■ if ■ ■ _ ■ ■ ■ ■ ■ ■ 4 ■ ■ ■ ■ LIBRARY OF CONGRESS QDDOSaEfiHaO^ l , '.]||,i/ J tl,«nV : :. ■ ■ ■ ^..v', ■ i, ivcV'.i 1 1 ; 4? < ^ .-ate %s :mk._ \/ <&. v . « <*>* o^ 6 • " • * o .** .*^-V V'^V \^-/ °«= ■4 3* ^W\/ x*^^* iy$&*/ » ^ ^ ^°\ ^^ & * °o. • • • ' * A ^ v . * » . PLAYS BY GEORGE MIDDLETON UNIFORM WITH THIS VOLUME NOWADAYS. A Three- Act Contemporaneous Comedy. $1.00 net THE ROAD TOGETHER. A Four-Act Contemporaneous Drama. $1.00 net EMBERS and Other One-Act Plays Including The Failures, The Gargoyle, In His House, Madonna, The Man Masterful. $1.35 net TRADITION and Other One-Act Plays Including On Bail, Their Wife, Waiting, The Cheat of Pity, Mothers. $1.35 net POSSESSION and Other One-Act Plays Including The Groove, A Good Woman, The Black Tie, Circles, The Unborn. $1.35 net CRIMINALS. A One-Act Play. ( Published by B. W. Huebsch, N. Y. $.50 net ) (For critical comments see back pages of this volume) HENRY HOLT AND COMPANY Publishers New York THE ROAD TOGETHER A CONTEMPORANEOUS DRAMA IN FOUR ACTS BY GEORGE MIDDLETON NEW YORK HENRY HOLT AND COMPANY 1916 *.< 1 ■ < \to \^ v Copyright 1915, igi6 BY GEORGE MIDDLETON Copyright in Great Britain and Ireland, and in all countries subscribing to the Bern Convention. Published September, 1916 SPECIAL NOTICE This play in its printed form is designed for the reading public only. All dramatic rights in it are fully protected by copyright, both in the United States and in Great Britain, and no public or private performance — professional or amateur — may be given without the written permission of the author and the payment of royalty. As the courts have also ruled that the public reading of a play, for pay or where tickets are sold, constitutes a " performance," no such reading may be given except under conditions as above stated. Any one disregarding the author's rights renders himself liable to prosecution. Com- munications should be sent to the author, care of Henry Holt and Co., 34 West 33d St., New York City. THE QUINN 4 BODEN CO. PRESS RAHWAY, N, I •CI.A437952 Co SCUDDER AND LUCILE Who have just started on the road together PREFACE The spiritual level which any marriage achieves depends largely upon the quality of those who make it. Whatever its social import, of which few are delib- erately conscious, it is essentially an affair of indi- viduals. As they are and as they react to each other, so will the marriage be. Since it is only in marriage that society offers free and complete expression between them, it is there that the individual man and woman are most tested, most realized, and most offended. If one considers the strangeness of sex — with its vagrancy and variation — and the tremulous psychic in- heritances which uncontrollably veer our acts and emo- tions, one can only have deep charity when marriage ends in disillusion, and infinite wonder when it reaches rich fulfilment. Yet marriage endures somehow be- tween these two extremes. Its bonds are obvious when based upon religious conviction, the responsibilities of children, the fear of admitting failure, and the pres- sure of convention. But the subtle and powerful bond, I believe, is that which is made by the daily habit of living together. It is, in some way, to picture the strength of this latter bond when opposed to the vagrant claim of sex, that this present study of a group of individuals is dedicated. The resolution they attain is neither better nor worse than lies within their individual capacities viii PREFACE and limitations. I am not concerned with any criticism of what that spiritual level may be. My object is to interpret their characters and the manner in which they finally realize themselves through the revelation of their self-deceptions under the contingencies of circum- stance. G. M. June I, 1916. THE ROAD TOGETHER THE PEOPLE CONCERNED Wallace Kent, the District Attorney. Dora, his wife. Julia Deering, a novelist. Tom Porter, a retired banker, their intimate friend. Fred Safford, formerly cashier in Porter s bank. Armor Deering, Julia's brother; Kent's assistant. George Gilmore, a Wall Street operator. Woods, a butler at the Rents'. Maid, for Julia. A Waitress and two men — Biddle and Tainter, friends of Gilmore — in Act I. (These three have no dialogue.) SCENES The First Act At the Kents'. Early afternoon. The Second Act The same. Late the next afternoon. The Third Act Julia Deering's Study. The same evening. The Fourth Act At the Kents'. Morning, ten days later. The action of the play takes place, at present, in a large Eastern city. THE FIRST ACT THE FIRST ACT* The scene is a sort of informal reception room at the Kents'. Its furnishings are few but fine, intimating quiet extravagance. The general tone is soft green with a subtle suggestion that the room has been lived in a long while. There are folding-doors in back, which, when open, disclose the dining-room beyond. A small door in the left, at back, opens out on the hall, which apparently leads to the library beyond. The general entrance for callers, opening on this same hall, is down stage. Directly opposite this, on the right, is a deep bay-window daintily curtained. A grand piano, with its key-board towards the window, rests in the alcove thus made. At the foot of the piano stands a lovely Japanese screen, which, with several tall arti- ficial palms, half shuts off part of the room, in an inti- mate cozy-corner effect. A desk-telephone upon a small table between the doors, a deep couch near the center, and some casually placed chairs complete the furnishing. The warm sun of an early spring after* noon pours in the window and dining-room in back. When the curtain slowly rises the folding doors are open disclosing Kent, Gilmore, and two other men — Biddle and Tainter — at the luncheon table. They are obviously absorbed in a conference, though they are * See copyright notice on back of title page. 7 8 THE ROAD TOGETHER not heard. A maid waits upon them. There is a pause. Woods, a quiet-mannered butler, about sixty, enters from back. He carries a vase filled with large Amer- ican Beauties which he brings down into the room and places upon the piano. He then goes back and pulls the folding-doors together, thus cutting the men from view. He goes out the main door. There is another pause. Tom Porter comes in, followed by Woods. Porter is a genial, lovable man, verging on fifty, with hair noticeably turning gray. He is observing, acute, and keenly sympathetic. In spite of a persistent cheerfulness he suggests deep wells of feeling. He is obviously very much at home. Porter You don't know when Mrs. Kent will be back? Woods Almost any time now, Mr. Porter. Mrs. Kent's lunching out. Porter {Looking at clock) Um. Two-thirty. I'll wait a few moments, Woods. Woods ( Taking his hat and coat) Very good, sir. I'm sorry I can't tell Mr. Kent that you're here. THE ROAD TOGETHER 9 Porter (Surprised) He's at home? Woods Yes, sir. Mr. Kent telephoned unexpectedly after Mrs. Kent had gone. Three gentlemen are lunching with Mr. Kent, sir. (Indicating dining-room in back) He left word I wasn't to interrupt him under any circumstances. Porter Don't bother him, of course. (He lights a ciga- rette) Political pot boiling, I suppose? Woods Yes, sir. — Would you like to wait upstairs? Porter No. I'll smoke a cigarette here and look over the paper. (The telephone rings and Woods answers it.) Woods Hello. No, Miss Deering. (Porter's face brightens) Mrs. Kent has not come in yet. Yes, Miss Deering. I'll tell her. Porter Hold the wire. io THE ROAD TOGETHER Woods Just a moment; Mr. Porter's here. (Woods goes out with Porter's hat and over- coat.) Porter {At the 'phone) Hello, Julia. I just dropped in to see Dora. Yes; she's coming right back. What's that ? Got to see her alone? Ah, you can't scare me off like that. Yes. Come over. I'll tell Dora. Yes; I'll wait. {More tenderly) Julia, I'll always wait. What's that? No, Central, I'm sorry that wasn't meant for you. (Dora Kent enters. Porter hangs up the receiver and they greet each other affectionately as old friends. Dora Kent, in spite of her girlish figure, is nearing thirty. Her obvious refinement gently colors a latent sense of power. Her manner, though never negative, is quiet, reserved, and a trifle dependent. She wears a smart suit and hat.) Dora ( Good-naturedly ) Tom: I caught you. Porter Dora, dear. Dora You can't leave Julia a single moment, eh? Oh, don't deny it; I heard you. THE ROAD TOGETHER n Porter Julia was 'phoning you and like the popular song: 'I happened to be there.' Dora (As he helps her remove her coat) Does she want me to ring her? Porter No: she's coming right around. Dora Good. I haven't seen her for ages. I suppose she's absorbed in her new novel. Porter She's absorbed in something, I know. She says she has something to tell you — alone. Dora Tom ; are congratulations in order at last ? Porter (Embarrassed) Her and me? Not yet. Dora Nonsense. I never thought a banker who'd beaten Wall Street would fall before a woman's hesitation. 12 THE ROAD TOGETHER Porter {With a comic sigh of despair) Wall Street's got a system: Julia's only got tem- perament. Dora {Playfully) Tom, exactly what is temperament? Porter I never was much on genealogy; but I should say temperament was certainly descended from St. Vitus. Dora {Laughing) Tom, a lovely woman like Julia oughtn't to be at large. Porter That's why I'm trying to persuade her to marry me. But she's awfully stubborn. Dora Don't hurry her. She'll find herself. We all do in time. {He looks at her enigmatically, as she buries her face in the flowers, deeply inhaling their fragrance) Aren't they lovely? Treated myself. Porter How you love flowers. THE ROAD TOGETHER 13 Dora Yes; like Lady Teazle: when they're expensive. (She lifts the vase, and as she turns to put it in the dining-room, she notices the folding-doors are closed.) Porter Woods said Wallace had some men unexpectedly to lunch. Dora Did he say who ? Porter Blessed if I know. But, remember, this is the politi- cal season. Dora (As she presses the push-button on wall) Yes: the annual show of spring candidates, eh? Goodness, I do hope the politicians haven't been bother- ing Wallace again. I can see it's getting on his nerves : so I get it. (Smiling) Take my advice, Tom: never be the wife of a District Attorney, if you can help it. Porter (Laughing) All right, Dora; nor the wife of the next Governor, either, eh? (He pats her arm playfully.) Dora (Casually, as Woods enters) Woods, did Mr. Kent leave any word for me? 14 THE ROAD TOGETHER Woods No, Mrs. Kent. I don't think he expected you back so early. Dora Do you happen to know who are lunching with Mr. Kent? Woods I believe it's Mr. Biddle, Mr. Tainter, and — {Trying to recall) Mr. Gil — Porter {Quickly) Gilmore ? Woods Yes, sir; that's the name. Porter {Turning away and concealing his surprise) Mr. George Gilmore, um — Dora That's all, Woods. When they get to the cigars tell Mr. Kent I'm home. Porter Better also tell Mr. Kent I'm here, too. THE ROAD TOGETHER 15 Woods Very good, sir. (Dora is arranging the flowers, transferring some to other vases. As Woods goes out, she notices that Porter is standing lost in thought.) Dora What's the matter, Tom ? Porter That's Tainter from up state, isn't it? Dora I suppose so; but I don't recall Wallace ever met him before. Porter Biddle and George Gilmore, Wall Street. (Dubi- ously ) I don't like it, Dora. These fellows want some- thing. Dora Certainly they do : they're in politics. But all they'll get from Wallace is some of Letty's real home cooking. Porter Well, I'd be a bit suspicious of them if they hadn't come here so openly; particularly now that Wallace is being mentioned for Governor. 16 THE ROAD TOGETHER Dora {Confidently) Oh, he'll know how to handle them. And his record for his entire career will make them understand the sort of man he is. Porter Of course, of course. {He watches her a moment) What a part of his career you've been. Dora We have no children, Tom; so all I've had to give has gone into that. Porter You've made it together. Dora Yes: together. And I've been more a part of it than even he realizes, haven't I? Porter ( Understanding) Much more. {He goes to her) And Fred Saf- ford? Dora {With a slight start, as her mood suddenly changes) Fred Safford? {She pauses as he looks at her in question) Why should you speak of him? THE ROAD TOGETHER 17 Porter We seldom have since you sent him away. Dora I thought you and Julia knew that I've never seen nor heard from Fred since. Porter And you've never told Wallace any of the par- ticulars ? Dora What good would it have done to have told him anything? That's all over, Tom. ( The doors in back open and Wallace Kent enters, closing them after him. For a short interval the three men — Gilmore, Tainter, and BiDDLE — are again seen at the table, dis- cussing together. Wallace Kent is reserved, forty, with a fine face and pleasant personality. He sug- gests hidden force and passion, coupled with considerable sensitiveness and intuition. He is a man not easily read.) Kent Dora, back so early ? Dora {As they kiss) Oh, it was a dreadful bore. 18 THE ROAD TOGETHER Kent Hello, Tom: what's this? A self-appointed investi- gating committee? Dora {Laughing) Goodness, no; but perhaps you could tell us the secret. I asked Woods who were with you. Is it about the governorship nomination? Kent Right, as usual. Porter And a nomination this year means election sure. Kent So they say. Dora ( Good-naturedly ) Wallace; Tom doesn't like your company. Porter {Protesting) Now, Dora; you're telling tales out of school. Kent ( Casually ) We're only talking over the coming State convention. THE ROAD TOGETHER 19 Dora And you're getting all shades of opinion, eh? Kent You see the political training she has had, Tom? Dora Tom thinks you ought to be careful. Kent Indeed ? Porter Well, I don't know much about politics, but it isn't the oyster plants that shed the pearls. Dora I said you'd know how to handle them. Kent (With a slight touch of asperity) I'm not a fool, Tom. Porter (Seeing the need of an explanation and going to him with genuine affection) Wallace, I'm afraid I'm in bad. Don't think it's an intrusion on the part of a stray bachelor; but we three and Julia have been pretty close these years and — 20 THE ROAD TOGETHER Kent (Seeing him hesitate) Say it, Tom. Porter Well, I'd hate to have you get that nomination un- less it came right, and without any strings. Dora ( Half -reproachfully ) Why, Tom. Kent Nothing's to be decided yet ; but the nomination will come right or not at all. Porter Don't misunderstand. I know the pressure that's being brought to bear on you to delay that C. N. Y. Railroad case. Dora Tom, you really must be reprimanded. The idea of even thinking these gentlemen have anything to do with that case. Kent Tom means the Railroad crowd would do most any- thing to get the prosecuting attorney, eh ? Porter And those fellows have a lot of friends. (Taking his hand) I just wanted to hear you say it was all right. Forgive me. THE ROAD TOGETHER 21 Kent Oh, everybody's suspicious of public officials nowa- days. Dora (Proudly) I'm not, Wallace. (He smiles' as she continues in good spirits) But we mustn't deprive these gentlemen of your moral influence. Porter No, no; I'm sure they need it. Dora Tom will stay here with me, won't you ? He's wait- ing for Julia. Kent You're always waiting for Julia. Porter One of the things I do best. Dora (Over near door) I think this is Julia now. Stay a second, Wallace, and say hello. (Dora goes out.) Porter Can you hear my heart jumping? I'll never need digitalis so long as Julia's in my life. 22 THE ROAD TOGETHER Kent {Trying to be casual) May a very unimportant District Attorney ask when it's coming off ? Porter « Sh! It's such a secret even Julia doesn't know it. Kent Perhaps she feels a novelist shouldn't marry. Porter She's not a real novelist; she has money. ( They laugh as the two women outside are heard greeting each other with intermingled sentences.) And they both understand what they're saying. {They enter. Dora having her arm affection- ately about Julia. Julia Deering is a contrast to Dora. She is also about thirty, but with an opulent per- sonality, impulsive and rather emotional in speech and temperament, a bit assertive and seemingly independent. She is attractively gowned though with a faint suggestion of the unconventional. She halts suddenly on seeing Kent, is slightly confused, but quickly recovers and goes to him.) THE ROAD TOGETHER 23 Julia Wallace, this is unexpected. I thought you were downtown. Kent Sounds as though you've been trying to avoid me. Dora Yes: it's been two weeks since even I have seen you. Kent {Indicating dining-room) And now I have some hungry men waiting. Dora You see he will bring politics into the home. Julia I want to see Dora ; so don't let me keep you. But I must thank you again for letting my big brother as- sist you in that Railroad case. I haven't told him yet, as I promised. Kent {Enigmatically) I'll be glad to give Armor this chance for your sake. Porter {To Dora) Isn't that just like Wallace? 24 THE ROAD TOGETHER Dora When does it go to trial? Kent It's on the calendar next week. Porter They certainly have delayed it. Julia I'm so sorry I sha'n't be here to watch Armor per- form. He's so eager and enthusiastic about every- thing. Dora Surely you're not going away? Julia I'm afraid so. I'm sailing before then. (They are all surprised.) Kent You're going abroad? Dora Why, Julia — no — ? Julia Yes; to Corfu. THE ROAD TOGETHER 25 Dora Not while the war's still on? Julia Oh, I guess it won't pay attention to me. (Smil- ing) I'm a pacifist, you know. Kent But, Julia, this is all unexpected, isn't it? Julia (Avoiding his glance) I've been thinking for some time it's best. (Throughout the following a subtle tenseness, beneath the surface talk, is obvious.) Dora Well, I know there's no use trying to persuade you how foolish it is, when you once get a notion. Porter You're going to stay long? Julia (Vaguely) Oh, a year or so this trip. Dora But you will be lonely there. 26 THE ROAD TOGETHER Julia ( Half light-heartedly ) Oh, no; I have my work. Porter {With a sigh) The world is full of people who have gone away. Julia (To Porter) But don't take it so terribly. There's no reason to be glum — all of you. Maybe, Tom, you will come and see me when the war's over. Porter ( Whimsically ) Shouldn't wonder if I went before. Dora You may have to charter a submarine to get there. Porter Then I'm glad I retired from my bank and kept some of it. Kent You're going alone? THE ROAD TOGETHER 27 Julia To finish my novel. My publishers are getting im- patient. Porter {Mock seriously) These restless women with missions and no husbands ! Julia But you see, Tom, I'm already wedded to my art. Porter Can't we find a country where bigamy's permitted? Dora {Laughing) How many husbands do you think a woman needs? Porter Lord ! I don't know. That's every woman's eternal mystery. {They laugh nervously to cover their varying emotions.) Kent But you're not sailing right away? Julia I've got to get my passports. 28 THE ROAD TOGETHER Dora Had your photograph taken and all that? Julia {Laughing) Yes. Kent It seems to me you're taking chances, Julia. Dora Can't anything persuade you to stay? Julia {Significantly) Oh — something may turn up to keep me. {Glancing covertly at Dora) I'll know to-day. Kent {Shaking her hand) I'll see you before you sail. If there's anything I can do, let me know. Dora {Going back with him) Have you everything you wish, dear? {He nods) We won't disturb you here? Kent Couldn't hear a sound back there if I wanted to. Oh, Tom; after what Julia's told us, are you sure you don't need a cocktail? THE ROAD TOGETHER 29 Porter No, Wallace. I'm like the fellow who was asked by a musical hostess if he'd like a sonata before dinner and he said he'd had two on the way uptown. (They laugh as Dora opens the doors in back and stands there a second with Kent. Porter looks strangely at Julia who is apparently under some agitation. Dora closes the doors, comes down, then goes to Tom, shakes her head indicating how sorry she is for him. Then she takes up her coat.) Dora I'll be down in a moment. I must take off my hat which won't come off by itself. (Closer, on second thought) Julia; what's the reason you're going away? Porter She's afraid she'll spoil me if she stays and marries me. Dora Something may come up to keep you, you said. (Laughing good-naturedly) Well, I'll give you a few seconds, Tom, to find out what it is. (Hesitating) Was this what you really came around to tell me? Julia Wait till you come back. 30 THE ROAD TOGETHER Dora Tom! Julia! You can't deceive me, you two. I'm afraid there is a conspiracy between you. (She goes out, laughing. Julia sinks into a chair as though she has scarcely been able to control herself. She obviously waits till Dora has gone.) Julia Tom! (He comes to her) Fred Safford has come back. Porter (Astonished) Safford! Julia Yes. He's in town. Porter You've seen him? Julia No. He 'phoned. He's been here several weeks. He's coming to see Dora this afternoon. Porter (Hardly able to grasp it) To see Dora! THE ROAD TOGETHER 31 Julia Yes. He probably thought Wallace was downtown. I tried to get him to see me first; but he wouldn't. He seemed desperate, as though he'd been drinking or something. Porter {Realizing) Good God! She mustn't see him. Julia Why not? Porter {Surprised) You ask me that? Julia He says he has a right to see her. Porter {Emphatically) He no longer has any rights here. Julia He thinks he has: he still loves her. Porter {Dismissing it) But all that is over with her. 32 THE ROAD TOGETHER Julia Are you sure ? Porter Certainly. (Between his teeth) The dirty pup, to come back. Julia (Surprised) You never said a thing like that about him before. Porter I've had my reason for being silent about him. (With a determined air) What's his address? Julia He didn't tell me. Porter That's like him. But I'll find him. Julia No; you mustn't stop him from seeing her. Porter (Astonished) I mustn't! Julia (Realizing the difficulty of her position) Wouldn't it be best if — if she found out for sure how she really felt? THE ROAD TOGETHER 33 Porter {Persistently) But I tell you it's all over, as far as she is con- cerned. Julia It was mighty important — once. Porter Yes; of course, it was. When she and Wallace weren't hitting it off. {Dismissing it) That was only the usual let down after a few years of married life. Julia But you seem to keep forgetting that Fred had come into her life; that she loved him. Porter No; I'm not. And she did what she should have done ; she sent him away ; she thought of Wallace — his career and — Julia And not of Fred. Porter Wallace loved her. He still loves her. You know that. (Julia turns away) Why, Julia, you're her very best friend; surely, you wouldn't want anything to come between her and Wallace? 34 THE ROAD TOGETHER Julia (Quickly) Then you, too, are not sure of how she may still feel toward Fred? Porter I'm sure she mustn't see him. Julia You'll prevent it? Porter If I can. Julia (Desperately) Tom; you — you mustn't interfere. Porter (Surprised and incredulous) Julia! Julia I have my reasons. I can't explain to you. Porter (Hurt) Can't explain to me! Julia Let me see Dora alone and she can decide. THE ROAD TOGETHER 35 Porter Julia, your word has always been law to me. Julia Then please do as I ask. Don't — don't interfere. Porter {After a pause, not understanding) Very well; if you say so. Julia Tom — Porter Perhaps you women see best. If she is willing to see him I won't interfere. (With quiet determination) But if he tries to force himself upon her against her wish, I know a way to silence Fred Safford. (Dora has come in and heard the last few words. They turn embarrassed as she slowly comes down and speaks very quietly.) Dora Tom, you've been speaking again about Fred? Has anything happened to him? Is he — ? Julia He's come back. Dora Here? (Julia nods) Tom, is this true? 36 THE ROAD TOGETHER Porter Julia has just told me. Dora (As though not understanding) But he promised — Julia (Abruptly) He still loves you. Dora He still loves me? — Too bad! Too bad! I had hoped he would forget. (She goes to chair and sits down. Porter lays his hand in appeal on Julia's arm as though asking silence. Suddenly Dora turns abruptly.) I understand now. He wants to see me. Julia Yes, he's coming here today. Porter Unless — Dora (Startled) No, no. He mustn't come here. (Glancing back where Kent is) I sha'n't see him. THE ROAD TOGETHER 37 Julia (In spite of Tom's protest) Then at my place. Porter Julia! Julia (To Porter) Please leave me alone with Dora. Porter (After looking at Julia and resigned to the situation) All right. Remember, I'm just around the corner, if you need me. I'll 'phone you later, Julia. Bye-bye, Dora. Let me know what you decide. (Under his breath as he goes out) The pup — (Dora has moved her hand across her brow in a bewildered fashion, not noticing his last words. Porter has gone out. Julia makes sure the door is closed after him. She stands looking at Dora for a moment. Then she goes to Dora and puts her hand affectionately on her shoulder.) Julia (Tenderly) You still love Fred ? Dora (Indefinitely) Oh, Julia, don't! 38 THE ROAD TOGETHER Julia See him. I'll arrange it: at my place. No one need — Dora No; not if he still loves me. Julia (Moving away slightly)] You aren't afraid, are you? Dora Why go over it again ? What good will it do ? Julia But hasn't he meant something to you? Dora Yes. It would mean something to any woman when a man accepts a decision as bravely as he did. I've not forgotten. I've been grateful. But I thought Fred knew it was final. Julia But you'll never be sure of your own feeling till you see him again. Dora (Slowly as though puzzled) Why do you wish me to be sure of my own feeling? THE ROAD TOGETHER 39 Julia {With growing agitation) I'd like you to be happy. Dora But I am — I am — as far as I can be. Julia Then you do fear to see Fred. Dora No; I don't fear to see him; but it must stay as it is between us — for his own sake. Julia You also forget Fred loves you. Dora I'm sorry, sorry. Julia Isn't love everything? Dora No; not everything. Julia It should be in marriage. 40 THE ROAD TOGETHER Dora {Looking at her) You are reproaching me! Julia I've said nothing to make you feel that. Dora No, not in words: but I feel your silent reproach, just as I felt it when I sent him away. You've always thought I should have gone with him. Julia Only because I didn't want any one to be cheated. Dora Fred may have been cheated; but it was the situa- tion not I that made it hard for him. I did what was right by Wallace. Julia Did you? Dora {Confidently) Oh, yes. He needed me. A scandal would have hurt his work — his political career. What he has be- come through me is sufficient proof I did the right thing. THE ROAD TOGETHER 41 Julia {Turning away) Success is not always a proof of what is right. Dora It's my justification for any wrong I may have done Fred. {Going to her) But, Julia; why do you insist on my seeing him again? (Julia is silent) We've been so close ever since we were children ; we've shared all our confidences. But you've come here now to urge something my whole instinct rebels at. I think I've the right to ask you for an answer. Julia I've told you. Dora No. You haven't explained your reason for want- ing it. Julia I can't explain. Dora There must be something more than your considera- tion of me back of this. There's some reason vital to you. Julia No. I— 42 THE ROAD TOGETHER Dora (Her intuitions now thoroughly alert) You didn't want any one cheated, you said. You weren't thinking only of Fred. Julia Dora, I've put myself in a false position. Dora Has this anything to do with your reason for going away? (There is a pause) Julia — has it? Julia Yes. Dora Something might persuade you to stay. It is some- thing to do with me. Have I done you any wrong? Have I cheated you in any way? Julia (Seeing she must face it) I — I might at least have had a chance for happiness, if you had — Dora (Quickly) If I had — what? Julia Oh, all that's worst in me is coming out. Please, please, let's stop. THE ROAD TOGETHER 43 Dora (Insistently) If I had what? Julia (Almost inaudibly) If — if you had gone with Fred. Dora (Looking at her in astonishment and stepping back) Julia! Julia (Defensively) Well, haven't you been living a lie here? Dora No! Julia Yes, you have. You've loved one man and lived with another. Dora (Scarcely believing what she has heard) Julia, Julia, I see it now. / was in the way. I am still in the way. That's why you wanted me to go with Fred; why you wish it even now! Julia (Quickly) Not go with him now unless you love him ; only give yourself the test. 44 THE ROAD TOGETHER Dora {Gazing incredulously at her) Julia! Don't turn from me. You mean you love Wallace ? (Julia tries to meet her gaze, then she turns and bows her head in silent acknowledgment of the truth. Dora looks at her a long while, then impulsively goes to her, clutching her arm.) Does Wallace know this ? Julia No. He loves you. Dora {Releasing her hold, convinced) Yes. He loves me. Julia I've been unkind to him. I've even led him to be- lieve it was Tom. {Earnestly) You know I've never been disloyal to you. Dora Yes; I'm sure of that. {Still incredulous) You love him. That explains much I never understood. Poor Julia! Julia You pity me? THE ROAD TOGETHER 45 Dora No; I just understand. Julia (Passionately) But I tell you, Dora, if Wallace had loved me I wouldn't have been the coward — Dora That I was? (Eyeing her) I wonder. I wonder. Julia (Humbled) Oh, forgive me, dear. I'm all impulse and selfish- ness. I've suffered a lot. It broke my defenses just now unexpectedly seeing Wallace and knowing I was going away. That's why I'm going. I can't stand it. I — forgive me. Dora (Very tenderly, after a pause) It's best you go, for a while. Julia Yes. (As though thoroughly ashamed of herself) But this won't make a mess between you and me ? Dora No. I haven't forgotten all you did for me — once. 46 THE ROAD TOGETHER Julia I don't know what got into me. It was just the wild chance that perhaps — Dora I'm not angry; only hurt a little somehow. Julia You ought never to speak to me again. Dora ( Tenderly ) Love makes us all do foolish things. There, there, Julia; let's say no more about it. Julia {After a pause) And Fred? Dora {Going to button and pushing it) I sha'n't see him. Julia You're right. It's better all around. I'll tell him. Dora {Calmly) No ; I'll write him and you will see that he gets the letter. THE ROAD TOGETHER 47 Julia I'll ask him to go away. Dora Yes; and tell him to be a man. (Woods enters.) Woods, if a Mr. Safford should call — Woods I was just going to announce him. But- JULIA {Tense) (Fred Safford enters quickly. They all stand still and silent. Safford is almost the wreck of what was once a strong, handsome man; his face is worn and dissipated, mouth hard and fingers nervous. He is thirty-eight but looks older. There is a very slight suggestion he has been drinking which tends to let down whatever reserve may have been left. There is only an occasional flash of what must have been an old charm.) Woods {After a slight pause) Anything further, Mrs. Kent? 48 THE ROAD TOGETHER Julia (Relieving the situation) Will you see if my car is there. Woods Certainly. (They wait till Woods goes out.) Julia (Goes to S afford) Hadn't you better come with me? (Safford mo- tions her aside) How you've changed, Fred! (Looks at him quite a while, half shrinking) Dora, say good- bye to Wallace. I don't want to interrupt his luncheon with those gentlemen. (Saying this for Safford to know Kent is in the next room. Safford is surprised at this, but apparently accepts it.) Be careful, Fred, be careful! (Dora has stood as one transfixed. She has not taken her eyes off Safford, who is also staring at her. Julia goes out closing the door. There is a pause: Safford takes a few steps nearer to her, hesitates, then slowly goes to her, as if to embrace her. She instinctively puts her arms between them, pushes him back, breaking from him and silencing him. He halts, half in query. They play the whole scene with a quiet intensity as though afraid of an impending in- terruption from Kent.) THE ROAD TOGETHER 49 Dora What do you mean by coming here? Safford I thought you'd be alone. Dora But why did you break your promise? Safford {Surprised) You don't want to see me at all ? Dora I didn't say that. Safford You women don't have to say things. Dora {More tenderly) Oh, why did you come back, Fred? Safford Didn't you ever think I would? Dora I thought your promise was sufficient. 50 THE ROAD TOGETHER Safford I was a fool to make it. Dora Even when I asked it? Safford It cheated us out of our happiness. Dora {Hurt more and more throughout) Would it have been happiness ? Safford Beginning to doubt? Dora {Looking at him) No, Fred. I'm sorry; but seeing you again, I know it couldn't have been happiness. — How you have changed ! Safford ( Tensely ) Not in my love for you. Dora Hush! Safford Dora! THE ROAD TOGETHER 51 Dora {Repressed) Don't, my husband! Oh, let me think — please, please. Safford I gave you time to think once, and I lost you. Dora {On the defensive) You never had me. I see it now, never! Safford {Forcibly) Yes; I did. Dora No, no. I was down, weary, sick. Marriage wasn't what I thought and — ■ Safford You're not going to hand out that usual talk? Dora {Breaking slightly) God, Fred ! Don't you see I didn't want to regret ? It kept me up : the knowledge that I'd done the wisest thing for us all. 52 THE ROAD TOGETHER Safford {Emphatically) What you did to me made me what I am. Look at me. Dora {Shuddering) No, no. Safford Yes, look at me. {Slowly) I'm a disappointment, a failure, eh? Dora {Moving from him) Yes; and it hurts. Safford {With a touch of genuine feeling) I would have been different if I'd had you. Dora {Slowly shrinking from him with growing disillusion- ment) Oh, why didn't you forget me? Safford As you did? I couldn't, Dora; I couldn't. Dora I never forgot you, Fred. I thought you were a strong man, strong in your love; strong enough to THE ROAD TOGETHER 53 make your love, if nothing else, keep you clean. But you've soiled yourself and me in coming back this way — in being what you are. Safford Did you ever once inquire about me? Dora I trusted you. Safford Then, how do you know what I've become? Dora Oh, Fred, it's in your face. Safford I love you, I tell you. Dora Love? Safford Yes. You've always been near me. If I'd owned you just once I might have forgotten. Dora Is that the way men like you forget? Safford I've tried to forget you, but I couldn't. 54 THE ROAD TOGETHER Dora I gave you credit for everything. Safford Oh, no, you didn't. You really blamed me for going so easily. Dora No! Safford Yes, you did. I know women. You'd have come with me, if I'd made you. (She gazes incredulously) But I couldn't stay and force you. You know Porter made me get out. Don't try to fool me. Dora (Not understanding) Tom? Safford I want you to forgive me for going. But he knew the hole I was in. I didn't intend to keep the money, but I was desperate — Dora You stole money? You left Tom's bank be- cause — ? Safford (Startled) Didn't he tell you? THE ROAD TOGETHER 55 Dora {Shrinking back) No! Never that! Safford {With a touch of bravado) Well, it makes no difference. You'd have to know some day. I was desperate after you threw me over — Dora {Revolted) After! And I thought it was your strength that made you go! Safford I tell you you've changed towards me because I didn't take you as a man should when he wants a woman. But I've come back for you now. Dora {Sarcastically) How you love me! Safford {Pleading quickly) You've got to save me, Dora. Every time life shuf- fled me rotten cards, I knew I'd have played to win by your side. What was still decent in me reproached me and made me cling to the thought of you. I could- 56 THE ROAD TOGETHER n't pull myself up alone. The loss of you kept you alive. My love for you made me go wrong first and you've got to help me to go back or I'm finished. Dora {Incredulously staring at him) You blame me! You miserable — Safford You'll blame yourself for what I am when you've thought it over. {Reproachfully) You clung to me when you needed me. Dora I was unhappy, I — {Turning firmly as he sneers) No. I won't make excuses. Perhaps I did you a wrong. Safford {Bitterly) But you found consolation with your husband. Dora {Her face brightening) Yes. Safford {Sneering) And I suppose you have made yourself part of hi9 career ? THE ROAD TOGETHER 57 Dora Yes, I have — as I told you I would. I've helped to make him — Safford What? A man respected and honest, eh? Dora Yes! Safford (Sneering) Honest ? Dora What do you mean? Safford Honest? Dora (As he laughs bitterly) What do you think you'll gain by insulting him? Safford (Abruptly pointing to dining-room door) Who's your husband lunching with ? Dora (Involuntarily) Mr. Tainter — Mr. Gilmore and — (Suddenly 58 THE ROAD TOGETHER realizing and becoming confused) How did you know they were here? Safford Didn't you hear Julia tell me? But I didn't know who they were. Thanks for telling me. Gilmore, eh ? George Gilmore ! And Tainter, eh ? I thought so. Dora {Recalling Porter's suspicions, as Safford laughs) What do you mean? Safford For three weeks since I came back, I've been nosing around. That's why I waited before I saw you. I was afraid you'd pull this good husband stuff. I've found out what I wanted to know about him. And I'll tell you how I found out if you want to know. Dora Leave this house! Safford He's playing crooked politics. Dora {Sharply) No. Safford Watch that C. N. R. Railroad indictment. You'll find these fellows pressed for trial, like hell you will. THE ROAD TOGETHER 59 Dora {Defensively) These men have nothing to do with that case. Safford Haven't they? Well, their friends have and these are the fellows who can give your husband what he wants — the nomination! Dora Leave this house! Safford (Pushing her gradually towards the window, step by step) Dora, Dora! Don't treat me this way. I'll do anything to get you. I love you. Come with me. Dora Go! Go! Safford He's no justification for what you've done me. Dora Don't touch me. If you don't go, I'll call him and tell him you are a thief ! Safford I don't give a damn now. I won't live without you. 60 THE ROAD TOGETHER Dora You've stripped everything. Go. Go! Sh! (She has retreated slowly to window by piano. The doors open in back and Kent, followed by Gilmore, Tainter, and Biddle enter. Kent believes they are alone. Gilmore, an impressive, authoritative man about fifty; Biddle, somewhat younger, is suave and polished; Tainter, rather rough and im- portant. Dora instinctively covers Safford. They are both hidden by the plants and flowers which screen the piano. Safford grips her arm and listens with a sneer, as she stands dazed.) Kent (Indicating) We'll be more comfortable in the library. Gilmore (In a persuasive, confidential tone) It's only a question of a few months, Kent; the reason for delaying the trial can appear perfectly legitimate, can't it, gentlemen? (Other two agree) Besides, your record protects you from criticism and our position guarantees your success. (He sees Kent's uncertainty) But let's go over it again. Perhaps we can put our offer in a more attractive way. (To others) Fine mild Perfectos these. (The others, at Kent's suggestion, go out THE ROAD TOGETHER 61 towards the library. Gilmore follows. Woods has appeared at the folding-doors. Kent sees him.) Kent Woods, did you telephone my assistant? Woods Mr. Deering will be up later. Kent These gentlemen need not see him, understand? Woods Yes, sir. Kent Serve liqueurs in the library. Woods Yes, sir. (Kent goes thoughtfully towards the library. Murmur of men heard greeting him. Woods closes doors in back and cuts himself from view. Dora and Safford are alone.) Safford {Sneering) You see! 62 THE ROAD TOGETHER Dora Go! Safford I'm a thief, am I? Well, what's he? Dora (Dazed) I don't believe it. Safford He'll try to fool you. Dora (Determined) I'll find out. Safford (With hope) And if—? Dora (Finally) Never with you. (Motions toward main door) Go! Go! You're dead to me. Safford ( Tensely ) Dead, am I? Then you've wrecked me; you've killed me for his career and he's crooked — crooked. THE ROAD TOGETHER 63 (Bitterly) Don't forget you've killed me and he's going crooked in spite of your sacrifice. Don't forget that. Dora ( Throughout) Go ! Go ! Go ! — It isn't true ! (She half pushes him in disgust out of the room, closing the door. Then she staggers up to the folding-doors, leans against them, looking towards library where her husband is. But in spite of her words, her face is set in doubt and suspicion.) Curtain THE SECOND ACT THE SECOND ACT Same as the first act. Late the next afternoon. The curtain rises on Dora seated at piano playint an aria from Madame Butterfly. She has on an after 1 noon gown. She seems abstracted, pauses, and looks impatiently out of window. She does this a second time and apparently sees Kent. She gives an eager cry, then crosses quickly to door as though to meet him, but changes her mind and comes slowly into room. Though she instinctively resents her own doubt, it is seen that she feels she must question him about Saf- ford's accusation. Kent comes in and throws aside hat and coat. There is a note of quiet determination in his manner. He has some unopened letters in his hand which he puts on table. Kent Hello, Dora. Feeling better? Dora Yes. Kent I came in too late last night to disturb you and I thought you'd better sleep this morning. Has Armor come yet? 67 68 THE ROAD TOGETHER Dora He missed you yesterday. Didn't you see him at your office? Kent I haven't been there today. (Looks at clock) Have my brokers 'phoned? Dora Mr. Cooper did. He said he'd ring you up later. (After a pause as though she half hesitates to take up the subject) But you haven't told me about the luncheon yesterday. Kent There's nothing to tell. Dora (As he is glancing through mail) You're still considering being a candidate? Kent For Governor? (She assents slowly) No; I de- cided not to run. Dora (Obviously relieved, though surprised) Not to run ? Kent Why, I thought you'd be disappointed? THE ROAD TOGETHER 69 Dora {With conflicting emotions) I am disappointed, if you are. We've both looked forward to it so. But I know there must have been good reasons why you have refused their support. Kent They offered it; but I couldn't accept their terms. (She gives a sigh of relief which causes him to look at her somewhat puzzled) Dora, aren't you feeling well? Dora I had a wretched night: I'll be better now. Kent Here's some mail for you. Dora (As she takes up the letters, casually looking through them) Bridge? Belgium Relief. Wedding announce- ments ? Kent Not Tom Porter's? Dora ( Good-naturedly ) No. — Wallace, why haven't you been nice to Tom lately? 70 THE ROAD TOGETHER Kent Nonsense. Dora No, you haven't. You've really been awfully touchy. Here. {Giving him some letters) You'd better take these. Kent {Glancing at envelopes; tossing them aside unopened) Bills, I presume. Dora Haven't some of them been kept waiting quite a time? The florist and Kent {Avoiding the subject) I'll attend to them later. {She has kept several letters in her hand and now, on seeing one, which she recognizes is from Safford, she starts; then obviously conceals it from Kent, who is still glancing through the rest of the mail.) They've reserved seats for Tristan. It's the last per- formance. Dora Will you be able to go with me ? THE ROAD TOGETHER 71 Kent If I'm busy, get Tom. Dora Wagner always gives him a headache. He prefers Butterfly. Kent I suppose that mushy music suits his mood. Dora Still, he'll go, I know, if that important Railroad trial is taking all your attention. (Kent looks at her quickly.) (Woods enters.) Woods Mr. Deering. (Kent assents and Woods goes out, taking Kent's hat and coat.) Dora ( Tentatively ) I'll go upstairs if it's private. Kent No, stay; of course, stay. (Dora is pleased that he seems to wish her to remain. As Kent goes momentarily out to meet Deering, Dora looks triumphantly at 72 THE ROAD TOGETHER Safford's letter which she has kept concealed in her hand.) Dora I told you it wasn't so! (She tears the unopened letter up, with a cer- tain finality, as though her doubts were over. Deering and Kent, who have been heard greeting outside door, enter. Armor Deering, Julia's brother, has not yet reached thirty. He is virile, clean-cut, and ingratiating. He has an air of reliable manli- ness beneath his apparent earnestness, which, fortunately, is tempered by a sense of humor.) Deering How'd do, Mrs. Kent. Dora (Greeting him) Sorry I missed you yesterday, Armor. Kb nt Cigarette? Highball? Deering (Refusing both) No. You know I'm going to be married; so I'm reforming my present life. THE ROAD TOGETHER 73 Dora {Without any hidden intention) Then, Armor, you and Sally must be more than delighted at this opportunity Mr. Kent has given you. Kent What opportunity Dora Why, the C. N. Y. case. Deering Sister Julia just told me you decided to let me help you handle it in court. I thought that was the reason you wished to see me here. Dora Why, of course. You spoke of it yesterday, Wal- lace, during luncheon. Kent Yes, yes; but — {There is a momentary pause) Well, Armor, you know I'd do whatever I could for you and Julia, but — Deering {Sensing the situation) Don't let it embarrass you if Mrs. Kent or Julia misunderstood. 74 THE ROAD TOGETHER Dora (Puzzled) Wallace, I was sure you said — Kent (Looking at her keenly) I think you are mistaken, dear. Dora Perhaps ; yet (She stops a second, puzzled; then as she turns she looks at the torn pieces of Safford's letter still in her hand, her suspicions again aroused. She takes flower vase, goes up into dining-room, throws letter in fireplace, removes the fading flowers from vase, etc., and is absorbed in thought, yet half unconsciously at times, look- ing in at the two men who speak in a quick, business-like fashion during this.) Deering I felt all along it's your case. It will mean a lot to your political future. Kent I was not considering that. Deering I don't believe you know all I've unearthed. It will cause a political earthquake; accounts juggled; THE ROAD TOGETHER 75 lobby expenses to ward off strike bills ; expenses toward political compaigns — all used out of funds, which, by right, belong to the stockholders. Kent (Feeling his way throughout) Perhaps, after all, you are better acquainted with the case. But are the facts you have unearthed ad- missible as evidence under the indictment? Deering I'm not absolutely positive, sir. Kent But that's vital. Deering I know a mere hint of what I've got will lead the Governor to make an investigation of this whole situ- ation. Kent You advise me to make political capital out of this? Deering (Smiling) It's always good to have it up your sleeve if you have to take your coat off. 76 THE ROAD TOGETHER Kent ( Casually ) It's on the calendar for next Monday, isn't it? Deering Yes, sir. Kent I could hardly go through all the evidence before then, could I? Deering {Eagerly) I'm well enough prepared to open. Kent ( Hesitating ) From what you say this appears such an important case that — Deering You feel you'd better handle it entirely yourself ? Kent {Frankly) What would you advise in my place? Deering {Smiling) You've had more experience with crooks than I've had; but, then, I'm still young. THE ROAD TOGETHER 77 Kent I can probably get to the bottom in a few days. I understand their counsel has asked for a postponement and if we agree Deering (Quickly) I'd advise against having this put over. Their counsel has already exhausted every technicality to keep this out of court. The court would allow further postponement only upon our motion and that wouldn't be wise. Kent Still, I hardly believe it advisable to spoil our case by pushing it prematurely. Deering But there's no doubt about their guilt. Kent Unfortunately moral certainty is not legal proof. If this case should be thrown out on a technicality, it means immunity from future prosecution. Deering (Emphatically) Their object is to keep it off the Spring calendar so that, after the Summer recess, the case may be tried before another Judge; and they would gain the usual benefits of delay. Besides, next Fall, with the muddle 78 THE ROAD TOGETHER of Municipal and State elections, they figure on the people being blinded to the real situation should all the facts be disclosed. And the yellow papers are already beginning to ask questions. So I don't believe you'll be able to explain satisfactorily to the voters why you've put off this case, after I've forced it to trial, should you, by any chance, expect to rely on their votes in the coming election. Kent (Forcibly) I don't need the people's votes; I won't be turned from any course I think is right. If I halt this case one month or two — over to the Fall even — it will be because I think it wise. Deering I beg your pardon if I seemed outspoken. But I felt sure of my position. Kent I'm not intending to dismiss the case. Deering I can't help thinking how embarrassing it might prove for you if you delayed this prosecution too long, and the people should ask why. (As Dora has come down placing the empty flower vase on the piano, she catches the drift THE ROAD TOGETHER 79 of the last few speeches. She stands listening intently, unobserved by Kent.) Kent Why attempt to explain anything to the people? Deering {With feeling) Mr. Kent; I'm deeply grateful for all you've done for me. I know I'd never been appointed your as- sistant if I hadn't happened to be Julia's brother. I'm afraid I presumed on that friendship. You know best about this, sir. You must excuse me if Kent {He is obviously moved. His manner is affectionate and it is seen his course has been difficult) Armor, Armor. Forgive me. I quite appreciate the disappointment this must be to you. Deering ( Good-naturedly ) Truck! I saw a halo sprouting on my head. Kent I understand. But you're exaggerating, you're over- zealous; it's only a temporary delay and it seems most expedient. Come, come. Aren't we both overdoing its importance a little? {They laugh) There'll be other things that'll come your way soon. 8o THE ROAD TOGETHER Deering Sure: I'm going to get married. (Woods enters.) Woods Mr. Porter. Dora All right, Woods. (Kent turns and sees Dora standing there. Woods goes out.) Deering {Noting there is some embarrassment as they gaze at each other) Excuse me for a moment, Mrs. Kent; Sister Julia is in the car with Tom Porter, I think. I'll tell her I'm here. (Deering goes out.) Dora Why? Kent What? Dora This delay? Kent You heard what I said. THE ROAD TOGETHER 81 Dora That's not the real reason. Something at luncheon yesterday Kent Bosh, dear! Dora If not for the Governorship nomination, why? Kent What makes you suspect anything? Dora My instinct. Kent You women have many false instincts. Dora They are as real to us as facts. Kent (Plausibly) Dear, why have you suddenly grown suspicious? It's not like you. Dora No, it's not; yet if one suddenly doubts what one has trusted? 82 THE ROAD TOGETHER Kent Don't you trust me? Dora (With impulsive emphasis as though to reassure her- self) Yes, I do — I do — of course, I do. (He pats her arm; then she smiles as though she were ashamed of her doubt) I was a bit puzzled. That's all. (Enter Porter.) Porter (Cheerfully, seeing them together) Ah ! pretty picture ! Not interrupting, am I ? Dora (Lightly) You're a habit; never an interruption. Porter Glad I'm something you can't lose. Dora But where's Julia? I thought Armor said she was with you? Porter She's waiting outside in the car for me. Said she'd promised to pick Armor up, too. I tried to get her to come in with me; but I can't do anything with her. THE ROAD TOGETHER 83 She's in one of her moods. It pays to be a writer; everybody excuses them when they're flighty. Dora You try to persuade her, Wallace. Perhaps she'll have some tea. {Quietly to him as he is near door) And besides, you'd better explain to her about Armor. (Kent goes out. Porter turns as Dora comes close to him) Tom? Porter Yes, Dora. Dora How was it Fred wasn't arrested? Porter {Surprised) Arrested ? Dora Yes; for his theft at the bank. Porter He told you? Dora Yes. He thought I knew. He said you had dis- covered it. Did any one else know? 84 THE ROAD TOGETPIER Porter Fortunately not. Dora Then the money was restored? Porter Yes — in full. (Not quite understanding her mood) But don't worry. Dora (Interrupting) Did he restore it? (Porter smiles cynically in spite of himself; she steps nearer to him, grasping the situation) You — you put it back! Porter (Deprecating it) Now don't let's talk of that. Dora What a friend you have been — what a friend ! Porter (Patting the hand which she has put in his) I'd do anything for you and Julia. Dora Then why didn't you tell me of this before? THE ROAD TOGETHER 85 Porter {Half whimsically") Dora, we all need illusions to help us over the hard places. Dora No — no, we don't. They make us sentimentalize things. Here I've been thinking all this time that Fred was a decent, strong, honest man ; that he did not need me as my husband did. And he was a common crook ; a thief; a man without principle; one who betrayed a trust; took money! {Disgusted) Oh, that I should ever have given him a thought! It shames me, Tom, that any man who touched my life, who claimed he loved me should not be able to go straight and honest. Oh, the insult he's given me. And then he blames me — me — for what he has become! {Passionately) Why didn't you have him arrested? Porter Because it would have been your husband's duty to send him to jail. Dora Do you think Wallace would have hesitated in doing his duty? Porter You thought you loved Fred then. You might have interfered. You might have felt responsible. 86 THE ROAD TOGETHER Dora Responsible! (Sarcastically) That's what Fred said. (Bitterly) That I had wrecked his life for the sake of my husband. Oh, what a cad to say a thing like that. Porter I didn't want any opportunity to arise where Wal- lace might forget his oath of office. Dora (With confidence) He wouldn't have forgotten it. He'd have gone through anything that was his duty then, as he would now. Porter Yes; I'm glad you feel that. Dora And Fred actually said Wallace was crooked. Porter What? Dora Yes. That was the last insult. Porter God! He was a rotter, wasn't he? THE ROAD TOGETHER 87 Dora Yes. And to think I might have gone with him — might have been married by now — to a crook. {Shud- dering) Oh! {The 'phone rings.) Porter But it's all right now, Dora. Dora Yes. Only make him go away. You can. Porter I have already. {She looks up in surprise) I fol- lowed him after he left here. I made him sail at noon. He's gone to the land of the men who can't come back. Dora {With a sigh of relief) Thank you, Tom. {The 'phone rings again) You answer it. Porter Always knew you'd see you hadn't made a mistake in staying here. Dora {Smiling tenderly) No. I didn't make any mistake. (Dora goes over to the piano and after a few moments sits before it, completely mistress of 88 THE ROAD TOGETHER herself again. Porter goes to 'phone. Kent enters quietly and is unobserved at first.) Porter Hello! Yes, this is Mr. Kent's. Cooper & Collins? If it's important I'll call him. Kent {Slightly embarrassed) Is it for me? Porter {Looking at him slowly) Yes; your brokers. Kent Tell them to hold the wire. (Porter does so and puts down receiver) Julia wouldn't come in. She and Armor are waiting for you, Tom. Porter {Realizing Kent wishes to speak privately on 'phone) To be sure. Bye-bye, Wallace. {Goes to Dora, who gives him a handshake full of gratitude) Bye-bye. Going to take dinner with Julia to-night. {Whimsic- ally) Intend to try my luck again before she goes. Wouldn't it be splendid if she ? Well, it's some- thing to love her even if I can't. — Bye-bye. (Porter goes out. Kent, after glancing at Dora and not desiring to arouse her suspicions, decides to 'phone openly.) THE ROAD TOGETHER 89 Kent Hello, Collins. What do you advise? Prices have gone down a point? You don't need more margin? Well, don't buy in till it drops to 40. {Significantly) I think it will. Good-bye. {He hangs up the receiver and looks at Dora, who has now begun to play an improvisation. There is a long pause. After slowly lighting a cigarette Kent crosses to her. It is seen he realizes he must make some explanation. His manner throughout is tender and shows the difficulty of his position.) I'm going to Rosemoor for a few days. Will you go with me? Dora And interrupt your work? No. {Cheerfully, as she continues to play throughout softly) A man should have one place where he can get away from wives and 'phones. Kent Now, come, confess; you are disappointed that I'm not in the running for Governor. Dora I can't seem to think of you out of public life. Kent Well, you see there are several big guns after the nomination and I thought it might cause a lot of com- plications if I kept in as a candidate. go THE ROAD TOGETHER Dora Yet you knew all this? Kent Yes, dear; but I'm getting sick of politics, with its lack of gratitude, its deals, its bickerings and fence- fixing. I've felt the need of something secure — some life position away from all the mess of campaigns and elections. {Eyeing her) Besides, I know how much happier you'd feel if things were certain. Dora (Not quite understanding) But you never felt this way before. You always loved the fight. (Smiling) I'm afraid you'll get rest- less for the smell of battle, as you used to call it. You talk as though you were going to give up your whole life-work. I won't let you do that. It's just a mood, dear. You've been working too hard. Kent (Puffing slowly and measuring his words carefully) Oh, I'm not going to put everything away. — I'll tell you a little secret. Only you must promise to keep it all to yourself till it comes out in the papers? (She smiles in agreement) Well — you see, there's a va- cancy on the Federal Bench. THE ROAD TOGETHER 91 Dora A Federal Judgeship? (She stops playing, rises and in a puzzled manner goes to him, trying throughout to grasp its meaning) That isn't why you've agreed to postpone this Railroad case? Kent (With apparent frankness) Haven't I explained all that? Dora You've explained only that you are not going to be a candidate for Governor. Kent I told you they had offered it and that I refused. Dora The Governorship is an elective office; the people would have some say in that. Tainter and the Ma- chine control enough Federal patronage in this boss- ridden state to offer you the Judgeship. I know that. For reasons of their own it has been offered you, as an alternative j and you have accepted. You have accepted, haven't you? Kent Well, what if I have? Do you suppose, Dora, that I'd have been foolish enough to have told you this at all, if I had meant to deceive you? 92 THE ROAD TOGETHER Dora You've seen my suspicions. You realized that you couldn't always keep this from me. Perhaps you thought the best way to blind me was to tell me the truth. Kent {Turning away) Have we got to go over this again ? Dora I must understand this; I must think what this means. Kent Aren't you women happier when you don't think? Dora Please don't treat me as a child. If all this hadn't happened just when it did I'd have taken your mere word. But I can't. I can't now. Kent Dora! Dora Wallace; since luncheon yesterday I have been tor- tured in spite of myself. You could have seen me there by the window when you four passed through this room. {He is startled) I couldn't help hearing. Gilmore said it could be made to ' appear ' all right. THE ROAD TOGETHER 93 You've done so to Armor; but you must tell me the truth. Kent It hasn't been pleasant for me to deceive Armor. I beg of you not to go any further. Dora (Slowly) So they accomplished their object in coming? Kent Since you insist on knowing — yes. Dora You've agreed to delay prosecuting the C. N. Y. case? Kent Don't forget how financial and political interests are allied. Dora (Admitting it to herself for the first time) And in return they will see that you get a Federal Judgeship ! Kent Now, don't blame me. You don't know what's back of this. 94 THE ROAD TOGETHER Dora (With a ray of hope) I'm only trying to see if it's honest, that's all? Kent There's nothing illegal Dora I'm not talking of law. I'm talking of what's right. You've agreed to delay the course of justice for your own political advancement. Isn't that what it prac- tically means? Kent I'm seeing this through my need; so don't ask me anything further. I've done what I thought expedient and best for you. Dora (Surprised) You've done this for me? Kent I said you were part of my reason for agreeing. (Testily) Good Heavens, Dora; many wives would be proud to be in your position. Dora I have been proud of your success up to now. Suc- cess! (Recalls Julia's words) But success is not the test. THE ROAD TOGETHER 95 Kent It's the American standard. Dora I could never forget how you had obtained the ap- pointment. {He moves away as though dismissing it. She hesitates a moment and then goes to him tenderly) Wallace; several times things like this have come up in the past and we've always talked them over together. Remember that Insurance case last Fall? You said I helped you then. I know men in politics and public office must consider many factors, and they can't help thinking, in spite of themselves, of the political effect. Let's talk this over, too; if it's a case like that. Kent But I've already agreed to this. Dora You have? (Wallace nods) If you've done this through some mistaken desire to satisfy me, there's still time to Kent I can't. {In spite of himself) There are other reasons. Dora Reasons that compel you to do it? 96 THE ROAD TOGETHER Kent Does a man do these things of choice? Dora If it's the easiest way, some do ; but you never took that cut. (As the suspicion slowly grows) Do they know something about you ? Kent Yes. Dora Something dishonest that you — you've done? And for their silence ? Kent No. I've done nothing dishonest — yet. Dora (She gives a quick gasp of joy which slowly turns into another suspicion) This telephone just now. Your brokers! Stocks! Kent (Quickly) For God's sake, Dora, don't dig too deep, I tell you. Dora (Point blank) Has it to do with money? THE ROAD TOGETHER 97 Kent Yes. Dora (Shrinking away) You, too! Kent {Brutally) Yes: I need money. Now you've got it. Dora (Gasping at him absolutely stunned) You're taking their money? Kent No; I'm not as crude as that. I've sold stocks I haven't got, on margin. Nothing illegal in that. Just the habit of a nation. Dora (After a pause, as though trying to grasp it) Go on ! I don't understand. Kent I'm caught in the market. Gilmore and Biddle and their friends control a pool of the stock ; they will force prices down so I can buy in and get out and make what I need. (Bitterly) In return for their consideration, I merely delay the C. N. Y. trial. 98 THE ROAD TOGETHER Dora (Almost inaudibly as she recalls Safford's accusation) Then he was right! Kent (Desperately) You don't know what it is to need money, do you? Dora (Vaguely for some moments) No. You've always given me everything; I have a little income of my own, too Kent Your income pays for your flowers and your music; but what of your carriages, your amusements? Dora (Dumbly) But your salary? Kent Paid for your dresses and pretty things. Dora (Confused) But I didn't know; I didn't know. THE ROAD TOGETHER 99 Kent Why should you? You never could understand money matters. Dora {Helplessly) I always thought we had enough. You never said anything about my accounts. I've let you handle everything. Kent {Half tenderly) I haven't been particularly anxious for you to know the facts. {She looks at him) No matter why. Perhaps because you took such joy in pretty things. Dora {Quietly) You feel I'm partly to blame for your financial con- dition. Yes; you do. Well, fortunately, it's not too late; we'll change all that. Kent {Shrugging his shoulders) Change a habit in a moment? Dora I can try. I'll do without my ' pretty things,' as you call them. There, there, Wallace. We can live on what we have, can't we? ioo THE ROAD TOGETHER Kent And what of the bills? Dora ( Good-naturedly ) They can wait. Kent {Laughs) I've paid nothing for months. Many of them have threatened suit. It's a marvel the yellow news- papers^ Dora Can't we save? Kent Who ever lives in this city and saves? Dora {Cheerfully) We will. Kent Yes; after I get on my feet. Dora Through your deal with these men? Kent Yes. Now do you understand? THE ROAD TOGETHER 101 Dora {With calm determination) I'm willing to bear my part in whatever sacrifices we must make; but we'll make them together. Tele- phone Mr. Gilmore, or Mr. Tainter, that you won't do this. Kent Do you know what'll happen? Gilmore will ruin me. Ruin! We'd have to move from this house; it's mortgaged to the limit; we'd have to get rid of every piece of furniture to feed our creditors; we'd land on the streets. Every dollar I could scrape together I've put up for margin on stocks these men control. I've gone deeper and deeper; every month selling more; putting up more margin; thinking prices would drop and I could recover everything. I can't get out and they'll call on me to deliver the stuff I haven't got ; and if I don't delay this Railroad case, Gilmore will push the prices up, my margins will be wiped out clean, and we'll be without a cent. Dora {Calmly) Ruin? Move from here? {Looks about room affectionately) Well, Wallace, I'm ready even for that. Kent But I'm not. 102 THE ROAD TOGETHER Dora I can share your poverty but not Kent Come, come; look the facts in the face. Dora You'll not do this. Kent I must. Dora {With calm strength) You will do as I say. Kent Nothing can make me. Dora / can make you. {He looks at her in astonishment) Wallace, I beg of you don't do this. I beg of you. If you only knew how I'm clinging to your honesty, what it means to me! Kent There's no use in further words. {Emphatically) It's done and agreed to. Dora {Drawing back) You mean that? THE ROAD TOGETHER 103 Kent Absolutely. Dora What about your oath of office? Kent Bah! Who'll know? Dora I'll know. Kent {Cynically) Then I think I can trust you to keep the family secret. Dora Do you actually mean you're deliberately going to ruin your whole record like this? Kent There's many a man whose record is good because he hasn't been found out. This is nobody's concern. Dora Your honesty is my concern; your work is my con- cern; your career is my concern: not just because I'm your wife; but because I've made an equal contribu- tion; because I have rights here. I tell you, this goes 104 THE ROAD TOGETHER deeper than you know. I'd rather lose your love — yes — I'd rather destroy whatever happiness you have found in me, than let you make this crooked deal. Now you see how dead in earnest I am. Kent Well, I've made my choice. After all, it's my career. Dora You don't think I've been any part of it? Kent Oh, yes; in a way, but Dora {Murmuring his words, incredulously) In a way, but Kent Well, I guess I've got a right to do what I want with my own life. Dora That wasn't the way I looked at it when I had a choice to make. I thought of you and how my actions might affect your life. You've got to think of me in what you do with your life! THE ROAD TOGETHER 105 Kent {Looking at her intently) What do you mean ? Dora For the last time, will you telephone Gilmore? Kent {Taking her by the arms imperatively) What choice did you ever have to make that affected my career? Dora You're going through with this deal? Kent Yes! Dora Then I'll answer your question. — Do you remem- ber Fred Safford? Kent What of him ? Dora During your first campaign for the District At- torneyship, he and I saw a great deal of each other. Kent Well? 106 THE ROAD TOGETHER Dora He wanted me to go away with him. (Kent gazes at her) I very nearly went. Kent {Hardly believing her words) You nearly went with him! Dora Yes. Kent And you stayed — ? Dora {In a clear, direct manner) For the reason I've just told you. You were mak- ing your first real fight. I knew how close it was. All your opponents were trying to get something on you — anything that could blur the clean-cut moral is- sues you were standing for. I felt a scandal could never have been explained before election; you would have been blamed somehow. I did not want you to know of Fred at the time. It would have distracted you, weakened your strength for the fight. I did not wish to postpone a decision for some future settlement. I feared I could not hide it from you much longer, so I sent him away. I gave him up. I stayed with you. I thought you needed me more ; thought you needed the help I could bring you through standing by your side. THE ROAD TOGETHER 107 That was the choice / made for your career: that's why I have a right to ask that you keep it clean. {He has stood gazing at her, though at first unable to grasp its relation to the deal with the men. Then he walks back and forth several times in silence as though trying to make up his mind. She stands watching him, firm and de- termined yet without any defiance. Finally he gives a sharp, ironic laugh, as though some hid- den thought were touched.) Please don't laugh. Kent If only you knew how amusing it all is ! Dora Amusing ? Kent Yes ; damned amusing. {He starts for the J 'phone.) Dora Yes, the ending is amusing. {Starting to explain) I've seen Fred again. He came back and Kent Hello? Give me Garden 77. Yes. 108 THE ROAD TOGETHER Dora I want to tell you everything, Wallace. I didn't before, because Kent {Ignoring her) Hello; connect me with Mr. Gilmore. Yes, Wal- lace Kent. Thank you. (She waits in suspense) Hello, Gilmore: I have been thinking over that little matter and I have decided I won't do it. ( Dora gives a cry of joy ) No ; under no considerations. Personal reasons. Yes. (Significantly) I quite appreciate what it means. Good-bye. (He puts back receiver.) Dora (Deeply moved) Thank you — thank you. Kent (Coldly) What's Armor's number? Dora I never can remember figures. (As he glances through telephone book) Thank you. It's all clean and above board now. We'll get along somehow. It may not be as hard as you suppose. We'll move to a cheaper place. I'll never forget this, never, never. THE ROAD TOGETHER 109 Kent (At the 'phone) Give me Morris 176. Dora I'm sure there'll be something I can do. ( Trying to smile) I never was very handy with my fingers, but, if necessary, I'll do anything that will help. Kent (At 'phone) Hello! Is that you, Armor? Just get in? Well, I've come to the conclusion you're right about that C. N. Y. business and I'll let you take it into court yourself next Monday. — I thought you'd be pleased. Can you open the case without me ? I may have to be out of town for a few days, so I'll leave everything in your hands. Yes, of course you can tell Julia. Good- bye. Don't thank me. (He hangs up receiver.) Dora (She goes to put her arms around him with a flood of affection ) What can I say? Kent (Pushing her gently away) I intend to send to the Governor to-night my resig- nation as District Attorney. no THE ROAD TOGETHER Dora Your resignation? Yes. Why? (Slowly) Kent Dora Kent Because I can accept nothing at the price you paid nor keep what I've gained by it. (She is completely stunned and he continues with increasing bitterness) Was that your idea of my character, my strength ? Did you think I could not have stood alone ? Dora I only thought you needed me. Kent I did not need your pity. Dora You did not know what it was I gave you; the effect was the same. Kent At the time, yes. Dora I gave it all willingly. THE ROAD TOGETHER in Kent You expect me to take it proudly because you sac- rificed yourself and the man you loved for fear I might go to pieces? You thought I couldn't rise above talk? Proud of that? It's an insult. Dora {Completely halted by his unexpected reaction) Insult ? Kent Yes ; it was an insult : you might have given me the chance to offer you happiness with your poor weak fool. (She starts to explain) Do you believe I'd have dragged you away from him or punished you be- cause / couldn't keep your love? Do you think I couldn't have been decent to you both? Dora You would have treated me decently, I know. But that wouldn't have altered the other facts. I did what I thought was honorable by you. Kent (Sneering) Honorable? Honorable? You women are funny! You're shocked at me because I accepted Gilmore's offer; yet with your feminine logic you can see noth- ing despicable in living a lie in my house. Honor- able? ii2 THE ROAD TOGETHER Dora {Confused) No ! No ! I lived no lie. If you'll let me explain. I suffered for it at first, but Kent That was sufficient excuse I suppose for the deceit? Only suffer for an action, you women think, and it be- comes beautiful ! Suffer ! You love it ; you take pleasure in it ; your spirit of martyrdom is your greatest luxury. Well, you acted well; played your part splendidly; for I never suspected, even when he was around. Dora {Forcefully) Then give me credit for that. There would have been no sacrifice had I brought you only tears. What if I did hide all that was hard then? You blame me for the lie; give me credit for my consideration and sincerity. Kent Sincerity? And you lived with me all this time as my wife and I never knew! Dora What else could I do if I stayed with you? Kent Wanton ! THE ROAD TOGETHER 113 Dora {Flaming up) Don't you dare Kent I understand now. You took my name, my roof, my protection, and gave yourself in return. (She gives a sharp cry) Wanton! You took lips that meant his; embraces that made other memories live. And his name ! How was it you never gasped his name ? Dora I never stole one hour with him. I played straight that way. Kent How do I know, how can I ever know? Dora I'm giving you my word! Kent (With great scorn) Your word ! When you lived this lie and have given everything the same! (She turns to deny but can scarcely speak at his attitude) How can I believe any- thing in the present or past just because you've given your word? (She stands stunned at his words as he begins to laugh ironically throughout.) ii 4 THE ROAD TOGETHER Dora If that's the way you feel, you can believe anything you wish! Kent Haven't you gone on cheating him, cheating your- self, and cheating me? Dora You? Kent Yes, me! And I thought all the while / was the one you loved. I fooled myself that I was everything to you. And I wasn't, was I? I wasn't? Dora I tell you nothing more till you come to your senses. Kent I'm in my right senses. I see it all. You don't have to explain. But I do. I want you to know I, also, did everything I could to fool and deceive you. Dora {Starting up) To fool me? Kent Yes. I heaped pretty things upon you, gave you everything you wished; I've ruined myself — everything. THE ROAD TOGETHER 115 Now you see. Now you see why this is too monstrously funny. Because I thought you loved me and that kept me silent. Dora Silent? {Going to him) What are you talking about ? Kent Don't you see ? You love somebody else. I am noth- ing to you now. I can pass out of your life, it's over. Dora ( Trying to break in ) Answer me. What have you been silent about? Kent Now that it's all over between us, I can tell you. Don't think I want your pity. I don't need it now that we know we do not love each other. Dora {Starting back) You don't love me? Kent What difference does my love make to you now? Dora But u6 THE ROAD TOGETHER Kent Let's stop. It's over. Done with. Thrown in the rubbish heap. Dora Let's have all the truth. Kent It's too late, I tell you; too late for me. Dora {Trying to grasp the situation) You don't love me. Kent I never guessed about you. You never guessed about me. What a game we were playing. And you could have seen it happen right here, before your eyes. Dora {Grasping it) She lied to me! You love her! Julia! Kent Isn't it funny that you should love somebody else and that I should love somebody else and that we should go on living together, lying to each other? Isn't it too monstrously comical ? THE ROAD TOGETHER 117 Dora (Passionately) Yes, that you could live with me when your love had ceased ; give everything just the same, because you were a man. You could fool and trick me and yet blame me. That's why you were so bitter; I wounded your pride and not your love! Kent I know, I know, you're right. I won't sneak out of it the injured party. I was to blame, I was to blame, I was cruel — all. I lied; I lied. We both lied. And look what has happened. Dora (Quickly) All that's happened is that I'm in the way. That can be changed. Go to her. Kent (Halting) Why to her, pray? Dora (Controlling herself) She loves you. Kent Me? Loves me? (Laughing as before) Loves me? When I've never said a word, never dared look her in the eyes because I didn't want to mess things up and make you unhappy? Loves me? No, no. n8 THE ROAD TOGETHER Dora (With cold intensity) Go to her. She loves you. She told me. Kent That's absurd. Why should she tell you? It isn't true. No. No. It can't be true. Dora Go to her; she loves you. Kent (Dismissing it) I've had enough of love and lies. There's noth- ing more to say. (Goes to the door) I'll leave the house to-night and go to Rosemoor ; later you and I can arrange matters quietly. Dora (With a sharp cry) And what's to become of me? Kent (Bitterly) Now you can go to the man you love! (He goes out. She stands stunned and silent.) Curtain THE THIRD ACT THE THIRD ACT The study in Julia Deering's apartment. The same evening: later. The room, which is shallow and intimate, is soft in tone. The fireplace at the left contains a blazing log which casts its wavering light upon a deep leather couch stretched cata-cornered before it. Several long cathedral candles, in esthetic holders, are also lighted, and one notices a work-table near the center, upon which are a writer's usual assortment of disordered letters and manuscripts. There are several chairs, of varying designs, about this. Above it hangs a soft shaded light-cluster which, when the curtain lifts, is turned out. Several old engravings are seen, other- wise the walls seem to melt away in the shadows. The floor is covered with a thick Oriental rug. The room, somehow, suggests Julia — with its faintly insinuat- ing appeal to sensation. The general entrance is in the right upper corner of the irregularly cut room. This door opens out upon the hallway which leads to the rest of the apartment. A window, now curtained, with some low book-cases on either side, is in the back. The electric switch is by the fireplace. There is no one visible when the curtain rises. Some moments later Julia opens the door and comes in, followed by Porter, who is eyeing her furtively. 121 122 THE ROAD TOGETHER She wears a loose informal gown; he is in dinner-coat. She goes towards the fire and sits upon the couch. Julia The cigarettes are there, Tom. Porter Have one? Julia ( Taking it) Try one of mine. They're a new brand, Russian. Safonoff sent them to me. Porter {As he lights her cigarette) No ; I'll stick by my own. Julia {After a pause, as he gazes at her blowing rings) I love to watch the smoke. Porter I love to watch you watch it. {A Maid enters with coffee cups on tray which she places near Julia. She fills them with steaming coffee; hands one to Julia and offers the other to Porter, who takes it. She then goes to switch on the light.) THE ROAD TOGETHER 123 Julia Don't turn up the lights yet. (Maid goes out.) I'm so fond of shadows. Aren't you, Tom? Porter Depends on whom I happen to be with. Julia Oh, I forgot your sugar. Porter {Refusing it) Doctor's orders; getting old, Julia. Julia You'll always be the same to me. Porter {Bantering throughout) Sounds discouraging already. Julia Discouraging? You didn't intend to ask me to marry you again? Porter You haven't married me once yet. i2 4 THE ROAD TOGETHER Julia I'm a better friend. I like adventure. Porter Julia I thought you were seeking peace and quiet. Porter No; I'm seeking a wife. They're not necessarily synonymous. Julia But peace and quiet only can come with love, n'est- ce pas? Porter Nonsense. There's nothing reasoning or reasonable about love. It drags people together who'd be much better apart. It frequently pulls one away from two and makes sixes or sevens. It steals like a sneak thief where it shouldn't go and dodges the vacuums where it would be welcome. Love sometimes raises a family, Julia — {Mock confidentially) — but more often it raises the devil. And when our law-makers are trying to pin it down, it only laughs at them. Why don't these anti- divorcers and preachers and professional moralists stop chiding the poor creatures in love and try to devise some apparatus to steer the pesky thing right? I'll patent it and give it to humanity without royalty. THE ROAD TOGETHER 125 Julia {Amused) Tom, I know just where I can use that idea in my new novel. Porter I forbid it unless you'll marry me. Julia (She shakes her head) Take another cigarette instead. Porter Hardly a substitute. — I'll stop making love if you won't go abroad. You know, I don't like the idea of getting plastery picture postal cards of Corfu in the moonlight. Julia (Musing) You want to marry me. I wonder what would hap- pen if / had what I sought most? Porter (Dryly) You spend too much time anticipating your emo- tions. When they come, you have already lived through them. The experience itself never can equal such anticipation. 126 THE ROAD TOGETHER Julia The penalty of all writers. Porter Why, you've got everything now: money, beauty, temperament, reputation; everything you should have. Julia But a husband? Porter I offer to supply the deficiency. Julia I'd make you miserable. Tom, why didn't you fall in love with some sweet young woman with pretty pink ribbons and pussy-cat ways? Porter I did. But she refused me; fortunately. {Whim- sically exaggerating) Come to think of it, I guess I've gone through the entire repertoire. Every time an adorable woman broke my heart I read the history of some foreign country to restore me to my proper place in the universe. When we suffer we're so self-centered. I've only got Persia left. {Sighing) Please save me from Persia. I hate the Shahs with their sneezable names. THE ROAD TOGETHER 127 Julia {Smiling) You'd forget me, as you have the others. Porter This is my finish — after Persia. {With his real feeling escaping for the first time) Why, dear Julia; don't you suppose I know how foolish it is of me ask- ing you? You were made for the men who could shoot you to the stars and whirl you till you were dizzy in their dust, and all that literary sort of stuff. But you'll not be happy that way. I'm not much on star dust. Then I'm not young any more. Oh, I acknowl- edge it officially. I'm only one of the wanderers on the streets below with a hand waiting to help a woman just a little now and then. {Taking her hand) I know it's foolish, but I'd like to see some quiet come into that restless soul of yours; I'd like to make you — quietly happy. That's all. Julia Quietly happy! {With deep feeling) Don't go out of my life ; I need you ' just around the corner ' as you said to Dora ; for I'm a miserable woman at times, struggling with impulses which drive women like me to — . But you steady me. You're a sort of habit. I need you. I'd have tried to take much I had no right to if you hadn't been here. {Impetuously as she thinks of Wallace) I would now if — . I tell you, there's a courage that accepts but a greater courage that dares. 128 THE ROAD TOGETHER Porter (Not understanding) Julia! Julia (Dismissing it) Ah, je suis egaree! Porter Don't know what it is, but you've got it. Julia (Laughing again as her mood changes) Forgive me. Don't say anything more of love; but be just around the corner. Porter (Resigned) You can do the Rock of Ages act all over me. Grab hold any time; I'll let you cling and won't call for help. Julia Tom, I could kiss you. Porter But something always happens to prevent. (Maid knocks and enters.) Didn't I tell you? Maid I beg pardon. THE ROAD TOGETHER 129 Julia What is it ? Maid I forgot to say Mrs. Kent telephoned ten minutes ago that she was on her way over to see you. Julia (Surprised) Mrs. Kent? Yes, ma'am. Maid Julia Let her come right in here. (Maid goes out. Julia, somewhat puzzled by this announcement, goes slowly to the lights and switches them on. Porter gazes at her a few seconds, gives a little sigh as though realiz- ing the uselessness of further words. Then he looks at his watch.) Porter Goodness, I must trot along. Promised to drop in on Armor. I've got a warm place in my heart for that brother of yours. I'll leave you and Dora here to pow-wow. Julia I wonder why Dora's coming to see me? 130 THE ROAD TOGETHER Porter Perhaps Wallace had to go to his office. He's got that very important case on. Julia (As she abstractedly puts out the candles) But don't you remember ? He said he was going off this evening by himself to Rosemoor. Porter Oh, yes; that's so. Think I'll get a bungalow like that when you've gone. Julia Rosemoor! It's such a pretty name. Porter Wallace has a lot of sentiment down deep which law books haven't killed. If you'd see that view over the valley and not a soul to share it with him. Julia (Wistfully) I've always thought I'd like to see it before I went away. Porter But he plays the primitive there and keeps house himself. It takes a touch of poetry these days to get THE ROAD TOGETHER 131 away from people and 'phones. — Well, I must be going. Tell Dora I couldn't wait. Julia Tom, I've been waiting for you to tell me what happened between Fred and Dora. Porter Dora can tell that better. Perhaps that's why she's coming over. Julia Fred's gone away? Porter Yes ; he sailed at noon. Julia {Puzzled) But how did she make him go? Porter {Smiling) Some day, I'll let you know — if she doesn't. (Dora enters. She is simply dressed and wears a scarf over her head. She is very calm and deliberate throughout with a certain firm strength. They greet, and Porter takes off her cloak, throwing it on chair.) 132 THE ROAD TOGETHER Julia Come near the fire, Dora; the nights are still chilly. (Julia crosses to fire with Dora) I'll send for some hot coffee. Dora No; thanks. Porter Sorry I was just running off. Dora Must you? Julia Tom's going to see Armor. Dora Then take my taxi, Tom. But send it right back. I'll only be here a few moments. (Julia looks surprised.) Porter Thanks. Any messages for Armor? Dora Tell him I'm glad he's going to conduct the C. N. Y. case. Porter {Deeply pleased) I knew Wallace would do what was right by him. THE ROAD TOGETHER 133 Dora Yes; he does what he sees is right, too. Porter {Quietly to Dora as Julia has crossed to desk for some letters) Was worried this afternoon. Good-bye, little girl. Dora You've told Julia about Fred? Porter Only that he's gone away. Dora I want you to come around in the morning. I need some advice about a trip I'm going to take. Porter {Surprised) Certainly. Julia {Handing him some letters) Tom, will you mail these? Please don't forget them. One is about my passport. 134 THE ROAD TOGETHER Porter {Taking them) The instrument of my own destruction, eh? {Look- ing at it) Sort of Greek irony. But don't worry, I'll mail it. Bye-bye. Rock of Ages any time you're will- ing. See you to-morrow, Dora. Bye-bye. {He goes out. Julia follows him off a second. They are heard talking. Dora is left alone. She relaxes a moment as though feeling she has not the strength to go through what she has apparently determined upon. Her eyes fall upon Kent's photograph, which is with some others on mantel. She takes it down and smiles at it enigmatically, replacing it as Julia re- turns. She assumes a steely exterior as Julia, obviously sensing a deep reason for Dora's coming, closes the door and comes down. There is a pause.) Dora Wallace has not been here? Julia {Surprised) Why, no. Dora He wrote some letters but went out before I did. I thought THE ROAD TOGETHER 135 Julia Wallace went to Rosemoor, didn't he? Dora Oh, yes; perhaps. Julia How did you think he'd be here? Dora Because I told him to go to you. Julia You told him to see me? What about? Dora Julia, he and I have gone on the rocks at last. Julia I don't understand. Dora It's very simple. It's all over between us. Julia {Hardly grasping the significance) What do you mean? 136 THE ROAD TOGETHER Dora He doesn't love me. Julia What are you saying? Dora He has ceased to love me. Julia {With mingled emotions) Then — then you are going to Fred? Dora {With a bitter laugh) Going to Fred? That's over, too. Julia {Eyeing Dora) But why did you send Wallace here? Dora Because I am going to leave him. (Julia gazes in- credulously) You said you'd like to have had a chance for happiness. I give you more than a chance. When he and I came to talk it all over {With difficulty) I found it — it was you he cared for. THE ROAD TOGETHER 137 Julia Me? Dora Yes. Julia Wallace cares for me? Dora Yes; and he knows you love him. Julia You told him that? * Dora (Fir?nly) Yes : you both must not miss your happiness. Julia It isn't so; it can't be so. Dora Would I lie to you now after our talk yesterday? Julia Wallace loves me! He loves me — me! (Julia sinks down in the chair, half dazed. Dora stands watching her without emotion. Julia slowly recovers; there is a long silence 138 THE ROAD TOGETHER then she gradually looks at Dora with a new thought.) And you? What are you going to do? Dora I told you. I'm going to leave Wallace. {Bitterly) He said I should go to the man I love. Julia He knows about Fred? Dora Yes. But he thinks I love Fred and that I am going to him. Wallace must always believe that. Julia But that's a lie. Dora Isn't it better to lie if it will bring you happiness ? Julia You believe the truth might separate him and me? You think if he should know you do not love Fred Dora I don't wish him to have any thought of me. {Bit- terly) Even men pity sometimes. THE ROAD TOGETHER 139 Julia {Incredulously) And you can ask me to keep a secret like that? Dora Most women keep secrets from the men they love. Julia {Determined) No ; he must know the facts. Dora But his happiness lies in your silence about Fred and me. Julia {Pointedly) And what of my happiness ? You've put a fear in it. You've settled your own lives but I'm the factor you don't seem to have considered. {Resolutely) No; he must understand about you first, or I'd always be ask- ing myself afterwards what would Wallace have done if he'd known the truth? Would he have left Dora alone f — No, no, I can't. Dora {Coldly) You must not think of me. i 4 o THE ROAD TOGETHER Julia But I do, Dora. I could never forget you. I'd al- ways see you alone. Dora I've always been helpless Dora to you, haven't I? Just because I wasn't practical, as you called it. But I did what I thought was the greatest thing a woman could for her husband; yet in his wounded pride he thought I should have gone to Fred. Oh, not from any generosity on his part; but because I had stood between you and him. (Julia surprised) He didn't realize it himself, perhaps; but / won't be in the way any longer. Never — never could I live with him after what he said to me. I'm leaving him for good. I would even if you were not concerned. That's why I've come to ask you to be silent about Fred and me. Julia The lie of silence ! Dora Julia. Be fair to him. I gave him his chance by telling him you love him. You mustn't rob him of it. You love him, don't you? (Julia bows her head) Then make him happy! Julia {Rising quickly) How did this all so suddenly come about? {Going to her) Dora, was it because I told you what he meant to me? THE ROAD TOGETHER 141 Dora {Confused a second at the abruptness) No. Julia Nothing he did or said about me? Dora No; nothing he said about you. Julia It wasn't I who came between you ? Dora {Evasively) No ; it simply happened. We were talking. How are things ever discovered? Time found us out. Time's a rummager, isn't it? See how it found out you two loved each other. Julia {Half to herself as she sits down still unable to grasp the fact) That we two love each other! Dora {Earnestly) Before I go; before you see him; say you will be silent about Fred. (Julia hesitates) Think, Julia, of Wallace. Don't you see it's best he should believe i 4 2 THE ROAD TOGETHER me happy. Make it easier for him and I'll simply step aside. Come, Julia, say you will. It's not a falsehood I ask; it's only silence. Julia Silence can be so cowardly. (Hesitates) Yet — I — Dora But you two love each other. It's / now who asks love to take its right — since I made such a mess of mine. (Julia bows her head. Dora looks at her and sees she has practically consented.) I wish him to be happy more than anything else in the world. Julia (Quickly) Dora! You love him! Dora No, no, no ! He killed everything in me. I'll prove it when the time comes. Julia (Stands confused) You love him! Dora No. (A knock is heard on the door.) THE ROAD TOGETHER 143 Julia What is it ? (Maid opens the door.) Maid Mr. Kent is here. {There is a tense moment. Julia looks in- quiringly at Dora, who quickly decides what to do.) Dora {Calmly) Let him come in, Julia. Julia {Confused) But Dora {Firmly) We three must understand one another. Julia {Trying to gain composure) Ask Mr. Kent to come in. Put a log there. (Maid goes over to fire and puts on another log which blazes cheerfully. They half watch her during the ominous silence.) Tell Mr. Kent that Mrs. Kent is here with me. I 144 THE ROAD TOGETHER sha'n't need you any more to-night. (Maid goes out, leaving the door open) It's best Wallace knows you are rure. Dora He will not go away. And he will want you to know I do not love him. (She stands by fire warming her hands) The fire is good. Julia I'm burning. (Turning away; half to herself) What shall I do? (After a pause) And this is Dora. Dora (Simply) One changes. ( There is a further silence till Kent enters slowly as though the fact that Dora is there has made him hesitate. He closes the door and stands looking at the two women. He cannot conceal entirely the bitterness of the previous scene with his wife.) Again, it's a bit ironical, isn't it, Wallace? (He is silent) But there need be no embarrassment on my account. Kent I came to say good-bye to Julia. THE ROAD TOGETHER 145 Dora I knew you would come. Kent And your reason for being here? Dora To tell her what she means to you. Kent {Emphatically) I did not come to talk of that. Dora When I told you she loved you, you said it wasn't true. Ask her now. Kent Believe me, Julia, I did not come to ask any ques- tions; as you shall see before I go. Dora Ask her. I want everything clearly understood. (Kent in silence, looks towards Julia, who sinks into the chair, burying her face in her hands) You see, Wallace. Kent Well, Dora, is that all? 146 THE ROAD TOGETHER Dora No. I'm thinking we'd best talk the matter over quietly. Kent Here? Dora Why not? It would have to be some time and now it will be finished sooner. There must be no skeins to unravel later among us there; we must understand one another now. Won't you sit down, Wallace ? (Kent hesitates, but seeing the cold determina- tion in Dora's manner, he goes slowly to the other side of the table. After glancing at Julia, who is in the deep chair gazing tensely before her, he draws back the chair and sits upon it. After this is done, Dora goes to the other chair back of table, between them. The light from the lamp falls upon the three.) Wallace, Julia knows that you and I have gone on the rocks. Kent (Referring to the political deal) Is that all you've told her? Dora Yes. Kent (Significantly) Nothing else, Julia? THE ROAD TOGETHER 147 Dora (Quickly) You doubt my word? Julia (Looking up suspiciously) What else was there I should know? Dora ( Clearly ) Nothing. Kent Then you had no other reason for coming? Dora (Firmly) Yes : I came to tell Julia that I was going to the man I love, so that you and she should face the future with- out thought of me — together. Kent (Sarcastically) I could have told her that, if ever the time should 148 the road together Dora I It was right / should do that much for her, since I am going to be happy, too. Kent Happy? You're sure of that, eh? Dora Would your vanity desire me to suffer in losing you? You've shown me once today that pride is as deep and cruel as love. Kent I was harsh, perhaps; but Dora Don't have any regret now. I have none, at leav- ing you. {He winces) But I desire Julia to under- stand how far you and I are apart. Kent {Bitterly) Is that all you have to say ? Dora {Concealing from them her suffering) No. I have a further word to add to my confes- sion. It wasn't really the thought of you and your THE ROAD TOGETHER 149 career that made me stay with you, as I said. I stayed because I hadn't the courage to go through all that was necessary. I stayed, like so many other wives, because it was easier. Kent {Disgusted) That destroys everything between us. I meant it to. Dora (She rises and turns away.) Kent (Coldly) There will be essential affairs to talk over. Dora When you come back from Rosemoor will be time enough. Now I'm through here. Kent (Coldly) What do you intend to do? Dora I shall go West to my cousin. I'll stay the requisite time for the divorce. Perhaps Tom will advise me. We'll both go through the usual mockery: desertion and all that. Then life will begin again. 150 THE ROAD TOGETHER Kent {Cut, but puzzled by her manner) After all these years, you can say only that? (Julia looks up slowly and inquiringly at him as though wondering whether he has feeling for Dora. Over Dora's face there is a momentary glance of tenderness which, under Julia's in- quiring look, assumes coldness as before.) Dora Yes, Wallace. I'm glad it's over. That's all there is left. Good-bye. (She picks up her long scarf, puts it about her.) Kent (Abruptly) And Gilmore? You didn't tell Julia about ? Dora (Quickly) No, Wallace. Let that be between us. Kent (Scornfully) More lies! Lies? Julia (Starting up) THE ROAD TOGETHER 151 Kent Yes. Rotten lies. Dora (Nervously) Wallace ! Kent I said I didn't come here to talk of love. I came for only one purpose: to tell Julia about Gilmore and Tainter, and what had happened between us. Dora Why say anything? Julia (Quickly j rising) Then there was something that brought about the break between you? Dora I told you everything, Julia. Julia You told me nothing. Dora But it hadn't anything to do with you. Kent No. It was something wrong with me. I've writ- ten my resignation, Julia. My career is done, finished, thrown aside. 152 THE ROAD TOGETHER Julia (Quickly) You feared some scandal would result in coming to me as Dora once feared it in going to ? Dora (Confused at new turn of situation) No! No! Nothing like that. Julia It was something to do with me. I came between you. Kent (Sarcastically) I gave it all up for Dora's justification. Julia (Recalling) Justification ! Kent Tell her, Dora, I faced an alternative ; to stop meant financial ruin. Julia And you stopped? Kent Yes ; we are ruined, on the streets without a penny. THE ROAD TOGETHER 153 Julia (Astonished) Then Dora has nothing? Kent (Bitterly) You forget she has the other man! Julia (Starting to reveal the truth) But Dora (Stopping her) Hush ! Your happiness should be your first thought ! Julia (Hesitating) Oh! Kent You said, Dora, we were to talk it over calmly in order that Julia and I should start straight. I intend to see whether you and I, Julia, can ever start at all. Dora (Desperately trying to stop him) Wallace ! Julia Whether ? 154 THE ROAD TOGETHER Kent (Bitterly to Dora) You came here tonight to arrange matters. Per- haps you didn't trust me. So tell her about Gilmore and all the rest. Dora Wallace, will you be silent about that? That's ours — ours. I have the right to ask some silence of our life together. Kent But first tell her I'm a crook; a bribe-taker; any- thing you choose to call it. Julia Wallace ! Dora (Noting Julia's reaction and defending him) That isn't so, Julia. Kent (Sarcastically) Tell her it's intention that makes crime. Tell her, as I was going to, that you discovered I wasn't quite the ideal man you thought me. Strip me to her as you stripped me to myself. Tell Julia all, so she may know how the crooked deal came out and with it the lies, the whole rotten lies we were all living. THE ROAD TOGETHER 155 Julia {Confused) Something crooked! Kent Yes. You'll have to know, Julia. I'll spare details now, but the fact is there. I want the decks cleared between you and me, and between me and myself. Dora No, no ; Julia, he's exaggerating. He didn't do any- thing dishonest. He was merely forced to consider it — was tempted. It was my fault; my extravagances. We needed money Kent Bah! I don't want that defense! Dora {Forcibly) But you didn't do anything wrong, did you? You didn't do it. Kent {Bitterly) Thanks to you, I didn't. Julia {Who has listened spellbound and is slowly grasping situation ) You stopped him, Dora? And it all came out? 156 THE ROAD TOGETHER Dora (Quickly) We talked it over as you will all the common prob- lems and difficulties when you are married. This mustn't come between you as it did between us. That's all. Kent (Emphatically and with sincerity) That's not all. I was going crooked, slipping into the very class of men it is my business to put behind the bars. I was weak, wabbly, and a coward; afraid to face myself with the truth till she toppled over our life together to make me see it. That's what I was. (Dora watches him with joy at his change) But I've got hold of myself in time. I must prove to myself by work and accomplishment that I did not need a woman's sacrifice. I must clean the rot and rust out of my life; my insincerities, self-deceptions, hypocrisies — all. I must build an honest foundation. I must take life by the throat and make it give me what I need. That's what I came to tell you, Julia; not to talk of love. Dora Don't be the fool you said I was. Don't cheat your- self and Julia by waiting. I'm not in the way now. I've done, finished. Julia, tell him you want him to stay. THE ROAD TOGETHER 157 Julia {Impulsively) Not till he also knows all the truth about Fred. Then he may choose. Dora {Frantically) Julia ! Julia ! Julia Maybe he won't want me when he knows. Kent {Not understanding) Won't have you? Dora Julia, you'll spoil everything. Julia Maybe he won't want me when he knows I tried to separate you, and failed — failed. Wallace, Dora does- n't love Fred. She's sent him away forever. She'll never marry him ; she's going through divorce only for us! She'll be alone, alone Kent Dora, alone! 158 THE ROAD TOGETHER Julia (Detecting the note of pity in his voice) You pity her, too! Kent (In spite of himself) Why didn't you tell me that? Dora (Defiantly) Why should I tell you? Why do you give me pity when you refused to accept mine? Is that your idea of me? Is that all you think / need? Can't I also stand alone, as you said you could have? Do you expect me to take your pity proudly and let it cheat love? Is that the sort of woman you think I am? It's you who are now insulting me. Julia (As she sees Kent stands spellbound eyeing Dora) She loves you, Wallace. She loves you. Dora (Desperately) After what he said? No! No! Julia Yes, yes! You want him to be happy above all things. That's love. You're breaking your heart to THE ROAD TOGETHER 159 do it. Let's have the whole truth. Then he may choose. Kent Dora? Julia You love him. I see now you've always loved him. Dora (Fiercely) Well, what if it were true? What if I were break- ing my heart ? What if I do love him ? Kent Dora! Dora (Bitterly to Julia) What has that to do with you? Julia (Shuddering) I can't think of his leaving you alone now. I can't. Dora (Fervently throughout) Why not? Why not? Can't you take him on that basis ? Julia Oh! 160 THE ROAD TOGETHER Dora It was easy to believe love was everything until you had to make the choice. You blamed me for sending Fred away, but you hesitate to take your love and you deny Wallace the rights of his love. (Julia tries to stop her throughout) You called me a coward because I was true to what I thought was right when I felt there was something more in marriage than the mere passion that comes and goes and which we can't con- trol. You thought I should have gone to Fred and left my husband, only because you wanted him. I tell you there is nothing in the way now of his leaving me. You can go with him, and if you will not take what life has offered you, I will ask which of us two is the greater coward! Kent Dora, listen ! Dora {Turning to Kent) And you pity me now; you who also blamed me, and burned your words in my soul so I can never forget them. You also thought all the years together were as nothing; that only passion counted; not the hours we had served each other in sickness, not the joys and sorrows we had in common, not all that I shared and sacrificed to make your career possible. They meant nothing, because you couldn't understand the difference between a theory of life and what actually was. You swept all away since I wounded your pride THE ROAD TOGETHER 161 by telling you another man had caught for a moment my imagination when we were careless and unwatch- ful; and yet because I continued to live with you, and thought you had the greater claim, you called me wanton. Julia {Sinking in chair and covering her face) Oh! Kent Dora, for God's sake, stop! Dora Yes, wanton! Because I took your pretty things, your food and lodging and gave myself in return. Yes, those were your very words. You measured me and what I gave by the standards of street women; you forgot what I was willing to give to you ; forgot I was faithful, forgot everything. — I tried to keep all this back, but now you know all the facts; everything is unravelled; there are no secrets. Throw me aside now, Wallace, as Julia thought I should have thrown you aside. Take her, as you said I should have taken my ' poor weak fool.' I've done everything I could to give you your chance for happiness together, as you said you would have given me. Don't do as I did : sac- rifice and pity; or Julia will despise you as she always has me in her heart for what I chose. Do everything from now on as you both thought / should have done when I faced the same situation you now face. I'll 1 62 THE ROAD TOGETHER never interfere with whatever you choose to take of life together before I am free. Take everything! (Slowly) If you can. — If you can! (She goes out, closing the doors. Then Julia and Wallace turn and gaze at each other in question.) Curtain THE FOURTH ACT THE FOURTH ACT The same as the First Act. . . . A morning ten days later. The room is now dismantled and everything is ready to be moved out. Barrels, boxes, and packing-baskets have taken the place of the furniture. The window-cur- tains, through which Dora has gazed so often in all the varying moods of her marriage, are down — -even the brass-poles and brackets have been removed; nothing veils the view to the clear skies without. Faint oblong shadows, where once the pictures hung, are seen upon the cold and distant walls. Those who had known the room would sense the subtle atmosphere of protest which inevitably comes with the wrenching of material things from their human relationship. It is only the silver loving-cup, upon the piano, which seems to have escaped the desecrating hand. No longer does one view a home; it is just a place where people still linger. Yet, somehow, it is a symbol; a visible statement of what happens in the universal rhythms of life, where only through the breaking-up of the old can one move on to new adjustments. Dora enters, simply dressed. There is quiet sad- ness in her manner cloaked by an obstinate resolve. She looks about as though recording the new desola- tion; but controls herself. Then she goes to the fold- ing-doors, which, as she opens them, expose the other 165 166 THE ROAD TOGETHER room in the same condition, with some packers, super- intended by Woods, methodically finishing their task. Dora Woods. (He comes down, closing the doors again) Is everything packed? Woods They begin moving out shortly. Dora I hope they've been careful. Woods They know people may use the furniture again in time. Dora (Evasively) We're only going to store it over the summer. Has Mr. Kent 'phoned? Woods No, Mrs. Kent. Dora (Protecting him) He's fortunate to miss this. W t oods I've seen to everything myself. THE ROAD TOGETHER 167 Dora You've been very good and faithful. You know I'd have been lost without you. Woods {Venturing) One learns a lot about people in ten years. Dora Ten years! So it is. — I'm sorry to lose you. Woods My profession is not a permanent one. Dora I wish we could have made it so. Mr. Porter says he will place you ; so you will lose nothing. Woods Thank you. {Significantly) And your room up- stairs? Dora We'll leave that till the last. Mr. Kent would wish it. Woods {Looking about) It isn't easy to move after ten years; so much rub- bish collects in a house ; one never suspects how it gets there. 1 68 THE ROAD TOGETHER Dora Yes; lots of rubbish. Woods It's only when we tear up we really know what we have and what we haven't. Dora That's true, Woods. Woods I beg your pardon — (She turns) — but I did not know whether you'd wish that loving-cup packed. I remembered your wedding anniversary comes next week. (She looks at it standing forlornly on the piano. He glances at her and she is silent. He bows and goes out. It has seemed as though } for a moment, they had met' and subtly understood each other. She moves toward the loving-cup, puts her hand on it half -affectionately and full of impli- cation. Then she shrugs her shoulders, trying to shake off the memories it recalls. Porter enters. He is very cheerful on the surface but there is an underlying strain of the situation.) Dora Tom, I'm glad you've come. I was lonely. THE ROAD TOGETHER 169 Porter Everything ready? Almost. Dora Porter That's good. I've been busy getting matters in order for you. {He sits on a box, and takes a lot of papers out of pocket) I went first to the Trust Com- pany and find you can have your income sent you in monthly installments instead of semi-annually. Dora That's better. {Smiling) Now, I'll be poor only a few weeks each month. Porter Then I went to the lawyers'. Dora You didn't ? Porter Mention any names? Oh, no. So I suppose they thought I was in love with a married woman. Dora Imagine you. 170 THE ROAD TOGETHER Porter I was once — but only once. It's a troublesome lux- ury. — I find you'll need to go West ; rent a house or a flat. Stay six months. Of course, you can travel while you're staying there. It's all here. {Leaves papers on box) You can read them later. Dora {Wistfully) How do I get there? Porter Got the time-tables. ( Takes out four colored time- tables which he also leaves upon box) Four routes; take whichever color looks prettiest. Dora {Absently) I've never been so far alone before. {Pauses) What about this house? Porter That's all fixed. Quite unexpectedly got somebody to sub-let it and turn it into a store. Dora {Half shuddering) What kind of a store ? THE ROAD TOGETHER 171 Porter Women's garments; you know, with lace on the pretty things that aren't seen. Dora {With a faint j ironical smile) Pretty things? I wish it had been something else. — You have looked after everything, Tom. Porter Had to, since you threatened to do it yourself. {Absently) You never will learn. Dora {Hopelessly) Won't I? Porter {Affectionately) Not as an expert, I mean. But just call on me. Dora How can I always do that? Porter I haven't anybody now myself and Dora {Affectionately) You're a little friend of the whole world. 172 THE ROAD TOGETHER Porter Truck and nonsense. Dora, this has sort of knocked me out, too. But I like to keep busy. I'm lonely myself, at times. But one's never too lonely if he's working for the happiness of what lies nearest. So I'm not doing this only for you; but for her also. She'd wish it. Dora Julia is a fine woman. Porter How she and Wallace! {With a sigh) Well, no wonder she wouldn't marry an old duffer like me. (She takes his hand affectionately) So, little girl, we've got to help each other, you and I. We're left behind. They're not going to see sad, weepy faces if they look back, are they ? We're going to buck up and show them we're game. I'll have you to look after, if you'll let me be ' just around the corner.' That's what Julia said. But she doesn't need me and you do a bit, eh? Guess I need somebody to look after, too. No sad faces, eh? We're game, eh? Dora It hurts, doesn't it? Porter I've had pleasanter sensations. THE ROAD TOGETHER 173 Dora But you think I've done right? Porter (Slowly) Whoever knows what is right? The answer always lies so many years ahead. Dora That's so, Tom. Yet there are many people who are always ready to blame and judge others. They forget every one marries to be happy, but no one can ever tell what the future holds. (Smiles faintly) I'm beginning to think husbands and wives should have a lot of sympathy for each other when things go wrong ; but most of them have only bitterness. And I'm like the rest. Porter If I only could get that patent to steer love right! Here we all are. We're pretty decent people — at least, we all had good intentions. Yet look how love has tangled us all up, and not one of us really at fault. Dora I thought I was somebody of importance to both Fred and Wallace. I was mistaken. Each would have been what he is without me. Yet I must have hindered Wallace instead of helping him. 174 THE ROAD TOGETHER Porter Nonsense, Dora. Dora Why, look how dependent I am even on you. It's easy to say you can live alone and all that. It's so dif- ferent when you're suddenly face to face with your- self. I never realized before how absolutely helpless I was about these practical matters. Wallace always tended to everything. {Almost shyly) I've felt so lost these last days. I miss his being around. I'd grown so used to turning to him. I haven't shed a tear, but I catch my breath when I realize I've got to be all alone now. — What is it, Tom, that makes me feel so all alone ? Porter Let's call it habit, my dear ; the habit of ten years. Dora I've been hunting the word; habit, that's it. Porter It's stronger than love sometimes and gains its pur- pose just as effectively. (Woods enters.) Woods Mr. Deering is here. THE ROAD TOGETHER 175 Dora (Assents and Woods goes out) I promised Armor he should have some of the cut glass and Porter Funny where Julia is. Perhaps he knows. Dora (Betraying nothing) Perhaps. Porter Another of her sudden impulses, I suppose: to take a wild motor trip at this time. Dora (Probing) You've not heard from her ? Porter I've received a half-dozen postal cards mailed from different parts of the state. Dora (Puzzled) Different parts of ? Porter Suppose she wishes me to get used to the postal-card habit. When's Wallace coming back from Rosemoor? 176 THE ROAD TOGETHER Dora I don't know. I've told no one where he is. He hasn't 'phoned. (Dora is apparently puzzled. Armor Deer- ing comes in, very cheerful. They exchange greetings. ) Deering {Looking about room) Whew! Dora I'll show you what I have. Deering I came ahead; I'm on my way down to the steamer. Can't I look over the things later? Porter Steamer ? Dora It won't take a moment. Porter Which steamer? Deering Julia's, of course. (Porter and Dora exchange glances) Yes. Julia blew in on me last night. Threw her arms around me and wept. And then THE ROAD TOGETHER 177 said she was sailing at noon. I thought her trip was all up, motoring more than a week before she started; so I went around with her. She hasn't packed a blessed thing; said she'd forgotten it. Guess it's some more temperament. Porter {Thoughtfully) So she is sailing. Deering {Surprised) Didn't she tell you? Porter Got the days mixed. Dora {Going up) If you'll come now. Deering Sure I'm not stealing from you? Dora Not at all. {She is seen in back among things.) 178 THE ROAD TOGETHER Deering Don't know how we're going to live up to our wed- ding presents on my income. Porter You've done those Railroad fellows, eh? Deering Yes. When they saw the evidence I had, they had to agree to plead guilty in a lower degree. Porter {Enthusiastically ) And all on your own hook, too. Deering I can't understand Mr. Kent not appearing. Porter Wished you to get the limelight. Deering {Modestly) It isn't good for a young man's eyes. Porter Give me your hand. THE ROAD TOGETHER 179 Deering It's been hammered to pieces nailing their lies. Porter It's only the beginning with you, my boy. (Affec- tionately) Go straight! Deering I must: to show Mr. Kent how much I appreciate what he's done for me. When will he be back ? Porter When this moving is over. Deering (Looking about) Say, moving must be It is. Armor ! Porter Dora (In back) Deering (Smiling) Ought to get married, Mr. Porter, really you ought. (Deering goes up with Dora and then they pass out of vision.) 180 THE ROAD TOGETHER Porter Can't understand why everybody wants to marry the bachelors off. (Looks about the room) Too bad! After ten years. (Kent enters quietly. He is worn. He looks about and controls himself. Porter turns; they see each other; he pulls the door to and comes down.) Dora has told me. Kent Then there's nothing to be said. Porter Between men who love the same woman? Kent Fire away. Porter It's not much. I'm the outsider. But the devotion of years may claim the right to ask something of you. Kent Anything, of course, Tom. Porter Make and keep Julia happy; else, don't do it, don't! She is a woman in a thousand. She'll demand a lot. Be sure you have it to give. THE ROAD TOGETHER 181 Kent {He turns away enigmatically) And Dora? Porter I'll always look after her. Kent {Moved) Tom, I haven't been decent to you. Porter ( Whimsically ) How could you be when you thought Julia loved me ? Kent {Referring to room) And all this ? Porter Dora couldn't have done this alone. Kent It was not your place. Porter {With gentle reproach) That's what I thought ; but you were at Rosemoor. Kent I was trying to solve a problem. 182 THE ROAD TOGETHER Porter Dora has worked out hers. Kent She hasn't a regret? Porter She hasn't shed a tear — that we've seen. Kent {Noticing time-tables) She's going West? Porter Immediately. You'll see that your end is done. Ac- cept service and better be represented by counsel. Saves future complications if there ever should be children. Kent Children! (As though to himself) I wonder how it would have been if Dora and I had ? (He puts the thought aside) She's going to take that trip alone? Porter Got word to-day that some mining interests would need my attention for six or seven months, so I thought (Kent puts his hands impulsively on THE ROAD TOGETHER 183 Porter's shoulders in thanks) Don't thank me. I've got a deal on that will clear up a small fortune. Kent Money! That's so. They've finished me, haven't they? Done up brown. Porter Kent Without a crust, eh ? Porter Well, quite by accident a little bit flew off in the baking. (Kent questions) I suspected trouble; so I got Biddle to let me in at a low price. I believe your brokers managed to save a few thousand for you. They'll keep silent, too. It will help you turn around. And, Wallace, I believe there's a chance for a little capital in this copper deal I'm Kent {With determination) No, Tom. I pay off every cent here: her debts and mine with what I can make in practice. Then I begin clean. Porter So law's cleaner than copper, eh? 184 THE ROAD TOGETHER Kent The first step is to get this over. It's almost in- credible, after ten years. Porter (Quickly) Don't look back ; memories are nasty things to bring a second wife. Kent What makes you say that? Porter I never had one of those luxuries, but I know Julia. Kent Strange; you should say that, too. (He turns) Where's Dora? Porter With Armor ; he stopped on the way to see Julia off. (Closer) Do it decently. Kent (Evasively) I want to see Dora. I'll wait till we are alone. Porter (Puzzled) But what are your plans? THE ROAD TOGETHER 185 Kent I'll tell you later. Porter {Taking his hand) What's the trouble? Kent I'm suffering, Tom. (Kent controls himself and goes off quickly towards the library.) Porter Not happy with Julia in reach! The men are just as hard to understand as the women. (Deering re-enters, opening doors and talking cheerfully. Woods passes in back of them and goes to the main door. Dora also comes down.) Deering What's the matter, Mr. Porter? Porter Matter? Nothing. Don't ask any questions but when you get off by yourself will you swear for me ? Deering Certainly; I will now. (Woods re-enters.) 1 86 THE ROAD TOGETHER Woods Miss Deering. Deering {Looks at watch) I've got to hustle. (Julia enters, dressed for traveling. She, too, is halted by the appearance of the room. Her manner throughout is calm and firm in contrast to the previous act. Woods goes off in back, closing doors. Dora watches Julia.) Julia You're going to see me off, Tom? Porter One of the specialties I do best. Julia {Looking at Dora slowly) I've come to see Dora alone. Deering I'll go look after the trunks. Porter I'll go along with you. THE ROAD TOGETHER 187 Deering Do. Blew myself to a cab. See you later, Mrs. Kent. (He goes off. Julia detains Tom; Dora looks out of window.) Julia Tom, I've written you a long letter. (Takes it from her pocket-book and gives it to him) Will you read it to-night? Porter (Moved) I've always waited to be alone to read your letters. Julia This one will explain. Porter You need explain nothing. The world is full of people who are left behind. Julia But you see I haven't quite forgotten the Rock of Ages. Porter May I add some flowers to your luggage? 188 THE ROAD TOGETHER Julia No, no. No flowers now. {Smiling sadly) It will never be good-bye between you and me. Just give me a handshake and some strength — for a little while. Porter Maybe I need all I have of that. I'm too old a dog to hope for myself. {Whimsically) I — I hope you will be very happy. Julia ' Quietly happy,' you said. Yes, I shall be that in time, Tom. Porter I'll be back, Dora. Rock of Ages! Hump! Guess I'll incorporate myself and sell shares! {He goes out quickly, trying to conceal his emo- tion. The two women face each other. The following played very quietly.) Dora Julia, you're sailing alone? Julia Yes, alone. Dora It's best that Wallace sail later, of course. THE ROAD TOGETHER 189 Julia He won't follow me. Dora Then you find you don't love him enough? It isn't that. Julia But, Wallace? Dora Julia I have tried to make him understand. Dora I don't. Does he? Men see some Julia facts slowly. Dora It's because of me? Yes. Julia Dora It is useless. (Firmly) i go THE ROAD TOGETHER Julia That cannot alter me. Dora He knows my part in his life is finished. Julia Except what has been between you. Dora Ah! You feel that, too. {Poignantly) Isn't it in my power to give him happiness even through stepping aside ? Julia Can a mere word cut you out of his life? Dora You fill his heart. Julia Do I? A heart is such a little thing. It's I who wish him happiness, more than anything else in the world. Dora Away from you? Julia It could not be together. He may have a chance otherwise. THE ROAD TOGETHER 191 Dora {Firmly) He must live alone. Julia Better that than what would happen to me. I've learned much about myself and this problem of mar- riage in the hour since we three were together. I have gained a clear insight into what I must do. Dora Which is? Julia {Firmly) To leave him. Dora {Slowly) How calmly you say that. Julia There has been and will be enough of the other thing. Dora And this is Julia Deering! » Julia The real Julia. 192 THE ROAD TOGETHER Dora You're sacrificing the man you love uselessly. Julia No; if I were to marry him you'd be in the room watching. You would always be between us. He would never be entirely mine. You belong to one another. Dora By what right — now? Julia By the right of ten long years. Dora (Repeating) Ten long years. Julia Listen, Dora. Because he was unattainable he filled my thoughts; yet when he came to me I saw clearly what all the years of thought unconsciously had done. They had bound you to him in my eyes; always the thought of him had been also the thought of you, be- cause you two were man and wife and I was the out- sider. « Dora Not that, Julia, if he loved you. THE ROAD TOGETHER 193 Julia To think of Julia Deering ever seeing that pas- sion, after all, is only crisis — all crisis; but that the habit of living together becomes a state of mind. Dora {Half to herself) Habit! Tom said Julia Dora, I've lived with the thought of Wallace but you have lived with the man. You said it all that day in a few words. You've shared the daily habit of living; you've walked beside him; he's held your hand; you've eaten at the same table; moved in the same room; sat by each other's bed in illness and shared the hidden intimacies while I lay in the night alone. And then his work. I could never be part of that. It isn't my sort. This all means something more than what he and I may have felt for each other. Dora But aren't you big enough to forget all this ? Julia It isn't my jealousy that makes it impossible between Wallace and me. It's what you unconsciously made me realize: that there's a bond between you two; the bond of most nowaday marriages. It's not made by passion nor even complete understanding; but by habit , 194 THE ROAD TOGETHER habit: that mechanical, ordinary, day-to-day, bond of marriage. Dora The daily habit of living! I thought only those who were married knew how strong that is. Julia I know it — now. Dora So you have come to see that marriage is just walk- ing along the road together — if the comrade is kind and understands a little. Julia Yes. Dora But we did not understand each other at all. So it's impossible between Wallace and me. Julia Other women might honestly have solved it dif- ferently. I'm only telling why I'm going away. Dora Too bad, Julia; for I am leaving him, too. Julia Think it over. THE ROAD TOGETHER 195 Dora I have — after what he called me. {Shuddering) Oh, it shames me every time I think of it. Julia You are obstinate. Dora It's what some women have in place of strength. {Half scornfully) Did he send you to plead with me to live with him again? Julia I don't believe even he would ask that. Dora Then he does understand me — a little. Julia Good-bye now. I must go while I am still as I am. Dora I called you weak. {Goes to her) Julia! Forgive me. I don't blame you. All we can do is what we see is right. Julia {Drawing back) No, don't kiss me, Dora. 196 THE ROAD TOGETHER Dora {Keenly) I ask no questions about these ten days. Julia You would not believe any answer I gave. Dora No ; for I know, if necessary, a woman would always lie about some matters. (Julia turns as Wallace Kent enters with a letter in hand. He is surprised at seeing Julia.) Julia No words, Wallace. Good-bye. I'll never regret unless you fail to take life by the throat. Good-bye, Dora. Remember me a little, Wallace, as one who will be ' quietly happy.' (Julia goes out, hastily controlling herself. Kent sits down with head bowed.) Dora At least your memory will be worthy. I'm sorry, Wallace. (She goes and puts her hands sympathetically on his shoulder. Her eye falls on the letter.) Kent My letter of resignation. It was not mailed? THE ROAD TOGETHER 197 Dora No. I thought it might be merely an impulse. Be- sides it wasn't right for you to retire at this time when that Railroad case was Kent You thought of that? Dora Your term has only a few months more to run. Finish it; it will protect you from criticism in the future. Kent It was good of you. Dora I felt once this career was partly mine; I did not like to see you throw it away uselessly because two women touched your life. Kent I suppose the strongest men brush women aside. Dora The strongest men should when woman's emotions interfere. Kent This sha'n't hurt me. Work, not sentiment, is the normal man's life. 198 THE ROAD TOGETHER Dora I'm so glad you see that. You'll get hold of your- self now. I've been the hindrance ; my dependence must have dragged you back. You will soon be free of me. Kent {Looking at her) But where will you go after ? Dora I haven't looked so far ahead. Kent You must. Dora I'm thinking first what's best for you; and after what you said that day, I know. Kent I was cruel. Dora {With deep conviction) No, you were right. It was an insult for me to stay merely because I feared you'd go to pieces. But I saw it that way at the time. Kent Dora, I understand better now. Before you leave I hope you'll forget what I said. THE ROAD TOGETHER 199 Dora We are both learning to understand each other at the end. It might have been better had there been truth between us. (Woods enters.) Woods Pardon me, Mr. Kent, but the men What men? Kent Dora The movers. Better let them begin in the other room, Woods. (Woods goes out) Tom thought it best to put everything in storage first ; it will save com- ment. I've given the china and glasses to Armor. There are some things to divide. We must go over them. Kent Now? Dora They are mostly upstairs. The linen and all that sort I have given to Woods. Your books are packed separately. You'll direct where to send them. {Takes loving-cup from piano) Woods came across this cup your fraternity gave us when we were married. {Half smiling) I don't know who owns it. 200 THE ROAD TOGETHER Kent {Reading inscription) " To Wallace Kent and Dora Houston, with all best wishes for your happiness." — This will be the first time in ten years we've not drunk a toast on our anniversary. Dora What foolish sentiments one has at the beginning. Kent How can you talk like that? Dora Because it seems to symbolize the irony of our mar- riage. Kent No ; the habit and community of interests. {The men are heard passing off back with fur- niture as Kent stands looking at cup. Dora has crossed and speaks off.) Dora Be careful, don't scratch that table. {Turning) What difference does it make? {She sees him sitting there) Put it away, Wallace. It's over. Kent Dora, for God's sake, don't. THE ROAD TOGETHER 20i Dora It's not easy, Wallace ; but it must be gone through with. Kent Must it? Dora, I couldn't get away from the thought of your living alone. Dora You must. Kent But it's not Tom's place to help you; it's mine, if you'll let me. Dora All you can do is to make it easier for me now. Kent Dora, we've only got each other. We're both alone. Dora Yes, alone. {Controlling herself) But let's look it in the face. It's good-bye, Wallace, good-bye. We're saying good-bye here in this house we've lived in for ten years. Don't let's look back Kent But all life is looking back, Dora. Is this necessary now? What do we gain by living apart? What vic- tory do we bring ourselves? 202 THE ROAD TOGETHER Dora We test our strength and Kent But we are two human beings, Dora. And that means we are both strength and weakness. Dora I'm thinking of you, Wallace. I can be of no fur- ther use to you. Kent But there is much you can give me. Isn't there something I can give you? Haven't we learned to understand each other through all this? Dora, we've been kind to each other as people go; we've got along somehow ; we have more than most people. Isn't there something sweet and noble we can still give each other ? Dora Would you want me to give everything as before? Kent Live in the same house with me — if nothing else. Dora No, Wallace. That's impossible. We are a man and a woman. Don't let's fool ourselves as we did each other. THE ROAD TOGETHER 203 Kent I can't demand. You have the right to go and if you feel it is for your good, go. I'll not hinder you. But I wish you'd stay and go along with me — together. Dora To walk along the road together ? Kent Yes. That's what I ask. Won't you? Dora {Thoughtfully) And this is marriage! Kent As we have worked it out. Dora I thought it could have been something greater! Kent So did I ; but it lay only in what we were. Dora Yes, that's it; and what we are. {With a look of hope) And what we can still make it. Wallace, I do feel helpless by myself; I am afraid of the loneliness. My heart goes out to you because of what we've had. My heart perhaps is waiting for yours 20 4 THE ROAD TOGETHER Kent You will stay? Yes, if If? Dora Kent Dora If you just let me cry. I want so to cry. (She bows her head. He puts his hand upon her, as she sobs quietly. He soothes her ten- derly. The bright sunlight floods the dis- mantled room.) Curtain "I have carefully studied the plays of George Middleton and admire not only his technical dexterity but also his sympathetic characterization. Tech- nically speaking, he can give cards and spades to many successful drama- tists. . . I can answer for their readable quality." — James Huneher, Author of Egoists, Iconoclasts, etc. GEORGE MIDDLETON'S NOWADAYS A Three Act Comedy of American Life. $1.00 net. " Nowadays is notable not only as a sane and veracious study of con- temporary life, but for dramatic qualities which ought to make it valuable in the theatre. Dealing with the relations of the sexes, and making a strong and effective plea for a more equal partnership for woman in the opportun- ities and responsibilities of life, it shows a philosophic realization of the limitations imposed by nature and the hard facts of existence. The story, free from all sensationalism or extravagance, is strong in the naturalness of its situations and the vitality of its contrasted personages." — N. Y. Even- ing Post. " George Middleton's Nowadays, in which the very fibre of American character is woven into the substance of its theme, has done more than any- thing else to raise the art to the level of production which characterizes the dramatic literature in England and on the Continent." — Boston Transcript. " The first strong impression made by Mr. Middleton's work is the elastic breadth of view. We have many men to-day writing on Feminism in some of its phases; few indeed who can understand and express so many. He shows a broad vision. His plays should interest thinking women every- where and should make men think." — Charlotte Perkins Gilman in The Forerunner. "A striking drama of the present moment and of real people." — The Independent. " The spirit of the twentieth century is in his plays; also a spirit of justice and generosity towards women." — Alice Stone Blackwell m Woman's Journal. "Mr. Middleton's contribution to the growing body of American dramatic literature is distinguished by its earnest realism, its sanity and its high good humor." — Current Opinion. " The play appeals throughout. It is absolutely honest with its theme. Work so sincere and skillful should find many readers." — Prof. Richard Burton in The Bellman. "Mr. Middleton has tagged his play a comedy, but it remains a little tragedy for all that, to people who like to think." — Edna Kenton in Chicago Even- ing Post. ' ' Nowadays is the most significant contribution in drama to the interpretation of the woman's movement in America." — Percy Mackjaye. "Steadily interesting and entirely human." — The Nation. "The work well deserves publication." — Westminster Gazette. "A good comedy." — 'Detroit Free Press. " The play is well built, the dialogue natural and pointed." — Arthur Ruhl in N. Y. Tribune. "The comedy is a mirror reflecting in an admirably organized production a vitally significant phase of modern life." — Washington Star. "It you want a sane, attractive defin- ition of Feminism, read Nowadays. ' ' — N. Y. Globe. HENRY HOLT AND COMPANY PUBLISHERS NEW YORK "The plays are admirable; the conversations have the true style of human speech, and show first-rate economy of words, every syllable advancing the plot. The little dramas are full of cerebration, and I shall recommend them in my public lectures." — Prof. William Lyon 'Phelps, Yale University. GEORGE MIDDLETON'S EMBERS And The Failures, The Gargoyle, In His House, Madonna, and The Man Masterful. $1.35 net; by mail, $1.44 " All are clear concise dynamic, suggesting drama rather than revealing it, the language simple, the structure excellent, the characterization vivid." — Chicago Record Herald. EMBERS: "This is a tender and inspiring piece, somewhat akin to Gilbert's " Sweethearts " and Howard 's " Old Love Letters." — Nation. " By far the best . . . the interpretation of American middle age is certainly searching and realistic." — Living Jlge, THE FAILURES : " It is written with a tensity of submerged move- ment." — Springfield Republican. "Is somberly true, direct and vital." — Chicago Evening Post. " Full of genuine insight." — Archibald Henderson in North Carolina Review. THE GARGOYLE : " The cleverest, certainly the subtlest . . .the scene between the two men is absorbing and the outcome unexpected." — St. Paul Pioneer Press. "A curious conceit very ingeniously and and somewhat plausibly treated." — Nation. IN HIS HOUSE: "Is prodigious . . . with unexpected logical reaction." — Chicago Evening Post. "We have the elements of a stupendous tragedy, powerfully, tensely written." — Los Angeles Times. MADONNA : " Here a difficult subject is treated with exceeding deli- cacy and touches of simple patience." — Nation. " Will appeal to every sensitive spirit." — Richard fRurton in Q^ellman. "Is the most exquisite brief study of delicate maidenly modesty on the brink of marriage that has come to my knowledge." — Los Jlngeles "Uimes. " Madonna I especially liked for its creating an atmosphere and its lovely reticence. " — Walter P. (§aton. " It was received with re- markable appreciation — it belongs to the small class of those written by specialists in emotion for sensitive people. There is something ex- quisite about it." — ^iCanchester Guardian, England. THE MAN MASTERFUL : " Is dramatic writing at once strong and subtle." — Chicago Evening "Post. "Is the most effective play in the volume." — St. Louis Post Dispatch. HENRY HOLT AND COMPANY 34 West 33d Street NEW YORK " Mr. Middleton's plays stand out from the bulk of American drama through their literary quality and the serious purpose with which they are conceived. His is a voice crying in the wilderness of clap-trap makeshifts hugging the managerial fancy — keen sense of character and apparently instinctive feeling for the feminine point of view, together with his remarkable faculty for seiz- ing his people at a crisis in their lives and putting their whole history before us with a few deft touches." — {Brooklyn Eagle. GEORGE MIDDLETON'S TRADITION and On Bail, Their Wife, Waiting, The Cheat of Pity and Mothers, $1.35 net; by mail $1.44 " All these little pieces are admirable in technique : they are soundly con- structed and written in natural and lucid dialogue. He reveals at every point the aptness of the practised playright — this tribute must be paid to an author who has dared to analyze in many moods the diverse and fluctuating personality of the woman of today — he has sounded to the depths the souls of those eccentric and extraordinary women whom he has chosen to depict." — Clayton Hamilton in the {Bookman. "He reveals a knowledge of the feminine heart and character and a sym- pathy with feminine ideals that is unusual in one of the opposite sex. Mr. Middleton seems on intimate terms with them all and his gallery of contempo- rary portraits of women is complete. Women who want to understand them- selves should take a look at Tradition : what they see there will, on the whole, be flattering. In tact, the modern independence seeking, own think- ing woman has not found a more sympathetic and understanding friend than the author of Tradition. The workmanship of these plays is about as perfect as could be — which means they are most agreeable to read." — New York, Globe. " In all of these plays the conversation is tense and suggestive. They are eminently actable and are well adapted for reading." — Boston Evening Transcript. " These little plays are concentrated drama, easy to read and visualize, thoughtful as to theme and powerful in suggestiveness." — Revieta of Reviews. " Mr. Middleton's plays furnish interesting reading. The author deserves praise for his skill and conscientious workmanship — succeeds admirably as a chronicler of striking events and as an interpreter of exceptional people in exceptional circumstances." — New York Times. " The chief advantage of his method is its absolute sincerity and realism. The real drama of a life time is revealed. They are a real contribution to the stage of today." — Phila. Public Ledger. HENRY HOLT and COMPANY PUBLISHERS NEW YORK "One feels the play of great repressed emotional forces. In the presenta- tion of such essentially intimate studies, he succeeds with a remarkable economy of means, and Possession well keeps up the standard set by Embers and Tradition. ' ' — The Independent. GEORGE MIDDLETON'S POSSESSION and The Groove, A Good Woman, The Black Tie, Circles, The Unborn $1.35 net "Brief, tense, filled with an understanding sympathy for woman herself and for her curious and complex situation in the world to-day, these six plays make unusually good reading. So clearly are characters, crises, and backgrounds expressed that the whole is easily visualized. ... In all the plays the author has been satisfyingly successful in writing a complete thing, not a fragment of something longer. People living in the world as we know it are shown to us at some moment when the stress of life brings them into their supreme dramatic crisis. . . . You see into their heaits, into which they too are looking, be it for good or evil. . . . Each play is an excellent bit of workmanship — short as they are, the whole story is there, with elbow room about it. . . . Mr. Middleton's outlook on life, his conceptions of the relations of men and women to each other and to society is a fine one, generous and tolerant, but not sentimental, and not in the least leaning towards that license which is a negation of real freedom. . . . No one else is doing his kind of work and his books should not be missed by readers looking for a striking presentation of the stuff that life is made of." . . . New York Times. "As an example of a dramatist with a reading public George Middleton is practically unique. A minor reason for his success lies in their technical excellence, good dialogue, good characterization and cumulative interest. A major reason is his adroitness in seizing at the full tide the subjects in which the thinking world seems at present engrossed." — Chicago Evening Post. " He is distinctly a play-maker of serious purpose and honorable achieve- ment, and I have no doubt that one day he will come into his own in the theatre." . . . H. L. Mencken, of Baltimore Sun. " Mr. Middleton's favorite subject is a struggle between a woman who is ahead of the times and an environment that is behind the times ; and his plays are equally interesting to those who sympathize with his advanced women and to those who sympathize with the older-fashioned people who surround them." — The Bookman. " He is in earnest, and he always tries to choose subjects of importance. As our soul prophet of the one-act play, his importance is real for he is both an experienced and idealistic playwright." — Chicago Tribune. " They (his women) are real, actuated by the irrational and indefensible, but somehow logical courses that impel mankind in its perpetual blunder- ings." — Springfield Republican. HENRY HOLT AND COMPANY PUBLISHERS NEW YORK By Clayton Hamilton STUDIES IN STAGECRAFT Contents: The New Art of Making Plays, The Pictorial Stage, The Drama of Illusion, The Modern Art of Stage Direction, A Plea for a New Type of Play, The Undramatic Drama, The Value of Stage Conventions, The Supernatural Drama, The Irish National Theatre, The Personality of the Playwright, Where to Begin a Play, Continuity of Structure, Rhythm and Tempo, The Plays of Yesteryear, A New De- fense of Melodrama, The Art of the Moving-Picture Play, The One-Act Play in America, Organizing an Audience, The Function of Dramatic Criticism, etc., etc. $1.50 net Nation: "Information, alertness, coolness, sanity and the command of a forceful and pointed English. ... A good book, in spite of all deductions." Prof. Archibald Henderson, in The Drama: "Uniformly excellent in quality. . . . Continuously interesting in presentation . . . uniform for high excellence and elevated standards. . . ." Athenaeum (London) : "His discussions, though incomplete, are sufficiently provocative of thought to be well worth reading." THE THEORY OF THE THEATRE The Theory of the Theatre. — What is a Play? — The Ps3 r chology of Theatre Audiences. — The Actor ard the Dra- matist. — Stage Conventions in Modern Times. — The Four Leading Types of Drama : Tragedy and Melodrama ; Comedy and Farce. — The Modern Social Drama, etc., etc. Other Principles of Dramatic Criticism. — The Public and the Dramatist. — Dramatic Art and the Theatre Business. — Dramatic Literature and Theatric Journalism. — The Inten- tion of Performance. — The Quality of New Endeavor. — Pleasant and Unpleasant Plays. — Themes in the Theatre. — The Function of Imagination, etc., etc. 4th printing. $1.50 net. Bookman: "Presents coherently a more substantial body of idea on the subject than perhaps elsewhere accessible." Boston Transcript: "At every moment of his discussion he has a firm grasp upon every phase of the subject." THE GERMAN DRAMA OF THE NINETEENTH CENTURY By Georg Witkowski. Translated by Prof. L. E. Horning. Kleist, Grillparzer, Hebbel, Ludwig, Wildenbruch, Sudermann, Haupt- mann and minor dramatists receive attention. 12mo. $1.00. New York Times Review: "The translation of this brief, clear and logical account was an extremely happy idea. Nothing at the same time so comprehensive and terse has appeared on the subject." HENRY HOLT AND COMPANY PUBLISHERS NEW YORK Fanny Cannon's WRITING AND SELLING A PLAY Probably the most common-sense and practical book on its subject, which the author knows from the inside as actress, manageress, playwright, and "play-doctor." She was for years Vice-President of The Actors' Society of America. This book warns the writer of the many "breaks" that cause rejection, gives detailed constructive advice, tells him how to look out for his rights, includes a model con- tract, two detailed scenarios, and a bibliography of refer- ence books and plays. i2mo. With full index. $1.50 net. Hartford Courant: ". . . this rare book . . . the author has the lessons she would convey at tongue's end and in orderly brain arrangement. . . . She teaches so lucidly and with per- sonal fascination. . . ." Providence Journal: ". . . ought to do real good. The au- thor not only has practical experience, she has a genuine artistic as well as common sense. . . . One may conscientiously recom- mend it as fulfilling its purpose admirably." Archibald Henderson's THE CHANGING DRAMA By the author of George Bernard Shaw: His Life and Works, European Dramatists, etc. 321 pp. i2mo. $1.50 net. It includes: Drama in the New Age; The New Criti- cism and New Ethics; Science and the New Drama; Realism and the Pulpit Stage; Naturalism and the Free Theatre; The Battle with Illusions; The Ancient Bond- age and the New Freedom ; The New Technic ; The Play and the Reader; The Newer Tendencies, etc. * * * Descriptive circular with sample pages on application. New York Tribune: ". . . Deserves the serious attention of all students of the modern drama. . . . The first adequate sur- vey of that drama's linked conscious effort, the world over, to hold up the mirror to our new consciousness of individual free- dom and of collective social responsibility for justice and evil . . . not only the first book in its field; in the completeness of its scope, the scholarly, well-balanced thoroughness of the treat- ment of its material, it is likely to remain the standard work as well for some time to come . . . one of the small number of books on the modern drama which the serious student cannot afford to leave unread." HENRY HOLT AND COMPANY PUBLISHERS NEW YORK BY BARRETT H. CLARK THE CONTINENTAL DRAMA OF TO-DAY Outlines for Its Study Suggestions, questions, biographies, and bibliographies with outlines, of half a dozen pages or less each, of the more important plays of twenty-four Continental dram- atists. While intended to be used in connection with a reading of the plays themselves, the book has an inde- pendent interest. i2mo. $1.50 net. Prof. William Lyon Phelps, of Yale: ". . . One of the most useful works on the contemporary drama. . . . Extremely prac- tical, full of valuable hints and suggestions. . . ." BRITISH fcf AMERICAN DRAMA OF TO-DAY Outlines for Its Study Suggestions, biographies and bibliographies, together with historical sketches, for use in connection with the important plays of Pinero, Jones, Wilde, Shaw, Barker, Hankin, Chambers, Davies, Galsworthy, Masefield, Houghton, Bennett, Phillips, Barrie, Yeats, Boyle, Baker, Sowerby, Francis, Lady Gregory, Synge, Murray, Ervine, Howard, Heme, Thomas, Gillette, Fitch, Moody, Mackaye, Sheldon, Kenyon, Walters, Cohan, etc. l2mo. $1.30 net. THREE MODERN PLAYS FROM THE FRENCH Lemaitre's The Pardon and Lavedan's Prince D'Aurec, translated by Barrett H. Clark, with Donnay's The Other Danger, translated by Charlotte Tenney David, with an Introduction to each author by Barrett H. Clark and a Preface by Clayton Hamilton. One volume. l2mo. $1.50 net. Springfield Republican: "'The Prince d'Aurec' is one of his best and most representative plays. It is a fine character crea- tion. . . . 'The Pardon' must draw admiration for its remark- able technical efficiency. . . . 'The Other Danger' is a work of remarkable craftsmanship." HENRY HOLT AND COMPANY PUBLISHERS NEW YORK SIXTH EDITION, ENLARGED AND WITH PORTRAITS HALE'S DRAMATISTS OF TO-DAY Rostand, Hauptmann, Sudermann, Pinero, Shaw, Phillips, Maeterlinck By Prof. Edward Everett Hale, Jr., of Union College. With gilt top, $1.50 net; by mail, $1.60. Since this work first appeared in 1905, Maeterlinck's Sister Beatrice, The Blue Bird and Mary Magdalene, Rostand's Chantecler and Pinero's Mid-Channel and The Thunder- bolt — among the notable plays by some of Dr. Hale's drama- tists — have been acted here. Discussions of them are added to this new edition, as are considerations of Bernard Shaw's and Stephen Phillips' latest plays. The author's papers on Hauptmann and Sudermann, with slight additions, with his "Note on Standards of Criticism," "Our Idea of Tragedy," and an appendix of all the plays of each author, with dates of their first performance or publication, complete the volume. Bookman: "He writes in a pleasant, free-and-easy way. . . . He accepts things chiefly at their face value, but he describes them so ac- curately and agreeably that he recalls vividly to mind the plays we have seen and the pleasure we have found in them." New York Evening Post : "It is not often nowadays that a theatrical b ok can be met witn so free from gush and mere eulogy, or so weighted by common sense ... an excellent chronological appendix and full index . . . uncommonly useful for reference." Dial: " Noteworthy example of literary criticism in one of the most interesting of literary fields. . . . Provides a varied menu of the most interesting character. . . . Prof. Hale establishes confidential relations with the reader from the start. . . . Very definite opinions, clearly reasoned and amply fortified by example. . . . Well worth reading a second time." New York Tribune: "Both instructive and entertaining." Brooklyn Eagle: "A dramatic critic who is not just 'busting' him- self with Titanic intellectualities, but who is a readable dramatic critic. . . . Mr. Hale is a modest and sensible, as well as an acute and sound critic. . . . Most people will be siirprised and delighted with Mr. Hale's simplicity, perspicuity and ingenuousness." The Theatre: "A pleasing lightness of touch. . . . Very read- able book." HENRY HOLT AND COMPANY PUBLISHERS NEW YORK 21 W 21 w r.. £*+ Deacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide Treatment Date: Sept. 2009 PreservationTechnologies A WORLD LEADER IN COLLECTIONS PRESERVATION 111 Thomson Park Drive Cranberry Township, PA 16066 (724)779-2111 BOOKBINDING II Cramville. Pa. II Nov. Dec, 1988 II _ m m ■ ■ ■ I 'i;i, I • mi' - ''''it sr I ■ I , ' I H D I r'w ■ '. ■',, I I ■ W fl ■^ ■ '■vh, w ^^h nr p ■ "fell to