'\ COPYRIGHT ^-7 he Eternal Magdalene OBERT McLaughlin SAMUEL FRENCH, 28-30 West 38th St., New Yort Photo by Sarony JULIA ARTHUR As " The Eternal Magdalene'* THE ETERNAL MAGDALENE A MODERN PLAY IN THREE ACTS BY ROBERT McLaughlin Copyright, 1915, ky Robert McLaughlin. Copyright, 1918, by Samuel French, y ALL RIGHTS RESERVED CAUTION • Professionals and amateurs are hereby warned that "THE ETERNAL MAGDALENE," being fully protected under the copyright laws of the United States, is subject to royalty, and any one presenting the play without the consent of the author or his au- thorized agents will be liable to the penalties by law provided. Applications for amateur acting rights must be made to Samuel French, 28 West 38th St., New York. Applications for professional acting rights must be made to the American Play Company, 33 West 42nd St., Ji'ew York. New Yobk SAMUEL FRENCH PUBLISHEB 28-30 West 38th STREET London SAJ^nJEL FRENCH, Ltd 26 Southampton Stbket STRAND py ^ THE ETERNAL MAGDAI^ENE aO 51500 AFK -3 1319 1 DESCRIPTION OF SCENE The library of Elijah Bradshaw*s home in Eden- burgh, Illinois : The room is finished in dark wood. There is a fireplace at right. Over the fireplace is a large picture of the Magdalene. At left is a long bookcase extending the length of the side wall. Over the bookcase is a tapestry panel. Up-stage at left of center there is a French window opening out on the porch. Through this window the audience gets a glimpse of lawn and shrubbery. At right of center an arch opens into the hallway and reveals a stairway leading to upper portion of the house. The street door opens at the left of this arch and persons entering the house are first seen to cross above the window. Down-stage left there is a mas- sive table used by Bradshaw as a writing desk. This table is fitted with a telephone and is cluttered up with books and papers. There is a large arm- chair at left of table and a smaller chair at right of table. Another armchair sets well down left. There is a smaller chair between the window arch and the door arch. Down right of center there is a smaller table with chair at left of it. At right of this table and adjacent to the fireplace is a long couch facing up-stage. Below this couch is a settee. The furniture is all of the Jacobean type. The room is lighted by three brackets on the back wall. The or- naments and draperies of the room all are in keep- ing with its quiet elegance. A hall clock is visible on the stair landing. 3 THE ETERNAL MAGDALENE CAST OF CHARACTERS Elijah Bradshaw Emmett Corrigan Martha Bradshaw Louise Randolph Paul Bradshaw Robert Hudson Elizabeth Bradshaw Claire Burke John Bellamy Lozvell Sherman Rev. Birmingham Smollet Arnold Lucy Judge Amos Bascomb Harry Harwood Arnold Macy Frank Byrne Blanche Dumond , Lucile Watson Rev. James Gleason Alphonse Ethier Dan Burke E. M. Dresser Otto Win. J. Phinney A Woman of the Town Julia Arthur SYNOPSIS OF SCENES Act L Library of Elijah Bradshaw's Home, Edenburg, Illinois. Act II. Same. Act III. Same. Time — The Present THE ETERNAL MAGDALENE ACT I Time: It is seven o'clock in the evening, and all the lights are lit. Discovered : Stage clear at rise. Paul, Bellamy and Macv enter. They have been on an auto trip to the country club and are dusty and travel-stained. Paul. (Speaks as he enters) I guess every- body's at dinner. Good thing we ate out there. Bellamy. (Off-stage, as he is the last to enter) And a bully good dinner it was, too. It was worth the dust. (He brushes his coat) Paul. Fm a sight, too. Macy. (Crossing to r.) Don't mention it. Look at the Illinois real estate on me. Bellamy. (Crossing to l.) No wonder the way you hit it up, Paul. We made it in here in thirty minutes. Paul. (From up l.) Well, it's only eighteen miles. That's not so speedy. Come on up-stairs and we'll brush up a little. (Bess enters upper r. and comes down c.) Bess. You boys are late. Dinner's all over. Bellamy. Don't worry. We dined at the Country Club. Bess. (Crossing to Bellamy) Selfish. You 6 THE ETERNAL MAGDALENE might have taken me. {She notices Macy. Bess turns to Paul) Paul. This is Mr. Macy — my sister. (Bess Crosses to Macy — gives him her hand) Macy. {Meeting Bess c.) I've had the pleas- ure before. Bellamy. What? {Glances at Macy) Bess. Yes, indeed, I met Mr. Macy in father's office a year ago. Macy. Fm glad to see you've not forgotten. Paul. Come on, fellows^ if you want to doll up {Starting for stairs) Macy. {Up r.) If you don't mind, old chap, I'll run along to my hotel. After four hours of golf and that steeple-chase ride home, what I need is a tub. {Turning to Bess) Paul. How about you, Bellamy? Bellamy. Well a whisk-broom and a little soap might help some. (Bess crosses to Bellamy.) Paul. Just wait a minute, Arnold, and I'll drive you over to your hotel. {Turns to Bess) Sis, you entertain Mr. Macy until I come down. Macy. {Crosses up r. c.) Please take your time, won't you? (Bellamy looks at Macy suspiciously.) Paul. Time enough to look a trifle presentable. Come on, Bellamy. {They exit upstairs) Bellamy. What size collar do you wear? {As he is going upstairs) Bess. {Back to table l.) Won't you sit down? Macy. {Crosses to c.) Thanks. You're look* THE ETERNAL MAGDALENE 7 ing charming, as usual. Bess. I'm well. And you? Macy. Never better. I was afraid you had 'Xr No" indeed. I often think of you. And the talks we had. Macy I've thought of you, too. Bess. You have really? What have you ^ Macy I've often wondered how such a delect- able girl happened to reside in such a detestable town. , r , 1 Bess. That's simple enough. It s my home. Macy. What a pity. And does the desire never come to you to go away— to— Bess. (Smiles sadly) Never come to me? it never leaves me. Macy. But you have been about, of course- seen things, I mean? , r .u Bess. Yes. I've travelled with mother and father. Chicago, New York and— even New Orleans. Macy. Indeed— you have been a globe-trotter. Bess. But trips like that only make things worse. After New York, Edenburg seems like a village. Macy. And isn't it? Bess. {With a touch of local pride) Hardly. It has almost a hundred thousand. Macy. (Patronizingly) Well, it's bigger than I thought. But where do they all keep them- selves ? Bess. Home, mostly — and church. Macy. (Crossing to table R.) From what you say, I assume that you would take the first oppor- tunity to shake the dust of Edenburg from your — slippers. Bess. Would I? I'd like to have someone give me the chance. Macy. (Bess slowly crosses to chair at r. c.) S THE ETERNAL MAGDALENE Chances like that come sometimes. But if things here are such a bore, we can at least do this. What do you say to going to the show to-night? Bess. Oh, I'd love to. But I couldn't dream of it. With this great moral upheaval in town, the theater is out of the question. (Sits in chair) Macy. Oh yes, the moral upheaval. Is it really as bad as the papers make out? Bess. Worse ! Macy. This fellow Gleason is a wonder. They say he cleaned up a cool fifty thousand in his last town. (Sits on bench) Beats my job of selling bonds all hollow. Bess. Sh! You mustn't let father hear that. Father is chairman of the citizen's committee. It was he who brought Mr. Gleason to town. Macy. Jove, I had better be careful. Bess. Father thinks the sun rises and sets in Mr. Gleason. Macy. I guess it does. He certainly gets them going in every town. I'm sorry about the theater. You see I'm leaving town to-morrow, and — (Reaches over and takes her hand) Bess. You don't mean to say you're going with- out hearing Jimmy Gleason ! Macy. Well, if I stayed, it wouldn't be Gleason that would keep me; you see, there's another — (Paul and Bellamy enter down-stairs, speaking as they come) Paul. Come on, Arnold, I'll take you over now. (Coming dozvn c.) Bess. (Rises with Macy) Why do you have to hurry ? Macy. (Down r.) Look at me! That's the an- swer. (Indicating his clothes) Bellamy. (Coming down l. c.) Did you ever try to put a fourteen collar on a fifteen neck? Macy. I've been trying to induce your sister to THE ETERNAL MAGDALENE 9 go to the theater. Paul. Soft pedal on the show-stuff if you ever want to sell Dad any more bonds. Bess. If we can't go, we can have a little music anyway. (Runs through door down r.) Paul. Fine! There's a record on there now. It's Poupchon. (Vkfrola skirts, Bellamy stands do7vn r. waiting to dance zuifh Bess. Macy crossed quickly, do7vn-stage in front of Bellamy.) \ Macy. Shall we? (Bess nods approval and (hey dance. As they start Bellamy crosses to r.) Martha. {Entering dozen-stairs, coming dozvn c.) Why, Bessie! {They stop dancing) Bess. (Dozvn r. c.) Mother, this is Mr. Macy. (Crosses hurriedly through door, dozvn r. and stops Victrola. Stands dozvn r. and talks to Bellamy. Martha nods very coldly) ATacy. i Dozvn r. c. l. to Martha) How do you do? Paul. (Dozvn l. c.) You've heard of Mr. -IMacy, mother. He sells father securities. Macy. (7^o Paul) You mean, 1 try to. Martha. How do you do? Macy. (Nods to Martha) I wanted to see Mr. Bradshaw and arrange an appointment for tomor- row, so Paul was kind enough to bring me over from the Club, but this seems to be Mr. Bradshaw's busy evening, so PU try to catch him on the phone later. {Turns to Bess) Good evening, Miss Brad- shaw. (Crosses to r. c.) Sorry about the show. Bess. (Crosses to Macy) Pm sorry, too. Macy. Some other time — next time Pm in town? Bess. Yes, and I do hope you'll call. Macy. Thanks. Pll be sure to, (JVith glance at Mrs. Bradshaw) if I may. (Paul, Macy and 10 THE ETERNAL MAGDALENE Martha exit through arch, Martha and Macy go out on porch and stand in front of zvindow) Paul. (From center of arch) Oh, John. Bellamy. {Down r.) All right, in a minute. (Paul exits to porch. Bellamy crosses to r. c.) Sav. Bess, what's he been saying to you? Bess. {Who has watched the others out, turns and crosses to Bellamy) Nothing, except that he asked me to go to the show. Bellamy. Well, he is a pretty foxy fellow to have buzzing around the girl you love. Bess. John, don't be silly. Bellamy. Well, I am silly where you're con- cerned, and I'm going to put an end to it. Bess. An end to what? Bellamy. An end to this suspense. Bess. Are you thinking of jumping off the pier? Bellamy. No. I'm going to get up my nerve and have it out with your father. Bess. Oh, you'd better wait. You know how he is these days. Bellamy. {Crossing to c.) I don't care. I'm going to put it up to him the first chance I get. Bess. {Taking hold of Bellamy's arm and stop- ping him) John, I wouldn't do it now, it might spoil everything. Bellamy. {Starting to go) Never you mind. You leave your father to me. Martha. {Entering from hall) John, John, they're waiting for you. Bellamy. All right, Mrs. Bradshaw. {To Bess) I'll see you later — {Exits through street door) Bess. {At window) Mother, Mr. Macy's nice, don't you think? He asked me to go to the show, but of course Martha. {Cautioning Bess with finger) Sh! Bradshav^. {On landing of stairway) Asked who THE ETERNAL MAGDALENE ii to go to the show? (Comes down c.) Martha. Mr. Macy. He asked Bess to go to the theater. Bradshaw. Macy? Who's Macy? Bess. You know Arnold Macy. You introduced him to mc yoursel f in your own office. Bradshaw. Because he meets you in my office, does not give him the right to call on you here. (Crossing to head of desk down l.) Bf:ss. He didn't call. Paul brought him. Bradshaw. Next time he comes, I want to know it. Bess. (Crossing to Bradshaw) Now, father, you wouldn't be rude to him? Bradshaw. I'll tell him to confine his affairs with this family to business with me at my office. Martha. He seems a nice young man, Elijah. Bradshaw. Young! He isn't so young. Be- sides, who is he ? He may have a wife and a half a dozen children for all I know. Bess. (Coaxingly) Now, father you're cross to- night. (Tries to embrace him, Martha gives Bess another cautioning glance) Bradshaw. None of that now. (Bess crosses to R. and sits on bench) I know the world, and you don't. (Sits at desk) Martha. (Crosses to R. of desk) But, Elijah, I think that Bradshaw. I've seen his kind and I don't want him here again. Now, that's final. Bess. {Pouting) That's the way of it. Shut up here in this house. Might as well be in Sing- Sing. Better, for there are lots of interesting young men there. Martha. Elizabeth ! Bess. (Picking up nezvspaper) Jimmie Glea- son ! Jimmie Gleason ! Nothing in these papers but sermons. Subject for to-night — (Reading) " Put- 12 THE. ETERNAL MAGDALENE ting the devil into Hell." (Still reading) "All there is in the Bible I am going to preach. Fll give you enough Hell before I'm through! " Martha. Elizabeth ! Bess. I was reading from that sermon. Bradshaw. Well, don't read it in that spirit. (Clock strikes seven o'clock) Seven o'clock — you and your mother had better be getting ready. Paul will go with you. (He busies himself zvith papers) Bess. Come on, mother — Father is as cross as an old bear. Let's give him his den all to himself. (They exit through arch and upstairs. Desk phone rings) Bkadshaw. Hello, yes — yes — my statement — yes, well, I'm working on it now. Yes, have him call in an hour or so, — thank you,-— I have only been one of the many. My only hope has been to give Edenburg a clean bill of moral health. I want to thank The Star for its loyal support. (Paul crosses porch) It has been a great factor all around. Yes — Good-bye. Paul. (Enters and hangs hat in hall, comes dozvn c, speaking as he comes) Mother teiis me I have to go to the tabernacle again to-night — is that right? Bradshaw. You certainly do. Paul. You know, I have been there three nights running and I thought Bradshaw. Never mind what you thought. You're going just the same. (Paul turns and goes c.) You know I can't go to-night. You must go with your mother and Bess. Nice thing for my family not to be represented at these meetings, and I the Paul. But, father Bradshaw. Now, that's enough! (Paul starts to exit down r.) I suppose your mind is on that kg-show that's playing here! (Rises and crosses THE ETERNAL MAGDALENE 13 below desk to c. speaking) I thank God for your sake this city is in for a moral house-cleaning. To- night every father in Edenburg should be glad for his son's sake. To-night we are going to smash the vice district for all time. I hope my boy, yau have never been guilty of going down there. Paul. (Crossing to Bradshaw at c.) Father, you know Bradshaw. No, I don't know. But I hope y^u have had more respect for your mother and sister. (Smollet crosses porch) No father is sure of his children; he hopes but he isn't sure. Paul. But I want you to be sure. (Smollet rings bell.) Bradshaw. There, see who that is. (Crosses dozvn stage back to desk and sits, Paul goes to hall door) Smollet. (From porch) Is Mr, Bradshaw in? Paul. It's Mr. Smollet. Bradshaw, Have him come in here. (Smollet enters crossing to l. c, Paul exits up-stairs) Ah, Smollet, I thought you were at the tabernacle? Smollet. Gleason and I v/ere on our v/ay there. Vv'e ran into a lot of reporters up the street and they nailed him. (Crosses to chair at r. c.) He'll be along presently. We thought we'd just drop in here first and see how you were getting along with your statement for the papers. (Sits) Bradshaw. I am working on it now. The Star phoned me a little while ago asking me to hurry. Smollet. You're making it strong? Bradshaw. Rest assured of that. It is the final blow at segregated vice in this city, and it must come straight from the shoulder. Smollet. (Rubbing his hands ecstatically) What a victory — what a victory! 14 THE ETERNAL MAGDALENE Bradshaw. Victory, yes. (Rises and crosses to c.) But we mustn't give the Mayor a chance to recant. We must clinch the thing right now. We must apply the sleep-wallop, as Gleason says. Smollet. (Beaming) Splendid! Bradshaw. (At c.) I have written briefly, but to the point. (Reading) *' As Chairman of the Citizens' Committee, I desire now to congratulate the people of this community on the great victory they have won over the hosts of Satan. The elim- ination of the segregated vice district at midnight will crown with success a crusade that we have wa<2ed for months prayerfully, and with God's he''p, potently. At the stroke of twelve to-night, the doors of these dens of depravity will close forever, and their shameless inmates will no longer menace the youth of our city." Smollet. Amen! Bradshaw. (Continues reading) "As head of this Committee I have been subjected to much criti- cism by sentimentalists who profess to believe that these women have certain rights ; that they should be coddled and pampered and paraded as martyrs. I am disturbed by no such convictions. Prostitution, like any other pestilence, should be stamped out at whatever cost. When a leper comes into our midst, the law does not inquire how he came to be a leper, but it says ' banish him instantly ' ; so say I of moral lepers. I believe in giving sin no quarter; in hold- ing no parley with evil-doers. A clean sweep of the tenderloin has been my goal in this fight and I praise God that we have won. I take this occasion to thank the Mayor and members of the Committee, who, to a man, gave their best efforts to this cause, and to all others who by their encouragement and prayers assisted us in our fight. But most of all I want to thank the great Evangelist Gleason whose inspiring words have awakened this city to THE ETERNAL MAGDALENE i5 a realization of its sinfullness and without whom no such crusade as we just finished so triumphantly, would have been begun." There! {Crosses to lozver end of desk) ^- j\ Smollet. {Chagrined at not being menttoned) Is thnt all of it? , t i n Bradshaw. No, no, as I go along, I shall re- view the movement since its inception. (Seeing the disappointment depicted on Smollet's face) Oh. rest assured I shall see that you get the full credit for your part in it. {Crosses back of desk) Smollet. {Brightening) I have done nothing worth speaking of. , r • i i Bradshaw. {Sits) You, my dear friend, have been the real pioneer. Smollet. {Rises overwhelmed) I? Bradshaw. Most certainly. That series of ser- mons you preached last Winter set the ball rolling. Smollet. {Protestingly. Crossing to c.) T beg of vou! Bradshaw. Have you forgotten your New Year's Eve grill-room expedition? Smollet. No — but-^ Bradshaw. Your expose of the dance halls, the pool-rooms, the theater Smollet. My dear Mr. Bradshaw! Bradshaw. Those sermons were the sparks that set off this town's moral magazine. Smollet. I am overjoyed if you think so. Bradshaw. I know it. It was your work that paved the way for Gleason and I shall see that the people do not forget it. Smollet. {Crossing to chair R. of desk) But you— without you and your great generosity it would not have been possible. Bradshaw. You are probably right there — Gleason doesn't work for nothing, does he? (Mar- tha starts dozvn-stairs) But I have plenty and how i6 THE ETERNAL MAGDALENE could any man spend money to better purpose. I don't regret a nickel of it. Smollet. {Shakes hands with Bradshaw) Certainly not. This work will be a lasting monu- ment to you. (Bradshaw sits. Martha enters arch and comes dozvn c.) Martha. How do you do. Reverend Smollet? Smollet. (Turns and goes to Martha c.) How do you do? Are you going to the tabernacle? Martha. Yes, we're all going. Smollet. Fm on my way there myself. Tm just waiting for Mr. Gleason. Martha. {Brightening) Mr. Gleason. He hasn't been here for a week. What a wonderful man he is ! Smollet. Wonderful! A human dynamo. {Crossing to R. c.) Martha. He's tireless. I don't see how he stands it! {Crossing to r. of desk l.) Smollet. Neither does anyone else. I see by the papers that you and some of the other members of the Mothers' Club visited the unfortunate women to-day ? Martha. Yes. and I am completely upset over it. {Sits in chair) I told Elijah I can't make up my mind now whether we are doing the right thing in driving them out. Smollet. I am surprised. What happened to make you feel so ? Bradshaw. She has a touch of that sentimental- ity that I refer to in this. {Indicating statement he has just read) Martha. Call it what you like. Perhaps it is — perhaps it is something else. We talked to lots of those women. They are all different from what THE ETERNAL MAGDALENE 17 I had been lead to expect. Smollet. How different? Martha. They are human, and I hardly thought them that. Do you know, there is scarcely one of them (I orot this from the women who run the places) who is not supporting: children, or an old father or mother, or sick relatives. Smollet. Er — that is barely possible. (Sits in chair f. c.) ?vTarttta. I ta'ked to one c^irl. A pretty girl she was. She had brown eyes and hair and a sweet face. " I got into this life rather by degrees," she said, " and if I get out of it, it will be in the same way." She thanked us for offers of help, but said she couldn't accept them. At another house we heard of a poor girl w^ho was soon to become a mother. We went to the women in charge of that house and offered to take care of the girl, " No, thank you," the woman said, " the Tenderloin takes care of its own," Bradshaw, Umph ! Martha. We talked with her for an hour, I guess. And when we left I invited her to come and see me, Bradshaw. What, here? Martha. Surely, why not? S:mollet. (Alarmed at the thought) Mrs. Bradshaw ! Bradshaw. What woman is it? What's her name? Martha. (Hesitatingly) Dumond — Blanche Dumond, they told me. Smollet. (Rises and crosses to c.) Blanche Dumond, the most notorious woman in town ! Bradshaw. And you've invited her here ? You're going to try to help her? Martha. No, no, no. Not going to try to help Miss Dumond. The girl I spoke of. i8 THE ETERNAL MAGDALENE Brads HAW. Umph ! Martha. I found Miss Dumond to be a remark- able woman, I thought — bright, entertaining, and good-looking. And she has a warm heart, too, for when she saw how anxious I was to help this girl, she beckoned me aside and told me that the girl was not an inmate of the house, but had been given refuge there in her time of trouble. Smollet. a fine refuge! Why couldn't she have gone to a Christian institution? Now, we have Martha. I spoke of that, and Miss Dumond said that unfortunate girls like this one seem to have an instinctive horror of such places. Smollet. A horror of them? And why, pray? Martha. It is because, Miss Dumond said, they are usually labelled " Homes for Fallen Women," and most girls she thought would rather die than walk in a door under a sign like that. Bradshaw. Umph ! Martha. It seemed to her like tearing off the last rag on one's self-respect. Smollet. A charming philosophy, indeed! {Crossing to r. c.) Martha. Ah, but Miss Dumond went further. She had won the girl's confidence and found out who her parents are. And yesterday she wrote them a long letter, trying to prevail upon them to come and take the girl home. (Rises and goes c.) I was so interested I made Miss Dumond promise to call and tell me how it all turns out. Bradshaw. Martha, Martha. I told you not to go prowling around down there. Those people are past help. Their sense of decency is dead. They belong in the pest-house and the sooner they are sent there, the better. Martha. I am not so sure. Bradshaw. Well, I am. THE ETERNAL MAGDALENE 19 Martha. This experience to-day has given me a broader vision. I do not consider that I am any better than my sisters of the underworld. Bradshaw. Martha ! Martha. Only that I have been more fortunate than they, in that circumstances have not at any time put me face to face with the necessity of earning my living in their way. Because I have been spared such an existence, it seems to me now that I should deal gently with those of my sisters who seem less fortunate than L Smollet. I am surprised to hear you talk so. Martha. Perhaps. But what I say is true. When I look back over my youth, I can see now there were times, when if circumstances had not intervened, I might have made a false step — a step that might have lead to just the sort of thing I have seen to-day. Bradshaw. Can you imagine, Smollet? (Glr.\son crosses porch.) vSmollet. Really, if you persist, you will have your husband curious as to details. (Gleason rings ^bell) Hello, maybe that's Mr. Gleason now. (Otto crosses from up r. quickly, hut Gleason does not wait for him to open the door. He comes in quickly and closes door.) Gleason. {To Otto) Never mind, my man. I know the combination. (Otto exits and Gleason comes through arch briskly) Hello, everybody. How do you do, Mrs. Bradshaw? (Shakes hands with Mrs. Bradshaw up l.) Ready, Smollet? We're way behind schedule. Couldn't shake those newspaper guys of¥. (Crosses to back of desk l. Mrs. Bradshaw crosses to Smollet down r. c.) 20 THE ETERNAL MAGDALENE Smollet. I'm ready any time you are. Gleason. (Slapping Bradshaw on back) Well, Bradshaw, to-night's the blow-off. We'll ring the curfew on our scarlet sisters to-night. Bradshaw. Yes, I've said that here, but not ex- actly in the same words. Gleason. Oh, this your stuff for The Star? That's what I blew in to get a line on. {He picks it lip and scans it hurriedly) We don't want any skim-milk in this. It's gotta' be red-hot, right off the griddle. {He glances over statement quickly and shakes head disapprovingly) " Elimination of segregated vice district." — *' At stroke of twelve to- night," — too poetic, old pal. Good — but too Ella Wheeler! (Smollet laughs) Why don't you say *' Before morning there'll be a can tied to every every dirty door knob on West Street." Put some shrapnel in it ! {He reads further) And here — {Puts paper down in front of Bradshaw) never mind about thanking me. Thank God. He's the fellow. I'm the guy that does his advance work, but I want Him to get the credit. Smollet. {Beaming) Naturally, naturally. Bradshaw. Well, you see the statement isn't finished yet. I shall bear down a little harder later on. Gleason. Great ! Don't weaken. Stick the pep into it. Bradshaw, I think it will please you. Gleason. It will if it's an inshoot and right over the pan. What are all these? — squawks? {In- dicating letters on Bradshaw's desk) Bradshaw. No, most of them are from friends commending us. A few are — well, not so friendly. Gleason. {Laughing and crossing to c.) Don't let that worry you. You ought to get some of my mail. {All laugh) Bradshaw. But did you ever get one as bad THE ETERNAL Mx\GDALENE 21 as this? (He picks up a letter) Gleason. (Crossing to desk) Say, I get junk in every mail that'll tie anything you got there. Shoot it and see. (Sits in chair r. of desk) Bradsiiaw. It's from a girl. She goes on to tell of her clothes and things being put into the street by the police, and she ordered out of town. Gleason. Well, what about it? Bradsiiaw. It ends with a curse. Martha. A curse — how terrible! (Crosses he- Jiind desk to l. of Bradshaw) Gleason. (Passing it off lightly) What does she say? Bradshaw. (Handing Gleason the letter) Here, read it. Gleason. (Reading) '' This town is my home just as much as it is yours. And I'm going to stay here in spite of you and the police. 1 shall remain here to see your daughter ruined and your son an outcast and a thief. I shall remain here to see your wife — (Pause as he turns page over) torn from "you by death (Martha puts her arm around Bradshaw) and to see you follow her to your grave deserted, heart-broken and disgraced. This is my curse. That this may come to you is the prayer of — Mabel Mordaunt." (He rises and goes to c.) Um! That is a stifif one. (Turns to Bradshaw) You'd better cross your fingers. Smollet. (Rapping on table) Or rap on w^ood. Martha. (Turns upstage) It's awful ! Gleason. (Crossing back to desk) Nix, nix, nonsense. Come over and read some of mine. Stick that in your vanity-box, Bradshaw. (Handing him letter and starting for arch) Come on, Smollet. I've got to get over there, you know that. (Stops suddenly and points out zvindozv) Get a slant at this, our customers are coming in bunches now. Smollet. (Starting tozvard arch) I'm with 22 THE ETERNAL MAGDALENE you. Gleason. Good-bye, folks. See you later. (Shakes hands with Mrs. Bradshaw at window) Keep your eyes peeled for the fireworks to-night. Come on, Smollet, beat it. (Slaps Smollet on back and both exit quickly through arch) Bradshaw. (Rising and going to zvindow) I'll catch you at the meeting at noon to-morrow. Gleason. You're on. (As they exit across porch Martha comes dozvn c. ; Bradshaw opens windozv and goes out on porch) Martha. (Nervously) I'm worried about that terrible letter. Bradshaw. (Smiles a little nervously and comes to c.) You always had a little streak of super- stition, didn't you? Now what difference can it make what some vicious girl writes to me? Martha. (As Bradshaw pats her on shoulder) But, Elijah, I-^ (Phone bell rings.) Bradshaw. Pardon me a moment, dear. (Crosses to desk; Martha gives a little gesture of despair and exits through arch and upstairs. Bradshaw at phone) Hello, — yes, this is Mr. Bradshaw. Who? Macy? Well, what is it — No, I am not at leisure to-night — Yes — to-morrow I may see you at my office — What ? — Yes, at my office, and please understand I don't do business at my house. When I want any bonds I'll buy them from you at my place of business. — You understand? — Yes — good-bye. (Door bell rings; Bradshaw re- sumes zvriting; Otto enters up r., goes to street door, nods to Bellamy then enters c.) Otto. Mr. Bellamy of The Star is here, sir. Bradshaw. (Impatiently) Oh, I'm not ready for him yet ; however, let him come in. THE ETERNAL MAGDALENE 23 (Otto crosses to arch and admits Bellamy, then closes street door and exits up r.) Bellamy. (Coming dozim to R. of desk) Oh, good evening, Mr. Bradshaw. Bradshaw. I suppose you are here for that statement? It isn't ready. Can you wait a while? Bellamy. Sure. Til tell you what I'll do. I've got to cover the Gleason meeting to-night, so I'll stop on my way back to the office. Bradshaw. That's better. That will give me plenty of time. Bellamy. (Starts to go, then pauses; back to desk) By the way, Mr. Bradshaw, may I speak to you about something more important? Bradshaw. (Continues writing) Well? Bellamy. About Bess. Bradshaw. Bess? What about her? Bellamy. The fact is, I want to marry her. Bradshaw. (Drops hack in chair) You want to do whatf Bellamy. I said I want to marry her. Bradshaw. So, you have been making love to her behind my back, have you? Bellamy. Not exactly. I tried to keep further away from you than that. Bradshaw. Did she know that you were going to speak to me? Bellamy. I told her I'd take the first oppor- tunity. Bradshaw. (After pause, turning it over m his mind) How much money do you make? Bellamy. (Crossing to c. a little nervously) Forty-five dollars a week. Bradshaw. Umph! My dear young man, with that salary you couldn't keep my daughter in shoes. Bellamy. I heard that you were a poor man 24 THE ETERNAL MAGDALENE once. Bradshaw. I was. and I'm proud of it! Bellamy. Did you have such a sumptuous sal- ary when you were married? Brad*haw. (Caught off guard, retrospectively) Twelve dollars a week, I think it was — (Recovering himself) But times have chans^ed. There is no use talking about it. It is out of the question. Bellamy. Then your answer is No? Bradshaw. My answer is No. Bellamy. No possibility of any change? Bradshaw. None. Bellamy. (Starts to go, then hesitates and re- turns) May I ask if you have any objections to me — personally ? Bradshaw. No. No. — Except that I think you are just a little too smart, for one thing. Bellamy. Too smart? What do you mean — too smart? Bradshaw. I've sized you up as one of those young fellows who think they know more than their fathers. I don't know where they get it. College, perhaps. They are chock-full of skep- ticism, pessimism and agnosticism. They poke fun at the churches and scoff at sacred things generally. Bellamy. (Leaning over desk) Oh, now, please, Mr. Bradshaw — don't put me in that class. Where did you get the idea I am that sort ? Bradshaw. I got an inkling of it when you opened up on Gleason the other night. It struck me you had considerable nerve to talk to him the way you did. Bellamy. You mean when I was interviewing him? I did lose my head a little, didn't I? But he got my goat telling me how God calls him from one city to the other, and we know — especially you ought to know — that he couldn't hear God calling htm with a megaphone if they didn't show him the THE ETERNAL MAGDALENE 25 color of the coin. (Sits in chair r. of desk)' - : Bradshaw. There, you see — that is just thq sort of irreligious talk I mean. You've got the wrong angle, my boy. Bellamy. (Taking nezvspaper proof from pocket) What about Gleason's angle ?■ And :ir- religious stuff? How about this, a copy of his ser- mon to-nip-ht sent around by his advance anient. He's telling the story of David and Goliath. (Read- ing) " Oh, little Dave soaked old Goliath on the coco, between the lamps, and he went down to the mat for the count. Then Dave drew his sword, cut the big guy's block off and the rest of the Philistine gang beat it." • Bradshaw. (Sniiling) That's Gleason's style. He means it the right way. Bellamy, Give him credit, boys. Perhaps you think my angle's v/rong on the tenderloin question? You heard me talking to him about that, too ? Bradshaw. Yes, I was shocked to think that a 5^oung man would defend anything so infamous. Bellamy. I wasn't defending it, but I was citing some rather convincing crime statistics- from othey cities which eradicated theirs several years ago and are now balancing up their police court recordsi Gleason began t® quote the Bible and quite naturally the argument blew up* . ■ •< Bradshaw. And quite as naturally, Mr. Gleason was right. •• ■- Bellamy. Perhaps, but I never knew it to. fail; the minute you begin to pull cold, hard facts on a preacher, he starts to shout scripture at you'. and aH bets are off. (Bradshaw glances up quickly) Novy, don't get the idea that I'm trying to be smart, be^ cause I'm not. But it is my conviction there are two sides to this question, just like every other ques'- tion and I told Gleason so. I know one side is 'rot- ten enough. Any reporter who has ever done police 26 THE ETERNAL MAGDALENE court knows that. But if I were in the Mayor's .^lace and had it in my power to close them up, or let 'em run, and I wanted to be on the square with my own conscience, well I swear I don*t know what I'd do. Bradshaw. It is extremely fortunate for this community that you are not the Mayor. Bellamy. Maybe. Still, I don't know. I might get by. I took some pretty good lessons in mayor- ing. Bradshaw. Lessons? Umph! From whom? {He continues zvriting, glancing up at intervals) Bellamy. From old Sam Jones in Toledo. I worked on The Blade up there for a while and used to cover City Hall. You remember him? They called him " Golden Rule Jones," because he oper- ated on the do-unto-others-as-you-would-be-done- by plan. His police court was a court of rehabili- tation. He found the good that is in every man and ^uilt on that. And Toledo was what they call an open town. So a committee like yours called on Jones to ask him to close up the tenderloin. I hap- pened to be in the office at the time. He Hstened patiently to their argument and said : " All right, boys — let's shut her up." The committee beamed on him. " But," said Tones, " There are only two ways to do it." " Well,'' said the committee, " Well," said Jones, ** The first way is to chloroform all the inmates — that would be murder and we can't do that, can we? The committee shook their heads, " And the only other way is to drive these women from our town into the surrounding towns and it would be like dumping our garbage over our back fence, an unneighborly and unchristian-like pro- ceeding, and we don't want to do that. So I guess we better let things be just as they are " said Jones. Bradshaw. Umph ! Bellamy. The committee got as far as the door THE ETERNAL MAGDALENE 2j when Jones had an idea. " Hold on you boys, there might be a way out of this. Suppose we good citi- zens of Toledo take these women into our homes as guests or servants and let our wives and daughters reform them. You can put Mrs. Jones down for two — how many will your wives take?" Well, say, the chairman of that committee hit the ceiling like a sky rocket : '* What " he cried. " Take women of that class into our homes. I've always heard you were a damn fool Jones and now I know it first hand " ; and that meeting busted up right there. (Rises and crosses c.) Bradshaw. (Secretly impressed) So, that^s where you got your ideas — from a mountebank mayor. Bellamy. Some of them. (Crosses to desk above chair) But we're way off at a tangent, Mr. Brad- shaw. Have you been giving any thought to that question I asked you a little while ago? Have 1 any chance? Bradshaw. I told you, you haven't Bellamy. (Belozu chair) Just the same, I'll ask you again when I come back to-night. Maybe by that time you'll change your mind, — about that and other things. Bradshaw. What do you mean by *' other things ? " Bellamy. Your stand on the social clean-up proposition, for instance. Bradshaw. My dear young man, I think I am safe in saying that if I do change my mind on that question, I may promise you that I will on all others. (Paul comes down-stairs and enters through arch dressed for street. Comes down c.) Bellamy. (Leaning over desk) That's a bet 28 THE ETERNAL MAGDALENE — rir hold you to that promise. Paul. Hello, Bellamy — back again? • Bellamy. {Turning to Paul) Yes, I came to see- your father on business. I'm off to hit the sav/dust trail. As I thought, I've got to cover the Gleason meeting to-night. • Paul. And i'm elected to chaperon the ladies. (Going to arch) Wonder when this stuff is going to stop? • Bellamy. Oh, a couple of weeks will wind it up. (To- Bradshaw) Everybody is gettmg converted and the Gospel-mill is running short of raw ma- terial. • • (Martha and Bess come down the stairs and enter through arch. Martha has coat over arm: She crosses to Bradshaw l. zvho rises ... and comes upstage to help her on zvith her , . coat. Bess crosses to Bellamy r. c.) Bess. We're going to the tabernacle. Bellamy. So am I. May I come with you? . -Bess. {Arranging gloves) Surely come along. • .Bellamy. (Taking Bess' arm and pulling her to one side) I've just been speaking to your father. » .3ess. About what? Bellamy. About us. ^ Bess. Us? Heavens, what did he say? ' Bellamy. He said — No! , Bess. Sometimes he says " no " when he means ".yes.", ..Bellamy. Let's hope this is one of the times. I'm going to the mat with him again. Bess. The mat? .' B-^llamy. Wrestle with him again, you know. I'm getting full of slang since Gleason came to town. Paul. f^Has been putting on light overcoat and THE ETERNAL MAGDALENE 29 gloves) Come on, folks, or you will miss the over- ture. • (Clock strikes eight.) Bess. Oh, we can hear it from here. Come on. (They move tozvard the door) Bellamy. See you later, Mr. Bradshaw. Martha. (Kissing Bradshaw) Good-bye, dear. We will be back in an hour or so. Bess. Come, mother. Martha. Yes, dear. (Paul opens door and sound of church music is heard.) Bess. (Laughs) There, it's started already. • Paul. I told you we'd be late. Bellamy.. (Light, laugh) All aboard for ]or- d:ni. (Party exits off l.) ■ Bradshav;. Good-bye. (Goes out on porch, lis- tening a few moments to music. Otto enters up r. closes street door, comes down r. puts out table lamp. ■ Crosses up-stage to table. Bradshaw goes back to desk; and sees Otto) Lock the street door.. (Otto exits through arch and locks street door.. Hall, lights go. out. Otto comes dozmi r. of desk)- Turn out those lights and draw the cur- tains. (Otto turiis out lights and draivs curtains, comes dozvn and places chair right of desk at up- stage end of desk) I'm not at home to anyone, — to anybody, you understand? Otto. Yes, sir. (He exits up r.) (vBradshaw is left, alone, sitting at desk. Desk' 30 THE ETERNAL MAGDALENE lamp is lit. He writes steadily for a few mo- ments. Nothing is heard save the scratching of his pen on the paper. He stops writing, then lifts the paper to read.) Bradshaw. Let's see how I cover this point. (He reads. Sound of singing off) " In spite of the silly sentimentality that prevails in certain quar- ters these women who ply their unspeakable trade must be shown no pity. They have forfeited all right to human sympathy. One and all, they must be driven from the city — ruthlessly, remorselessly as we would drive from our door-yard a pestilential criminal who sought to do us bodily harm. It is not pertinent to say that misfortune drove them to this, or poverty, or betrayed love, or a predisposition passed down by immoral parents. We have to deal with effects, not with causes. And I seriously mis- trust if any of these alleged causes may be substan- tiated in fact. Our misfortunes are all of our own making. Poverty is a disease bred by laziness; be- trayed love is a nickname for lust, and predisposi- tion is a cowardly excuse for hiding our own crimes behind the tombstones of our ancestors. And so we call upon the officials of this city to do their duty. Not merely to close up these houses of in- famy, but to see to it that their inmates, these women with the scarlet letters on their breasts, are ban- ished forever from the community." — (He yawns and continues to grow drozvsier. He sees letter of girl and picks it up and starts to read dreamily) " I «hall remain here to see your daughter ruined and your son an outcast and a thief. I shall remair here to see your wife {turn) torn from you by death — and — see you There — there — Martha, what difference can it make what some vicious girl — writes to me? (His head falls slowly over on the desk and he is asleep. Desk lamp dims to THE ETERNAL MAGDALENE 51 black. Magdalene enters and conies c. stage. Voices sivell. Blue spot slowly dims, upon Magda- lene picture r. Then dims black again. Voices dim slozvlv away. Desk lamp slowly comes up, Bradshaw's head slowly comes up with lamp and he sees Magdalene standing c. light straw spot on zvoman's face, steel blue spot on Bradshaw s face) Bradshavv. (In aived voice) Hello, who are you? Woman. A woman. Bradshaw. Yes, yes, but who are you? What are you doing here? Woman. You mean my name— what does that matter, I am a woman. o / lt Bradshaw. How did you get m here? {He moves as though to ring for servant) Woman. Please don't, I'll go. {She wavers as though from weakness) I thought you might help me. Bradshaw. What made you think that? Help you ? How ? Woman. To get employment. Bradshaw. Perhaps, but this is no time or place to apply for work. Go to my store to-morrow and if you can convince my superintendent that you are willing and honest Woman. That's just it. I am afraid I can't.— Bradshaw. Can't what? Aren't you willing to work? Woman. Willing, yes— but I could never work in your store. I must have a place not quite so pub- lic. You see Bradshaw. No, I don't see. What do you mean? Woman. I mean that I am too well-known. It would never do. Now a place here — in your home — that would be different. Bradshaw. We arc not taking unknown women 32 THE ETERNAL MAGDALENE into our home. It strikes me you have a lot of pre- sumption to ask for work and then dictate just what kind of work you are going to do. Why do you come to me anyway? I want you to go now before I call and have you put out. {Starts to ring again) Woman. I come to you because you are respon- sible. Bradshaw. Responsible? Responsible for what ? Woman. For my being in the streets to-night — homeless. Bradshaw. I! What have I to do with it? Woman. You have everything to do with it. Don't you know that hundreds of women like me are cursing you at this very moment? Bradshaw. Cursing me? What for? • Woman. For having them thrown out of their homes into the gutters. Don't you suppose they read the papers? Don't you suppose they know that it's your money that's paying for all of this, that you are the one to blame? Bradshaw. I see, you mean the women of the district, I see. Well, let them curse. My con- science is clear. But why do you — am I to beHeve that you— are — are Woman. One of them — yes. Bradshaw. (He looks at her incredulously) You don't look like a vicious woman. Woman. (Turning to him appealingly) No? Bradshaw. Your face reminds me of someone I once knew — a good . woman she was — and your eyes — I'll not believe it. (He passes his hand across his eyes as though to drive azvay a memory. He drops hack in chair. The woman throzvs back her cloak, revealing a gaudy red dress cut extremely lozv. She wears tawdry jewels and her whole ap- pearance is suggestive of an inmate of a house of prostitution) ■ THE ETERNAL MAGDALENE 33 Woman. Will you believe it now? (As she places cloak on chair np-stage end of desk. Baby straw zi'hich has been shining only on her face now envelopes her completely) Bradshaw. (Rising in rage) And you dare profane my home, contaminate this very room where only a few moments ago my wife and children were? Woman. Your children? A daughter? Bradshav/. a daughter, yes. A virtuous girl, thank God. Woman. A son? Bradshaw. A son who has not met such as you. Woman. These two your only children? Bradshaw. Yes. (He reaches for bell) Woman. Are you sure, quite sure? Bradshaw. Sure of what? Woman. That these two are your only chil- dren. That there is no one else who has the right to cal' you father. Bradshaw. What do you mean? Woman. (Leaning over desk) A moment ago my eyes attracted you. Now look in them again and say you do not remember the woman whose Bradshaw. (Guiltily) You don't know what you're saying. I want you to Woman. Are you afraid? Bradshaw. Afraid of you — you- WoMAN. Then if you are not afraid, let your mind go back to an autumn long ago. A girl you lured from home and then betrayed. My eyes may help you to remember. (He turns on her slowly and gazes into her eyes fixedly. A great fear comes over him) Bradshaw. Ruth ! Your mother. Blackmailer ! Someone told you. Woman. I needed no one to tell me. Bradshaw. It cannot be possible. Why she's been dead these twenty years. 34 THE ETERNAL MAGDALENE Woman. And they never told you she had left a child. Bradshaw. No. I never knew. I never knew. I'll not believe it! Woman. And yet my eyes. Bradshaw. (Gating at her intently) Your eyes — my God — I must believe it now. You are my daughter! Woman. I have not said so. Bradshaw. No, but I can feel it here — here. Woman. Do you recall where you met her? Bradshaw. At Blenheim, in the autumn. Woman. Love comes quickly in hazy autumn days. Bradshaw. Ours came so. Woman. You loved her then? Bradshaw. I thought so. Her innocence and youth attracted me. And finally when I asked her to come, she came with me to Montreal. And there Woman. And there — you deserted her. Bradshaw. Yes. (He hangs his head in shame) Woman. (With pity) Poor — poor girl. Bradshaw. (Slowly recovering himself) And you her child? Her child. I pity you, and duty demands that I provide for you. Here, here is money. You must go away. When this is gone I will send you more. (He takes a packet of money from desk drawer) Woman, I don't want money. It's the cheapest thing in the world. I want a home, a father's love -^-oh, let me remain here. Bradshaw. That is impossible. You must go. Woman. No, please let me stay. It is my right. Bradshaw. No you must go. I couldn't face it. Woman. No one need know. Let me remain here as a servant. THE ETERNAL MAGDALENE 35 Bradshaw. a servant ! And my son and daughter ! Woman. They will not be harmed by me. Bradshaw. Not harmed by you — a common Woman. But still by your own confession, your daughter ! Bradshaw. My daughter! (Rings for servant) My punishment ! God's vengeance ! And to what unspeakable depths you have fallen. Woman. I heard you read a little while ago that our misfortunes are all of our own making. That's not altogether true in my case, is it? You see, I had no chance — no mother's love — no one to point the way. But now — (SJie turns to him ap- peal ingly as Otto enters through arch) Bradshaw. {Wavers betzveen the resohition to have the girl throzvn into the street and the pa- ternal impulse to protect her) Otto — show Miss — this young woman to a room. To-morrow she is to help about the house. See that she is made com- fortable. She comes to us — highly recommended. (Otto turns and exits up r.) Go, now, please. {To Woman. Woman turns slozvly, takes cloak from chair and zvalks slozvly up to arch zvhere she turns and faces Bradshaw zvho is standing zvatch- ing her intently) Woman. Thank you. (There is a short podtse and Bradshaw slozvly sinks into his chair.) ACT II Time: It is nine o'clock in the morning. Brackets and desk-lamp are out. Morning sunlight on the outside of zvindozv. Three baby spots from ^6 THE ETERNAL MAGDALENE bridge, straw, to cover as much of stage as possible. Arc lamp straw on window of street door. Clock strikes nine at rise. Bellamy is seen crossing porch to street door. He rings door bell. Otto crosses hall and admits him. Bellamy. {Coming briskly through arch to c.) Is Mr. Bradshaw in ? Otto. {Up c.) He is not feeling well this morning. Bellamy. Well, you tell him Mr. Bellamy of The Star is here and I must see him at once. Otto. Yes, sir. Will you wait here ? Bellamy. Yes. Oh, is Miss Elizabeth about? Otto. She is in the breakfast room. Shall I tell her you are here? Bellamy. No. Just Mr. Bradshaw. (Otto e.rits up r. ; Bellamy goes to arch — looks around thoughtfully, goes to desk l. ; takes up phone) Hello, — -hello — give me 7977 Belford — yy, yes — The Star office. (Bradshaw enters up r.) Never mind, little sister. (Hangs up receiver and conies c.) Bradshaw. {At c.) Hello, Bellamy, what do you want with me so early? Bellamy. I'm on a tough job, Mr. Bradshaw. I'd rather pass it up. I'm here for the paper. It's about Paul. Bradshaw. {Showing surprise) Paul? What about him? Bellamy. W^ell I'd rather take a licking than be the one to tell you — it's about the bank. Bradshaw. The bank? What about the bank? Bellamy. An investigation held last night. Bradshaw. Investigation of what? What are you driving at? {Crossing dozvn to l.) Now don't come here and drag me away from my breakfast to talk bank business. Why don't you talk to Paul. THE ETERNAL AIAGDALENE 37 He attends to that end of it. {Sits at desk) Bellamy. {Crossing to desk l.) I know. It's about Paul that I've got to tell you. There has been a shortage. Bradshaw. Well what of it? I'm only a direc- tor and not morally responsible for that. If some- one is short — if somebody has stolen from us, there's no occasion for alarm. The bonding company will make good. Tell your paper so. Bellamy. But don't you see? Can't you under- stand that they are blaming Paul as the responsible person ? Bradshaw. How can they attach any responsi- bility to him? He's merely the assistant cashier. Th^y will have to go higher up. If anybody Bellamy. It isn't a question of responsibility, it's a question of guilt. Bradshaw. Guilt ! Bellamy. Yes. Now I've been trying to break it to you as gently as I can that Paul is charged with the shortage. A vx^arrant will be issued this morn- ing unless something is done to head it off. {Crosses to R. c.) Bradshaw. Paul charged with it? {Rises and crosses around desk to c.) Bellamy. Yes. Bradshaw. Come, come young man, this is too serious a thing to joke about. Bellamy. Can't you see I'm not joking. It's because it is so serious that I've come to you. We must do something. Now if Bradshaw. WslH. Who told you this? Who says that my boy Bellamy. Perkins. Bradshaw. {Crossing to r.) Perkins. That rat! Bellamy. {Crossing to r. c.) Yes, one of his examiners tipped the office a few minutes ago. 38 THE ETERNAL MAGDALENE Luclvily I got the assignment and hustled right over. Now if we act quickly, the whole thing can be hushed up. Bradshaw. (Sifting on bench r.) Hush it up? If it's true, hushing it up won't help here. (He strikes himself on the heart) Bellamy. But it's not so bad perhaps as you think. Only about five thousand. Bradshaw. The amount doesr.'t matter. You say my boy is a thief ! That's the thing that hurts, hurts. (The Woman enters up r. carrying a fresh bouquet of flozvers. She crosses and places them on desk at L. She is unobserved by the tzvo men) Does he know? Bellamy. About the investigation? Bradshaw. Yes. Bellamy. No. Bradshaw. We must keep it from his mother at all costs. It would break her heart. Bellamy, We can do that all right. Bradshaw. What can he have done with the money ? I have never denied him anything. He has had everything he asked for. Everything. — Gamb- ling, that what's done it. The stock market — or worse. (Woman who has been watching the two men intently, goes out on porch keeping her eyes on Bradshaw. Bradshaw rises and goes c. to head of desk) But why didn't he come to me? Why didn't he come to me? Bellamy. My suggestion is that you see Paul right away, then we can get to the bank officials be- fore it goes any further. (Crosses to door r ) Bradshaw. (Pulling himself together) That's the thing to do. (Goes to desk and rings for ser- vant) Moralizing won't help us any, will it? Paul is still in his room. I'll see him at once. You wait in here. (Crosses to r. and indicating door) When I am ready to go to the bank I'll call you. THE ETERNAL MAGDALENE 39 Bfxi.amy. All right, I'll be waiting. {He exits through door, Bradshaw itirns and crosses up c. Woman comes down from zvindow and intercepts him ) Woman. Does it occur to you that he might have stolen this money for a woman? Bradshaw. A woman? W^hat woman? Woman. A woman living in a flat on Orchard Street. Bradshaw. You don't know what you're say- ing. How dare you suggest such a thing to me? (Otto enters from up r.) Tell my son to come here quickly. (Otto exits up the stairs.) Woman. I know the woman. Married to a man who abused her, she left him and tried to earn her living by working in your store. But it was not enough ! Your son noticed her, talked to her and learned her story. He induced her to leave your store and set her up in a little flat on Orchard Street. He likes her and I think will marry her when she gets her divorce. Meanwhile Bradshaw. If this is true, he can rot in jail. If this is so, the bank can prosecute. I wash my hands of him. {Crosses to desk l.) But how do I know you are telling me the truth? It's all so strange, your coming here last night and now this. Woman. Then why don't you find out the truth from him? Bradshaw. I will. I'll have him down here this instant. Tell him to hurry. {The Woman starts up — stops at seeing Paul at top of stairs.) Woman. He is coming. Remember he is your 40 THE ETERNAL MAGDALENE son. (Paul starts down stairs) Remember Blen- heim. The sins of the fathers. {Crosses tip to ivindow) Paul. {Enters dozvn the stairs and appears at c. entrayice in bathrobe) Well Bradshaw. {Behind desk) Come here. Paul. What's up? Can't you let me finish dressing. {Coming dozvn he glances at Woman zvho turns and starts to exit through arch) Hello, when did you enter the family circle? Woman. Only a few hours ago. Or was it a few years? {She glances at Bradshaw) I have quite forgotten. {She exits up r.) Paul. That's pretty fresh. {Coming down fac- ing his father) Well ? Bradshaw. {Attempting to control his temper) My boy, you have been found out. Paul. {Suspecting the truth) Found out, what do you mean, found out? Bradshaw. The bank. Paul. The bank? Bradshaw. The investigation was last night. Paul. {Putting on brave front) Investigation. What investigation? Bradshaw. The investigation of your books. Paul. My books. There's nothing the matter with my books. {Crosses to desk) Bradshaw. My boy, it's no use. Perkins is in the bank now. Paul. Perkins ! Then the jig's up. Bradshaw. You mean that you are guilty? Paul. I mean that I am short. I meant to put it back. God knows I meant to make it good. Bradshaw. {Bitterly) You meant to. You meant to ! It doesn't matter now what you meant to do. Paul. How much did they find? Bradshaw. You ought to know. How much THE ETERNAL MAGDALENE 41 is it? Paul. About six thousand, I think. (Sits in chair r. of desk) Bradshaw. Why didn't you tell me before it came to this? Paul. I couldn't! I was afraid to tell you. Bradshaw. Where's the money gone? Paul. I've spent it! Bradshaw. Gambling? Paul. No. Bradshaw. How then? Paul. Pve spent it, that's all. Bradshaw. You won't say? Are you ashamed to tell me how you spent this money? Paul. Perhaps. Bradshaw. Then Fll tell you. I heard, but I wouldn't believe. You spent it on a woman — a married woman Paul. (Rising in great fear) It's a lie ! Bradshaw. A woman on Orchard Street. Paul. (Backing tip) Who told you this? Bradshaw. It's true then! Paul. (Goaded ifito defiance) Yes it's true. And now that you know, what are you going to do about it? Bradshaw. You must give this woman up. Paul. (Turning and crossing to R.) I'll never give her up. Bradshaw. (Crosses around desk to c.) When you're in jail, you may change your mind. Paul. (Coming back to c.) Dad! You wouldn't let me go there. You wouldn't dare. Your own pride and position. Besides you know it would kill mother. Bradshaw. (Weakening) If I save you at all, it'll be for her. But you must promise to give this woman up. (Crosses to r. c.) 42 THE ETERNAL MAGDALENE Paul. Never! I'll marry Ruth just as soon as she's free. (Crossing to l.) Bradshaw. (Crossing to l. c.) Ruth! Is her name Ruth? Paul. Why yes. Woman. (Entering suddenly from up r.) Did you call ? Bradshaw. (Without looking at her) No. Woman. I thought I heard someone call my name. Bradshaw. (Crossing to c. and staring at her) Your name? Is your name Ruth? Woman. Yes. Bradshaw. (Falls hack stunned by the strange coincidence. Both Paul and Woman rush to him thinking he has fainted. He waves them both aside. He speaks to Paul and crosses shakily to door down r. as he is speaking) You stay here. Don't come to the bank. I'll go down with Bellamy. — He's here waiting now. — He'll help me hush the thing up — and I'll see what can be done. Meanwhile — say nothing to anyone and stay right here in the house. Paul. (Crossing quickly to r.) Was it Bel- lamy that told you about the money? Bradshaw. (At door) Yes. Paul. And about the other. Bradshaw. No. Paul. Well then where did you hear about — (Bradshaw who hds opened the door to admit Bel- lamy turns and his eyes rest on Woman. He crosses to arch. Paul gives Woman a glance as Bellamy comes through door. To Bellamy) This is bad business, old man. (Bellamy crosses to Paul and takes his hand) Try to keep it under cover for me, will you? . Bellamy. I'll do my best. You know that. ' Bradshaw. (From center of arch) Coming Bellamy? THE ETERNAL MAGDALENE 43 Bellamy. Yes, right with you, Mr. Bradshaw. {He exits through arch and out street door, Mr. Bradshaw foUozving him with his eyes still on the Woman as he crosses porch. Paul goes up to arch and zvafches them off. Woman zvafches Paul) Paul. (Coming dozvn and seeing Woman look- ing at him) What are you looking so keen about— maybe you know who told him all this stuff. Woman. Yes, I know. Paul. You know, then who was it? Woman. I told him. Paul. {Turning on the Woman tiger ously, and crossing to c.) You told him! Woman. Yes, I told him. Paul. What business have you butting into my affairs. Who are you anyhow? Woman. I am the housemaid. Paul. I know that, but who are you? I never saw you before in my life. Woman. Are you sure? Paul. Yes. Woman. Yes? Paul. {Hesitating, zvith a step hack) You do look familiar at that. I have seen you somewhere. Woman. You think so? — now? Paul. Yes, I think so. But that don't tell me why you go blabbing to my father. {Crossing to Woman) I could kill you for that, you (Woman crosses dozvn l.) Bess. {Off-stage) Paul! {Enters through arch front up r. and crosses to Paul) Mother has been calling and calling you for breakfast. {See- ing the dressing gozvn) What in the world are you doing down here in that rig? Paul. {Forcing a smile) Why, I was just talk- ing to father. {He looks at Woman as though 44 THE ETERNAL MAGDALENE cmitioning her to keep the news from his sister, and exits quickly through door down r.) Bess. (Bezvildered) What's come over every- one this morning? {She crosses quickly to window up L. and looks out into the street) Woman. Are you expecting someone? Bess. {Startled, coming dozvn) No, what makes you ask? Woman. I thought you were. Bess. {Petulantly) When did you come here? Woman. {Crossing to r.) Last night. Bess. Who employed you? Mother said noth- ing about it. Woman. Your father. Bess. That's funny. When did father begin hiring maids? Woman. {Arranging books on table r. c.) He liked my references. Bess. You've worked somewhere in the neigh- borhood haven't you? Your face looks familiar. What are your duties ? Woman. Housemaid. Bess. Where's Susie going? Woman. She's not going. She is to stay, I be- lieve. Bess. {With sarcasm) Both of you? Indeed, what extravagance. {There is a low whistle off- stage. Bess turns and crosses again to window up L. She signals to someone to come in. Then crosses down l. c.) Better open the door for Mr. Macy. (Macy crosses porch to street door.) Woman. Then you were expecting someone ? Bess. You're impertinent. Go to the door. (Woman exits to street door and admits Macy. He hands her his hat and stick, then seeing Bess THE ETERNAL MAGDALENE 45 crosses quickly to her as though to embrace her. She stops him with a gesture. Woman stands in the arch) You may go. (Woman exits up n. Macy ivatches her off then crosses to Bess, takes her in his arms and kisses her) Macy. (After Woman has gone) Now! Bess. I don't know why I should let you do this, but somehow when I am with you, I seem to lose my self-control. I never felt so before. (Crosses to R.) Macy. Never? (Crosses to r. c.) Bess. No, not like this. What can it be? Macy. My dear, it's the sweetest thing in the world. It's love. Bess. I'm not sure. I'm afraid. Macy. Afraid of me? Bess. (Sitting on bench) Yes, and of myself. Macy. [Sitting on bench) You mean you don't trust me? Bess. You know I trust you, but still, I'm afraid. Macy. You don't mean that you've changed your mind? Bess. About going away? Macy. Yes. Bess. I have changed my mind, I think. Macy. After your promise last night? Bess. But Arnold, I know nothing about you. Macy. You know that I have been on the best business terms with your father for years. Bess. Yes, but about yourself. Macy. Well, look at me. Fairly prepossessing. My family, one of the best in Manchester, and as for money Bess. You know I don't mean that. Macy. Then just what do you mean? Bess. Yourself — your life — your love aflfairs. Oh, I'm not silly enough to think you haven't had 46 THE ETERNAL MAGDALENE them. Macv. \Veil, yes. But no real ones. This is my fi-rst real love. And you? ■ Bess. You know well enough what my life has been in this cloister. Sometimes I think I shall just scream with the tameness of it all. Macy. But you've had Bellamy. You've loved him, haven't you? Bess. I thoucrht so. imtil you came. Then he bored me with his big ideas, and little pecks of kisses. Macy. (Taking Bess by the arms and kissing her) Then you'll come? Bess. Yes ! Macy. Right away? Bess. Yes, if it is to be, the sooner the better. (They both rise) Macy. Can you get ready in an hour? Bess. I think so, but I can only take a few things. Macy. A few is all you'll need. Bess. How can I ever break it to mother? Macy. We'll write to her. Or better still leave a note to be delivered after we are safely out of the way. Will you do that? Bess. Yes ! It will be terrible, but I'll do it. Macy. {Looking around cautiously) Good. Now listen. {Consults watch) It is almost ten o'clock. At quarter to eleven, slip out of the house and walk to the corner. I'll be waiting there with an auto. We'll just be in time to catch a train for the East. • Bess. But father will follow us. I think he would kill us both if he caught us. Macy. {Taking Bess in his arms again) Let him follow. He will never get us. We will take the N. Y. Central to Albany, jump right on to Mon- treal and from there take the boat to-morrow night THE ETERNAL MAGDALENE 47 for England. Once on board, we can laugh at all of them. Bess. (Apprehensively) And our marriage. Macy. {Hesitatingly) Well, j— j— just as quickly as it can be arranged. Nov\% you won't fail me? (Blanche Dumond crosses porch, to street door.) Bess. No. Macy. You promise? Bess. I promise. {Door hell rings, as Macy and Bess kiss. They break apart. Macy crosses to L. Bess crosses to r. Both watching arch as Woman crosses from up r. to street door, admit- ting Blanche Dumond. She presents card to Woman who stands c. arch and waves her off up.- per R. Bess up r.) Who is that? Woman. A woman to see your mother. Bess. What is her name? Woman. {Consulting card) This gives her name as Blanche Dumond. Bess. Blanche Dumond ! Macy. {Down l.) Why, anything wrong? v Bess. {Up c.) No, nothing. {To Woman) Did mother know who it was? Woman. Your mother was expecting her. Macy. {Formally) Well, I'll look in on you again. Miss Bradshaw. Good morning. Bess. {To Woman) Get Mr. Macy's things. (Woman exits up r.) Macy. {Crossing hurriedly to Bess up c.) You won't disappoint me? Bess. No. Macy. In an hour, remember. Bess. I'll be there. (Bess runs quickly up the 48 THE ETERNAL MAGDALENE stairs. Macy turns and crosses down l. c. zuith a smile of satisfaction. Woman enters from up r. with Macy's hat and stick and comes dozvn c. Macy turns to exit, he is stopped by look on Woman's face) Macy. By Jove, where have I seen you before? Woman. In Paris, perhaps. Macy. Paris ? Woman. Or Berlin. Macy. (Wonderingly) Berlin? Woman. Or Moscow. Macy. Now you're joking. Woman. No indeed, I have travelled much. Macy. I've travelled too, but Woman. So it is likely that we have met before. Macy. It is hardly probable, but you do look deucedly familiar, somehow. Well, I'm off. (He reaches for his hat and stick and moves as if to leave) Woman. (Holding his hat ayid stick aside) When is she going? Macy. (Startled) What do you mean? Woman. When is she going? Is it to-day or to-morrow ? Macy. So you've overheard, you eaves-dropping devil. I've a good mind to — (Takes a step toward her) Woman. (Unmoved) Poor girl, she doesn't know. Macy. Know about what? Woman. About your wife and children in Southampton. Macy. (Completely taken off his feet) How do you know that? Woman. I told you it is likely that we have met before. Macy. It's a lie. I have no wife. Woman. A lie? (She smiles) THE ETERNAL MAGDALENE 49 Macy. (Seeing it is useless to deny it) Now see here, are you going to give me away or not? Woman. What would be the use. Would she believe me, I wonder. (Crosses down l.) Macy. Of course not. It would be your word against mine and you have no proof. Besides — • (Crosses to l. c.) Woman. Besides — she loves you, you think. Mac\^ T daresay she does. But here, I see you are the right sort after all. (Getting chummy) Did you say you saw me in Paris? Woman. I said I was in Paris. Macy. How long ago ? y'-^(nT\y,, V'a- it ten yenrs or longer? Macy. (Taking a step hack and regarding her curiously) Strange. Wo M AN. St range ? Macy. There's something about you that reminds me of Woman. Of the little girl you deserted at St. Cloud. Macy. By God, how do you know that? Woman. Perhaps, I only dreamed it. Macy. (In a hoarse whisper) Say, — who — are — you ? Woman. An old friend and your very humble servant. (Hands him hat and stick) Macy. And now are you going to tip this off or not? Woman. I will — unless Macy. Unless what? Woman. Unless you promise to leave town and let this girl alone. Macy. (Relieved) I'll promise that, all right. Woman. You'll not see her again ? Macy. No. Woman. Or write to her? Macy. No, on the level. And you? You are 50 THE ETERNAL MAGDALENE sure you^ll- WoMAN. Quite sure. Unless you break your word. Macy. On your honor? Woman. (With a bitter smile) Honor? On my honor. (Macy, a mystified expression on his face, turns and exits hurriedly through arch and out street door. He passes Smollet and Bascomb on porch. They enter and come down c. Woman do7vn L.) Smollet. Is Mr. Bradshaw in? Woman. Not now, but he left word that he would be back presently. (Woman crosses up c.) Smollet. Thank you. Woman. Mrs. Bradshaw is engaged in the liv- ing room. Would you mind waiting here in the library ? Smollet. Not at all. (Woman takes Smol- let's hat) Thank you. (Woman takes Bascomb's hat.) ^, Bascomb. Thank you. Woman. {Indicating chairs) Won't you be seated ? Smollet. {Seating himself down r. c. on bench) Thank you again. Bascomb. {Standing c.) Very kind, I'm sure. Woman. Fm quite sure Mr. Bradshaw will re- turn shortly. Meanwhile, if there's anything, kindly ring. Smollet. Thank you. Bascomb. Thank you. (Woman exits up r. Bascomb striits up to arch and zvatches Woman dozvn hall. Turns and comes down c.) Rather at- tractive young person. Smollet. Very pleasant too. Bascomb. {Coining down) Something of a THE ETERNAL MAGDALENE 51 beauty, I should say, Smollet. Are you anything of a connoisseur of these matters? Smollet. Hardly, Til leave that to your judicial discretion. Bascomb. I'm afraid I am prejudicial where pretty women are concerned. As for discretion well that conies with years. And you know I am still in my early twenties. Smollet. Yes, you're getting younger every day. Bascomb. Hardly that. But I hope the time will never come when I can't admire a pretty face — or — or figure. Smollet. Amen! (They both laugh) Bascomb. (Goes up c.) This one looks fa- miliar. I've seen her somewhere, I think. Smollet. (Aecnsingly) Indeed! Bascomb. (Corning down c. Confused) Some other home. I mean. She's simply a house maid, isn't she? Well it shows how much confidence Mrs. Bradshaw has in her husband, having such pretty girls about. Now my wife — well, that's another story. (Crossing to L. They both laugh again) Pleasant place Bradshaw has here. Smollet. Very, very pleasant, indeed. Bascomb. (Going around desk) Well, he de- serves it. He's what I call a self-made man, if there ever was one. Full of real American stuff. Has the courage of his convictions too. This proves that. (He indicates front page article in news- paper which he carries) Smollet. Genuinely successful. I'd call him. Plenty of money, which he earned for himself. A line family. Wife any man would be proud of, beautiful daughter and promising son. Bascomb. Seems to have achieved happiness if there is any such commodity in this world. Smollet. And a God-fearing, charitable citizen. 52 THE ETERNAL MAGDALENE (Bradshaw and Bellamy cross porch.) Bascomp.. Let us hope that God will not play the trick on him he did on our old friend Job. Smollet. Whom the Lord loveth, He chasteneth. (Bpadsijaw cufrrs hurriedly through arch, Bel- lamy follozvs him. Bradshaw comes down c, Bellamy goes around desk to chair down l.) Ah! Brother Bradshaw. Bi^M\STLAVv', Well, gent'emen ! Smollet, I'm glad to see yoiL Judge, it's good of you to come. You know Mr. Be-lamy of The Star? A friend of Paul's. (Both nod to Bellamy.) Bascomb. (To Bradshaw) We came over to congratulate you on this. (He indicates article in paper) Smollet. It's splendid. The whole town is talk- ing about it. Bascomb. It has the right ring to it. Bradshaw. I said what I believed to be tlie truth. Rev. Smollet and I discussed it last night. Since then, I have wondered if I shouldn't have modified it in one or two particulars. Smollet. Certainly not. It's the climax; th ^ top-sheaf of our campaign. Bascomb. It's the last gun in our fight against legalized prostitution, and we are all proud to have fought under so gallant a captain. (Bascomb bozvs and sits in chair l. c.) (Smollet sits in chair r. c.) Bradshaw. Gentlemen, you overwhelm me. I hope that we have acted wisely. And now if you'll excuse me, I want to have a word with my son. {Starts to cross r.) THE ETERNAL MAGDALENE 53 Smollet. Perhaps we had better be going. (He starts to rise) Bradshaw. Please don't. Pll only be a moment. I think he is in here somewhere. (Crosses to door R.) Ah! Paul. (Exits through door) Bascomb. What did he mean by saying " I hope we have acted wisely?" Can there be any doubt of it? Bellaaly. {At chair doivn l.) Evidently Mr. Bradshaw is beginning to think so. Has it occurred to you gent enien, that there are two sides to this question ? Bascomb. Two sides to what question? Bellamy. To the tenderloin question? Bascomb. Two sides. Sure two sides, the right side and the wrong side. Bellamy. (With a light laugh) Just that. There are a lot of people of intelligence, doctors among them, and certainly many mothers, v^^ho be- lieve that all this has been a big mistake. (He indi- cates nczvspapcr which Bascomb holds) Smollet. (Rising) You're assuredly not one of ihein, yiv. Bellamy? Bellamy. Pm not so certain about it. (Cross- ing to c.) In my business I get a pretty good slant at both sides. You know, don't you, that these women are not leaving town. They are merely scattering. Lots of people are hollering to the po- lice already because their neighborhoods are being i' waded. Bascomb. (Laughing heartily) Hollering? Let 'em holler, eh, Smollet? Smollet. Well, I hope what Mr. Bellamy says is not altogether true. The chief of police assures me that most of the women will be forced out of the town. Bellamy. That's probably what the Chief hopes. (Bradshaw enters through door dozvn r.) But 54 THE ETERNAL MAGDALENE I'll bet he knows better. {Crosses to Bradshaw up R. Smollet crosses to Bascomb l. c.) Bradshaw. {Aside to Bellamy) It's all right. Paul has agreed to go away. Now you'll do your part, won't you? Bellamy. I sure will. I know how to pull the strings to keep the whole thing out of print. Good- bye. {They shake hands) Bradshaw. Good-bye and thank you. (Brad- shaw crosses up to arch) Bellamy. {Corning down c.) Well, good morning, gentlemen. I'm sorry we can't prolong the argument. (Smollet crosses to r. c.) I have facts up my sleeve that would amaze you. Bascomb. {Banteringly) You newspaper men are a menace to the community. Bellamy. Except when you're running for office, eh Judge? Or when good Samaritans like Mr. Smollet need publicity for their New Year's Eve Grill-room Crusades, eh Reverend? Well, good morning. {He exits through arch and out street door) Smollet. He's a precocious young fellow. Bascomb. {Rising) Precocious? He is posi- tively pestiferous. (Bradshaw comes down) He's been actually telling us, Bradshaw, that we've made a mistake in this whole campaign. — Gleason and all. Bradshaw. We have made no mistake gentle- men, I hope. {Crosses down l.) But certain things have happened that make me wish I had not taken such a prominent part in it. I had a great sorrow come to me last night and to-day I have had another. {Crosses to hack of desk) Together they seem greater than I can bear. Smollet. Why, my dear friend, I never dreamt that anything had happened. . Bascomb. I'm sorry to hear you say this. Only THE ETERNAL MAGDALENE 55 a moment ago Martha. (Entering from tip R. followed by Blanche Dumond, they move toward outside door then pause, confer a moment and then come down) May I interrupt your conference to introduce some- one whom I daresay has a very vital interest in it? Gentlemen, this is Miss Dumond. (Pause) Miss Dumond, my husband. Dumond. (Up r. c.) How do you do? (Nod- ding at Bradshaw) Bradshaw. (Stiffly, Dozvn l.) How do you do. Martha. (Up l. c.) This is Reverend Smol- let, (Pause. Smollet bozvs coldly) And this is Judge Bascomb. Bascomb. (Advancing) I am pleased to know you, Madame er — Miss. Martha. (Embarrassed and crossing to chair L. c.) Miss Dumond promised that she would come and tell me about that poor girl I spoke of. Bradshaw. Indeed ! Martha. (To Miss Dumond) Won't you sit down? Dumond, (Sits in chair r. c.) Yes, it all turned out splendidly. Her father came from down state, forgave her and took her back home. (Mrs. Bradshaw arranges chair and sits l. c.) Bradshaw. I'm very glad to hear it. (He sits in chair dozvn l. Smollet sits on bench) Dumond. We were all very happy about it. It was a pathetic case. We were so glad to have been able to help her. Martha. Miss Dumond has just been telling me that she is about to leave the city. Smollet. Indeed ? Dumond. Yes. In the light of recent events, 56 THE ETERNAL MAGDALENE I think it better, don't you? Smollet. Undoubtedly you are acting wisely. DuMOND. I think so. At least for the present. Bascomb. (Comes down l. c. with chair and sits) May I be so bold as to inquire where you pro- pose locating? DuMOND. Most certainly. I have bought a very attractive country place near Sedgwick, only a few miles west of town. I shall raise lots of chickens, (Pause) and serve dinners to automobile parties. Bascomb. I see. They call it a roadhouse, don't they? DuMOND. That's it. May I count on your pa- tronage, judge? Bascomb. (Raising his hand protestingly) Oh, my dear woman DuMOND, (Smiling) Yes, I see perfectly. Smollet. I trust that you will be glad to get into new fields. — That is out of your old environ- ment. DuMOND. Personally, I shall be glad, though of course I can't speak for the others. And person- ally, I trust that you men are acting wisely, al- though, as I have already told Mrs. Bradshaw, I have my serious doubts. Smollet. It is because women like you feel that we are wrong, that makes us so certain that we are right. DuMOND. (With winning smile) Now isn't that a little unkind, Reverend Smollet ? You should be generous enough to believe that my doubts are based on considerations other than my own private interests. Smollet. And these considerations, may I ask, what they are? DuMOND. The facts of thousands of years of experimenting in just this sort of thing. Bascomb. Experimenting, indeed ! (He moves THE ETERNAL MAGDALENE 57 his chair a little closer) DuMOND. Experimenting' — just that. Experi- menting in ways and means to do away with the so-called social evil. Now you're a well read man, Judc^e, and you know that in the classic civilizations of Greece and Rome the Courtesans were accepted as a prominent factor in the social organization. To serve in the Temple of Venus in those days was an exalted ca^Hn«-. Reverend Smo-let knows that the Bible is filled with stories of concubinage, illicit loves and crimes of lust and coming down to later days, I find in the history of New England that our own virgin country was overcrowded with prosti- tutes as far back as 1630. It looks as though some of the sly old Puritans had smuggled some of their English ** Cousins " over in the Mayflower. Oh, I've been reading a lot on this subject lately. Smollet. And your conclusion is DuMOND. My conclusion is that if it were pos- sible to stop prostitution, it would have been stopped long ago. And in my humble opinion it can never be stopped, until we change human nature. And I hardly think we can do that. Bascomb. {Leaning toivards Dumond) No — hardly — {Shaking his head) Dumond. {To Bascomb) And — You'll par- don me Bascomb. Oh that's all right. Go right ahead. Go right ahead. Dumond. And so if you'll grant that the ele- mental things in human nature can't be changed to any great extent, you must agree that it is absolutely impossible to stamp out the sins that arise from these natural impulses. Now these two facts ad- mitted, the only thing left to decide is whether it is better for a city to set apart a district where all women who elect to lead this historic calling — must reside, or, do as you are now doing, wipe out such a 58 THE ETERNAL MAGDALENE cHsti-ict and drive its residents to all other parts of the city. I'm on one side of that question and you're on the other, so there is no more to be said. (She rises) (They all rise except Bradshaw.) Smollet. (Standing down r.) And have you no sense of shame for the part that you have played — no desire to lead a good life? DuMOND. Possibly. But I'm like a lot of your parishoners, always putting it off until to-morrow. (Bascomb backs up c. zvith chair.) Smollet. (Sharply) But the stigma of it. I should think you would blush to be abroad in the daylight. DuMOND. Blush? Indeed, I am glad not to have forgotten how. I am blushing now for you. Rev- erend vSmollet, that you so far forget your gallantry. Smollet. You may spare your blushes, if they are for me, Miss Dumond. I have no gallantries for women of your — profession, DuMOND. (Banter ingly) You may insult me. Reverend Smollet, but do not slander my — profes- sion. It is the oldest in the world. It's older than history itself. It's as old as mythology. Venus, (The Aphrodite of the Greeks) was its goddess, and temples have been raised to her in all the ages. History is filled with the names of her illustrious de- votees. Smollet. Illustrious! (He sniffs contemptu- ously) DuMOND. Illustrious, yes. Names that have changed the map of the world — women's names — ■ disciples of Aphrodite! Smollet. (Turning sharply) What names? THE ETERNAL MAGDALENE 59 DuMOND. Well, an old friend of our school-book days, Helen of Troy, is one. Smollet. a myth like your Aphrodite. DuMOND. Possibly. But Cleopatra was real, wasn't she? I believe Marc Anthony found her so. And Aspasia, the classic mistress of Pericles ; Lais who held the keys to the Eleusinian mysteries; Phryne, the model of Praxi tiles ; Du Barry and Pompadour, Katherine of Russia, makers and wreckers of thrones. That choice spirit of her day Lola Montez — Nell Gwynn, the pet of princes — Ninon De L' Enclos Smollet. A brilliant constellation! Haven't you omitted Camille? DuMOND. {Siniling szveetly) I was just coming to her when you interrupted. Smollet. Pooh ! {He makes a deprecatory ges- ture and turns from her as though tired of the ar- gument, walks lip and down r.) Bascomb. (Gallantly coming down c.) Permit me to remark, Madame, that while I cannot agree with you I must observe that you are a woman of education and — er — refinement. DuMOND. Thank you so much. I have had many advantages. My story might interest you, (Bas- comb leans forward) but it's a little too long to ie:i to-day. Now when you come to my farm, perhaps — (The Judge lifts his hand protestingly) Oh, don't be afraid. I have entertained in my home, men oc cupying the highest social positions. Bascomb. I dare say. I dare say. (Turns and crosses up c.) DuMOND. (Crossing to Mrs. Bradshaw down l. c.) Thank you for allov/ing me to come. Martha. We shall all be interested to hear how you get on in your — your new field. (Crosses up to arch) DuMOND. Thank you. I shall keep you informed. 6o THE ETERNAL MAGDALENE {To Bradshaw) Good day. {Turns and goes up c.) I have my car at the door if either of you gentlemen wish to go over town. Smollet. {Sharply) Thank you. We have an appointment. DuMOND. {Up R. c.) Oh don't be afraid. It*s a closed car. Bascomb. {Dozvn l. c.) Our engagement is with Mr. Gleason. DuMOND. Mr. Gleason. I'm so sorry not to have had the pleasure of meeting him. I have so much enjoyed his sermons. Smollet. I'm glad to hear you say that, at least. DuMOND. Yes, they are really edifying. They add so much to one's vocabulary of slang. Good morning. {To Smollet) Smollet. Good-bye. Bascomb. Good morning. DuMOND. Au Revoir. (Dumond exits through street door. Bascomb crosses to zvindow and zvatches her off. Mrs. Bradshaw lets her out and closes street door. Comes back to c. of arch) Martha. You'll excuse me. Smollet. Certainly. (They bozv. Mrs. Bradshaw exits up the stairs.) Bradshaw. So that*s the notorious Blanche Du- mond. I've been sitting here trying to figure her out. Bascomb. Well, what do you make of her? Rather an unusual woman I should say. Bradshaw. She upsets a lot of my ideas. She's so different from what I had imagined. Smollet. That's what makes women of her type so dangerous. She wears a veneer of culture and gentility — and beneath it is THE ETERNAL MAGDALENE 6i Rradshaw. (Rather sharply) Is what? Smollet. Poof ! (A little cry of disgust. When properly done one of the best laughs in the play) Bradshaw. I imagine that after all she is a good deal like other women. No doubt she has her own ideas of honesty? If we knew more about her, we could judge her better. Smollet. (Consulting zvatch) You know we mustn't keep Gleason waiting. This is to be the final meeting of the Committee. Let's hurry, gen- tlemen. (Crosses ut> to arch) Bradshaw. (Rising and crossing to arch) I'll walk over with you. but only for a moment (Bascomb stands down l. c.) Bascomb. Chicken farm. (He chuckles) Bradshaw. (From, arch) Coming Judge? Bascomb. Yes, yes. (To himself) Chicken farm. (He goes up and the three men exit ad lib. through street door. Bess comes down the stairs glancing around ivith a nervous expression on her face. She has changed her dress to suit. She crosses quickly to chair at right of desk, sits and writes note. Woman enters from r. and crosses down L. c, stands unobserved. Bess finishes note, rises, turns and starts guiltily) Bess. Oh, it's you is it ? Spying on me as usual. Woman. I wasn't spying on you. You wanted me didn't you? Bess. No, I didn't want you, but since you are here, you may give this note to my mother. Woman. You see you did want me, after all. Bess. Give this to my mother in fifteen minutes. Exactly eleven o'clock. Not a minute before. You understand ? Woman. (Ignoring the note) At eleven? Do 62 THE ETERNAL MAGDALENE you think you will be safely away by then? Bess. Vm not going away. This note is about something else. Woman. If he really cared for you, do you think he would ask you to do a thing like this? Bess. So you have been spying. He does care. What business is it of yours, anyway? The Woman. It's any woman's business when some girl is about to make a big mistake. Bess. You've found out so much, why didn't you listen a little longer and you would know that we are to be married and I'm not making any mis- take at all. The Woman. And you believe that? You think that he will marry you. Bess. (Attempting to pass) Of course he will. He's promised. The Woman. (Seeking to detain her) Prom- ised! I'd hoped you'd listen. You're young and he — well he is so much older — so much more of the world. I am afraid Bess. You're not paid to give advice. Do you think I'm a child to The Woman. Ah, that's it. You are a child and I — Wont you listen, please. Bess. (Passing her) No, no matter what you'd say, I'd not believe you. The Woman. Of course you wouldn't. My dear, since the world began, nobody's experiences have been worth anything to anybody else. (Bess exits still carrying note) And that's the pity of it ! (The Woman goes up as if to exit. Paul enters suddenly through door down r. He carries a suit- case, his hat and light overcoat) Paul. (Down r.) Say you! I'm going to fix you for tipping father off to that little affair of mine. Woman. (Up c.) Fix me? How? Paul. I'll have you fired. THE ETERNAL MAGDALENE 63 Woman. You mean discharged? Paul. Yes, I mean discharged. Woman. When. Before you go to prison, or after? Paul. That's pretty fresh. I'm not going to serve any time. Woman. Then your father Paul. Yes, the governor has squared it. Woman. And the bank Paul. Will not prosecute, thank you. It's tickled to death to get back the coin. Woman. And your position? Paul. Position? It wasn't a position. It was a job. I'm glad to get an excuse to take a little vacation. {Crosses to l. c.) Woman. Then you're going away? Paul. Yes, the governor thinks it best for niP to take a little trip until this blows over. Woman. A trip? And the woman. Is she go- ing with you? Paul. I guess she's not. Do you suppose the governor would stand for that? He has made me promise to pass her up. Woman. You are going to leave her? Paul. Flat. (Sits in chair l. c.) Woman. And you're not sorry. Paul. Sure, I'm sorry. She's a good sort. But. where do I get ofif if I stick to her? I've got to look after No. i haven't I? Woman. But she really cares for you. Paul. Of course she does, — naturally. But don't you see I have no choice? The governor said nix, and made me take all kinds of pirate oaths before he'd loosen up. Woman. (Crossing to c.) You mean he wouldn't pay the money unless you promised? Paul. That's the big idea. 64 THE ETERNAL MAGDALENE Woman. And the woman, what's to become of her? Paul. What's that to me? (Rises and crosses to R.) She can win another home. With her looks and figure, it's a cinch. Woman. (Crossing to Paul) And yet she gave up everything for you, didn't she ? Paul. If you call that boob of a husband every- thing — yes. Woman. But she gave up her friends. (Bess starts dotvn the stairs zuith travelling bag) Her respectability, her good name. And she was a good woman until you came into her life, wasn't she? Paul. Oh, I suppose so. But what's the idea? Why are you — (Crossing to Woman c.) Say, you've got a nerve to pull this kind of talk with me. — Cut it. (Crosses to r. c, takes out cigarette. Bess crosses porch as Woman turns from Paul and sees her. Woman crosses up to window and zvatches Bess off, indicating her sorrow) Paul. (Crosses to door down r. Picks up suitcase, coat and hat and starts to exit, he sizes up Woman standing in zvindozv and stops, puts down suitcase, coat and hat up r. c.) Say, by the way Woman. (Still in window) Yes? Paul. (Up r. c.) There's nothing in my dea! with the old man that says I can't have another girl. Woman. Indeed ! Paul. The idea just hit me. You know I've got a big bundle of money and my only instructions are to beat it until this bank thing blows over. There's nothing in my sailing orders that says I can't take a companion with me. (Woman comes dozvn and Paul takes a step tozvards her) What do you say to a little honeymoon at French Lick? What do you say? Woman. (Coming to Paul c.) Honeymoon? Paul. Yes ! THE ETERNAL MAGDALENE 65 Woman. Are you asking me to marry you? Paul. Marry you? Certainly not. You get me don't you? A little trip to French Lick, just vou and me. Come on, you'll not be sorry. Woman. (Crossing dozvn l.) You want me to s^o awav with you? Paul. No, not with me. I'll beat it to-day and you can make your getaway to-morrow. (Woman crosses to L. c.) We can fix it all up in advance, and arrange our meeting place so there'll be no slip- up. Will you go? (Crossing to Woman) Woman. Of course not. Paul. Quit stalling. There is more than enough here for both of us. (Taps his hand on right hand trousers pocket) You know you're worth it too. (He attempts to embrace her) Woman. Can't you see that I don't want you to do that? Paul. (With surprise) You don't want me even to kiss vou ? You, a servant ! Woman. 'Of course not. Why should you? (Crossing to R.) Paul. (Crossing to Woman) Well Til be — Who do you think you are? Woman. You have said, I am a servant. Paul. But I don't think you are. You look too slick to suit me. I think you're a plant here for some crook, that's what I think you are, and I'm going to put the governor next. Besides, you've got a wallop coming to you for spilling that stuff about Ruth. (Looks her over carefully) You know, I've got a sneaking notion I've seen you somevv^here before. Your eyes remind me Woman. Oh, yes, my eyes Paul. They remind me of a girl Otto. (Entering through door dozvn r., hur- riedly) There is an officer at the side door, sir. Paul. (Nervously) A police officer? Who eS THE ETERNAL MAGDALENE does he want to see? Otto. He wants to see Mr. Bradshaw. Paul. {To Woman c.) Maybe the governor hasn't squared that thing after all {To Otto) Have him come in here. Til see him. {He crosses to desk L. a7id lights cigarette. Woman crosses up to zvindozv. Otto exits) Woman. Perhaps it's about something else. Paul. Gad, I hope so. Otto. {Entering donm r.) The officer, sir. (Burke enters and crosses to r. c. Otto exits) Burke. Are you Bradshaw? Paul. (Tryinrj to put on a brave front) I am Mr. Bradshaw, Jr. Burke. Well, I guess it's your old man I ought to see. Paul. What is it about? You can tell it to me I guess. Burke. It's about a skirt you have workin' here. I was sent to get a line on her. {He produces a blank form) Paul. {Obviously relieved) Oh, is that what you have come here for? A girl? Yes, we have several girls working here. What about this one? Burke. This 'un come yesterday accordin' to our tip. Did you have a dame start in here yes- terday ? Paul. {Glancing at Woman) Yes, I believe so. What about her? Burke. Well accordin' to this dope sheet, her name is Elsie Packard. {He reads) Height 5 feet, 2 inches; weight about 120 pounds; hair light; eyes dark ; rather good-looking ; age betw^een twenty and twenty-five. Paul. {Thinking his suspicions about the crook plant are about to be realized) Yes, that descrip- tion fits her. What's she done ? Burke. It's up to me to tip you off that for the THE ETERNAL MAGDALENE 67 last few weeks she's been a regular visitor it houses of prostitution on West Street. (Paul zvhistles) If the Jane is here, I'd like to look her over. Woman. (Coining down c.) I am the woman. Burke. Now don't kid yourself you're telhng me something. I made you the minute I lamped you through the door. {To Paul) You see, kid, we learn to know 'em by sight. Woman. And you never make mistakes? Burke. Not on cinches like this. Woman. And does that say why I visited the houses it mentions. Burke. It don't have to say. Don't you sup- pose Woman. Then the police do make mistakes- - sometimes. Well, what is it you want me to do? Burke. The first thing, I want to wise these people up to who you are. Woman. Yes, and after that? Burke. (Crossing to Woman) And after that, I want you to report at headquarters, just where you beat it to next. Woman. But suppose I stay here? Burke. Well, if you stick here, you're to kick in with the weekly report thing just the same. (To Paul) Say, she's got a swell chance of stickin' here once the old gent gets hep. Paul. No, I'm afraid not. The governor would have seven kinds of fits. Burke. (Folding tip Jiis paper, and giving the Woman a warning look) Get this now and get it straight. It's little bright eyes to the station once a week, or we'll be backin' the wagon up for you. You make me, don't you? Woman. I shall remember. Burke. (Looks in Woman's eyes and then 68 THE ETERNAL MAGDALENE f^hnrcs azvay mystif.ed) How do you get out of here ? Paul. (Crossing to door dozvn r.) Just a min- ute, rn show you. The same door. Can you find the way? Burke. Sure. Don't agitate yourself. {Cross- ina to door) I'll leave it to you to tip the old gent off. Paul. Sure, you can trust me to do that. Burke. Good morning. (He exits) Paul. (Chses door, turns and looks at Woman doivji c.) And you Avouldn't go with me to i rcnch Lick? Woman. No. Paul. Now will you go? Woman. No. Paul. (Arrogantly) Oh, I guess you will. (Crosses to Woman) You'll go or Fll tip you off to the old man ; you know what he thinks of girls in your line of business. W^hy, he's bossing this whole campaign right now, to put the Tenderloin out of commission. Gad, it's a great joke on him to have you here. (He laughs uproarloiisly) Come on, hov/ long will it take you to get your things together ? Woman. (Dozvn l.) I told you Em not going. Paul. (Crosses to l. c.) Forget that. Oh, I get you now. I see where Em in wrong. You vvant to know how Em going to split the bank roll with you? (He produces the money) Here, how much is your time worth? (She pulls azvay in dis- gust and Paul grabs her arm) No you don't. What are you trying to pull with me, anyway? (Brad- SHAW crosses porch and enters quietly, unobserved) Em not a guy that takes " No " for an answer. Especially from your kind. A minute ago you wouldn't even give me a kiss and I was afraid to take it for fear you'd make a squawk. I guess you THE ETERNAL MAGDALENE 69 v/on't do any squawking now. (He takes her in his arm's and forces her across table kissing her repeat- edly. Bradshaw conies dozvn from arch purple zvith rage) Bradshaw. Paul ! Paul. {Springing away from Woman) You! Bradshaw. Plow dare 3^ou do a thing like this in my house. An hour ago I saved you from the penitentiary, saved you a thief — a common thief, and now I come and find this. I could forgive you the other but for this — this bestiality there is no forgiveness. I see you've packed your things. Now take them and get out. Get out and stay out. (He points to the door) Paul. But father, you don't know — you don't know who this woman is. Bradshaw. I don't care. Paul. (Crossing up to Bradshav/) But you v/oiild care if you knew. Only a minute ago a policeman Bradshaw. Will you go? Or must I put you out b}^ force? (Crosses to street door and opens it) Paul. Father ! Bradshaw. Pick up that suitcase. (Paul obeys inechanically) Now, get out of my house, and as long as you live never enter it again. Paul. Dad ! Bradshaw. Go ! (Paul hesitates for an instant, then zvith a determined look he exits quickly out street door. Clock strikes eleven, Bradshaw closes door after Paul and comes dozvn c. glaring at Woman) Is this my reward for taking you in? One misfortune heaped upon another. Woman. (Dozvn l.) And yet you wrote last night that our misfortunes are ail of our own mak- ing. (Martha screams. Otto comes hurriedly dozvn the stairs to c. of arch.) 70 THE ETERNAL MAGDALENE Bradshaw. {To Otto) What is it? What Is it? Otto. I gave her a note from your daughter, sir. (Otto exits) Bradshaw. From Bess? Why what could Woman. She's gone to meet him. They've planned to run away. It may not be too late. I had his promise. Bradshaw. With him — Macy? It is too late! The letter of that woman ! Her evil spell is on us all. This house is cursed! (Martha's cries con- tinue) What is it Martha. Yes, I'm coming. {He exits up the stairs) Martha! Martha! Martha. Elijah! Elijah! Bradshaw. {Off-stage and after ominous pause) Martha ! Woman. {Stands c. stage as all lights go out black and baby straw from bridge hits her face; with su- preme compassion) The mothers! The mothers! ACT III Time: It is early evening and all the lights are lit. Discovered: Bradshaw and The Woman are discovered at rise. Bradshaw haggard and zvorn is seated on divan near fireplace, facing arch c. zvith his back to audience. He wears a long dressing gozvn over same clothes in first act. Woman stands up r. c. facing Brad- shaw, Window curtains are drawn. Bradshaw. Why do you stay? Why don't you leave me? All the others have gone. Why don't you go? Woman. Not yet. It is not time. THE ETERNAL MAGDALENE yi Bradshaw. Then you are going? I thought so, I thought so. Woman. Not yet. I shall not leave you now. — I am sorry to disturb you, but someone wants to see you — Mr. Bellamy. Bradshaw. {Wearily) Bellamy? Oh yes, he's a good boy. Let him come in. (Woman turns to admit Bellamy, and is stopped by Bradshaw) You're sure youVe not going away? Woman. (Turning to Bradshaw) Not until you are ready to have me go. Bradshaw. Until I am ready? You mean that my own time is short? (Rises) Well, you're right. (Turns R. and gazes at picture) You're right. (Bradshaw comes down r. and sits on bench r, c. Woman goes up and admits Bellamy. Bel- lamy enters through arch and comes down r. c. to Bradshaw) How do you do my boy, I am glad to see you. Bellamy. I think I've got some good news for you. Bradshaw. (Bitterly) Good news? Is there such a thing in the world? Bellamy. I think I have found out where your daughter is. Bradshaw. My daughter? Which daughter? I have no daughter. Bellamy. I mean your daughter Bess. Bradshaw. I tell you I have no daughter. Bellamy. Wilkins, an old Star man now on the Nezv York Times, has written me that he saw her last Tuesday in New York. Bradshaw. (Fiercely) With him? — Macy? That Bellamy. No, she was alone when he saw her. Wilkins knew we were hunting her so he followed her to a boarding house on 46th Street. He wrote me the address and yesterday I sent her a wire. y2 THE ETERNAL MAGDALENE Bradshaw. She answered? Bellamy. Not yet. Perhaps she is coming home instead. I told her of her mother's Bradshaw. Not here. She shan't come here. Bellamy. Do you mean that? Bradshaw. Certainly I mean it. Do you think I would take her in after all she's done? Don't you know she killed her mother? Bellamy. I wouldn't say that if I were you. Bradshaw. But I do say it. I tell you she killed her as surely as though she had stabbed her to the heart. Bellamy. T am sorry. I thought you would be glad. Bradshaw. I am glad. Glad she's alive — but that's all. Bellamy. And you won't take her in? Bradshaw. (Rising and facing door r.) I won't take her in — send her word not to come. Bellamy. No, I'll not do that. If she comes, I'll take her to my mother's — if she's willing to go. Bradshaw. Do you mean to say you still care for her? — After all she's done? Bellamy. (With marked earnestness) Mr. Bradshaw, I believe a girl who has made one mis- take is still quite good enough for any man, and if she hasn't (Pause) she's too good for him. (Bascomb rings door bell, as Bellamy crosses to l. and lights cigarette at desk. Otto crosses hall and sees Judge Bascomb through door. Without admitting him, he comes down r. c.) Otto. Judge Bascomb to see you, sir. Bradshaw. That tiresome old fool. (He crosses to down R.) Tell him I'm not in. Tell him Fm sick. Tell him anything. (Turns to Bellamy) Bellamy, you see him for me. (Bradshaw exits throiigh door down r. Bellamy signals to Otto to admit Bascomb. Otto goes up, admits Bascomb THE ETERNAL MAGDALENE 73 and exits up R. Bascomb enters excitedly and comes dozvn c. briskly, his hat pulled down on back of his head. Bellamy sits in chair R. at desk l.) Bascomb. Where's Bradshaw? Bellamy. He's too ill to see anybody. What is it? Anything wrong? Bascomb. {Walking up and down k. c.) Wrong? Oh, no nothing at all. Only a lot of these women Bradshaw's driven out of the Tenderloin have come and camped in a big house right next to my terrace on Livingston Avenue and now all my tenants are rretting ready to move out. Mell, I'o, there's noth- ing wrong. (Bellamy laughs) Tell Bradshaw I vv-ant to see him. That I've got to see him. (Bel- lamy laughs again) Funny ain't it? Bellamy. {Laughingly) Strikes me that way. What do you expect Mr. Bradshaw is going to do about it? Bascomb. Well he'd better do something and do it pretty sudden. He stirred up this mess, and he's the fellow I'm going to hold responsible. Bellamy. Where do you want these v/omen to go? Bascomb. {Up c.) I don't care a tinker's dam where they go so long as they don't come along side of my property. Bellamy. {Laughing) It strikes me you're getting pretty particular about your property all of a sudden. If I remember right, you ozvned a couple of houses in the old segregated district that you didn't mind renting to these women, at about four times what you could get from anybody else. Bascomb. I came here to talk to Bradshaw, not to be cross-questioned by a whipper-snapper like you. {Going up c.) Bellamy. Don't get sore. What kind of a place have they started on Livingston ? Bascomb. I don't know what you call it. All I 74 THE ETERNAL MAGDALENE know is I want it closed up. (Bellamy laughs) A lot of young girls running in there at all hours. Taxicabs dropping men off a block or two away so as not to excite suspicion. Suspicion. — Huh! Bellamy. That's a call house. Bascomb. (Down r.) A what? Bellamy. A call house. Hundreds of them have sprung up in the city lately. Apartment houses are full of them. Bascomb. A call house? Bellamy. The woman that runs it has a list of telephone numbers, girls give 'em to her so she can call them up. A lot of them are girls that work in stores and don't earn enough to live on. A swell place of that kind was pinched in Milwaukee a while ago, and some scandal sheet got hold of the woman's telephone list and published it, names, numbers and all. Say, it pretty near disrupted the town. That list was so long it looked like a young directory — and some of the names on it ! — " Oh ! Good morning Judge." Bascomb. So that's it. Bellamy. That's only one way. There are lots of others. Bascomb {Going upstage to arch) Well, if Bradshaw is going to sidestep this matter, I'll see the Chief of Police. Bellamy. (Busying himself with a book) That's a good idea. Tell your troubles to a copper. Bascomb. For the last time, is Bradshaw go- ing to see me or not? Bellamy. Not, is right. Bascomb. Very well, I give you fair vvrarning. Fve protected him right along and now I'm through, and now he'd better get that girl out of this house tf he knows what's good for him. Bellamy. (Turning to Bascomb) What girl? Bascomb. (Up c.) The girl he's been harboring THE ETERNAL MAGDALENE 75 here. You know the one I mean. Everybody's talkino: about it. The girl he's Bellamy. (Rising and crossing to Bascomb) I'd cut that talk if I were you. Bascomb. Why it's an open secret. They say the shame of it drove his children away and killed his wife. . Bellamy. (Approaches Bascomb menacingly) I told you to cut that, didn't I ? (Goes up c, to street door, opens it, comes back dozvn c. Pointing to door) That is the way out. Bascomb. (Going up to arch. Bellamy circles around to R. of Bascomb, Bascomb speaks as if to a servant) Thanks my good man. Will you please say to Mr. Bradshaw that Judge Bascomb called? Bellamy. (Taking the servant pose) Very well, sir. Anvthing else, sir? Bascomb. (Irritated) No, nothing else, sirl (Exits stamping out street door) Bellamy. (Jokingly) Very good, sir. Call again, sir. (Bellamy laughs, closes door, comes dozvn R. to door and his expression changes. Won- deringlv as he is about to exit) Gad! That's a new angle. (He exits through door down R. Woman enters through street door, glances around then beckons for Bess, zvho enters sobbing quietly and comes down c.) Woman. Wait here a moment, and I'll call your father. Bess. No — not yet. Woman. You're tired out. Perhaps you had better come to your room and rest before you see him. Bess. (Resolutely) No, I mustn't see him. I can't face him. I can't face anyone. I don't know why I let you bring me here. But something told me I must come with you. Now I must go. Woman. No. '/6 THE ETERNAL LL\GDALENE Bess. Pi ease let me g"o. Woman. Your father is alone now, you know. You are the on';}^ one he has. Bo you think it is ?fau- to him. And your mother Bess. \[y m^othcr. You told me you had a mes- sag-e from her. W(';m.\n. 1 have a messa^^e. Bess. But you have not told me what it was. \Vo:^rAx. I asked you to wait until we were home. Bess. Dear m.other. What word did she leave for me? (Crosses and sits on chair l. c.) Woman. She wanted you to know that she loved 3'Ou and foro-ave you. Bess. (Sobbing) Oh, if she had only known that I v/as not altogether bad. That I had his prom- ise to marry me. That I believed and trusted him. Woman. She knew all that. Bess. She knew it. How ? I told her nothin in my note. How did she know? Woman. I told her. Bess. (Wonderingly) You told her? But you didn't know. Woman. Yes, I knew, Bess. And you told her that I had been tricked and deserted. That I had not intended to be bad. And that I have paid — Oh, how 1 have paid. You told my mother ail ? Woman. I told her all. And she smiled as she gave me the message. Bess. My poor mother. Woman. (^^^ c.) You will stay now — with your father? Bess. (Wavering) My father! I'm afraid. Woman. Don't be afraid. There is nothing to fear. Your father is much changed. He needs you. Come, you will stay? (She holds out her arms e n treatingly ) fc> THE ETERNAL MAGDALENE "jj Bess. (Rising and moving tozvard The Woman slozvly as though in a daze. A sweet maternal smile lights up the Woman's face) You are a servant — in my father's house. And yet when you spoke just now, it seemed to me I heard my mother's voice and it was she who said, " Come, you will stay." Woman. And you will stay? Bess. (Falteringly) Yes, if you think it best. Something tells me I must do as you say nov/, — because — jjccause — (Falls sobbing on Woman's breast) Woman. Because I understand. (Pause) Come. (They both cross up to arch, the Magdalene sttp- porting Bess and exit ad lib. up the stairs) Bellamy. (Opens door dozvn r. and enters fol- lozved by Bradshaw) I always knew you were a hard man, Mr. Bradshaw, but I never knew you were a cruel, and unforgiving one until to-day. (Crosses up l.) Bradshaw. (Crossing to c.) Well, if I am, I am, and there's an end of it. Bellamy. And you won't allov/ her to come back? Bradshaw. No. I've told you no, and that's final. (Crosses to l. and sits at desk) Bellamy. (Crossing to l. c.) Well, then, will you do this for me. You must admit I've done one or two th'ngs for you. If she comes home, will you have someone let me know where I can find her. Bradshaw. (Wearily) I'll try. I'll try. Bellamy. Thanks. Good night. (He goes up to street door and is about to exit) Smollet. (From porch) Well, Mr. Bellamy, I always meet you here. Bellamy. (Disgustedly) Yes, so it seems. Smollet. Is Mr. Bradshaw in? Bellamy. I think so, 111 — (He is about to turn to speak to Bradshav/) yS THE ETERNAL MAGDALENE Smollet. Never mind. I'll see for myself. Bellamy. (As he exits) All right, go as far as you like. Smollet. (Enters through arch, crosses to l. and goes to Brads haw at desk) My dear friend, I'm sorry to find you like this. (He takes Brad- si-iAw's hajid) Bradshaw. Why does all this have to come to me? Smollet. (Crossing around back of Bradshaw's chair) Whom the Lord loveth, He chasteneth. Bradshaw. I tell you Smollet, I believe it is God's punishment. Punishment for my pride, my colossal pride. Pride in my son's integrity — my daughter's virtue, my own smug, serene, sanctified satisfaction in my religion, which hasn't been re- ligion at all, nothing but a canting hypocrisy. Smollet. (Amazed) Don't say that! Bradshaw. I do say it. I see it now. I saw it a few days ago when I looked into the dead face of my dear wife and felt the props fall from under my money-made faith, — the holier-than-thou kind of religion that comes with mahogany pews and subsidized sermons. Smollet. I am sorry to find you in this frame of mind. (Sits in chair down l.) Bradshaw. Sorry that I've found myself out? Smollet. Nonsense, my dear friend. You have been the very corner-stone of our church. Bradshaw. I've written checks, if that's what you mean. Checks that cost me no more efiFort or sacrifice than if I were to give you a flower from that vase there. Smollet. Look at the splendid revival which closes to-night. You were instrumental in bringing this great Evangelist here. Bradshaw. My money, perhaps. Smollet. Thousands have been converted. THE ETERNAL MAGDALENE 79 Bradshaw. Converted ? Smollet. Yes. Hundreds have come nightly down the saw-dust trail. (Rises) No need to tell you what a noble work has been done. (Putting his hand on Bradshaw's shoulder) Bradshaw. H it is so, I am very glad. Smollet. (Crosses in back of Bradshaw around to l. c.) And now to speak of a matter which brooks of no delay — if I may be so bold — as your Pastor to mention what has brought me to you to-night. Bradshaw. Yes, go on. Smollet. (Sitting in chair l. c.) This young woman in your household. I have heard Bradshaw. I know. You have heard that she is an unfortunate who is trying to redeem herself from a life of shame. Yes, it is true. Smollet. But I marvel at you, permitting her to remain in your home. Does it not suggest itself to you that her evil presence may have been the cause of your appalling misfortunes? Bradshaw. Smollet! If God has rebuked me for doing an act of simple kindness, then I don't want His clemency. (Both rise) Smollet. (Backing to c.) Mr. Bradshaw! Bradshaw. (Crossing above desk to Smollet) H God is bigot, a tyrant, an oppressor of the weak, I am sorry that I ever spent an hour in His worship. Smollet. What blasphemy! Bradshaw. Now is no time to harangue me with this. The woman stays, and that's an end of it. (Sits in chair l. c.) Smollet. But I must press you to listen further. I had hoped to get you to take the advice of your Pastor without presenting the serious phase of the matter. You perhaps don't know it, but your ex- traordinary conduct has been made the sensational subject for town gossip for a fortnight. It has 8o THE ETERNAL MAGDALENE become a scandal which, due to your importance in the community, has assumed alarming propor- tions. It will startle you to learn that Gieason re- ferred to it in his sermon last night, and prayed that you might be brought to a realization of your offense against the decency of the community. Bradsiiaw. He dared do that? Smollet. He dares anything — you know that. He stops at nothing; and I just learned only a few moments ago that to-night he plans to follow up his prayer by coming here to exhort ^ou publicly. Mind you, I don't approve of everything this man does. I told you that when we discussed bringing him here. Bradshaw. Well go on. Smollet. So to-night, in fact in a very few min- utes, unless I can bring him a message from you, he and some of his followers will halt in front of your house on their way to the tabernacle, and he will demand that you drive this woman from un- der your roof. Bradshaw. Demand ! Smollet. And so I beseech you to turn her out now so that I may go back and tell him that she is gone. {Crosses to r. c.) Bradshaw. Turn out this woman who sat day and night at the bedside of my poor wife, repay her tender devotion by throwing her into the street ? (Rises and crosses to Smollet) No, my dear Smollet. You may go back to Gieason and tell him that for once in his life Elijah Bradshaw is going to do the decent thing. He may invoke the Divine wrath against me. He may kindle for me the fires of Hell, but just so long as I have a roof and this woman desires its protection, she may stay. (Crosses to l. c.) The world holds nothing for me now but the memory of my dead wife. If it were not for the sustaining influence of her beau- THE ETERNAL MAGDALENE 8i tiful and virtuous life, I would end it all I think. But so long as I live I shall follow the dictates of my own conscience and not be bullied by some hired exhorter, who seems by some strange coincidence always to find the fields fertile for soul-saving where they are also fallow for dollar-getting. (Crosses to R.) Smollet. I regret exceedingly your alarming attitude and I can't promise you what the result of your very unusual behavior will be. Bradsiiaw. Don't spare me ; you have said that the Lord loveth whom He chasteneth ; pray there- fore, that he love me overmuch. (In front of fire- place) But not more than human nature can en- dure. Smollet. (Turns and faces arch) Rest as- sured, Elijah, I shall pray for you. Bradsiiaw. And I shall pray that your prayers reach the Divine ear. Good-bye. (Smollet goes to arch.) Smot.let. (Gets hat from chair ub c.) Good- bye. (Starts to go) Bradsiiaw. Oh, will you be with those of our friends to-night? (Smollet turns; Bradshaw in- dicates front of house) Smollet. (From c. of arch) I shall be on the side of righteousness. Bradshaw. I am so sorry. Smollet. Good night. (He exits. Bradshaw zvalks slozvly to desk and sits. Woman enters from R. and crosses to r. of desk) Woman. I have news for you. Bradshaw. (Looking up) News? Woman. Of your daughter. Bradshaw. Well ? Woman. It was as we thought. He deserted her. 82 THE ETERNAL MAGDALENE Bradshaw. They were married? Woman. No, he tricked her and left her. Bradshaw. The hound ! Woman. At Montreal. Bradshaw. Montreal — {He sinks in chair with his head in his hands) The sins of the fathers ! Woman. She is very penitent. She wants your forgiveness. She is (Phone bell rings.) Bradshaw. (Wearily) Hello, — who — Bellamy — yes I know — Smollet just told me — No, not that, if it's my last act on earth — No, my boy, that would be useless. Don't I know that crowd? Haven't I been their ringleader — (Band and crowd start faintly in the distance) Don't try, I think I hear them now — yes, they're coming, — good-bye. Otto. (Enters excitedly) What is it sir, what is it? Bradshaw. Turn out those lights, quickly, quickly. (Otto turns out lights and exits through street door) My friends are paying me a call. Woman. (At c. In spot) I knew they would come. They have come for me, to stone me. Bradshaw. They'll not dare! {Crowd increases in volume and finally stops as if in front of house. Band is playing Billy Sun- day hymn " The Brewer's Big Horses.") Gleason. (Voice off-stage in stentorian tones) My friends, stop here a while. This is the home of Elijah Bradshaw Voices in Crowd. Ah Bradshaw. Come out. Where's your manners? Gleason. This city's most illustrious backslider. Voices in Crowd. Come out and show yourself. THE ETERNAL MAGDALENE 83 Don't be backward. Come out. We're your friends. Gleason. Judas bought a ticket to Hell with thirty pieces of silver. Bradshaw here has bought his ticket and he's paid his price. Judas was the arch-traitor of his town — Bradshaw is the arch- traitor of his. From a leader of the hosts of God he has fallen into the abyss of sin. At this moment he is harboring under his roof a harlot — an un- speakable creature with Hell's seal upon her. Voices in Crowd. A harlot! A harlot! Send her out. Shame ! Come out, come out. Gleason. Let him hide in the shadow of his own infamy. Let us pause a moment (Crowd which has been murmuring nozv stops and there is a dead silence) and pray that he may be snatched like a brand from the burning. (He prays) Dear God, incline Thine ear as we beseech Thee Bradshaw. (Rushes to window, throws open curtains, opens zvindow and steps out on porch) Stop — stop, we need no prayers of yours. Voices in Crowd. Bradshaw ! There he is. That's him. Bradshaw, Bradshaw. Bradshaw. (Looking over faces in crowd) Well, what do you want with me? (Crowd continues to murmur) Barnes. Jennings, and Stillman. All my friends. Ah, Smollet, Thou too Brutus. Gleason. Never mind them. The woman — let her stand forth. Voices in Crowd. The woman! Bring her out here ! Let her stand forth ! Bradshaw. She shall not. This is my home Gleason and I warn you to go before I send you and some of your saintly crew to face the God you talk to so glibly. Gleason. The nearer we get to God, the more elbow room and the smaller the crowd. Send the woman out. 84 THE ETERNAL MAGDALENE Bradshaw. Never ! (Stones crash throtigh glass, Bradshaw rushes to desk drazvcr and gets gun) Voices in Crowd. Stone him! Stone him! (Crozi'd keeps up shouting, Bradshaw appears at windozv zvith revolver zvhich he levels at Gleason. Bess comes dozvn the stairs, enters through arch. She is partly dressed and her hair is dozvn) Bradshaw. (Leveling gun) Pray, now, Glea- son, and for yourself. (Bess screams, runs to her father, pulls dozvn his arm. She kneels at his feet, still holding his arm) Voices in Crowd. The woman ! There she Is. Stone her ! Stone her ! Gleason. Vv^oman stand forth. Voices in Crowd. Come out, shame. Make her come out. Stone her. Stone her ! Bradshaw. (Standing before her and placing a protecting hand on her head) Stop, stop — I com- mand you in the words of Christ. (Crozvd zvhich has been shouting stops, and again there is a dead silence) '' Let him among you who is without sin first cast a stone at her." (Light comes up on Mag- dalene picture and dims out again, Bradshaw stands majestically confronting the mob. Woman. (Ate.) At last! At last! (She exits) Voice in Crowd. Ah come on Jimmie, can't you see he's beat you at your own game ? Cut that, you Gleason. Come over to the tabernacle and we'll pray for him there, though I think he's past redemption. Voices in Crowd. Quit shoving. Who's shov- ing. You are. Get ofr that liower bed. What's the matter with the Band ? Spiel, can't you. Gleason. What's the matter with you fellows? THE ETERNAL MAGDALENE 85 Are you all hypnotized? Toot her up there. (Band starts and crozvd moves ad lib. Voices grow- ing zvcaker and nmsic fainter.) Bradshaw. (Raising girl to her feet. She backs doivn c. zvith her head bozved. Finally she lifts her head. Bradshaw in astonishment, then breaks dozvn and clasps her to him) Bess! My daughter — my own little girl. I thought it was — I didn't know — my baby. {She is zveeping bitterly as Bradshaw leads her to arch) Go to your room — your old room, and may God forgive you as I do. Bradshaw. {He kisses her on the forehead. Bradshaw crosses back to desk. The stage is in darkness except for the lamp on the desk. He sits in deep abstraction for a fezv seconds, then notices the letter of the girl. He picks it up and starts to read. Reading) " I shall remain here to see your wife torn from you by death and to see you follow her to your grave deserted, heart-broken and dis- graced." (He drops letter, takes revolver out of pocket of his dressing gozvn, holds it under light and starts to put it to his head. Woman enters up R. and stands in front of desk. The situation is identical zvith that in first act. She is dressed in same cloak but underneath zvears a purple vestment) Woman. (Stops Bradshaw with a gesture) Not that. (He puts gun on desk) I must leave you now. You do not need me any more. Your daughter has returned to you. Bradshaw. (Arousing himself from his stupor) My daughter — are you not my daughter? Woman. No. Bradshaw. (Rising) Then you deceived me — you lied to me Woman. I never told you so. You yourself 86 THE ETERNAL MAGDALENE said it. It was your own conscience that spoke. Bradshaw. Then if you are not my daughter, who are you? You come into my house Hke a thief in the night — you bring with you a curse — a curse that has blasted my Hfe and the Hves of those I love, and now your work is done, you go, — but be- fore you go — before you pass that door — you will tell me this. Why did you come here ? Why — why have you done this thing to me ? Woman. To reach your heart and humble your pride. Not to condone sin, but to waken in you a sense of your own unworthiness to sit in judge- ment of your fellow creatures, and to prove to you that our misfortunes are not always of our own making. Bradshaw. My punishment is greater than I can bear — my heart goes out to those who suffer as I am suffering now. Woman. That is why my task is done. When you stood there just now and spoke His words, I knew that I need stay no longer. Bradshaw. (In awed voice) Woman, — in God's name who are you ! Woman. (Dropping black cloak. White spot com- pletely envelopes her, Blue spot dims off on Brad- shaw. Music far away, as if from the tabernacle, is heard) I am the Eternal Magdalene, made im- mortal by the touch of His hand two thousand years ago. When they that would have stoned me turned sullenly away, the Savior raised me up, saying " Woman, doth no man condemn thee ? " And I answered '* No man, Lord." And Jesus said " Neither do I condemn thee, but I appoint thee My messenger. Go thou down the centuries and bear witness to this that thou hast seen. In every clime and in every season thou wilt find those who have sinned as thou hast sinned. Stand between them and their persecutors as I have stood between thee and THE ETERNAL MAGDALENE 87 thine. And upbraid them not, for are they not all children of the same Father? There are among my disciples those who will preach of many things, but to thee I entrust this text : * He that is without sin among you, let him first cast a stone at her.' Go now and sin no more." And he departed and I stood as one transfixed, gazing after Him. And my brow burned from His touch and through my veins coursed blood that had been cleansed as by fire. Thus have I come through the ages speakixn.- His word and thus shall I go on and on while na- tions crumble and empires fall, bearing His mes- sage of mercy to man. My task here is done and even now the Master beckons from afar. Fare thee well, {She turns upstage) {Lights fade to black.) Bess. {From porch) Why, the door is locked! Paul, you have the key. Paul. Yes, I'm getting it. {Noise of unlocking door) There you are. Bellamy. Watch your step. Safety first. Bess. {Entering through arch) Has everyone gone to bed ? Paul. {In hall) Turn on the lights. Funny everything's dark. (Martha turns on lights. Paul enters and crosses to l. c.) Hello, there's dad asleep. Bess. {Crossing to Bradshaw) Here, old sleepy head, wake up, wake up. {Shakes him) Bradshaw. {Slowly awakening) No — no — {Sees wife first) Martha! {Passes hands over eyes, staring as if he could not believe zuhat he was seeing. Bess tugs at his arm which brings him around) Bess! {Turns back to look at wife again, sees PuAL standing r. c.) My boy! {He remem- bers Woman who was just there and rushes to 88 THE ETERNAL MAGDALENE zvindozv) Come back ! Stop that woman ! She lied to me ! She Hed to me. Martha. (Rushing to zvindozv and taking Bradshaw by the arm) Elijah! Elijah! Bess. (At l. c.) What woman father? Paul. (At r. c.) Who do you mean? Bradshaw. (Opens curtains and zvindozv, finds it zi'hole. He slozvly realises he has had a dreajn. Comes dozvn l. c. from zvindozv in a daze zvith Martha and Bess supporting him) What time is it? Bellamy. (Back to table r. c.) Why it's just ten minutes of eleven. Paul. We've just come from the tabernacle. Bradshaw. (Passing his hand over his fore- head) Gad, I've had a frightful session here! Martha. Sleeping you mean. And snoring ter- ribly I'll bet you. Paul. Gleason was great to-night. Pie preached on the sins of the fathers. You shouldn't have missed it, Dad. (Paul crosses to door dozvn r. and exits. Bradshaw crosses to desk and sits) Bellamy. {Crossing to desk) And the collec- tion was eight thousand. What do you think of that? Oh, by the way, Mr. Bradshaw if you have that statement ready, I'll hurry it right over to The Star, (Martha crosses to fable r. c. and takes hat ana coat off.) Bradshaw. (Slightly dazed) What statement? Bellamy. AVhy, you know the Bradshaw. Oh yes, I remember now. I had just finished it when I must have dozed off. (He looks at it a moment intently, shakes his head in disapproval, tears it deliberately through the middle) Bellamy. Why, what are you doing ? THE ETERNAL MAGDALENE 89 Bradshaw. No, I don't think I'll let you print this. It's hardly what I want to say. Bellamy. But The Star expects some expres- sion from you about the district — the women— I really must have something. Bradshaw. The woin^^n — you must have some- thing? Then say that Elijah Bradshaw refused to be interviewed but quoted scripture instead, say- ins:, " Let him among you who is without sin cast the first stone at them." Bellamy. (Joyously) Then you've changed your mind? {Glancing at Bess) Remember your promise? Does that promise go? {Puis his arms around Bess) Bradshav/. Well you know John, I'm a man of my word. Bess. I told you that sometimes he says no when he means yes. (Bellamy kisses Bess, turns and looks at Mrs. Bradshaw with a smile.) Bellamy. {Glancing at zvatch) Well, eleven o'clock is the deadline. I've got to go to the office. I'll see you in the morning. Good-night, Mrs. Brad- shaw. Bess. {Doesn't zvant him to go) No, — no — but I don't — {She foUozvs him to arch) (Bellamy glancing at Mrs. Bradshav/ again kisses Bess up c. then exits quickly out street door.) Paul. {Entering quickly from door down right) Oh, Dad, can Sis and I go to the show to-morrow night ? {Both Martha and Bess give Paul a warning gesture.) go THE ETERNAL MAGDALENE Bradshaw. Well, if you're a good boy and moth- er's willing, I think we'll all go. (Crosses to Mar- tha c. and takes her in his arms. Bess and Paul throw up their hands for joy) Curtain, THE ETERNAL MAGDALENE 91 DESCRIPTION OF CHARACTERS. Elijah Bradshaw — An American business man of the "Captain of Industry " type — firm and forceful to the point of austerity. He is about sixty years of age, dressed well, though not foppishly. A man of great initia- tive and of poor patience with men who fail. H« has a strict moral code which he enforces in his home. In religion he is orthodox, just as in busi- ness he is honest, because he believes honesty to be the best policy. He hates sin in the same way that he hates any other form of inefficiency. Martha Bradshaw — A woman of fifty. She has shared her husband's early struggles and is still his best ally and most enthusiastic admirer. Although wealthy in later years, she has never been a climber, preferring her home and its responsibilities to the usual social di- versions. She is comely, cheerful, and kind- hearted — perhaps a trifle old-fashioned judged by modern standards. Elizabeth Bradshaw — Young girl (eighteen or twenty) of the approved small-city type. She is a bit spoiled and just a lit- tle blase in a small-town-boarding-school sort of way. Pretty and attractive and popular. Paul Bradshaw — About twenty or twenty-four. He first appears as a decent sort of a chap, but later in the play ex- hibits caddish and vicious tendencies. He is dressed well and carries himself as to suggest a proud, well schooled and worldly-wise youth. Q'-^ THE ETERNAL MAGDALENE John Bellamy — A rather breezy though sincere, American news- paper map. He may be twenty-seven, or there- abouts. Has the real newspaper instinct which ;spells loyalty to his paper and to the pubh'c. His experiences as a newsgatherer in all wall:s of life jhave taught him to see things ciearly ; quickly to discern sham and hypocrisy and to detect the real -motives underlying many alleged benefactions and philanthropies. He is frank and fearfess, though at no time flip or smart. Birmingham Smollet — A minister of the gospel, forty-five or there- abouts. He is the modern kind of preacher, sub- sidized by his wealthy parishioners and preaching the sort of sermons that he thinks they will en- dorse. He dresses rather smartly, looks like a well- ■rroonicd business man. He has a frank, ingratiat- ing mariner and is likely to impress the casual per- son, Vvdth his sincerity. Judge Amos Bascomb — A retired member of the judiciary. He is an old man (65 or so) of the foxy type. Likes the ladies and the other good things of life. He is lined up with the reformers for the same reason that pirates sometimes consider it expedient to wear maiks when shuttling a ship. Arnold Macy — A man of forty. He hails from New York; is a bond salesman, though not of the flip type He dresses in fashion and has an alert-up-to-date man- ner. The sort of fellov/ that unsophisticated young womxen are supposed to fall for. Blanche Dumond — Of uncertain years — anywhere from thirty to 'CHE ETERNAL MAGDALENE 93 fort}^ Althoudi in a business that may only be spoken of in whispers, she is a woman of evident refinement and education. She dresses stylishlv, but does not overdo it. By her appearance you vvould jud$ie her to be the wife of a well-to-do professional man,, accustomed to moving in a verv good stratum of society. Otto- - A servant more of the valet type than the con- ventional stage servant. He dresses in dark clothes, not livery. May be anywhere from forty to sixty in age. Rev. James Gleason — An evangelist of the rip-roaring, hell-raising Billy Sunday type. He is a big-lunged fellow, a six-footer about forty-five or fifty. He dresses in up-to-date clothes of almost sporty cut. He is dy- namic, forceful, convincing — a mental bully, who is used to dominating everyone with whom he comes in contact. Dan Burke — A plain clothes copper, a.bout thirty. He is rough, glib and over-bearing. He wears a suit of ordinary dark clothes and soft hat. Inside his coat he wears a badge. A Woman of the Town — Presumed to be the woman Christ saved from a mob in Jerusalem two thousand years ago, when she was about to be stoned to death for adultery. Immortalized by His touch, she has, by His com- mand, come down through the centuries doing what she can to protect the women of the class to which she belonged, from persecution and cruelty. She is a Minister of Mercv, the custodian of His text: 94 THE ETERNAL MAGDALENE " Let him who is without sin cast the first stone." In age she may look twenty-five or even thirty. In demeanor she acts with great poise and dehbera- tion, as though what she is now doing she has done many times before. Compassion is a strong factor in her make-up, though it is evident that if neces- sary, she can be austere and even implacable. Al- ways she gives the impression (the mystery sugges- tion) that she is a creature apart — a being from quite another sphere of existence. This doesn't mean that she is to mope. She smiles and chats na- turally when scenes require it, but at the same time gets over the subtle suggestion of her other self— her immortal side. (Best example of this: Forbes Rob- ertson in " The Passing of the Third Floor Back ") She wears on first entrance, a mantle, or hooded cloak of the kind worn by women in Biblical times. She wears this same cloak again on her final exit. Under cloak in the first act she wears a red silk wrapper of the tawdry kind affected by women in cheap bagnios. She is decorated with cheap phoney jewelry. In the other acts she dresses sim- ply as a housemaid, except at her last appearance, when she wears a purple vestment under her sombre mantle. PROPERTIES ACT I Carpet, fire rug and door rug 3 arm chairs and 7 straight back chairs Stair carpet Settee Library table 24-inch table All Jacobean furniture On library table are blotting pad, writing mater,. THE ETERNAL MAGDALENE 95 papers, books in bookstand, telephone, paper holder v/ith private paper, manuscript paper, woman's letter Mantel R., with fire irons and grate — ornaments on mantel — screen in back (tricked to work on que) Bronzes and vases on book cases i Books on mantel Curtains on arches and bookcases — also on window L. 2 Family Bible on bookcase Book cases filled with books Practical Victrola with special record (Poupchen, Columbia A5531) Walnut waste basket above desk L. Windows C. to be broken. Hall clock effect off R. Large hat rack off R. arch Large bundle of letters off R. stamped and post- marked Newspapers on table R. A push button to ring phone Bell box with ferns in window L. Electric door bell to ring off R. with push button outside door R.C. Buzzer on desk L. to ring off R. Newspaper for Bellamy Money for Bradshaw (paper) Small black Valise (Woman's) Green window shades on both windows L.C. and L. Large painting of Magdalene and the Saviour over mantel ACT II Empty vase on desk L. Fresh bouquet of flowers off R. Calling card for Blanche Dumond 96 THE ETERNAL MAGDALENE Newspaper for Judge Bascomb Small (ladies) bag for , Bess Cigarettes and matche? for Paul Large roll of money for Paul Note book and record blank for Burke 2 suitcases for Paul ACT III Revolver in cabinet of mantel Music stands off L. for band A basket of padded stones for m.ob 3 leaded v.dres to break windows Organ and stool off L. LIGHTING PLOT T Circuit Frosted White Foots T Circuit Frosted Pink Foots I Circuit Frosted Amber Foots No Borders used Bride-e hung in place at first Border 3 Baby spot lamps on bridge which must be wide enough for men to lie on facing audience and work lamps under ceiling The Center Baby is used on Magdalene only and always with Light Straw Color The Left Baby is trained on desk chair and works on Bradshaw only with steel-blue color The Right Baby trained on picture of Magdalene in Act I to work at cue Steel Blue Act 3 it is used to cover Bradshaw and Bess at window L.C. In Act II the three work through act until finale as Floods Hght Straw table lamp on desk to work on cue Brackets on walls at back of room THE ETERNAL MAGDALENE 97 2-1amp amber strip in doorway R.LC. ^^^^ lamp Frosted white strip over arch R.C. T ) ^o— watt bunches at wind >w L.C. "Ra^v^ .spot steel blue at window L.C. These lamps are dark bue in Acts I and III and straw in Act II ■Raby spot in fireplace R. — Pink works Act III Fire pirate with red lamps covered with glass for glow Evervthini^ used in this performance in the way of liifThts must be on independent dimmers to work separately LIGHT PLOT ELECTRICIAN ON STAGE MOONLIGHT IN GARDEN ACT I IVhcn Otto goes to street door — Hall lights out. When Bradshaw falls asleep on table — Table lamp dims s'owiy out. When Magdalene puts hand over lamp — Table lamp comes back up to full on dimmer. When curtains are closed — Blue strip-lights down and out on dimmer in Garden-Blue baby spot through street door. ACT II SUNLIGHT IN GARDEN At finish of Act — At Cue Loud Martha — All stage lights out on dimmer on count of four (4) At second curtain lights full up. 98 THE ETERNAL MAGDALENE ACT III MOONLIGHT IN GARDEN Fire-.G^rate and table lamp on same dimmer. Fire-s^low in fireplace on. On dimmer. At Cue When Otto runs into hall — Hall li.^hts out when curtains are closed strip lights down on dimmers to 7-8%. At Cue Stop I need no prayers from such as you — Babv spot on window y^ down " deep Blue medium." At Cue Go to your room and may God forgive yon as I do — Dim fire glow out slowly. When Bradshaw closes curtains — Dim Blue Baby on window down and out. At Cue " Woman in God's name who are you?" — Dim table lamp and fire grate out on count of fifteen. When Magdalene disappears and applause has died out count nine slowly — and start table lamp up to full. At Cut Turn on the lights — Hall lights up when Mr. Bradshaw pushes on switch — Foots and Brackets on. At Second Curtain call — All stage lights out. ELECTRICIAN ON SWITCH BOARD " Foots only " Light amber — Frost — frost pink. Foots up full at opening. When Otto turns out large table lamp — Foots down 34- When Otto pushes switch plate — Foots out. ACT II Foots full up — Brackets out. At Cue After Bradshaw goes up stairs. At Loud THE ETERNAL MAGDALENE 99 Martha! Foots out. At Second Curtain — Foots full up. ACT III Foots full up — Brackets on. At Cue " Otto tiirns out the lights " Foots and Brackets out as Otto pushes switch plate. When Mrs. Bradshaw pushes switch — Foots and Brackets up. At Second Curtain foots and brackets out. RIGHT BRIDGE LAMP NO. i. ACT I Blue spot comes up slow as table lamp goes down on count of six and right dozvn on count of six. Lamp comes on ^. (On Magdalene Picture) ACT II Flood on couch — Straw and frost. At Cue Leave this house and nez/er enter it again — Blind lamp out. ACT III When Bradshaw opens curtains — Blue spot through windozv. When curtains are closed blind lamp off quick. CENTER BRIDGE LAMP NO. 2 ACT I At Cue When Magdalene places hand over table lamp comes up. Pin spot on face. At Cue '' Will you believe me now " after cloak is throzvn off enlarge spot to cover her up. Keep spot on until second curtain then off quick. loo THE ETERNAL MAGDALENE ACT II Open Act with flood on table. " Straw and Frost '* At Cue " Leave this house and never enter it again — Blind off lamp. At Cue '' This House is accurst " face spot on Magdalene until ''Repeat'* on curtain calk. ACT III At Cue " Turn out the lights Otto " Face spot on Magdalene until exit Blind off quick. At Cue ''Not that, not that, please'' Face spot on Magdalene. At Cue ' / am the Eternal Magdalene" (After Black Cloak is off) Spot to cover her up. When Magdalene turns and throws up her hand Spot off quick. Repeat on curtain calls. LEFT BRIDGE LAMP No. 3 ACT I When table lamp comes up on dimmer Blue spot on " Bradshaw " up on dimmer to ^ keep on until curtain hits floor — blind off. ACT II Floor Lamp " Straw and Frost " on table until cue Leave this house and never enter it again — Blind lamp off quick. ACT III At Cue Hear them coming nozv — Blue spot }i on Bradshaw, following him until cue '' Go to your own room and may God forgive you as J do — Steel spot over to Bradshaw's chair. At Cue "I am the Eternal Magdalene'' Dim slowly down and out. i^BJe^g /. r\ r-» O O