made a mess of it. And so it goes. 
 Nothing is certain. We sow, and then we wonder "What will the 
 harvest be? As to this building, it is meant to be a starting point 
 for direct action, a basis for operations, as it were. 
 
 Stone. No overalls for you. 
 
 Alexander. Why not? Overalls in the industrial warfare are 
 the equivalent of the armor of the Knights of old. 
 
 Stone. I have heard about the Knights of labor. 
 
 Alexander. That name was good. 
 
 Stone. But Knights of labor failed 
 
 Alexander. Because they had no base of operations. A Knight 
 must have a castle or a mansion or something like that. 
 
 Bruno. Are not our homes our castles? 
 
 Alexander. Oh no, a home must be a safe retreat, where we can 
 hang up our armour when the battle is o'er. 
 
 Stone. You mean our overalls? 
 
 Alexander. Yes, overalls : and then rela.x and listen to the songs 
 of minstrels and troubadours. 
 
 Bruno. Go on professor, that sounds good. 
 
 Alexander. During the peace between the battles, within the 
 castle, it was possible to cultivate the finer sentiment of peace. Now- 
 adays the masses have no place to rest, no safe retreat, but are 
 forever hounded. Moving from house to house. 
 
 Bruno. True enough, professor, but we radicals begin from the 
 bottom, we go to the root of things. 
 
 Alexander. Yes, but before the root there was a seed, and then 
 before the seed, there was a flower idly swaying in the sunlight. It 
 is the same old question as yet unsettled : — Wlio came first, the 
 chicken or the egg? 
 
 12 
 
Stone. This place must be the flower. 
 
 Alexander. Something like that, or rather its a BUD. And, by 
 the way, it blows tonight. 
 
 Stone. A regular blowout, is it? 
 
 Alexander. Exactly, and if you gentlemen should wish to come 
 to the banquet 
 
 Bruno. Are we invited? 
 
 Alexadner. All are welcome, on one condition only — that they 
 shall help prepare the supper. I would like to see this house full, 
 but on account of this condition, the guests are slow in coming. 
 
 Marion [appears in the door — makes a sign to Darwin]. 
 
 Darwin [goes over to xA-Lexander]. Professor, our mother wants 
 to see you. 
 
 Alexander [to Bruno and Stone]. Excuse me a minute, [goes to 
 Marion]. 
 
 [Bruno and Stone rise.] 
 
 Bruno. What do you say? 
 
 Stone. This is a surprise to me. 
 
 Bruno. I don't see why we should not accept this invitation, 
 since it does not interfere with our big union. 
 
 Stone. All right, I can get all the help we need and guests to fill 
 this house out of our local union. The younger element especially 
 would be delighted. 
 
 Bruno, So be it then. But as you see, this house is only half 
 furnished. 
 
 Stone [taking out notebook and pencil]. Well what do we need? 
 Shoot ! 
 
 Bruno. From this point of view luxury comes first. 
 
 Stone. Of course. 
 
 Bruno [dictates zvhile Stone takes it dozvn]. Flowers, statuary, 
 paintings, curtains, rugs, furniture, — now you go out and get these 
 things and anything you can think of: You know this house from 
 roof to cellar, as well as I do. And send the things, and the people, 
 
 13 
 
direct to me. I will stay here and take care of everything, and 
 wherever you are, call me on the telephone so we can keep in touch 
 with one another. 
 
 Stone, All right, one thing we have forgotten. 
 
 Bruno. What is it? 
 
 Stone. Have you forgotten that when our work is done we are 
 the guests and consequently need to be in evening dress ? 
 
 Bruno. You are right. 
 
 Stone. But something new or different would be better; some- 
 thing richer, more daring, and in better taste. What shall we call it? 
 Bruno. Wedding garments? 
 
 Stone. Wedding garments is good, [writes] wedding garments. 
 Bruno. And then some overalls to use while we are working. 
 
 Stone. You mean armors, [un-ites] armors. [Looks at the list 
 with satisfaction]. We shall give our friend professor Alexander 
 a great surprise tonight. 
 
 [Marion goes in]. [Alexander comes hack]. 
 
 Bruno. Professor, we accept your invitation. 
 
 Alexander. Good, 
 
 Stone. And I will get you all the guests you want, 
 
 .Alexander. That's fine. 
 
 Bruno. And we shall help you put this house in order. 
 
 Alexander. Magnificent, — ^but, friends, have you the means? 
 
 Stone. We have all the means there is. And experience in the 
 struggle for existence has taught us how to use them. We know 
 the law that "To the victors belong the spoils". 
 
 Alexander. But, friends. 
 
 Bruno. Necessity knows no law. 
 
 Alexander. But you are knights, and, remember, knights must 
 keep their honor bright, 
 
 Bruno. Feel at ease, professor, we Industrial Workers of the 
 World are used to work, and little used to other menas to gain our 
 
 14 
 
ends. Our slogan is not 'Shorter hours and more pay.' We want it 
 all, and in order to get it all, we work, work over time, work night 
 and day— and wish that night and day had hours more: so if to 
 work is honorable 
 
 Stone. And it is honorable, professor, if we work for whom or 
 what we love. 
 
 Alexander. Agreed. 
 
 Stone. And all is fair in love and war. 
 
 Alexander. By using crooked means, a man originally straight 
 becomes a crook, and one orginally crooked made to walk straight 
 becomes a moral man. 
 
 Stone. Made to walk straight by crooked means, most likely. 
 Maybe the whole world is crooked : — it moves it curves, you know. 
 
 Alexander. Then in defiance of all the world, this house shall 
 stand straight, emerging, as it were from out of a fourth dimension, 
 transcending all experiences, appearing like a miracle of faith. 
 
 Stone. Faith comes by action, direct action, and, if we discuss a 
 thing too long we lose our faith. Allow us to suggest that any fur- 
 ther discussion as to the moral aspect of this case be postponed til 
 after supper. 
 
 Alexander. Perhaps it is better so. 
 
 Stone. When all our wants are satisfied we FEEL moral and 
 ARE moral, for as a man doth feel within his heart, so he is. 
 
 Bruno. You got that wrong. 'As a man thinketh in his heart, so 
 is he'. 
 
 Stone. Same thing, for as we feel, so do we think. 
 
 Alexander. Well, we'll let it go at that. 
 
 Stone. Well, then, goodbye : and although I shall be invisible, 
 depend upon me. Fll do my share, [goes out], 
 
 Alexander [sees him to the door — comes back]. 
 
 Bruno. Kindly help me ascertain what things we need. 
 
 Alexander [ nods his assent, goes to Darwin]. Now, Darwin, in 
 my absence, you must entertain what visitors may come. 
 
 15 
 
Darwin. Yes sir, [happy]. You get lots of help now, don't you? 
 
 Alexander [itnth some misgivings]. More help, perhaps, than I 
 can well control. [Bruno and Alexander go in]. 
 
 Darwin [in the professo/s chair]. 
 
 Holy Cross [enters, presents card in the proper manner]. 
 
 Darwin [reads]. Mabel, [to Holy Cross]. Let Mabel come in. 
 
 Mabel [a young girl, dressed extremely stylish, enters]. 
 
 Darwin [zv^hen he sees it is a lady, goes to meet her and politely 
 escorts her to a chair]. Please be seated, the professor will be back 
 in a moment. 
 
 Mabel [seated, looks around to si:^e up the situation]. 
 
 Darwin [opemng conversation']. We are going to have a big sup- 
 per here tonight. 
 
 Mabel. You are ? — say kid ! What kind of a man is this 
 professor? 
 
 Darwin [makes circular movement zmth his finger towards his 
 head, indicating that the professor is a little off in his mind]. 
 
 Mabel [understanding]. I thought so, they are all like that. Is he 
 a fortune teller? Or is he a faith healer giving absent treatment? 
 Or is he a beauty doctor? 
 
 Darwin [shakes his head]. 
 
 Mabel. An artist then — well what I should like to know is : Is 
 he a very strict man? Probably you don't understand what I mean? 
 
 Darwin. I know what you mean. 
 
 Mabel. I mean, is he a moraJ man? 
 
 Darwin. After supper he is. 
 
 Mabel. Not before? 
 
 Darwin. You see, at home, in the evening, a man is moral, but 
 out in the world there is a struggle for existence, and necessity is 
 the only law. You understand? If a man is hungry and if it is 
 an egg that comes first, he takes that egg and eats it. You under- 
 stand? And if it is a chicken that comes first, he takes that 
 chicken home for supper. [Sighs deeply]. 
 
 16 
 
Mabel. And after supper, then he is moral? 
 
 Darwin. Yes ma'am. 
 
 [Pause] 
 
 Mabel. Since when? 
 
 Darwin [baffled]. I don't know but [refering to Alexander who 
 has entered] this is the professor. He can tell you. [presents] 
 This is Mabel, [they bozv] Professor. 
 
 Alexander. What is it? 
 
 Darwin. I want to put on overalls. 
 
 Alexander. All right. 
 
 [Darwin goes in]. 
 
 Mabel. Is this a studio? 
 
 Alexander. In a certain sense, yes. 
 
 Mabel. Do you use models in your work? 
 
 Alexander. No, not models, rather, I would say, materials, out 
 of which pictures of living souls might be developed. 
 
 Mabel. I have posed in living pictures too, but they are out of 
 style. I have no engagement, at present and I have not had much 
 money lately, and a girl like me must keep in style, you know. 
 
 Alexander [niotioning her to be seated]. Perhaps I can find some- 
 thing for you. Almost everyone has something he likes to do, and 
 therefore does well. A story teller has his favorite story which his 
 friends like to hear him tell. A singer has his favorite song .... 
 
 Mabel. That's true, when I was home I had a favorite hymn. I 
 sang in church. And in our meetings instead of giving out the num- 
 ber, the minister would say, 'Lets us now sing Mabel's hymn.' 
 
 Alexander. So you are a singer? 
 
 Mabel. I used to be when I was at home, and everybody said 
 'What a beautiful voice Mabel has'. So I came to this city and sang 
 in vaudeville. But then I lost my voice, so I haven't had much to do 
 lately. My best friend is home on a vacation and I have not had 
 anyone to talk to for three days and last night I wished I was home 
 again — Last Sunday I went to church ; I had not been in church for 
 
 17 
 
so long, not since I was home. And, do you know, what happened to 
 -ne [her face brightens]. 
 
 Alexander. How could I know? 
 
 Mabel. My voice came back to me. They sang my hymn and I 
 could sing again, [again zvorried]. Now after the holidays I could 
 get an engagement, but my best friend is out of town and I can't 
 write home for money for they didn't want me to go away in the 
 first place. I am not afraid of work and could do almost anything 
 if only — 
 
 Alexander [abruptly]. Mabel! 
 
 Mabel. Yes sir. 
 
 Alexander. Sing for me your song. 
 
 Mabel [thinks it over a moment, then quietly] Just as you say, 
 professor. [Rises, takes off hat, furs and coat, unassisted, and 
 stands, more simply attired. Sings tozvard audience — accompaniment 
 of orchestra or organ, perferably orchestra]. 
 
 "Why stand ye idle, stranger, 
 When there's so much to gain ? 
 Behold the fields around us 
 Are ripe with golden grain. 
 Behold the golden harvest 
 On hilltop, vale and plain, 
 Let not the call for reapers 
 Fall on thine ears in vain. 
 
 We have a manor, stranger, 
 We want thee there to come ; 
 To help and reap earth's bounties. 
 And feed the hungry one. 
 We want thee at the harvest, 
 And when our work is done 
 We want thee in the household 
 W^hen we are gathered home. 
 
 Come join us in our household, 
 No more a stranger be, 
 And with us ever sharing 
 As we will share with thee. 
 Our table for the hungry, 
 Where everything is free, 
 Our fountain for the thirsty 
 Great a^s the shoreless sea." 
 
 18 
 
During titc singing Marion and some of her children appear in 
 the doorimy to listen. When it is over. Marion comes forward. 
 
 Alexaxder. jMother, this is Mabel. 
 
 Marion. What a beautiful voice Mabel has ! 
 
 Mabel [laughs]. This is like coming home. 
 
 Alexander. It is your home, our mother will find something for 
 you to do. [Mabel goes in zvith Marion, the children carry her 
 things] . 
 
 [Enter, Holy Cross, follouj'ed by Blake]. [Blake, a young 
 man, intellectual type, well dressed in good health and 
 spirits. He does not wear glassess and his hair is not 
 longer than usual. In short, he has nothing in common 
 with the conventional carricature of a poet.] Why this 
 formality, Alexander? 
 
 Alexander [dismisses Holy Cross]. What is the matter with you 
 tonight, Blake? 
 
 Blake [who acts as an old friend, freely zvalking around or sitting 
 down as the spirit moves him]. I am mad. 
 
 Alexander. I can see that : I thought you were going home during 
 the holidays. 
 
 Blake. I have disowned my family. I am through with the 
 whole bunch. I'll never speak to any of them again. You know my 
 'Verse libre'. 
 
 Alexander. I have it here. 
 
 Blake. Well I sent each one of them a copy. I thought I had 
 conferred an honor upon the family in writing that book, and they 
 did not even thank me for it. Now, what do you know about that? 
 
 Alexander. I know that this is the common experience of all 
 great writers. When Walt Whitman had written 'Leaves of Grass' 
 his own brother would not read it. 
 
 Blake. And his own mother. 
 
 Alexander. She read it. 
 
 Blake. What did she say? 
 
 19 
 
Alexander. Well, she said like this: 'If Longfellow's 'Hiawatha' 
 was poetry, PROBABLY 'Leaves of Grass' was. You should expect 
 nothing from the family. 
 
 Blake. But there are others : Do you know what a writer down 
 in Virginia had the nerve to call my free verse? 
 
 Alexander. No. 
 
 Blake. Splintered prose. And he himself a poet! And other 
 writers and reviewers have utterly ignored me. 
 
 Alexander. What else could you expect? They are busy with 
 their own work. Who would have heard about the gospel if it had 
 been preached only to the scribes and pharisess? 
 
 Blake. Nobody. 
 
 Alexander. You must appeal to the public at large. 
 
 Blake. Some day the world shall listen to my 'Splintered prose'. 
 
 Alexander. Splintred prose is good, 
 
 Blake. That's what I say. O ! you mean that this phrase is 
 good? [reproachfully] Even you, Alexander! — well, what else could 
 I expect from my friends? 
 
 Alexander [ignoring that remark]. It is good because it is a true 
 reflection of our time, a time when everything is splintered, when 
 there is no unifying idea dominating our minds. And it is good in 
 another sense. You know our prose is standardized, more regid in 
 its form than classic poetry ever was. It is good enough, in a way, 
 the very thing for commercial and scientific purposes, but fails in ex- 
 pressing our emotions. Enclosed in that shell of hard and formal 
 prose, our spirit languished. Then came your 'Vers libre' and Splin- 
 tered prose, broke it to pieces. 
 
 Blake [pleased at this tzinst of the phrase]. Alexander, some 
 times I think you have some genius. 
 
 Alexander. You would have thought so long ago, only you know 
 me too well. 
 
 Blake [Impulsively]. That's what is the matter with my folks! 
 They know me too well ! I believe I will call up my mother and 
 wish her a happy Christmas, — But, I'll not speak to any of the others. 
 
 20 
 
Alexander. Make peace with all of them, and then you must try 
 to find the unifying thought, the idea that shall gather what now is 
 broken into new and fairer forms. If you succeed in this [hesitates]. 
 
 Blake. What then ? 
 
 Alexander. Then you shall write the Holy Scriptures of the 
 future. 
 
 [Blake goes into the inner rooms]. 
 
 Holy Cross [Enters, presents card]. 
 
 ^ Alexander. Edgar Allen White— that must be another poet. [Mo- 
 tion Holy Cross to let White enter]. Edgar Allen White— where 
 have I heard or seen that name before. 
 
 White [A serious looking man about thirty years of age enters]. 
 
 Alexander [greets him]. Mr White, have we ever met before? 
 
 Mr. White. Not that I remember : I am stranger here, seeking my 
 lost mother. 
 
 Alexander. You loved your mother? 
 
 White. I did, I do so still. 
 
 Alexander. And your mother loved you? 
 
 White [sadly]. Yes, my mother loved me. 
 
 Alexander. Now, I have it! When you were away at college, 
 every day you wrote your mother, and every letter a poem. 
 
 White. My mother thought so. 
 
 Alexander. And all the women in the neighorhood? 
 
 White. Said so most likely: but, how do YOU know this? 
 
 Alexander. Long ago, perhaps ten years ago, when in company 
 with others we were drinking, talking and reciting poetry, as drink- 
 ing men will do, a man who knew you told me, and for ten years 
 I have expected to see your name in literature. 
 
 White. I never wrote a line.— At last not even to my mother. 
 
 Alexaner. Why ? 
 
 White. Another love had entered my heart. 
 
 21 
 
Alexander. I see. 
 
 White. My mother noticed that my letters to her grew few and 
 far between and complained both for herself and for the neighbors. 
 They missed my poetry so much. 
 
 Alexander. I understand. 
 
 White. So, to please my mother and the neighbors, I wrote and 
 wrote until one day [hcsitotes] 
 
 Alexander. What then? 
 
 White. That day the girl I loved told me bluntly : "You go home 
 to mother." That day the girl was married to another and that day 
 I cursed my mother and never wrote to her again. 
 
 Alexander. And did you never hear from her? 
 
 White. For some time. Yes, but after awhile no letters came. 
 
 Alexander. And then? 
 
 White. I did go home to see my mother. 
 
 Alexander. Yes ? 
 
 White. I came to the old Homestead. Strangers met me there. 
 She was gone. Had not said goodbye to anybody and left no ad- 
 dress. The neighbors could not understand it, they had felt so sorry 
 for her. Almost every day they had come to her house to inquire 
 about me, and every time they had met on the street or in the market 
 places, they had always asked her : "Have you not heard from Allan." 
 ] darkly]. And now there is a curse on me until I find my mother. 
 
 [Enters Blake followed by Darwin in overalls]. 
 
 Blake. What is going on in there, Alexander! [becomes azvare 
 0/ White]. Oh! 
 
 Alexander [presents] Blake. White, [they boiv]- 
 
 Blake. Excuse me for interruting, but what's the meaning of 
 this commotion? All I can get out of it is that something like a 
 wedding party is being prepared. Can it be possible a man like you 
 — of your age 
 
 Alexander. Nothing of the kind, my boy. this is a banquet free 
 to everybody who wants to take the trouble to help to prepare it. 
 
 22 
 
Blake. All right, you can count on me. 
 
 Alexander [speaks to Darwin, zt'ho then goes in.] And Mr. 
 White, you too might just as well. It will relieve your mind. 
 
 White. Thank you. If there is anything I can do 
 
 [Darwin and Bruno nozv in overalls, enter]. 
 
 Alexander. Mr. Bruno, here is Mr. Blake, and Mr. White, who 
 want to join our forces. You will find something for them to do I 
 am sure. 
 
 Bruno. Certainly. 
 
 Alexander. And some extra pairs of overalls. 
 
 Bruno. Don't worry about that. 
 
 [Bruno goes in followed by Blake and White]. 
 
 Alexander [takes a book and sits down on the lounge in the fore- 
 ground. Darwin conies and sits beside htm. They are talking 
 one thing and another deliberately.] 
 
 Darwin. What is moral? 
 
 Alexander. That's a rather a broad question. 
 
 Darwin. Is it moral to run away? 
 
 Alexander. I should think so, if you have outgrown your home. 
 
 Darwin, But if it was a prison? 
 
 Alexander. Every place you have outgrown is a prison. 
 
 Darwin. And the guardians, are they moral? 
 
 Alexander. Well, it is the duty of guardians to see to it, that the 
 prisoners don't escape until their term is up — the trouble is that pris- 
 oners, as as a rule would like to run away before they are ready and 
 that the guardians, as a rule, would like to keep their wards in 
 prison forever. 
 
 Darwin. Why? 
 
 [Conversation is interrupted]. 
 
 23 
 
[Bruno zvifh a tape measure enters, followed by Blake 
 and White,, both now in overalls, they proceed to take 
 measurements for rugs on the bare spaces of the floor, 
 for furniture, paintings, portierrs, etc. Bruno reads off 
 the numbers, Blake holds the other end of the tape 
 measure. White repeats the numbers dictated and puts 
 them domn in a book mechanically, at the same time 
 contemplating how to decorate the room]. [This scene 
 should be acted quickly and spirited without giving the 
 impression of being hurried]. 
 
 Darwin [to Alexander during this scene]. They work fast, don't 
 they? 
 
 Alexander. They are wonderful. 
 
 [Exit Bruno, Blake and White]. 
 
 Darwin [takes up conversation]. Were you ever in jail? In 
 prison, I mean. 
 
 Alexander. Now, Darwin, don't get personal — the fact of the mat- 
 ter is we are all in prison. Imprisoned in a faith if in nothing else. 
 And, if we escape from one prison the chances are that we shall 
 land in another. But this is not so bad as it looks. Many live in 
 prison their whole life and never realize it . Others look upon their 
 prison as a place of safety, as an asylum. Anyway, since we our- 
 selves have constructed all our jails we can also break them and set 
 the captives free. Perhaps all we can do is to destroy and build 
 prison. But, as the poet said : "Build thee more stately mansions. 
 Oh, my soul !" 
 
 Darwin. That's pretty. 
 
 Alexander. The trouble is again, we make IDOLS out of our 
 prisons. 
 
 Darwin [surprised]. Have WE idols? I thought we were 
 christians. 
 
 Alexander. There's were you are mistaken, my boy, we make 
 idols out of everthing. Religious and political creeds, moral sys- 
 tems, even out of free institutions. 
 
 Darwin. How can we know, then, that they are idols? 
 
 Alexander. That's a deep, dark secret. 
 
 24 
 
Darwin. I won't tell. 
 
 [During this scene, little by little, many people have en- 
 tered the stage imobstrusively placing themselves and 
 materials in position. They are very quite, take no 
 notice of Alexander and Darwin. Toward the end of 
 scene they appear to he ready and waiting, some sitting, 
 others lieing down on the floor. Men and hoys in over- 
 alls. Women and girls accordingly in aprons, dusting 
 caps, etc.]. 
 
 Alexander [to Darwin, after having observed the people on the 
 stage a few moments and satisfied himself that they are not listen- 
 ing, speaking then without lowering his voice}. All idols are hollow, 
 they are said to be holy, but they are only hollow, and inside all kinds 
 of animals are hidden, and they live on the sacrifices made for the 
 idol. 
 
 Darwin. Ain't they foxy. 
 
 Alexander. Worse than that. They are like ravenous wolves, 
 denying God, denying you. They are regular devils. 
 
 Darwin. I'll smash the idols! 
 
 Alexander. And get all the animals after you. 
 
 Darwin I'll flee to the mountains ! 
 
 Alexander. Never let Satan get behind you. Get on the back of 
 Satan yourself and ride the animal. Tame him as man tamed the 
 fierce wolf and made made him into a watchdog, meek and mild. 
 
 Darwin. And the guardians, will they be meek and mild ? 
 
 Alexander. They shall have to be. For when devils are tamed 
 they become angels, guardian angels. 
 
 Darwin. You are only kidding me. 
 
 Alexander. No, I am not. Birds of a feather flock together, so 
 they who are of the same spirit shall gather, and form themselves 
 into flowers of democracy. All different in form, in color, in fra- 
 grance. 
 
 Darwin. And morals? 
 
 25 
 
Alexander. Yes, turtle, doves and turkeys must, have different 
 u'ays and customs. As it is written : "In my Fathers house are many 
 mansions." And we shall go in and out like children. And no one 
 shall have authority over us. 
 
 Darwin. But the Father. 
 
 Alexander. The Father has gone on a long journey. He had to 
 go, for they made an idol out of him too. 
 
 Darwin [rises]. Then I am the heir. 
 
 Alexander. And a law unto yourself. 
 
 Darwin. And I can do what I want to do! [impressed]. Oh, Gee! 
 
 [Bruno, Blake and White haz'e entered]. 
 
 Bruno. Professor, the inner rooms are now in order awaiting 
 your inspection. 
 
 [Alexander prepares to foUoiv Bruno]. Darwin dis- 
 appears among the others.] 
 
 Bruno [to White and the others]. Mr. White will direct the 
 decorating of this room. 
 
 White [takes the command]. All ready. 
 
 [All stand at attention, hut at the same time they are wait- 
 ing and watching for the professor to disappear, and 
 during the follozmng scene there are ahvays some chil- 
 dren watching at the doors in order to warn the others 
 of his return. Bruno and Alexander go in]. 
 
 White [commands]. Roll on the oriental rug. [The rest of his 
 directions are given by gestures. Music of a somezi'hat oriental 
 character. The younger element begins to dance. The dance starts 
 spontaneously by some hoys imitating some of the comic movements 
 of Russian folk dances on the rug as it is unrolled. ,It soon becomes 
 general. Children dancing singly or in groups, the older ones in pairs. 
 The dancers do not interfere with the workers, and the work, though 
 necessarily slower, should be performed in rythmic accord with the 
 music. In the middle of the dances. Holy Cross enters and is by 
 gestures told to follow Alexander. During his stay the dance quiets 
 doivn while the work goes on as usual. When Holy Cross is gone 
 the dance starts ivilder and the dancers grow more hilarious. The 
 
 26 
 
hoys imitates an Indian war dance, giving Indian zmr whoops, while 
 others at the same time indulge in the more modern dances. When 
 the dance is at its height and the work about finished a boy gives a 
 shrill ivhistle of warning. The music stops abruptly. In the shortest 
 possible time th€ dancers find something to do. Some of the children 
 sit down on the floor pertcnding to play. Darwin and Voltaire on 
 the lounge pretend to read from the book left there by Alexander, 
 after awhile they discover that they are holding it upside dozmi, look 
 at each other, turn it right side up, still serious.] 
 
 [Enter Alexander and Marcus. All are busy, serious and 
 innocent looking.]. 
 
 Alexander. Friends ! — this indeed is fine. Now if you put on 
 your wedding garment we shall all be ready, [turns to Marcus]. 
 
 [The people leave the stage gradually during the follow- 
 ing scene]. 
 
 Marcus. No, it is no use. There is nothing here for me, nothing 
 that I can see. This generation has no heart. Nothing appeals to 
 people now but profiteering. All are dreamers, dreaming they are 
 millionaires, dead to the world, — and I am doomed to silence. 
 
 Darwin [laughs] 
 
 Alexander [severely]. Darwin, you should not laugh. 
 
 Darwin. It was Voltaire, he tickled me. 
 
 Alexander. 'Voltaire deverai faire usage de bonne sens'. 
 
 Marcus [eyeing the boys]. You imps. So you are here? and sit 
 there laughing, unmindful of the fact that you spoiled my career as 
 pulpiteer, [sees Mabel]. And Mabel too. No, this is no place for 
 a minister's son [prepares to leave]. 
 
 Alexander. I am sorry to see you go. 
 
 Darwin [goes over to Alexander and whispers to him]. 
 
 Marcus [meets Stone who enters, dressed as when he left] 
 
 Marcus. Stone ! — I thought you had a hand in this. 
 
 Stone. Marcus ! — and not in overalls ? 
 
 Marcus. Not tonight, brother, not tonight. 
 
 27 
 
Stone, But ultimately. 
 
 Alexander [in anszver to Darwin]. That's right, I never thought 
 of that, [calls] Marcus! [Marcus comes back. Stone goes in with 
 the others]. 
 
 Alexander. We need an after dinner speaker; — if we could pre- 
 vail upon you, dare we hope? 
 
 Marcus [speechless]. 
 
 Alexander. The question is, to put it briefly, will you on this 
 occasion favor us with a few remarks? 
 
 Marcus. Willi? [expands]. And what a subject for an oratory ! 
 This magnificient home and the man [referring to Alexander]. 
 
 Alexander. Hold on Marcus, give all the glory to the boy who 
 gave the idea. 
 
 Marcus [to Darwin, hardly able to realize it]. So you are the 
 guilty party; [to Alexander]. That boy is a genius: [to Darwin, 
 beaming upon him, and then with a sudden exultation]. My Savior! 
 [Puts his arm around hint and they go in together]. 
 
 Alexander [alone]. 
 
 [Enter Holy Cross with card]. 
 
 Alexander [reads]. Miss Virginia Lee? [Motions to Holy Cross 
 to let her enter]. [Holy Cross goes out.]. [Alexander repeats 
 wonderingly]. Miss Virginia Lee! 
 
 Mrs. White [a middle aged lady, enters]. Is there an entertain- 
 ment here tonight? A Christmas tree? 
 
 Alexander. No, not exactly that. 
 
 Mrs. White. Private? 
 
 Alexander. Not exactly that either. But you look tired, won't 
 you please be seated? 
 
 Mrs. White. Thank you. [seated]. I have been walking the 
 whole evening in search for entertainment. As a rule I feel content 
 to stay in my room when the day's business is over, but tonight mem- 
 ories of former days drove me out. 
 
 Alexander. To the homeless, Christmas is really a cruel insti- 
 tution. 
 
 28 
 
Mrs. White. To me it is not the loss of home— I have no regret 
 on that score, — it is my son. 
 
 Alexander [looks at cord]. Your son? 
 
 Mrs. White. Don't let that disturb you, :Mr. . . . 
 
 Alexander. Alexander, Professor Alexander. 
 
 Mrs. White. Virginia Lee is my maiden name, I should never 
 have changed that name. It use to be Mrs. White. 
 
 Alexander. Mrs. White? 
 
 Mrs. White. Yes Mrs. White. My son is legitimate. The mar- 
 riage license, the marriage certificate and the blessing of the church, 
 everything is O. K. 
 
 Alexander. And you loved your son ? 
 
 Mrs. White. Even his father. I loved him more than myself, 
 and therefore I became a burden to him. So he deserted me. Can 
 you blame him? 
 
 Alexander. I don't blame anybody. 
 
 Mrs. White. Neither do I. 
 
 Alexander. Mrs. White. 
 
 Mrs. White. I am not used to that name now. My friends call 
 me Virginia. 
 
 Alexander. Virginia!. It seems to me now that this home was 
 built for you and there is one in this house whose heart [hesitates] 
 
 Mrs. White, [amused]. Professor, are you trying to propose 
 to me? 
 
 Alexander. I am trying to tell you that your son is here- 
 
 [Pause] 
 
 Mrs. White [suddenly serious]. Is he ill? Or has he met with 
 an accident? 
 
 Alexander. He is well 
 
 Mrs. White. And happy? 
 
 Alexander. He has found something to do that interests him. 
 
 29 
 
Mrs. White [rises]. Then I shall go. To know that he is well is 
 more to me than any Christmas gift could be. I thank you, 
 Professor. 
 
 Alexander. But please, for his sake stay. We have a supper all 
 prepared. 
 
 Mrs. White. I am not hungry and my presence here might spoil 
 his joy. It was a time in the long ago, I waited and waited for a let- 
 ter that never came. [Stops to hide her emotions.] 
 
 Alexander. Also I have waited, waited so long, for one who 
 promised he would come again, and never came. Tonight I shall 
 wait again — perhaps in vain. 
 
 Mrs. White. Maybe we first must learn to live without our loved 
 ones. Only then are we prepared to receive them. Only then can 
 they be where we are and be free. 
 
 Alexander. But you are tired. Rest with us awhile. This boy 
 will show you to the library, [calls to Holy Cross], 
 
 Mrs. White [accepts the invitation and goes with Holy Cross to 
 a door right], 
 
 Alexander [a change has come over him.] [He appears to be suf- 
 fering from a sense of u'eariness. He fumbles listessly among the 
 books and sits dozvn in his chair like one who is tired]. 
 
 Holy Cross [enters.] Is there anything more for me to do? 
 
 Alexander. Take some wine and refreshments to the lady in the 
 library. There is nothing more. [He relaxes and his eyes are 
 closed]. 
 
 Holy Cross [goes in]. 
 
 [Singing is heard in the inner rooms]. [The doors open. 
 The guests, all in wedding garments, enter singing, and 
 while singing, group themselves about the stage, some 
 sitting dozmi, others standing], 
 
 'There's a long-, long trail awinding, 
 Into the land of my dreams. 
 Where the nightingales are singing 
 And the white moon beams : 
 There's a long, long night of waiting. 
 Until my dreams all come true, 
 Til the day when I'll be going down 
 That long, long trail with you." 
 
 30 
 
[Tozmrds the end of the song Nameless Boy (Darwin) 
 emerges from out of a group of boys and advances to- 
 zvards Alexander. He is dressed as the King described 
 in the opening scene. After the song is ended he touches 
 the professors hand]. 
 
 ^?/^?i«?^r ^"^ '""^ ''^^^'"' ^"^ ^' '""'"'' ""^ ^"^"'"'^''^ Boy's 
 
 Alexander [feebly]. So you have come to me at last^ But are 
 you not the boy who come first ? 
 
 Namless Boy [accentuated but not boastfully]. I am the first and 
 the last, the everlasting. 
 
 Alexander [to himself]. I see-I see-the second coming. 
 
 Namless Boy [joyously]. I was with you all the time and you did 
 not know me. 
 
 Alexander [calling to the others as zvith a last effort] Now let 
 the festival begin ! [relaxes rather suddenly]. 
 
 Namless Boy [more serious and coming closer]. There are so 
 many thmgs, I can tell you now that you could never understand 
 before 
 
 [He continues but is not heard for the portierres in the 
 background are drazm back, revealing a brilliantly light- 
 ed banquet hall, into which many people, including those 
 on the stage, enter, and a band therein begins to play]. 
 
 [The light on the stage grozvs dim and zvhen the por- 
 tierres are drazmi together, after the people on the stage 
 have entered the banquet hall, it is dark for a fezv mo- 
 ments. When it is again lighted, Alexander is discov- 
 ered in the original closed room, alone, and peacefully 
 resting as one zvho is asleep.]. 
 
 CURTAIN 
 
 31 
 
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