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 THE ACTING DRAMA. 
 
 No. 123. 
 
 THE LOCKED DOOR. 
 
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 HAPPY HOURS COMPANY, 
 
 No. 5 BEEKMAN STREET. 
 
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THE LOCKED DOOR. 
 
 A MONOLOGUE, 
 
 Jn CDnc ^ct. 
 
 
 COREECTLY PRINTED FROM THE PROMPTER S COPY, WITH THE CAST OF 
 CHARACTERS, COSTUMES, SCENE AND PROPEHTY PLOTS, RELA- 
 TIVE POSITIONS OF THE DRAMATIS PEUSONiE, SIDES 
 OF ENTRANCE AND EXIT, DISPOSITIONS 
 OF CHARACTERS, ETC., ETC. 
 
 /r?- 
 
 NEW Y O K K : 
 Copsrright secured 1879, by • 
 
 HAPPY HOURS COMPANY, 
 
 No. 5 BEEKMAN STREET. 
 
 / 
 
-T^(.-5^ 
 
 >1 
 
 U^^ 
 
 THE LOCKED DOOR 
 
 •:o:- 
 
 DHAMATIS PEESON^. 
 
 Emily. 
 COSTUMES.— MODERN. 
 
 PROPERTIES. 
 
 Boudoir furniture. Table and cover. Lighted lamp on table. Two small jar- 
 dinieres and some books. Large arm-chair. Clock to strike. Lock on door with 
 key in it to use. China jar. Curtains to window. Bell to ring. Newspaper 
 folded, with wrapper round it. 
 
 EXPLANATION OF THE STAGE DIRECTIONS. 
 
 R., means first entrance right, and right. L., first entrance left, and left. S.E.R , 
 second entrance right. S.E.L., second entrance left. T.E.R., third entrance right. 
 T_E.L.. third entrance left. F.E.R., fourth entrance right. F.E L., fourth entrance 
 T r ,U E-^' "PPS'' entrance right. U.E.L., upper entrance left. R.F., right flat. 
 I..F., left flat. RC.right of centre. L.C., left of centre. C, centre. CD., centre 
 doors. C.R.. centre towards right. C.L., centre towards left. Observing you are 
 supposed to face the audience. 
 
THE LOCKED DOOR. 
 
 ScKNE.— ^ Boudoir. On one side a door, idih a lock and key. On 
 the other a window. In front, a table with cover. On the table a 
 lighted lamp. Two small jardinieres and some books, 
 
 Emily discovered seated near the table, in a large arm-chair, asleep 
 over a book. She wakes— her eyes fall on the volume, which she 
 takes up. 
 
 Emily. Yes, my novel ! It is clever enough, but it bores me ! 
 (Short pause. J Bores me? Does it? Poor little book, I beg your 
 iniriloii ; I begau to read you with a mind at ease — that is, not very 
 uneasy- with a full heart, it is true, but still a tranquil one— present- 
 ly, I don't know how it was, my thoughts began to wander. I turned 
 the pages, I read the words without taking in their meaning— the 
 true novel, the real romance, the one we love. Ah, it is the one 
 loithin. Yon tell me tales of happy lovers, hntmyiale! Tears are 
 in my eyes, pain is in my heart. Go ! (Flings the book down, rises, 
 and changes her tone. ) Folly ! Yes, I am a fool ! My husband 
 adores me. I know it, I believe it. (Slowly.) I would believe it 
 even if I doubted it. I don't doubt it ; but (anxiously) can we evt-r 
 be really sure of a husband's love? For the last two days he has 
 taken a new tone towards me. A tone of — of airy indifference. He 
 has something to hide! "Good-bye, love," he says lightly, and is 
 gone. And I am left behind, alone! (Pause.) The same thing 
 yesterday. When be returned 1 met him as I ought, with looks of 
 
4 THE LOCKKD DOOR. 
 
 grave displeasure, but I couldn't keep Vint up, aud here T am puuisli- 
 ed for my wtakuebS. To-day it is worse than ever ! Hi did show a 
 litlle compunction when lejiving nie, but he checked it quickly, aud 
 isaid in a tender tone to deceive lue, "Don't wait dinner, darling." 
 (Sadly.) I dined «/oue — his empty plate before me! 1 don't know 
 whether I was angry or resigned. I cocld not eat a monlhtul. The 
 very sight of onr initials twined together on the decanters ciioked me. 
 Poor Louis kept urging this and that upon me. " Won't Madame 
 try tbisV" No, Louis. "But, Madame—" No, Louis, no, thank 
 you. I could not show emotion before my servants, so I rdshed 
 in here with a heart full of pain and anger, and burst into floods of 
 tears. What! Cry for lihn! Cry because he neglects, abandons 
 me! Not I! (Laughs — Complete change of tone ; addresshig the au- 
 dience gayly.) Besides, after all, I don't think he abandons me. 
 Stiii, there is something to avenge, I shall avenge it ! I wish I could 
 think of some dreadful, terrible method! ( Vehemeidly . ) Good 
 gracious, Low I wish I could be honestly ill-natured ! (Springs up, 
 and runs to the door.) Some one knocked, Who is it? What do 
 you want? (Half opening the door.) No one, after all. (Clock 
 strikes.) There, some one rang the bell. (With vex'diim. ) Only 
 the clock ! (Looks at the hour. ) One o'clock ! Is it possible ? Ah, 
 let him come home now if he likes. He will find that the door is 
 locked. ( Turiis the key in lock hastily, lakes it oid and shows it to the 
 audience.) There's the key. (Flings the key backwards over her 
 shoulder.) And there, sir, find it if you can ! ( The key falls into a 
 china jar loithout her noticing it.) I never find anything I put away, 
 60 I am safe enough. Yes, safe, and free, and — (A pause — goes to tlie 
 window and draws aside the curtains — a bell rings. ) There's the door- 
 bell at last! Some one has answered it. (Listens.) I hear his 
 voice. That's his step. (Drawing a long breath.) Oh, I loas 
 frightened ! Never mind, I won't be weak now. I'll reconnoitre the 
 enemy. (Looks through the key-hole^ draws back quickly and stands 
 a little aside, so as not to be seen throngli. the key-hole herself. Two or 
 three gentle taps are heard. To herself, huighiug.) I hear nothing. 
 ( More taps. ) Go on, you may knock till dawn if it pleases you ! 
 (Listening.) He asks if I'm asleep. Asleep, indeed ! DoeHhereally 
 think it? (Aloud.) Yes, sir, sound asleep. (To herself.) What 
 is he doing? (Looks through the key-hole and draws back as before.) 
 The wretch ! He is laughing ! His coolness is pure insolence, 
 (Aloud.) Do you dare to laugh. (Listens, <n>drepp<ds <fter him. ) 
 "What next?" Do you venture to ask what next ? (St'inds before tJte 
 door, angrily. ) Are you not ashamed of yourself? ( Turns axcay — 
 repeats scornfully. ) Your darling, indeed ! ( To the audience. ) But 
 he said it tenderly. No matter for that, he can't s(»ften me now ! 
 (lAstens.) What are you saying? "Are you to wait long?" 
 (Laughing. ) Make yourself comfortable where vom are. You'll have 
 to get accustomedto it. (A short silence — presently shf smells something 
 in the air.) Good gracious, he has lighted a cigar ! Oh, that's not 
 
THE T.OCKED DOOIt. 5 
 
 to be endured ! Sir, permit me to say tbat you shall not smoke in my 
 presence. What do you say? 1 can't hear you. ( Bepedtbuj. j 
 "You are not in my presence ?" Well, that's true. ( Very decldtdiy. ) 
 Now listen — but suppose we sit down. (Rolls her chair to the duor 
 and reclines in it. ) There! It is a new style of interview, but ou 
 the whole satisfactory. We can talk very well through a "Locked 
 .Door." (Reflects a moineid, then in a (jrave voice tuid very slowly.) 
 I'll ^ive him a lessoji. So, sir, after your late conduct, it is too pain- 
 ful to me to meet you face to face. You can hear my words, but you 
 cannot see the glance of pain and condemnation which accompanies 
 them. / cannot see the blush of shame with which you listen. 
 Speak as I am speaking — solenady. I will listen to your excuses. 
 Not a Avord ! (Induj)iantly.) He ccmH be asleep? (Knocks softly 
 on the door — her husband knocks in the same loay.) No, bespeaks! 
 What does he say? (Listens, and repeats his icords. J "I preach 
 well !" (Springing up angrily.) What a shameless answer ! At any 
 rate, I preach to a lost soul. Do you hear me, sir? I asked 
 you to justify yourself honorably, and recover my esteem. I 
 may be good, and amiable, and loving — yes, my heart is full 
 of charity ; it is tender to the afflicted, easily entreated, mer- 
 ciful to others. It would be hard to find a better woman — 
 sweeter, more devoted — hut — what's tliat? (Slops suddenly, hears 
 a word, and repeats it angrily.) "A pattern?" Yes, sir, a pat- 
 tern! What sort of a crown should I place ou your head? (Impa- 
 tiently.) Where is your repentance? Your excuses, your— fii.sieu.v, 
 hursts out laughing, half turns to the audience.) Ah, "you will an- 
 swer when I unlock the door." You are wasting time. Have I no 
 memory, think you? I forgave you yesterday, and now you wish me 
 to do it again to-day ! Ah, the old, old story, man's selfishness — 
 woman's devotion. But, (sarcastically) to soothe your wounded 
 feelings, I will allow that you are captivating, your eyes are soft, 
 your voice caressing. ( Cluing in g her tone.) Base deceiver! (Re- 
 covering lierself. ) Yes, with a tender look, you hide a false heart, a 
 cvuel nature ; but, coward though 1 be, I can protect myself. I have 
 built an iron wall between us — I mean to say an iron lock, and that 
 lock has a key in it, and that key is turned. Yes, sir, the door is 
 locked — (Expectant pause) — and it will stay locked! (To the audi- 
 ence.) All the same, he is very good-natured. ( Looking romid. ) I 
 don't see that key. (Goes to the doo7', listens a moment, tJien hi a soft 
 voice.) All, me, if you are unhappy I regret it. (Listens — pro- 
 voked.) He calls me a "dear soul!" Why can't he be serious and 
 penitent I (Persuasively.) Confess yourself, love! I promise to 
 forgive all, if you will simply admit that you are wrong just once. 
 Tell me all, and that will satisfy me. Can a woman sa}' more? 
 Come, I'm listening. Here is my ear at the keyhole. (Listens, 
 starts hack angrily and repeats.) Wliat? "You won't play such a 
 silly farce !" Farce! It will soon expand into a tragedy. (Flings 
 herself into the arm-chair^ and hecomes very melo-dramatic. ) Unhappy 
 
b THE LOCKED DOOE. 
 
 woman tliat I am ! Sir, yon are simply infamous ! No, I — I — I — 
 (Lmujhs in spite of herself — struggles to he serious. J My duty lies 
 plainly before me. I will never see you again, never! ( Whirls her 
 chair rouiid with its hack to iiie door, drawintj it rather nearer the audi- 
 ence. ) And now be silent, the die is cast. Words cannot avail you 
 — nothing can avail you — no, not if you knelt before me fevered with 
 the ganjbler's frenz}', maddened by the flowing cup, cynicism in 
 your heart, treachery in your eye. { To the audience, j I've read that 
 somewhere — it isn't mine, but it doesn't matter! (To her Jmshand.) 
 I have no words to describe your conduct, whilst I — ( Talcing a melo- 
 dramatic tone) — poor, bruised, forsaken, abandoned wife. I call to 
 mind my dreary destiny ! ( Very mournful. ) This night has aged 
 nie by seventeen years and a half at least— yes, it has doubled my 
 age— my youth is gone! (Turns her chair a little totoards the door ; 
 loiih a slight to)ie of menace.) And I shall grow older and older. I 
 shall soon be a hundred — sorrow will make me old — old — haggard, 
 scraggy, hard, dry, hideous, frightful to behold! ( Very melancholy. ) 
 To-morrow I shall put away my pretty dre.sses, and 1 shall wear 
 sackcloth and ashes, and brown linen, and all that's ugly and un- 
 becoming. (Is sile)d a moment — then in a sepulchral voice, walking 
 slowly towards the tahle.) Sleep shuns my weary eyelids and so — 
 farewell ! (Sits down.) Here then I await the dawn ! ( Takes up a 
 newspaper, looks at it, then in another tone.) Gracious, it is the 
 Figaro ! ( The door is shaken violently — she runs to it. ) What is it ? 
 " Don't read Figaro !" And, pray, why not? Ah, I know ! There's 
 some scandal in it. Your deeds are shown up, of course. I might 
 have known it. Not read it, indeed! Won't I! ( Opens the paper, 
 and looks it over. ) Oh, where is it? What is it? Here — no — yes — 
 politics — Enssia— Eastern Quesiinn — as if that mattered ! Ah, here 
 it is. I see your name. 1 could have sworn it ! ( Glances at the 
 article; then reads aUnui, first loith a low voice, then loith emotion. ) 
 "A DuKL. WITH Torches. — Although possessed of the earliest in- 
 formation, we refrained, with a delicacy all must appreciate, from 
 n)akiug known the particulars of a deplorable quarrel which has 
 occurred between two distinguished members of society. The affair 
 began as the parties were leaving the Opera house on Tuesday even- 
 ing. A lady, leaning on the arm of her husband, could not refrain 
 from smiling" — (Slopping) — Good heavens, it was I — (Reading) — 
 "fiom smiling as she observed the dress and manners of a well-known 
 lady. Her smile, it appears, wounded the suscepsibiliiies of a gen- 
 tleman who accompanied the lady in question, and he showed his 
 bad taste by using an expression which the lady did not hear, but 
 which, unfortunately, reached the ears of her husband. * * * * One 
 of the gentlemen was obliged to leave Paris early in the morning ; 
 the meeting has therefore been arranged to take place to-day in a 
 private garden by torch-light !" (Lets the paper fall— clasps her hands 
 excitedly.) Good heavens! He has fought a duel! And I, heart- 
 less fool that I am! Henri, Henri, my angel, my love, my darling 1 
 
THE LOCKED DOOR. 7 
 
 Are you dead ? Ob, oh, be is dead ! Ob, but please, Heuri, dou't 
 die oil tbe door mat, please don't! Langbing? You'd better laugh, 
 you've killed me ! (Bills exlumsled iit a chair, and sobs hysterically — 
 then recovers herself . ) Come, couie to me! ( Recollects, rusJies to the 
 door to wdock it, slops sliort, ?nissing key. ) Ab, oue moment ; let me 
 find tbe key. (Looks all around, ) Don't be impatient. I sball find 
 it in a minute. I'll tell you all about it. (Hnnting high and lo\o. ) 
 Gracious goodness, bow stupid of tbat key ! Ob, I wisb I wasn't so 
 careless. (Moves tilings nervously, and knocks over Vie china vase, 
 which breaks to pieces. ) Tbere ! Now I've broken my lovely Sevres 
 vase — and vvbat a noise! In tbe dead of nigbt! Wbat will people 
 tbiuk of me ! ( To Iter husband. ) Ob, never mind. I can't look 
 any more — break tbe door in. (Her eyes light on the fragments of the 
 vase. ) No, stop ! I tbink I see it. (Stoops, and picks up the key. ) 
 Here it is. (Softly to her husband.) Henri, before I unlnck tbe 
 door, will you promise — promise — not to quarrel on my account any 
 more ? Swear it ou the key I ( To audience. ) He swears ! 
 
 ( Unlocks door l., and exits. 
 
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 108 The BailifFs Daughter. 
 
 109 La Cigale. 
 
 no Broken Promises. 
 
 111 The Broken Seal, 
 
 112 Betsy's Profile. 
 
 113 Going Through Him. 
 
 114 Male and Female. 
 
 115 Thoughts before Marriage 
 
 116 Diplomacy. 
 
 117 Our Professor. 
 
 118 Hurrah for Paris. 
 
 119 Tittlebat a Father. 
 
 120 Cross Purposes. 
 
 121 Love to Music. 
 
 122 Carried by Assault. 
 
 123 The Locked Door. 
 
 124 Those "Cussed" Waves. 
 
 125 Masquerading fei Two. 
 
 126 The Love Flower. 
 
 127 Oh, Nvy Uncled 
 
 128 The Dawn of Love. 
 
 129 Juliet's Love Letter, 
 
 130 Bric-a-Brac. 
 
 131 A Cousin to Them All. 
 
 132 The Wanderer's Return. 
 
 133 Uncle Jack. 
 
 134 The Married Widows. 
 
 135 Foresight; or. My Daugh- 
 ter's Dowry. 
 
 136 Muolo the Monkey. 
 
 137 Too Windy for an Um- 
 brella. 
 
 138 Beauty and the Beast. 
 
 139 Cinderella. 
 
 140 Rosebud; or, the Sleeping 
 Beauty. 
 
 141 The Princess. 
 
 142 Rumplestiltskin. 
 
 143 Skinflint. 
 
 144 One Must Marry. 
 
 THE T^AHIET^^ STAOE. 
 
 PRICE 15 CENTS EACH. 
 
 1 The Big Banana. 
 
 2 Dot Mad Tog. 
 
 3 A Gay Old Man Am I. 
 
 4 The Law Allows it. 
 
 5 A Leedle Misdake. 
 
 6 The Spelling Match. 
 
 7 There's Millions In It. 
 
 8 Tootle, Tootle, Too ! 
 
 9 Dot Madrimonial Adver- 
 disement. 
 
 10 Mulcahy's Cat. 
 
 11 Dot Quied Lotgings. 
 
 12 All in der Family. 
 
 13 Who Got the Pig ? 
 
 14 A Mad Astronomer. 
 
 15 A Purty Shure Cure. 
 
 16 I Love Your Wife. 
 
 17 The Ould Man's Coat tails. 
 
 18 The Decree of Divorce. 
 
 19 Let Those Laugh Who Win 
 
 20 A Dark Noight's Business. 
 
 21 The Lonely Polywog of 
 
 the Mill Pond. 
 
 22 The Dutchman in Ireland. 
 
 Either of the above will be sent by mail, on receipt of price, by 
 
 HAPPY HOURS COMPANY, 
 
 No. 5 Beekman Street, New York.