liliiii SYMPHON ! i warn IT THE SYMPHONY PLAY THE SYMPHONY PLAY A PLAY IN FOUR ACTS BY JENNETTE LEE AUTHOR OF "THE WOMAN IN THE ALCOVE," "AUNT JANE," ETC NEW YORK CHARLES SCRIBNER S SONS 1916 COPYRIGHT, 1916, BY CHARLES SCRIBNER S SONS Published March, 1916 TO GERALD STANLEY LEE "Suddenly a boy s shrill voice rose into the sky. He traversed the dark unseen, leaving the track of his song across the hush of the evening." 343557 THE SYMPHONY PLAY ACT I. Prelude, " Billy Boy." ACT II. Allegro, "The Mother." ACT III. Andante, "The Brother." ACT IV. Allegro, "The Lady With Wings." FOREWORD THERE was once an author who had an idea. She had not intended to have it. She had not even been thinking; she had been merely sitting in her window, by the Jerusalem cherry-tree, wondering why she wanted to write a one-act play, wondering why everybody wanted to write one-act plays when there was hardly a manager in America who would look at one, much less put it on the stage. And yet the author saw that she was going to write the one-act play; and in her mind s eye she saw hundreds of other writers hard at work on one-act plays, and writers not yet born, and writers just entering their teens and sharpen ing their pencils to begin. It was a pathetic sight, all those wasted plays ! . . . . And who that had known the one-act joy and concen tration and skill would ever willingly abandon it for loose threes and fours or even the clas sical fives of Shakespeare s perfect form ? And then suddenly the idea came to her She sat and looked at it. She stared at it a little unbelieving and she looked thought fully at the Jerusalem cherry-tree. ix FOREWORD It was too good to be true. And yet why not ? Why should there not be such a thing as a Symphony Play, a play made up of one-act plays three, or four, of them or even five - plays not merely "linked together by intervals of silence" and a dropped curtain, but one-act plays so related in color and tone and progres sive meaning that together they would form a perfect whole as the movements of a Sonata form a whole, or a Symphony ? Why not ? * * * * Out of the dance music and folk-song of the sixteenth century arose the crude beginning of Symphony form, first in the joining together of short pieces by different composers, for per formance on the virginal and spinet, and later in the composition by a single musician of sev eral short numbers to be played together; these combinations under the name of "sets" achieved popularity in Elizabethan England, they spread rapidly to the Continent as "suites" and de veloped finally, through the "cyclic form" and Concerto, into the Sonata and Symphony. . . . Is it forcing a parallel to imagine in the present superabundance of one-act plays a situation not FOREWORD unlike that of the sixteenth century in music, and in the gathering together of several one- act plays for single performance something analogous to the crude beginning in sets and suites that was later to become the Symphony form ? . . . The Princess Theatre, with a com plete bill month after month of one-act plays the "Little Theatres" seeming to prefer short, one-act pieces to longer ones Mr. Morosco staging a presentation of the three one-act plays of Mr. Hartley Manners these and other scattered attempts at grouping plays into wholes, are straws. One would not like to prove by them the beginning of a new dramatic form. But in them, as in the little dance movements of the sixteenth century, there may be vitality that will one day supplant the four and five act play, as the Symphony when it came to per fection in the work of Haydn and Mozart and Beethoven supplanted the Fugue. It is not hard to understand how the cyclic form that developed in the early days side by side with fugal form, came eventually to dis place and crowd out the Fugue. And the detailed description of a Fugue, transposed into dramatic terms, might easily xi FOREWORD be the description of a Shakespearian play. For counterpoint one has only to read counter part. In both Fugue and play there is the same long-drawn, sustained development of a single idea, in both the same presentation of theme and counter-theme, the same development through a succession of acts or phases of the original sub ject, the same return upon itself and progression with added force, the same "episode" near the end to afford relief from the continued repeti tion of the subject, and as an opportunity for modulation, the same quickening of develop ment toward the end and the same culmination in a sustained dominant note toward which it has all moved, and in which it finds satisfaction and release. The analysis of fugal construction reads surprisingly like a chapter in Freytag s "Technique of the Drama." The Bach Fugue and the Shakespeare Play are strangely alike. Art that is alive partakes of the spirit of its time. And the time-spirit that moves to-day in painting and in music is not that of Elizabethan England nor of Athens. Only in the theatre which of all art is supposed to be closest to life does it cling to forms of the past. xii FOREWORD The Greek Play a sculpture-play, the dra matic embodiment of life, three-dimensional and demanding a body in proportion to its soul the Greek Play is perfect and flawless and full of statuesque beauty. One may walk all around the Greek drama, survey it from all sides and find nothing hidden, no mystery or emotion. From every point of view the Greek Play re mains cold and static and colossal. It became perfect as sculpture became perfect with Greek civilization, and passed by. The Shakespearian Play, a painting-play, a dramatic color-picture of life, full of richness and movement, appeals to the emotion as painting and color appeal; the action takes place, as in a painting, outside the spectator; the audience looks on at what takes place on a picture stage. . . . More subtle and less lofty than the sculpture-play, the Shakespearian form, too, has passed, or is passing; and we are groping for the new play that shall express our time our nervous, quick, psychic, dramatic, deep- whirling soul the play that like music shall express more than color or form or words, by means that cannot be analyzed as color and form are analyzed. And the new play, if one may venture a xiii FOREWORD guess, will not be, like the Greek Play, the em bodiment of life but almost, as in Maeter linck, a Juembodiment thin as a veil be tween two worlds, revealing and hiding and holding the meaning and significance of what passes on the stage. There will be, perhaps, little of substance or form to the new play, and little will seem to happen on the stage; but in the spirit of the audience something will come to pass; and when the curtain goes down the play will not be finished for the thing that has come to life between the play on the stage and the men and women looking on, must go out with them, to play its part in the world-theatre of life. It is easy to dream the new play that shall express the twentieth century as the plays of Euripides expressed Athens, and those of Shake speare, Elizabethan England a play lifting into a still clear light the common things of life and revealing significance. Easy to dream ! Without doubt, in the early eighteenth cen tury there were critics to whom the Fugue was the last word in music critics to whom the xiv FOREWORD suggestion of a new musical form would have been akin to sacrilege, or at best a kind of fool ishness. For them the Fugue was the only pos sible way of music, and Johann Sebastian Bach had made perfect the Fugue and finished it. Henceforth music could only repeat itself. Any other course would have seemed to them a dreary stretch of imagination. . . . But, already, insignificant musicians, men not fit to tie Johann Sebastian s shoe already these little musi cians were at work, tinkering with a new form little dance tunes, gavottes and gigues and reels; already some, more venturesome than others because more alive, had gathered these little tunes into sets and suites; already the Sonata was coming to be and the way was making ready along which Beethoven was to come one day bringing, out of mystery and the genius of the human race, the music of the Symphony. xv ACT I PRELUDE BILLY BOY CHARACTERS OLD WOMAN. BILLY, a boy. FRED, another boy. The Symphony Play ACT I SCENE: Edge of a wood. Foreground, tall trunks of trees, high foliage with sunlight shining through; light undergrowth of ferns, etc., rocks here and there ; between the trunks is seen a background of hemlocks and pines reaching to ground. Left centre of foreground, OLD WOMAN dressed in black, seated on rock, writing on pad on her knee. Two boys stealing through trees, L. back, carrying bows and arrows; see OLD WOMAN and stop; steal forward on tiptoe, nudging each other to keep quiet. Sound of distant firing heard. OLD WOMAN lifts head and stops writing; listens a minute, then goes on writing. Boys steal nearer. OLD WOMAN [looks around at them] I m glad you haven t a gun. I heard some one shooting just now. [Boys circle her and come front and regard her curiously. 3 THE SYMPHONY PLAY BILLY The* ain t anybody let to shoot in these woods FRED They re Baxter s woods, and he d get after anybody that was shootin here. BILLY Yes, sir, he would ! OLD WOMAN I m glad of that. I d hate to have my head shot right off, sitting here. BILLY [protectingly] The won t anybody hurt you here. OLD WOMAN How does it happen you are not in school ? Isn t this Monday ? BOTH [together] It s Columbus Day OLD WOMAN What is that ? 4 BILLY BOY BOTH [speaking together and tumbling over each other to get in ahead] BILLY Columbus was a man, and he FRED America was discovered in 14 BILLY [turning, breathless] Fred, will you keep still and let me tell this ? [FRED stops speaking, but his mouth keeps opening and shutting, ready to break in.] Columbus was a man, and he sailed and sailed till he come to a new world, and he called it America, and so we have a holiday. It was hundreds FRED [glibly] Fourteen hundred and ninety-two. OLD WOMAN That s fine to have a holiday just because a man sailed and sailed ! What are you going to do with it ? [They look at each other questioningly and glance behind them into woods. 5 THE SYMPHONY PLAY BILLY We got a camp FRED It s a dandy camp ! The s a big tree, you know BILLY [pushing him aside] It s holler oh, it s awful big ! [Looks about him.} Bigger n any tree. An we get inside it. OLD WOMAN You can t both get in ! BOTH Yes, sir BILLY Four of us has got in it to once, standing close. An we can put a chair in it We can t turn it round [regretfully], but we got it in ! OLD WOMAN It must be a wonderful tree ! BILLY [drawing nearer and confiding] We ve had a good many camps in these woods. Once we had 6 BILLY BOY one an we made a door to it a real door. An* some other boys found it FRED An they wrote things on the door [They both look at her as if hoping she might understand and hoping she might not. BILLY An* we tore em off, and then they come and tore it some more and then we tore it and then it was all gone. . . . Like enough we ll find some boys over there now [glances off R.} when we get ready to go. [Seats himself on rock near OLD WOMAN, but with back to her. FRED [who has been fidgeting and watching BILLY uneasily as he confides in the OLD WOMAN] Oh, come on to the camp ! BILLY I m goin to stay here. I m not in any hurry. FRED There isn t anything to do here 7 THE SYMPHONY PLAY BILLY Well, I like it here, and I m goin* to stay ! [Does not look at the OLD WOMAN, but gazes impersonally at trees. FRED regards him anxiously. OLD WOMAN [to FRED] What have you in your pocket that sticks out so ? FRED [diving hand in pocket} Horse-chestnuts. BILLY [leaping to feet] I got a string six feet long ! OLD WOMAN [doubtingly} It would take a good many horse-chestnuts to reach six feet How wide are they ? An inch wide ? FRED Not more n half an inch. [Produces one. OLD WOMAN [reaching out for it and holding it in hand, turn ing it so the light falls on it] Oh, how beautiful ! how beautiful it is! 8 BILLY BOY BOTH [eagerly] Do you want some more ? OLD WOMAN [shaking head and handing it back] But what should I do with horse-chestnuts ? / have no pockets BILLY [pointing] You have a bag. OLD WOMAN So I have [They both throw chestnuts into her lap and she looks down at them, smiling. There is a kind of shamefaced competition in their gestures. FRED [holding out a tiny one} That s the littlest one I got. You may have it. [Tries to look indifferent. OLD WOMAN [taking it} Thank you. 9 THE SYMPHONY PLAY BILLY [regretfully, eying it] I had a little one once no bigger n a button but I lost it. FRED Oh, come on to the camp ! BILLY [imperturbable] I like it well enough here. [Fred picks up a stone and sends it whizzing over the trees. They watch its flight. OLD WOMAN What do you boys think about war ? BILLY My father says it s the worst war die s ever been FRED My father says OLD WOMAN Would you like to have all the fighting in the world stopped ? 10 BILLY BOY BILLY You bet ! [FRED nods. OLD WOMAN Don t you like to fight ? BOTH [shaking heads hard} No ! OLD WOMAN But you do fight ? BILLY [slowly, considering it] Yes. . . . [Sits down. FRED [quickly] You have to fight ! OLD WOMAN But, why ? BILLY Oh you just have to ! OLD WOMAN But you don t like it ? ii THE SYMPHONY PLAY BOTH No, sir! OLD WOMAN Nor to see other boys? [They shake heads violently.} You see, they are talking now about doing away with war forever. It will probably be decided about the time you boys get to be men; and it will depend a good deal on how boys like you feel about it [They regard her thoughtfully and a little proudly. BILLY [sighs] Well You just have to fight sometimes OLD WOMAN But you can t tell me why ? BILLY [shaking head} You have to ! [FRED nods as sent, but shamefacedly. He picks up another stone and hurls it over tree. BILLY watches the flight with half-jealous eye.] I can t throw, cause I ve hurt my arm. 12 BILLY BOY FRED I ll bet I can send one over that maple You see ! [Looks for stone. Takes chestnut from pocket and hurls it. BILLY gets to feet. Throws chestnut in same direction.} I ll bet I can find that ! [Darts off. BILLY [does not look at OLD WOMAN, but moves over and sits down on rock close to her, with back to her] I can t throw any. I hurt my arm. OLD WOMAN I thought that was a pretty good throw. BILLY Twa n t anything much ! [Reaches down for something on ground. Holds out finger with caterpillar crawling on it. OLD WOMAN A caterpillar ! . . . . They turn into butter flies if you keep them long enough, you know ! BILLY [nodding I heard about that. 13 THE SYMPHONY PLAY OLD WOMAN Did you ever do it ? BILLY [shakes head] I had a snake once and I had a kitten It wasn t a very good kitten It had fits ! OLD WOMAN What a pity ! BILLY Yes. It was playin round one day and my mother was cleanin the parlor and she had the rug rolled up on the piazza; and this had one a fit, you know and run right into that rug; and mother said to Mrs. Sorley she was there she said, "You take that shawl and I ll shake out the rug," and she did, and they threw the shawl over it; and then mother sent for ten cents worth of chloroform to the drug store, and she had a tub of water all ready and so they done it OLD WOMAN A tub of water ! BILLY Yes. She had it ready. [He sighs. BILLY BOY OLD WOMAN So they chloroformed the kitten BILLY [sighs] That s all I know. I was to school when it happened. When I come home it was all over. My mother showed me one day where they buried it and I dug it up I thought I d like to see how it looked but there wasn t anything there except just the sides and bot tom of a box. The wasn t a bone not a single bone of that kitten ! OLD WOMAN Strange ! BILLY It had evaporated, you see. OLD WOMAN But it does seem strange BILLY It was more n a year after, I guess that I did the digging. It had all evaporated, you see is THE SYMPHONY PLAY FRED [darting in] I found it ! [Holds out chestnut. OLD WOMAN Is that the same one ? FRED Yes, sir, it is ! Here I ll mark one and he can throw it and then you ll see ! [Takes chestnut and pounds it with rock. BILLY takes one from pocket and bites out a piece. Sends it whizzing through the air. BILLY Find that if you can ! FRED [who has been looking jealously from BILLY to OLD WOMAN] I don t care anything about finding it. [Comes behind them and blows shrilly be tween fingers. OLD WOMAN [putting hands to ears] You will make me deaf if you do that ! [He circles around and gives calls that bring 16 BILLY BOY echoes from camping boys. Gives another ear-splitting yell. BILLY [in the tone of one to be obeyed} Fred, you quit that, or I ll fix you [FRED yells again. BILLY, very mild y but grim, not looking at him.] Fred, you quit that or I ll fix you. FRED [comes around rock and looks at BILLY dis trustfully] Oh, come on, Billy ! What s the use of staying here all day ? OLD WOMAN [laughs, looking at BILLY S back] You ll have to lasso him. BILLY He couldn t do nothin ! FRED [fairly dances] I couldn t ! couldn t I ? BILLY No, you couldn t. I d just wind it once around a tree and then you couldn t budge it. 17 THE SYMPHONY PLAY FRED I d run around the tree the other way around and then I d yank you BILLY [imperturbable] You couldn t do nothin . [FRED moves over and sits on rock, squeezing in between OLD WOMAN and BILLY. BILLY bends casually to pick up something and FRED hits out at him savagely. The next minute they have squared off and the fight is on. The OLD WOMAN watches them with keen eyes. There are broken words and heavily drawn breaths and feints of sparring a thrust or two and FRED starts for home through the trees R. OLD WOMAN [looking after him] Oh Fred come back ! [He walks slowly, not looking back.} Oh, Fred ! [To BILLY.] You call him! BILLY [feebly] Oh come on back Fred ! [No re sponse.] He won t come for me. He s mad at me ! [Sighs and sits down on rock by OLD WOMAN. She looks at him with friendly, quizzical 18 BILLY BOY glance and he bends and picks up the caterpillar. Watches it, absorbed, crawling on his hands. OLD WOMAN It s not afraid of you any more, you see. BILLY [smiling up whimsically} Kind o got used to me OLD WOMAN [nodding Animals know even worms and crawling things they can enjoy and suffer. BILLY Once I saw a snake when me and some other boys was going up Great Hill. You ever been up Great Hill ? OLD WOMAN No. BILLY Well, we were going up there one day, me and some other boys, and we see a snake in the road, that was cut right in two 19 THE SYMPHONY PLAY OLD WOMAN How horrid ! BILLY [nodding] So we put stones on him, both parts of him, so s he shouldn t suffer. [Pie gulps a little shamefacedly at the word. OLD WOMAN Wasn t he dead ! BILLY No. [Very matter-of-course.} So we covered him with stones both parts of him; and when we come back maybe it was two hours later he was just through. We took the stones off and his tail give one last yank and that was all. [Glances behind him at wood.} It ll be a week now maybe more before him and me get over that. OLD WOMAN What will you do ? BILLY Oh, I ll have to make up somehow 20 BILLY BOY OLD WOMAN Yes How will you do it ? BILLY I do* no*. I ll give him something, like enough. OLD WOMAN What do you suppose you ll give him ? BILLY Oh, I do* no most anything. Maybe I ll just holler out to him or something like that OLD WOMAN Did you ever have a fight with him before ? BILLY We re always havin em. [Looks ashamed and hesitates.] Had one fight already this morning. OLD WOMAN What about ? BILLY Oh nothin . . . . [Sighs.] We shall make it up all right. [Indignant.] But I didn t do nothin just picked up a stone, and he 21 THE SYMPHONY PLAY snatched it right away, just like that ! Now, what did he want to go snatching that stone for ? [Shakes head. OLD WOMAN shakes head.] He s hidin over there in the woods, maybe OLD WOMAN They re great woods to hide in. BILLY [eyes lighting We come here every day most. OLD WOMAN Do you ever come up at night ? BILLY I ve been here late late as seven o clock. OLD WOMAN It is not dark at seven. BILLY In the winter it is dark and snow, and you have to make a track [Looking behind him.} Him and me has been friends an awful long time 22 BILLY BOY OLD WOMAN How long ? BILLY Oh as much as four years I should think. OLD WOMAN It s old friends like that that we care a lot for. BILLY Yes [Sighs.] Oh, we shall make it up some how He won t speak to me you see! [Silent a minute.] Now, what did he want to go snatching that stone for ? He did it just like that! OLD WOMAN Well, you know he didn t really want to stay, anyway. BILLY He stays when anything s going on. I ll say, "Come on," and he ll say: "Just a minute, wait just a minute while I see this." He s al ways doin* it! 23 THE SYMPHONY PLAY OLD WOMAN Yes, he s the kind of boy that likes to be where things are going on. I could see that. [BiLLY is absorbed in caterpillar. OLD WOMAN leans over and puts pen in his track.} He s afraid of that, you see. BILLY He isn t used to it. OLD WOMAN Who told you about their turning into but terflies ? BILLY M teacher. OLD WOMAN Do you like to go to school ? BILLY You just bet I don t! I d stop to-day and never go again if I could ! OLD WOMAN What would you do ? BILLY I d go to work I d do anything! 24 BILLY BOY OLD WOMAN I suppose one has to learn to read and write or he d be just a savage. BILLY [regretfully and thoughtfully] I can t write very well some way I cant! [Face lights.] I tell you what I d like! I d like to have a little house just on the edge of a big woods a forest, you know and I d like to live in it al ways, with the woods right close behind me. OLD WOMAN Yes I ve often thought I should like that [They look at each other under standingly. BILLY You could see everything, you know, miles and miles in front and the woods right close ? OLD WOMAN Yes I know. BILLY [sits a little closer to her} You don t live around here, do you ? 25 THE SYMPHONY PLAY OLD WOMAN No I live a long way off. BILLY [Figure of man seen through trees. BILLY half starts, fright in his eye. OLD WOMAN S gaze fol lows his. He half whispers] That man s got it in for me ! OLD WOMAN Who is he ? BILLY He s janitor over to the high school, and some of us boys, you know, the other day was climbing up half-way on the building, on the outside OLD WOMAN What were you doing that for ? BILLY Oh just for fun and he came out and chased us; and he told me if he caught me, he d skin me alive. . . . OLD WOMAN Do you suppose he knows who you are ? 26 BILLY BOY BILLY Oh, yes, he knows; he knows m father. [Still following the figure with watchful eye.} I ve got a fight on with him all right ! [Little pause in which he sits close to her. Looks up.] Seems s if everybody had a fight on with me round here ! [Half ashamed, half hoping she will under stand. OLD WOMAN [reflectively, as if seeing something^ It s funny about men. They do things when they are boys I don t doubt he did just the kind of thing you were doing, when he was a boy and then when they grow up, they seem to forget every thing. BILLY Hi ! I ll remember that to tell him next time he chases me ! OLD WOMAN I wonder what time it is ? It must be twelve o clock, if the janitor is going home. BILLY He goes half-past eleven some days. [Whistle heard blowing. 27 THE SYMPHONY PLAY OLD WOMAN It is twelve o clock. I must go. [Stands up.] I ve had a very pleasant morning. BILLY So have I! OLD WOMAN [looking at him and speaking casually} I don t suppose we shall ever see each other again BILLY [who has been gazing at side of rock where she was sitting, points to it] There s another! OLD WOMAN [looking down} Another caterpillar ! So there is. [She takes it up.} It would be rather good fun, wouldn t it since there are two of them to each take one and see if they really do turn into butterflies. BILLY And you can have this one I ve got kind o tame; and I ll take the other and get him used to me. [They exchange caterpillars. The OLD WOMAN wraps hers in a piece of tissue-paper and 28 BILLY BOY puts it in her black bag. BILLY watches her soberly.] When are you going to that place where you live ? OLD WOMAN I don t know a few days perhaps. BILLY [looks about him, trying to appear indifferent] Do you suppose you will come to these woods again ? OLD WOMAN I don t know. It depends on so many things, you know on whether it rains, and on the wind and the sun. Well, good-by ! [They wander apart, the boy looking down at the caterpillar he carries in his hand. The OLD WOMAN stops to look back] I hope you ll make up with Fred all right. Why don t you do it to-day ? BILLY I guess I will. [He looks at her gravely and moves away R. The OLD WOMAN moves a step L. and looks back; the boy does not turn. She smiles and lifts her arms with a quick, freeing gesture; the black garments fall away and reveal 29 THE SYMPHONY PLAY white, filmy stuff beneath a kind of but terfly lightness in it. The brightness grows about her and she steals after him, throw ing kisses that turn into butterflies and circle about the dirty, unkempt boy, going slowly and looking down at the caterpillar in his hand. CURTAIN ACT II ALLEGRO THE MOTHER CHARACTERS A MOTHER. NORMAN, her son. JAMIE, younger son. VIOLA CARLTON. ACT II SCENE: A homelike sitting-room, with flowering plants here and there, but no knick knacks; two French windows at rear, opening on to garden. Dusk outside. At right of win dows, a door leads to hall with staircase. Centre of room, table with droplight; back of table, facing front, a straight chair; L. of table, a deep couch; R. of table, two easy chairs and a low seat. Wood fire burning in fireplace, at right. Near fireplace, front, a door. L. wall, a desk, covered with loose papers and bills. Woman seated at desk, sorting and filing bills and making out checks. Through open door at rear, young man seen de scending staircase. He pauses in doorway and stands looking at woman one hand is thrust into the pocket of his coat; in the other he carries a hat and gloves. He comes to table and puts down hat. Looks at woman and hesitates as if making up his mind to something difficult; moves toward fire. 33 THE SYMPHONY PLAY MOTHER Is that you, Norman ? NORMAN Yes, mother. MOTHER I m so glad you ve come. I want to ask you something. [Gets up, still looking at paper on desk.} Something I have just heard [He starts, and looks at her anxiously. She turns and comes toward him, smiling. MOTHER Do you think I had better order more coal the paper says [Stops, and looks at him.] You re not going out again to-night ? NORMAN Yes I have to go ... MOTHER You will need your bag then [She starts toward door, but he detains her. NORMAN I will see to my bag, mother. ... I packed it partly before I came down. 34 THE MOTHER MOTHER You packed it ! [She looks at him, smiling.] Why, what has come over the boy ! To pack his bag himself! NORMAN [who has been fidgeting about the room, glances at desk] You were busy. ... I just looked in to say good-by. MOTHER [in a low voice, looking at him] To say good- by ! [Moves a step nearer] What is it, Norman ? You are keeping something from me ! Why are you going ? Is it business ? NORMAN [waits a minute] Business. No MOTHER [going close to him] What is it ? NORMAN [starts to turn away. Looks at her as if making up his mind. Throws gloves on table] Trouble mother ! For me and trouble for you ! 35 THE SYMPHONY PLAY MOTHER Trouble oh ! Sit down ! [She comes over to him and presses him to ward chair R. front, by fire. NORMAN [reluctantly sits down} I d rather face it stand ing, I think. MOTHER [laughs a little tremulously^ and sits down in front of fire] We ll save our strength - - [Leans toward him.} Now tell me NORMAN I m I Hang it, mother, I can t ! MOTHER [she is looking at him intently} How old is she? NORMAN [starts} How old ? MOTHER [smiling Yes the woman There is a woman . . . ? 36 THE MOTHER NORMAN Yes. ... I don t know how old she is. She seems sometimes like a child . . . and then, again, I think she is older than the hills older than the world and the stars the farthest star ! MOTHER [softly] Yes she is a woman. . . . Do I know her my son ? NORMAN No. . . . You will never know her, mother. MOTHER Oh ! [She has started to her feet and is look ing down at him.] Tell me ! Tell me every thing ! [Takes hold of his arm.] How long have you known her ? NORMAN [looking at floor} Six months a year I don t know. MOTHER Where did you meet her ? 37 THE SYMPHONY PLAY NORMAN [thinking] At the Rodmans , a year ago at their house-party - - She was there with her husband Robert Carlton. MOTHER [under her breath] Her husband! NORMAN Then I saw her a dozen places we were always meeting- But I did not dream and I thought she was frightfully pretty, you know ? MOTHER Yes I know NORMAN And then one day I knew. MOTHER My poor boy ! NORMAN [straightens himselj a little] So to-night I am off [Stands up. 38 THE MOTHER MOTHER [moves toward him] You are going with her? NORMAN [firmly] Yes. MOTHER She has no children then ? NORMAN Two little chaps MOTHER Two little children [Holds out her hands.} Norman ! NORMAN [looks away] She ll have to leave them, of course. The law wouldn t let her take them. She will have to give them up, first or last and better first ! We will make a clean break ! MOTHER She will not leave her children ! 39 THE SYMPHONY PLAY NORMAN [looking at her] She has left them already an hour ago I have had a despatch from her, and the train reaches here at seven-thirty. MOTHER Where are you going ? NORMAN To some hotel, I suppose. . . . I d rather not tell you where mother we don t want scenes MOTHER No we don t want scenes that s right ! NORMAN I wouldn t have told you at all only it seemed so sneaking not to To go away without a word . . . and I ve always told you everything MOTHER Yes of course you did quite right to tell me. [Smiling.] It s a little sudden. . . . [Glances at clock.] You ought to see about your 40 THE MOTHER bag, oughtn t you ? Be sure to come and say good-by before you go. [She turns away. NORMAN [comes over and kisses her] Of course, I shall say good-by, mother. Do you know you are a trump ! MOTHER Yes I m a trump I know [Pushes him gently toward door. He goes out. She turns away with quick gesture walks rapidly across the room, straight toward the opposite wall, L., runs into it and halts abruptly turns back, picks up gloves on table and looks at them intently puts them down, laughs a little, and rubs hand across eyes. Goes over to fire and stands looking down into it. . . . Turns away slowly and moves toward table, sits down in chair at back of table, facing audience, catches breath buries face in hands. . . . Door R. opens, boy of thirteen rushes in. BOY I say mummie ! [Stops short clinches fists speaks fiercely.} Who s been hurting you ! 41 THE SYMPHONY PLAY [MOTHER lifts her face, laughing.] You re laugh ing ! [She nods.] And I thought you were crying ! [Comes over and kisses her.] And you were just laughing ! MOTHER Yes. BOY [looks at her again] What were you sitting that way for ? MOTHER I was just trying to be wise BOY And I thought you were crying ! . . . I wish you would be wise for these beastly old sums, mummie. . . . See what he s given us old Bartlett. 7 can t do em. [Tugs at book in satchel slung on shoulder turns leaves rapidly] That and that and that and that! and just listen, what rot. ... "A man buys a field for twenty pounds, and rents it for six weeks at ten shillings a week and for three weeks at six shillings a week. He then finds that he has lost sixteen shillings on his former invest ment. What was his previous rate of interest ?" 42 THE MOTHER Now, how can / ever do that ! What does it mean, anyway ? Why can t they teach us some of the things we ll need to use when we get out of their old school ? MOTHER Why can t they, indeed ! Let me see [Takes book and reads it thoughtfully.} This is a hard one, Jamie. I shall have to work on it. . . . [Goes to desk for pencil.} And while I m thinking, would you mind running and asking Margaret to make up the middle room for a guest? The middle one, you know the one between Norman and me BOY Yes, mummie. [Starts off.} Who s coming ? MOTHER [absently apparently studying problem} A friend of Norman s a friend of mine - BOY Do I know him ? MOTHER It s not a man 43 THE SYMPHONY PLAY BOY A woman ! That s jolly, isn t it, mummie ! I ll tell her ! [Goes out door back of stage. MOTHER [reads problem aloud in a lifeless, monotonous voice , fixing attention on it sternly] BOY [enters at back} Norman can t come to your room to say good morning if you put her in the middle room, can he ? MOTHER No we shall have to give that up for the present. BOY [hesitating a minute} She could have my room, the other side of yours I wouldn t mind MOTHER [rumpling his hair a little and smiling You won t have to give it up. See this is what you have to find . . . the rate of interest on twenty pounds. Then you add these and these. . . . 44 THE MOTHER BOY [mumbles a little and nods wisely] All right, mummie, don t you bother any more I ll try it. [Sighs a little and wets pencil in mouth pushes up sleeves and attacks problem. MOTHER goes over and sits down by fire. BOY [begins to read} "And rents it for 6 weeks at 10 shillings " m m m MOTHER [with her back to him] You begin with the twenty pounds, you know. BOY [savagely] "A man buys a field for twenty pounds " [Puts down figures and begins work ing] Twenty pounds that s a hundred dol lars, is it, mummie ? MOTHER [absently] Yes BOY [looks at her suspiciously] Two hundred, isn t it? 45 THE SYMPHONY PLAY MOTHER Yes I guess so. BOY Ah ha ! I thought so ! [Looks at her severely.] You weren t paying attention ! You d a said it was a thousand if I d kept on [Figures a little.} I say that s the right answer ! MOTHER [with her back to him, looking in fire] I thought it would come if you worked on it BOY Now, I ll have to finish the rest up-stairs You and Norm always do such a lot of talk ing I can t work down here. [Goes toward door.} He ll be along in a minute, won t he ? MOTHER He s going to meet his friend. BOY Then they ll be back soon ? MOTHER Yes if she comes - THE MOTHER BOY [staring] You said she was coming ! MOTHER [after a minute] She may go to a hotel BOY I hope she ll come here don t you ? MOTHER Yes I hope so BOY [going out stops short] I say you ll be lonely down here won t you ? MOTHER Not a bit BOY Sure ? Cause I could bring my things down [Glances at table. MOTHER Run along ! I don t mind being left alone. 47 THE SYMPHONY PLAY BOY All right. I ll come soon as I ve done [Opens door.] Here s Norm, now ! [Goes out. [Enter NORMAN. MOTHER [without looking up] Are you ready ? NORMAN [coming R. front, to fire] All ready. [They are silent a minute. She looks up at him and smiles. MOTHER Well- -? NORMAN {speaking without interest to fill awkward pause] I heard Jamie telling Margaret to make up the middle room. Is some one coming ? MOTHER Yes. NORMAN [carelessly] Who is it ? THE MOTHER MOTHER What is her name, Norman what do you call her ? NORMAN [stares a little} Call her? Oh Viola MOTHER [nodding] She is coming I hope Viola is coming [Catches breath, watching him. NORMAN [staring down at her] Here ! To this house ! She shall never come ! It is not respec [Breaks off, biting lip, staring at her. MOTHER [smiling to him] Can I not invite Mrs. Carlton to visit me? Can I not have Viola Carlton here, as my guest? [He moves across the room, think ing.] For a long visit. . . . [She watches him.] Why should we ruin all our lives because we cannot see everything alike in one night. . . . Some way will surely be found if we do our best 49 THE SYMPHONY PLAY NORMAN [comes back and stands near her, looking down] You understand how she will come ? MOTHER Yes. NORMAN You have thought of it all and of Jamie ? MOTHER Yes- NORMAN You will not like it MOTHER I do not expect to like it, Norman at first perhaps. We none of us like what has hap pened to us it seems to have been thrust upon us. ... Now the test is, whether we do the best we can. . . . NORMAN [half to himself] There isn t any best for us for a thing like this! 50 THE MOTHER MOTHER But there must be good, better, best. . . . There must be a best. It is not the first time such a thing has happened, you know ! NORMAN It never happened to me before ! MOTHER No but it might have happened long ago. It happens to every man NORMAN [staring at her] To every man ? MOTHER Did you think you were the only one or that you would be spared falling in love? NORMAN [bitterly] I expected to fall in love as I should properly ! MOTHER And you haven t ! . . . So now we must make the best of it and you will bring her home. 51 THE SYMPHONY PLAY NORMAN [looking about him] Here to your home . . . ? I cannot do it. MOTHER But you will. . . . NORMAN She will not come. MOTHER Ask her. Tell her [Stands up.] Tell her 7 want her to come. NORMAN [takes her hands and kisses them] I will bring her, mother if she will come [Goes out. MOTHER [moves a step, and calls after him, her hand at her throat] NORMAN [turns back] What is it, mother ? 52 THE MOTHER MOTHER Tell Jamie to bring his books down here, to study. NORMAN All right, mother [He comes over to her,L. C.] You are sure you want this mother ? MOTHER Sure ! Haven t I been begging you ! Hurry now you will be late Good luck to you ! [She goes to door and nods after him. Turns back to room and stands, with head a little bent, thinking. BOY [hurries in, with armful of books. Throws free arm about her and hugs her along beside him as he crosses to table. Triumphant} I thought you wouldn t like being left alone ! [Establishes himself at table; she takes piece of embroidery from drawer and sits down by fire. Works a minute and hands fall idle. BOY [not looking at her] I say, mummie, what s her name ? S3 THE SYMPHONY PLAY MOTHER [starts] Oh! Viola - BOY That s a corker ! Viola sort of music-like. . . . [Works a little} I think I shall like her ! MOTHER [taking up work] I hope so. BOY [works a jew minutes] Funny, I never heard about her you never said anything about her before did you ? I suppose she s an old friend the long-ago kind MOTHER You d better do your work BOY [returns to sums] What s her other name ? MOTHER Oh ! Carlton BOY Miss Viola Carlton. [Scribbles name on paper.] Looks very nice ! [Holds it at arm s length. 54 THE MOTHER MOTHER [after a minute] Her name is Mrs. Carlton. BOY Oh, dear! MOTHER [turns and looks at him] What is the matter ? BOY I d got it all made up how she looks and now you ve been and married her MOTHER 7 didn t marry her. [Glances at books.} Don t you think you d better go up-stairs perhaps ? BOY I ll work down here honest you see. Say, mummie just one more ? MOTHER [smiling] Well ? BOY What kind of children has she got ? 55 THE SYMPHONY PLAY MOTHER Children ? [A little look of pain in her face] Who said she had children ? BOY Of course she has em. She s married you said. MOTHER Oh yes. . . . She has two little boys. [Sits looking before her. BOY [sighs] I wish she d bring em along. [Begins to work.] I suppose I couldn t ask just one ? [Looks at her, but she does not answer. She is star ing into the fire. He looks a minute and gets up and comes over to her.} You all right, mummie ? [She looks at him vacantly a minute and he stoops down and strokes her face.} There isn t something the matter with you something I don t know about ? MOTHER No, dear! Hurry and get your work done before they come 56 THE MOTHER BOY It s most done. See what I learned to-day. [Turns a back somersault. MOTHER Jamie ! [Laughs a little hysterically. BOY [righting himself, and sitting up on the floor, grinning at her] I thought you could laugh if you wanted to ! MOTHER Yes youVe done it. Now go to work BOY [listens] Hush ! They re coming ! [Darts to door and takes hold of knob, opening it softly and moving back with it, conceal ing himself behind it. [ViOLA CARLTON appears in the open door way very beautiful and naive and young. MOTHER goes toward her. NORMAN [behind VIOLA, L.] I have brought her home, mother 57 THE SYMPHONY PLAY MOTHER I am so glad you have come. [Takes her hands.] And I may kiss you ? [Draws her to her.} And here is my other boy Jamie. [Looks about her.] Where are you ! BOY [coming from behind door and holding out hand] We are jolly glad youVe come ! VIOLA [taking hand y a little dazed] I am glad I came. BOY We were afraid you would go to a hotel, you know ! VIOLA [stares at him, as if afraid of something] Were you ? BOY [nods] It would have been beastly to go to a hotel when we were all wanting you to come here wouldn t it ? THE MOTHER VIOLA It would have been beastly yes [She shivers a little, turning toward fire, and he places chair for her. MOTHER [taking her arm gently] You would like to go to your room, I know ? VIOLA Oh please [Voice catches a little.] I am tired I think. NORMAN [who has been standing L. C. watching the two women, opens door for them] MOTHER [taking her hand] Come you shall rest a little. [Looks at BOY and smiles] You will have a chance to finish your sums now. BOY [resigned] Yes mummie ! [Goes over to table as they go out. [NoRMAN stands in door a minute looking after them as they ascend staircase. Closes 59 THE SYMPHONY PLAY door gently and walks over to fire, standing with back to it, looking before him sternly. BOY [running leaves of book through fingers} It s jolly good, she came, isn t it ! NORMAN [absently and looking very grave] Yes quite jolly. BOY [looking up} You don t say that very jolly, you know ! NORMAN No ? I m tired hard day business. BOY [sighing} Same with me ! [Attacks sums. NORMAN [smiling a little} Aren t you rather late with yours ? BOY [confidentially] You never saw such rot ! Did you have the same ones, I wonder when you 60 THE MOTHER went to school ? [Picks up book and comes over to fire.] All about hiring a field, you know, and putting in cows and things and not making more than two per cent or something if you didn t look out ! NORMAN [glancing at book] No mine was a red book. BOY [with interest] Did you learn anything out of a red one anything about what you re doing now? NORMAN [dully] No. ... BOY [face falling] I say ! [Goes back to table, puts book down hard.] When 7 grow up, I m going to make some books that mean something you see if I don t ! [Looking at him] Isn t she stun ning, Norman? NORMAN [starting guiltily] Who I what did you say ? 61 THE SYMPHONY PLAY BOY Viola Mrs. Carlton Don t you think she s stunning ? 7 think she s just ripping, you know ! Her eyes look at you so nice ! [NORMAN is silent.} Don t you think she s stunning ? NORMAN Yes I think she is stunning BOY [contentedly] So do // NORMAN You ve got your work done, I suppose ? BOY Bother ! [Door opens back of stage and two women come in. BOY darts from table and puts chair for VIOLA R. front. NORMAN puts one for MOTHER opposite fireplace. Seats himself near her, where he can look at VIOLA without seeming to. BOY seats him self on low stool near her, puts elbows on knees and gazes up at her shyly. A little awkward pause. 62 THE MOTHER MOTHER [taking up embroidery] You had a good jour ney, didn t you ? VIOLA [conventionally] Very pleasant the train was express, right through. NORMAN [same conventional tone] It was on time to the dot. [Takes out watch and looks at it.] I got there precisely two seconds ahead of it. MOTHER Yes you were late about starting BOY [elbows on knees, staring at her devotedly] I wish you d brought the children, you know ! [Subtle shock through group. VIOLA [looking down at him a little breathless] I couldn t bring them BOY No, I suppose you couldn t. Bad for kiddies travelling round. ... I was just wondering if they look very much like you. 63 THE SYMPHONY PLAY VIOLA I don t know Do you think they do ? [Looks appealingly at NORMAN. NORMAN [startled] Well no yes Perhaps Ford- ham looks a little like you. [To BOY.] You d better get your work finished, hadn t you ? BOY [pleadingly] And you all sitting here so happy ! I call that a shame ! Cant I stop just a Jew minutes, mummie ? MOTHER Work while you work BOY And play while you play. Yes I m play ing now ! [Clasps hands contentedly round knees and rocks back and forth. VIOLA [holding out hands with startled look] My rings ! THE MOTHER NORMAN [smiling] I noticed you were not wearing them. VIOLA But I brought them ! They were in the little bag. I must have left it in the cab. Oh. . . ! [She looks at her hands, as if fearful] It is ill-luck ! It is an omen ! They were my mother s. . . . And they were all I brought with me ! [She stares at her hands and shivers a little. NORMAN [on his feet] That s all right ! Don t you be troubled. [He comes and stands by her, his hand on the back of her chair] I will telephone. They re sure to have found them ! [He goes toward hall. BOY [looking after him] Now that s a shame ! Just as we were having such a jolly time ! MOTHER I think it is bedtime. [NORMAN S voice heard in hall speaking in telephone. 65 THE SYMPHONY PLAY NORMAN All right A black bag yes. . . . I ll be right down. [Appearing in doorway.} They ve found it ! I shall have to go down and prove your property. It won t take long. MOTHER Better take your other coat. It is cooler than it was. NORMAN I can t bother ! [Goes off. MOTHER He must take it. [Goes toward door. Looks back.] Bedtime, Jamie ! BOY I m not in the least sleepy, you know ! MOTHER [smiling] I suppose not. Run along now, son [Goes out. BOY [gathering up books from table slowly] Don t you think evenings are beastly short ? 66 THE MOTHER VIOLA Evenings ? No They always seem long to me and lonely. BOY [coming over with armful of books, sits on arm of MOTHER S chair, swinging foot] Now, that s queer ! They re really only two or three hours, you know just the nicest part of the day ! If I made a day I d make it mostly evening ! VIOLA [looking at him and smiling] I think / shall like them here BOY [nodding encouragingly] Sure to ! There s such a lot of things to talk about discuss, you know. Don t you think mummie s nice ? VIOLA Yes. BOY / think she s great ! . . . [With interest.} Who is your favorite author ? THE SYMPHONY PLAY VIOLA [startled} Why I don t know. . . . Shake speare, I think. BOY [nodding] He s pretty good ! 7 like Dickens ! . . . Say, don t you think he s ripping the way they re always falling round and thump ing and doing things ? Pickwick s fine ! VIOLA [smiling] Yes BOY Old Bartlett makes us read Milton That s rot mostly. Some of it s good about Satan you know. VIOLA I don t believe I remember BOY [consolingly] Tisn t like Dickens, not so good just parts of it MOTHER [in door, rear] Bedtime, Jamie ! 68 THE MOTHER BOY I m gone ! Good night. Yes, mummie. [Kisses her, throwing one arm around neck and half strangling her. Goes over to guest, more for mally. Hesitates a minute, bends forward shyly and kisses her on forehead.} Good night ! VIOLA [lip trembling a little] Good night, Jamie. BOY See you in the morning ! [He goes out. MOTHER [mends fire, on her knees before it] Shall we sit up a little while or would you like to go to bed ? I know you are tired. VIOLA Oh, let us sit here a little while. [Looks about the room wistfully.} I m like Jamie, I think; I like the evening here by the fire. MOTHER [smiling] He s a great boy ! 69 THE SYMPHONY PLAY VIOLA [softly] He s a dear! . . . How he talked about my babies. . . . MOTHER He didn t know. VIOLA They really won t miss me so much you know [Looks at her, a little pleadingly. MOTHER Are you so sure ? VIOLA I never see very much of them. They are al ways with nurse. MOTHER Yes. VIOLA [gets up and moves across room, L. Stands look ing at her] I know you must think I am horrid. . . . MOTHER [looking at her and smiling a little] I think you are charming ! 70 THE MOTHER VIOLA [puts out hand, as if warding off something] Please don t ! [Coming nearer.] I am not myself. I feel so strange ! I keep saying: "Can it be I? Am 7 doing this thing ? " MOTHER Yes I know. VIOLA I feel as if it were a dream. [Catches breath.] But it is not a dream ! MOTHER No. [Coming over to couch, L.] Sit down. Tell me if you would like VIOLA [sits down] Oh, I want to talk ! It suffocates I am in a net ! [Puts hand to throat.] There is no way out ! MOTHER It will be easier. . . . You are with friends now the hardest part is over the strug- gle THE SYMPHONY PLAY VIOLA [after a minute] The struggle has not begun, I think. [In a low voice.] I haven t really tried you know. You must not think I am better than I am. ... I drifted at first. ... I didn t know what it was I saw him Nor man at the Rodmans but I didn t notice him I didn t know that I noticed. . . . Deep down I must have known even then. Then I saw him again and again and suddenly I knew if he was near me when he came into the room and when he went out [Looks at her inquiringly. MOTHER [nodding] Yes. VIOLA But even then I didn t know I played with it. It made me happy it amused me ! I had never felt like that about anybody in the world. It was as if he and I were different from the rest as if we understood, and no one else could ever know I used to say his name over and over just say it to myself Nor man Norman. ... I would wake from my sleep saying it Norman. [Turns to her sud denly] Don t you think it is a beautiful name ? 72 THE MOTHER MOTHER [softly] I thought so when I gave it to him. VIOLA [stares at her] I cannot make it seem that you are his mother. You seem just another woman ! MOTHER That is what I am another woman. Tell me VIOLA There is so little we hardly met I was swept on out of myself into a great white place ! [Breaks off] But you cannot under stand I knew it was wrong You cannot understand You could never have felt that way MOTHER Yes I have felt just that way. I under stand VIOLA You! [Staring] But you cannot have felt that way ! Norman worships you ! 73 THE SYMPHONY PLAY MOTHER I am his mother! VIOLA [after a little silence, looking at her wistfully] I wish somebody worshipped me. MOTHER [smiling] Doesn t he ? VIOLA No not worship me he loves me and he is sorry for me, and that sort of thing. I think he will be very, very good to me but he doesn t worship me. . . . Oh, I am so lonely ! [Throws herself into the other s arms, sob bing. MOTHER [smoothing her hair] You are a child ! VIOLA [sitting up] No I mustn t let you think that; I know how wicked I am ! I know I shall suffer for it sometime horribly 74 THE MOTHER MOTHER Aren t you suffering now ? VIOLA Not really I am crying But I am happy because he is coming soon ! [Makes a little gesture toward door. Looks at her wistfully.} It is different, see, from what you think. I know I am doing wrong but I want to do wrong ! . . . You do not understand after all MOTHER [leans toward her a little] Shall I tell you some thing ? . . . There is not a woman in the world that does not understand VIOLA Oh ! [Shrinking back.} How horrible ! MOTHER [shaking her head} I do not think I am horrible ! VIOLA You! You are a saint ! 75 THE SYMPHONY PLAY MOTHER And I am not a saint just human and I have been in love many times. VIOLA [breathless and a little scandalized] With different men ! MOTHER [nodding] I told you I understood VIOLA [drawing back a little] But it seems dread ful somehow! I could never love anybody but Norman ! MOTHER [putting out an arm and drawing her nearer] You think so but it is not really Norman you love. You love the mystery in his eyes in the turn of his head the way he walks VIOLA [breathlessly] Yes and the way he moves his hands like that ! It is dear ! He is so fierce [laughs a little] and strong ! THE MOTHER MOTHER [looking at her intently] And so mysterious ! VIOLA That is it ! I can t understand him ! MOTHER And when you understand him you will not love him perhaps VIOLA [looking at her as if struck by something] What do you mean ? MOTHER It is only a quest our love the seeking of a mystery. We see it in the face of some one all the mystery of the ages we think if we come nearer, we shall solve it ... this strange, unknown thing that lures us from ourselves. But when we come to it, it is gone. The face that carried us back to wonder and flight and pursuit the green places of the earth and shadowy mists is only the face of an ordinary man going to the bank and back every day. Sometimes we catch a glimpse of it again that look in his face but we know that it is 77 THE SYMPHONY PLAY not his look. ... It is the eternal mystery looking out at us. ... Then if we keep on being alive we see it again and again in the face of another man and another in his walk, in the way he stoops to a child, and it lures us again Surely, this time we shall find it ... the will-o -the-wisp ! . . . And at last we learn the truth that we shall never find it because its name is Life calling to us that look of mystery it is the unborn souls of children calling. . . . But there is a deeper look [She breaks off and is silent. VIOLA Yes tell me MOTHER [with decision] Not to-night ! You are tired, and I have talked too much VIOLA No tell me that other look. . . . Shall / see it ? MOTHER [looking down at her] You must rest now. [She half lifts her to her feet, and they move toward door. At the door they -pause, 78 THE MOTHER VIOLA [looking at her] Do you know? I think I love you very much. [Smiles tremulously.] Is that, too, the mystery ? MOTHER [bends forward and kisses her] Yes that, too, is the mystery ! [ViOLA goes out. The MOTHER closes the door behind her and crosses to desk, L. Her face has grown tired. She sorts papers and files them in the desk. [Door at back opens cautiously. BOY puts head in. Comes in, shutting door carefully. He is dressed in pajamas, with bare feet. Moves on tiptoe across room. MOTHER [without looking up] You ought to be in bed BOY Oh ! you peeked ! MOTHER [turning a little and putting out a hand] Don t you suppose I know your great, clumping feet ? 79 THE SYMPHONY PLAY BOY [throws arm around her} Come and sit by the fire! MOTHER Not to-night I have to finish these [Lays hand on papers. BOY Bother ! Well, good night ! [Bends and kisses her.} I just wanted to come down you know. MOTHER Yes, I know good night ! [She turns back to her papers and he goes to ward door, stops and looks at her, goes back a few steps and kisses the back of her neck, just below the hair. MOTHER Go to bed ! BOY All right ! [Exit hurriedly. [She keeps at work. Door opens again and she looks around. VIOLA has come in, dressed to go out. 80 THE MOTHER MOTHER [starting up, one hand on the desk] You are going out ? VIOLA Going home yes. MOTHER [coming over to her] You are sure you want to go ? VIOLA Sure. . . . Now you can tell me that other look ? MOTHER Now I can tell you. Yes. Sit down. VIOLA [looking about] I must go before he comes. I might lose courage if I saw him. ... I want to go back to my boys ! [Shyly.] I want them to [Breaks off.] I want to go home. MOTHER [putting arm about her] So you have seen it the other look ! 81 THE SYMPHONY PLAY VIOLA [looking at her, startled] I have seen it ? MOTHER [nodding] That deeper look in the eyes of our children when they come all the life of the world looking out to us calling us to free it the new day. That is their look mystery and hope and courage. . . . And we do not love that look we worship it, I think. . . . Mother-love reaches to it farther than her hands can stretch and bears the weight of the world [Touches her shoulders gently.] Now write a note to NORMAN. [Turns her toward desk.} Tell him why you are going. He would rather hear it from you. [She turns toward door and goes out. VIOLA [sitting at desk, writes note and seals it. Carries it to table and props it against book where it will be seen. Goes about room, touching things lightly, as if loving them; sits down in differ ent chairs playing at being at home. Door opens and MOTHER comes in, dressed in out door things.] 82 THE MOTHER VIOLA [looking up) startled] You are going with me? MOTHER [smiling] Didn t you invite me to return your visit ? I am going to spend the night if you ask me [Holds out small bag.] Are we ready ? VIOLA [wistfully] I am ready. [They go out. At the door VIOLA pauses and gives a last look about room.] And it might have been right for me to stay ! [They go out. Light turned off as they go. [Enter BOY again, in pajamas. Moves about in firelight. Sees letter on table, carries it to fire and looks at address. Puts it back. Sudden sound in hall. He darts toward open French window. [Enter NORMAN, carrying bag in hand and smiling happily. Goes over to fire, stands with back to it. Sees letter on table, peers at it. Goes over and takes it up. Turns on shaded light on table. Light shines on him, rest of room dim. Reads letter and sits look ing at it, head resting on hands. BOY steps 83 THE SYMPHONY PLAY cautiously in from window. Steals toward door. Falls over stool, picks himself up, chagrined. NORMAN [turns and peers at him.] Caught in the act ! BOY Stupid old thing ! [Hits stool. Glances shyly at letter.} I think I ll go to bed NORMAN What are you doing here ? BOY Just going to bed. NORMAN Umph ! Time I should think. [Hesitates a minute picks up letter.} Mrs. Carlton has had to go home. [Goes over to fire with letter. BOY I say that s a shame ! NORMAN Well not a shame exactly ! [Puts letter on coals] The children needed her. THE MOTHER BOY Pains in tummies ? NORMAN No just wanted her to come home. BOY [nods] Poor kiddies ! [Goes to door, opens it, and goes out, shutting it slowly behind him. NOR MAN stands by fire, watching letter burn. BOY [opens door, before he has fairly closed it, and puts head in.] They ll be glad ! Nobody like your own mummie! CURTAIN ACT III ANDANTE THE BROTHER CHARACTERS MARK STRATTON, president and owner of the Northern Securities Company s plant. HELEN STRATTON, his daughter. JEM HADDIE, an employee of the company. BOBBIE, office boy. Mob of strikers and mill-hands. ACT III SCENE: Office of MARK STRATTON, president and owner of the Northern Securities Com pany s plant. Spacious room, second floor. Velvet rug on floor, mahogany and leather furniture, large pieces, massive style. L. large table desk facing R. Typewriter desk near by and straight chair. Sofa R. back. Armchairs R. and L. front. Low carved bench L.C. Plate- glass windows at back, right one partly open; dark shades, half lowered. Heavy chandelier C.; green shaded electric light with cord on desk. Doors middle L. wall and R. front; closet door L. of L. window. Enter young woman, plainly, almost mannishly dressed, coat and hat; glances at desk; goes to closet, opens door; reveals shallow closet, office coat on hanger; shuts door and rings bell on desk cord. Enter office boy, R. HELEN [nodding to boy pleasantly] How are you, Bobbie ? Do you know where my father is ? THE SYMPHONY PLAY BOBBIE He went out half an hour ago, Miss Strat- ton. HELEN [looking thoughtful] Alone ? BOBBIE Mr. Clausen came for him. It s the strike, I guess. HELEN Yes [Waits a minute.] He didn t leave any word for me ? BOBBIE [shakes head] He went in a hurry HELEN Of course. [Turns to door, L.] Tell him I came to drive him home, will you, Bobbie? And I ll be back in half an hour. BOBBIE I reckon he ll be late to-night. HELEN [turns, hand on knob] Why do you say that ? 90 THE BROTHER BOBBIE [moves hand toward open window, R} There s things doing down there. HELEN [leaves door and comes C.} The strikers ? BOBBIE [nodding, important} I don t like the way things are going. HELEN [half smiles} You re not afraid ! BOBBIE I ain t afraid exactly. [Hesitates} They ve been at me again. They say I ve got to quit. HELEN [impatiently] What nonsense! Don t you think of such a thing, Bobbie ! BOBBIE No m not unless I have to. HELEN What kind of things are they doing ? THE SYMPHONY PLAY BOBBIE Just hanging round scowling at you One of em threw a rock. But Jem Haddie stopped that pretty quick ! HELEN [starting] Jem Haddie ? BOBBIE [nodding] What he says goes ! HELEN Is he in it ! BOBBIE Is he in it ! Twas him called the strike. He s the biggest man in this town ! HELEN Except my father of course. BOBBIE [looking at her] That s what they are going to find out to-night, Miss Stratton. [Nods toward door, R.] He s waiting in there for him now 92 THE BROTHER HELEN [starts] Mr. Haddie is in there ? [Sits down in desk chair, facing R.] Tell him to come in. . . . Don t tell him / am here. Just say "Come in" [Bobbie grins. Exit R.] [Enter Haddie, R. Stops short, looks at her searchingly. He is tall and dark and slight. A dreamer s face, with firm mouth and chin. He stands a moment looking at her. She confronts him across desk. She rises and comes around desk, C. HELEN Well ? HADDIE You here ! HELEN Why not ? I came to drive father home. [HADDIE comes C. He is holding a soft cap in his left hand. HELEN [holds out her hand] Bobbie told me you were there. So I said "come in." 93 THE SYMPHONY PLAY HADDIE [taking her hand] I was waiting to see your father. HELEN I know about the strike. Tell me, Jem are things so very bad ? HADDIE [releasing her hand slowly] That is for your father to say. HELEN What do you mean ? Do sit down [Motions to wooden bench. He seats himself, and she sits in chair, L. front, bending forward.] Tell me ! HADDIE The strikers have sent an ultimatum He must agree to consider their proposals. HELEN Their demands ? HADDIE Words won t make any difference to them. They mean to have what they want now. 94 THE BROTHER HELEN Bobbie says you can control them HADDIE Bobbie ! HELEN [looking at him and speaking slowly] I believe you can. HADDIE [turning to her] Why do you say that now ? HELEN [quietly] Because I believe it. HADDIE Then you understand as little as every one else. I am their mouthpiece. I can speak for them. I can put the case to your father so that he will understand perhaps. But I can not control them beyond a certain point HELEN What is that point ? HADDIE [smiles enigmatically] That is what I do not know. No one knows [Gets up and moves L. 95 THE SYMPHONY PLAY Turns and faces her, hands thrust in pockets} I feel sometimes as if I were part of a great beast. HELEN [breathless] That is it ! A great beast And my father? HADDIE Any time it may leap out and fall upon him. HELEN [quickly} My father ! HADDIE [laughs} They will sweep him like a leaf. [With a quick gesture] You know that ! HELEN [swiftly] But you can stop them HADDIE [comes toward bench and stands with one knee resting on it, looking at her curiously] Do you think so ? HELEN [lifts her hands] You can do it. [HADDIE is looking at her quietly a dreamy look comes into THE BROTHER his face.] Why did you not tell me, Jem ? Why have you not been to see me ? I have expected you I have not seen you for weeks. [She gets up from chair and comes to bench. HADDIE Your father told me not to. HELEN [indignantly] Father told you not to see me ! HADDIE Practically that. [Smiles.] He tried to bribe me, I think. He told me he preferred I should not see you until things quieted down a bit. HELEN He meant ? HADDIE He believed as you do that I could keep the men in hand. . . . And he used you for a bribe [He speaks slowly, with quiet intention. 97 THE SYMPHONY PLAY HELEN [looks at him, startled, a puzzled expression in her face. She moves back a little] Jem ! HADDIE [nods quietly, but does not stir] That is what he meant, I think. . . . You did not know that I cared He knew that I caced. He meant to use it he is a very shrewd man Mark Stratton. [She winces a little.] But he over reached himself that time. He saw how I cared for you. [Moves his hands quickly.] I would have given my life for you [She moves toward him with a light, swift cry. HADDIE holds up his hand.] Wait, Helen till I tell you. I loved you like that, yes and more. And he could not have stopped me. . . . But when he said that to me I stopped of myself. [Look of the dreamer comes into his face] I saw everything then in a still, clear light thousands of years away. I saw you and me [She has come nearer and he takes her hand.] I saw you and me and all the suffering about us. And I knew we must wait [He bends toward her and she lifts her face.] I did not mean to say it THE BROTHER HELEN [quickly] You never cared that I suf fered - -! HADDIE I saw you in every woman I met. I saw you in the mills stifling in the heat and on the streets. ... I saw you everywhere. And I set myself to win you and release you. . . . Then I would ask for my reward HELEN [reaching her hands to his shoulders and shaking them, laughing a little tremulously] Jem you are too high up ! [lie drops to one knee and she takes his face in her hands. Then her eyes fill with tears and she searches hastily for hand kerchief. He takes one from his pocket and hands it to her. She sits on bench, laughing a little hys terically and drying eyes. She pats the bench.} Sit down, you foolish boy ! [Handing him handker chief.] There take it ! HADDIE [takes handkerchief and folds it slowly puts it inside his coat] That is my talisman 99 THE SYMPHONY PLAY HELEN You are too romantic, Jimmie ! This is the twentieth century. HADDIE [his face lighting up] Isn t it ! Did you ever know such a time, Helen ! I wake up every morning glad to be alive glad that I am a part of it. Just think what we shall do ! HELEN [moves a little toward him] Tell me ! What shall we do, Jimmie boy ? [She looks at him, smiling, and he returns the look.} You haven t kissed me, you know ! HADDIE [shakes his head] I am keeping that till I come back from the war HELEN Then we must hurry up the war. Tell me what / can do / want to fight ! HADDIE [touching her sleeve, half a caress] The lady love stays at home. She waits, you know. 100 THE BROTHER HELEN [shaking head] Not this lady-love ! This is the twentieth century, Jem not the sixteenth. Women don t sit and wait now. They hike to Albany and Washington HADDIE And they work in the mills. HELEN Yes. [Her face grows sober.] Tell me my part, Jem. HADDIE Get your father to promise to see me HELEN Won t he see you ! HADDIE He may refuse if I come from the men. He has been irritated to-day you know him HELEN [her face softens] Poor Dad ! 101 HE SYMPHONY PLAY HADDIE He may refuse and I cannot hold them. . . . I am to report to them at six o clock. [Looks at his watch.} All day the tide has been rising. I feel it in myself. I have to fight to keep it back. They will not fight not to keep it back. I must see your father and take some message from him to the men. Nothing else will answer now. HELEN [springs to her feet, her hand a little clinched] Of course, you shall take a message ! I will see him before you do. Wait in the other room. [She half pushes him toward door, R.} Don t stop. He may be back any minute. . . . When he comes in I will ring the bell. Then give me ten minutes before you rap. [Her hand is on the door. He looks at her and comes toward her and she reaches out her hands. She draws them back and shakes her head, smiling.} Not till after the bat tle, Jimmie dear ! [She opens the door quickly and he goes out. She walks thoughtfully to desk and sits down in chair. Bends toward window and looks down into street. Draws back, putting hand across eyes. Stares at window. Half reaches 102 THE BROTHER up hand to draw down shade, but stops, con trols herself. Murmur of voices heard through open window; she goes toward it as if to close it, but stops and listens, L., and turns toward desk. Door opens, L. She lifts bell-cord and presses button. Enter MARK STRATTON. HELEN [moving to him quickly] I have been waiting such a time, father ! Where have you been ? [Kisses him. STRATTON [returning kiss absently] Business. [Rubs hand across forehead and goes to desk. Sits down. HELEN [sitting on arm of big chair, L.] I came to drive you home when you are ready. STRATTON [taking letter from pile and opening it] I don t believe you d better wait. I am being kept, maybe [Scanning letter. Throws it down with im patient sound. 103 THE SYMPHONY PLAY HELEN What is it, Daddy ? STRATTON Another order that we can t fill ! [Scribbles on letter and puts it on file.} The very devil is in it! [During the conversation that follows he is opening and reading letters, giving half attention to what she says. HELEN What do the men want, father ? STRATTON Want ! [Looks up absently.} They want the earth ! HELEN Yes we all want that don t we, Dad ? STRATTON [glancing at her} Nonsense ! HELEN I mean what part do they want first ? [He reads letter. She watches him a minute. Gets up and strides across room, R. y with 104 THE BROTHER boyish swing. Comes back to desk and stands opposite him. STRATTON [looks up with scowl. Face softens] You better not wait, Helen. I am being kept maybe. HELEN [one hand thrust in coat pocket} There is some thing I want to ask you, father STRATTON Ask it this evening after dinner I am tired now. HELEN [shaking head] It can t wait. [Moves hand to ward window.] It s about the strike STRATTON [looks at her a minute under eyebrows] You d better keep out of the strike, Helen It s no place for a woman. HELEN Aren t there women in it ? 105 THE SYMPHONY PLAY STRATTON Not my women ! HELEN [with right hand on desk, bending a little toward him] Father I want you to promise to see Jem Haddie when he comes. STRATTON [grimly] How do you know he is coming ? HELEN He told me STRATTON Did he tell you to wheedle me into seeing him ? HELEN [standing very quiet, looking at him] Do you think I am wheedling you father ? STRATTON [his eyes drop] No. HELEN It was 7 who thought of it seeing you. . . . The men may be right. You won t refuse to 106 THE BROTHER listen to hear what they want ! You are not afraid STRATTON [brings hand down on desk] Let them go back to work. I ll not be bullied by their strike! Let them get back to work and I ll listen. I ll meet their committee. They shall get what they want when they have gone back to work. HELEN And suppose they won t go back to work ? STRATTON Then let them starve. We have enough they ll not drive us I HELEN You have enough. / have only what you give me STRATTON [looking at her proudly] It is all yours, daughter. Everything is for you. [Voice softens. Motions to her.} Come here. [She comes slowly around desk. He faces front, putting arm around her and drawing her to him. She stands with eyes 107 THE SYMPHONY PLAY lowered, not looking at him. STRATTON glances up at her affectionately.} You must be a good child and help me HELEN I am not a child. ... I want you to see Jem when he comes. STRATTON [watching her] Why are you so keen about my seeing Jem ? HELEN Because I believe he may be right and [look ing at him] because I love him ! STRATTON So that is it ! HELEN [nodding quietly} That is it. STRATTON [draws her on his knee and kisses her} Well your old father is glad ! I ve suspected some thing of the sort. HELEN [looking at him} I haven t ! 1 08 THE BROTHER STRATTON [patting her arm] Well well! That s all right ! Haddie will make his way. He has the stuff. Perhaps he will be manager some day. I m making him. HELEN [drawing back a little] Suppose he is making himself! STRATTON [laughing] Ho-ho ! Jealous is she ! Well, we ll let him make himself manager. [Pinches her cheek.] Now run along, daughter. I must finish my work. HELEN [glancing at watch on wrist. Stands up] You will see Jem when he comes STRATTON [speaks sharply] Not if he comes from the men ! I have no dealings with the men not until they go to work ! HELEN [quietly, moving from him] Then I go with Jem to-night. 109 THE SYMPHONY PLAY STRATTON [starting up] Helen HELEN Only a coward would refuse to see him ! STRATTON You can t understand You are a woman ! HELEN I am a woman yes. STRATTON Don t you see there is a principle at stake ? HELEN I don t care for a principle, I guess ! [Both hands in pockets, like a boy.] A principle cannot starve, can it ? A principle cannot suffer, can it ? I care for men and women I care for Jem. . . . STRATTON [stops, looking at her] For Jem yes. [Sits down wearily like an old man] Had you thought of me, Helen ? . . . / have no one but you! no THE BROTHER HELEN [face softens] I know Daddy STRATTON Let me manage this myself. [Motions to win dow.] They will come to terms. [Grimly.] They ll have to come to terms! [Murmur of voices heard] It s my business they are interfering with ! [Slyly.] The business won t stand it what they are demanding. HELEN [turns to door, L.] Then you won t consent ? [Voices below grow louder. STRATTON [harshly] No one shall drive me! [Gets up. Turns to her sharply.] Do you know the kind of man you are going to ? He will never get on without me! He is sacrificing himself he is the kind that sacrifices himself HELEN [flashing out] He is a man! big enough to care for something besides his own selfish in terests ! in THE SYMPHONY PLAY STRATTON And he will sacrifice you to the people as he has himself. HELEN I hope he will ! That is the kind of man I be long with. I don t want a man for a domestic pet or for a watch-dog around the house to guard me. I want a mate ! [Moves toward door, L. STRATTON [watching her guardedly] If I see Jem, you will wait in there and drive me home ? HELEN [hand on door] If you see him and say yes to what he asks STRATTON [sits looking straight before him. Face hard and old] You women drive a hard bargain and it s a harder bargain every year, I think. HELEN [faces toward him, tense] Will you see him ? ... He is going to rap on that door at five. [Looks at watch on wrist. The man leans forward, 112 THE BROTHER looking at door apprehensively. She glances at it, too, a look of love in her face.] Will you see him, father ? [Knock sounds.} Will you, father ? [He looks at her and nods. She leaves the room quickly. The knock comes again. STRATTON [voice curt and businesslike] Come in ! [Enter HADDIE. STRATTON nods to him casually.] Come in, Haddie. Sit down. I will finish my mail if you don t mind waiting. HADDIE [stands C., looking at him] I don t mind, Mr. Stratton. But I m afraid I must ask you to listen to me first I come from the men STRATTON [holds up hand] Cut it out, Jem ! Talk like a fellow human being ! Sit down. [HADDIE sits down, L. C. y in typist s chair.} Now, I want to talk to you, Jem before you talk to me. I want to talk to you like a father. [HADDIE starts a little and glances at him, but STRATTON S face is apparently unconscious.] Your father and I were partners a good many years, Jem. . . . 113 THE SYMPHONY PLAY If he d stayed in the business you would have been rich to-day as rich as / am. [Expansively. HADDIE What has my being rich to do with this ? [Motions to window. STRATTON {holding up hand] Don t hurry me, Jem. I want you to see who you are and where you belong. You don t class with that rabble down there not even as leader. You were made for better things than they can give. [HADDIE starts impatiently.] Now, wait a minute! I want you to look at this thing all round on all sides. See it through an older man s eyes. I have been through it once before, Jem and with your father, and he was nearer to me than you are I loved your father. [HADDIE has turned and is watching him curiously.} I didn t want him to leave me. It was bad for the business bad for both of us. But he got no tions in his head. He wouldn t listen to reason. He died a poor man - HADDIE And an honest one. 114 THE BROTHER STRATTON So honest I helped your mother to bury him. HADDIE You may help to bury me but that doesn t alter this, does it ? [Motions to window. STRATTON [shaking his head] You won t die poor. You re rich whether you like it or not. Your last two patents settled that. I control them and the royalties alone will make you rich. The money doesn t matter to either of us. We are above all that. It is a good business proposition for some men to stir up strikes; but you can make a living without it. What I want is that you shall see that you are throwing away your power ! [Watching him keenly. HADDIE [turning a little] What do you mean ? STRATTON [leaning forward and speaking rapidly} Cer tain men are born to lead to rule You are one of those men I am one ! Join forces with THE SYMPHONY PLAY me. I want you. I will make it a partnership. You shall have equal share in everything. HADDIE You couldn t stand for a partner, Mr. Strat- ton. You broke with father STRATTON [quickly] It was a fair deal HADDIE I am not saying it was not I don t know. I do know I should not be free with you. STRATTON Wait Become my manager then. I will put the business absolutely in your hands. HADDIE [looking at him} Why ? STRATTON I don t want to see good power wasted on dirt ! [Moves hand to window.] You can make them do what you want. You have the power, somehow - - Use it ! Shake yourself free ! Rule them from above. You can think for them, plan 116 THE BROTHER for them control them for their good. Every stroke will count. Now they drag you down, handicap you. All you are doing with them is to let them pull you down where they are. They will ruin you. HADDIE [looks at watch] We re wasting time and we haven t very much to spare. I promised to meet the men at six and give them your de cision [Looks at him. STRATTON [curtly] Go on. HADDIE They do not ask so much only that you will consider the things they ask for. STRATTON That is the whole point ! They shall not dic tate ! Their strike is a pistol at my head. I shall not yield ! HADDIE It is not a pistol not yet. But at any min ute a strike may turn into a pistol. Things are stirring, moving down there. / feel them. I am a part of them; and I know that presently 117 THE SYMPHONY PLAY something may leap out that is stronger than I am. STRATTON [starting up] Are you threatening me ! HADDIE [quietly] No, 7 am being threatened. You are being threatened. There is a great power forc ing its way into life. That force is going to be born whether we let it or not. STRATTON It will never be born if we strong men hold together. You will sacrifice yourself for noth ing, for men who are not worthy to tie your shoe. HADDIE Perhaps it is I who am not worthy ! I have watched them cringe and starve and crawl. [As if he saw them at his feet. STRATTON Now, you are talking sense ! HADDIE And suddenly I have seen that 7 am there cringing and starving and crawling with 118 THE BROTHER them ! It is as if I looked down at my own hand and saw, suddenly, it was diseased. [Holds up handy looking at it slowly.} Some loathsome dis ease eating its way into the tissue and into the bone. . . . [STRATTON glances hastily at hand and seems to rub something off. HADDIE speaks slowly.] That was the first time I ever under stood what it meant "for no man liveth to himself and no man dieth to himself." . . . Do you know why we called this strike ? [STRATTON, who is watching him uneasily, shakes head.] The strike is not about better hours or more pay that is what we ask for but underneath we are striking for life. . . . Shall I tell you ? There were two girls next door to me, rented rooms their father a sot mother ill three younger ones barefoot, dirty. . . . Life gets some people by the throat, I tell you ! Those girls went to work many a morning without breakfast; they worked in your mill. They were nice girls And one night they sold themselves. I saw them on the street. The next day I called the strike. The men had been urging it, but I had held off. I thought you might come to terms. Then I saw there was not time to wait. I saw those girls gentle girls they were 119 THE SYMPHONY PLAY and I saw my own mother my wife my children that are to come looking out at me. I called the strike to make you listen to those girls. . . . There isn t time, I tell you not time enough in one life for a man to wait. ... If you and I could live a thousand years, we should not need to strike. You would come to see in a thousand years, I think ! But there were those two girls on the street. They were half drunk. . . . All that any one is asking of you is that you should listen, Mark Stratton. It might have been your daughter going off with that brute any man s daughter. They were nice girls [During this speech the noise and the voices outside have grown louder. STRATTON [who has covered his face and shrunk a little, holds up a hand] Stop what do you want of me ? HADDIE Only that you will meet the men s committee and let them feel that you are listening to them. [Bends toward him] Will you do that ? 120 THE BROTHER STRATTON [hand drops to table] I will see them [Clamor heard below. HADDIE You will consider what they ask for ? [STRAT TON nods] May I tell them ? STRATTON [has started to feet] Tell them Go ! Go for God s sake go and leave me here alone ! [Mob that has been howling and knocking at gate below, heard coming up-stairs. Bursts open door, R., and surges in. Brutal man with pistol 9 at left side, slinking behind others. HADDIE [wheels about and faces them, standing between them and STRATTON. Holds up hand for silence] Stand back ! [A muffled sound from crowd. MAN WITH PISTOL He has betrayed you ! The damned capital ist ! [Raises pistol and takes aim at STRATTON. HADDIE springs forward and knocks pis- 121 THE SYMPHONY PLAY tol. It goes of. HADDIE falls. Crowd draws back, leaving HADDIE and STRATTON centre stage y alone. HELEN [rushes in from L. door. Kneels and takes HADDIE in her arms, bending over him. Lifts face to her father] You have killed Jem! [To crowd.] Between you you have killed Jem ! HADDIE [raising himself a little, speaks slowly, pointing to the master] He says he will consider CURTAIN 122 ACT IV ALLEGRO THE LADY WITH WINGS CHARACTERS THEODORE LEAVITT, owner of a garden. LOUISE LEAVITT, his wife. MRS. SIDBORN, a widow. ANDREW MC!LVAINE, the gardener. TOMMIE, gardener s assistant. TOINETTE, Mrs. Leavitt s maid. ACT IV SCENE: Interior of walled garden; wall extend ing from R- front to L. back; ornaments and flowers on top of wall; R. back, iron gate in wall; rose pergola curving from gate to C., covered with flowers, two small poplars at entrance; L. of pergola, fountain, figure of girl holding cup in one hand and watching spray that rises from it; fountain seen against background of poplars and cedars, L. back; L. front, near fountain, stone bench; R. front, larger bench; R. C., near pergola, and under peach-tree in blossom, a table; near table, wicker chair and small footstool. The garden is seen under branches of fruit trees in blos som cherry, peach, plum, etc.; flowers grow at the base of the wall and aquatic plants and feathery grasses near the foun tain; blossoming shrubs, R. and L. front. Shadows on the ground under the trees; these with the light spray of the fountain and the blossoms give an effect of clear sunlight in the garden. Beyond the garden, outside the wall, the trees are dark and overhanging. 125 THE SYMPHONY PLAY The wall and the fountain and garden-seats, etc., are of gray concrete with slightly rough ened surface. GARDENER at work L. back, BOY at work R. of pergola. LADY [comes through pergola. Turns at entrance and looks back at GARDENER] Good morning, An drew. [He looks up from his work and lifts his hat. She goes to fountain and kneels down, dip ping hands in water. She holds them up and watches the water fall from her fingers. Takes handkerchief from dress and dries hands. Sees petals on ground and picks them up, gathers a handful from the tree and floats them on the water, something childlike and irresponsible in pose and action. She looks at ANDREW now and then. Takes basket from base of fountain and comes front, swinging it a little; sees footstool and stops. Puts basket on table and takes up stool, examines it. Looks at ANDREW, who is busy. She sets down stool and seats herself in chair, putting feet on stool. Speaking over shoulder to BOY, without turning head.] Tommie BOY [looking up from digging] Yes m. 126 THE LADY WITH WINGS LADY Come here [Bov comes front, rubbing hands on his trousers and smiling happily.] You mustn t say "Yes m," Tommie. BOY No m. LADY And you mustn t say "No m." Say, "Yes, Mrs. Leavitt. No, Mrs. Leavitt." BOY [automatic and happy, gazing at her, entranced} Yes-Mrs.-Leavitt-no-Mrs.-Leavitt. LADY [smiling] One at a time will do. Do you know where this came from ? [Indicates stool. BOY [drops to knees beside it, facing front. Jerks thumb over shoulder] I reckon he must a done it, M-m Mrs. Leavitt. LADY Good Tommie ! I thought Andrew must have made it but I didn t know but it 127 THE SYMPHONY PLAY might have been the fairies [he shakes head violently] or a little bird - - It is just right for me, you see ! And I needed it very much. BOY [watching her adoringly and nodding] I guess likely he knew you needed one, M Mrs. Leavitt. LADY [starts and looks down at him] But that is strange, isn t it, Tommie ! I didn t know, my self, I needed a footstool and now I see I couldn t possibly get along without one. [Sits back comfortably in chair.] But Andrew knew I needed a footstool. BOY [moving a little closer and taking bit of dress in fingers unconsciously] Andrew knows every thing, Mrs. Leavitt ! LADY [laughs a little, watching boy under lowered lids. He is fingering bit of dress, stroking it half thought fully] You think Andrew is a very good man, don t you, Tommie ! 128 THE LADY WITH WINGS BOY [stoutly] He s the best man in the world ! LADY Better than your master ? BOY [puzzled] Andrew is my master, isn t he ? LADY I meant Mr. Leavitt. BOY [confused and loyal] Oh Mr. Leavitt He s good 9 too but but Andrew is dif ferent ! LADY [laughs out] So he is ! [Bends and touches his head lightly with her hand.] You may pick a rose for me, if you like just one for my table. [Bov s face lightens with happiness. He hurries to pergola and begins to search for a perfect rose. HUSBAND comes through gate at end of pergola, parts roses near wall and looks out at LADY. She, looking dreamily before her, repeats TOMMIE S words softly half smiling.] Mr. Leavitt is good, too but Andrew is different ! [ToMMiE ap- 129 THE SYMPHONY PLAY proaches shyly with rose, lays it in her lap. She looks down startled.} Oh, thank you, Tommie. ... It is a beautiful one, isn t it ! [Lifts it in her fingers and lays it against her cheek and lips. TOMMIE watching with proud eyes. She looks at him and smiles.] Thank you ! BOY [voice quite formal and grave and high] You are welcome, Mrs. Leavitt. LADY [holds it from her and looks at it happily] It is a beautiful rose that Andrew made grow for me and you picked for me Run and play now, Tommie. BOY [starting to go] I don t play, you know, Mrs. Leavitt. [Proudly.] I work ! LADY So you do! But it is all the same, isn t it, Tommie ! work and play ? BOY [shakes head] It don t seem the same to me, ma am. 130 THE LADY WITH WINGS LADY But some day it will. [ToMMiE shaking head slowly.} You ask Andrew. [Head stops shaking. LADY laughs out.] You would believe it if An drew said it wouldn t you ? BOY Yes, Mrs. Leavitt. You have to believe what Andrew says. LADY Well, you ask Andrew if work isn t just the same as play. I must do my work now. [Takes basket from table and opens it, puts on thimble. TOMMIE watches her.] So run along and play, Tommie ! [ToMMiE shakes head, smiling at joke, and runs to his work. LADY takes out muslin and begins to sew, smiling at her thoughts.] " You have to believe what Andrew says " [Work falls to her lap and she sits looking before her. HUSBAND, who has watched, from pergola, rose scene between her and TOMMIE, passes through pergola. LADY speaking slowly and dreamily.] Mr. Leavitt is good, too but Andrew is different ! [Takes up work and looks at it blindly.] He is different! [HUSBAND appears between poplars at en trance of pergola. Stands watching her a 131 THE SYMPHONY PLAY minute as she sits absorbed in thought. Comes forward. HUSBAND I thought I should find you here. LADY {looks up and nods, smiling to him] You know I m always here, don t you? [He comes to back of her chair and she lifts her face. He bends and kisses it. Stands looking at her, half puzzled, half sad. Moves R. front to bench. She picks up her work and sews a few stitches. Then it drops to her lap.] I ve had a present. HUSBAND A present ? LADY [nods] And it makes me so happy ! HUSBAND [half jealously] What was it you wanted ? / could have given it to you ! LADY Oh you give me things every day But this is different. [Stops as if startled and re- 132 THE LADY WITH WINGS peats thoughtfully.] This is different. . . . You see it is something I needed very much HUSBAND Yes LADY And I didn t know I needed it till I put out my hand no, my foot [she laughs and pushes the stool a little toward him] and there it was! HUSBAND [looks down, puzzled] And there it was LADY Right under my feet right under your eyes ! HUSBAND Oh that ! LADY [bending to it] Isn t it dear ! HUSBAND [condescendingly] Very pretty. 133 THE SYMPHONY PLAY LADY [takes it up and turns it in hand] We-1-1 not pretty exactly. It isn t that! HUSBAND No? LADY [shakes head and puts down stool. Puts feet firmly on it] I like it! HUSBAND I see you do. [Wistfully.] I could have bought you a dozen footstools for the garden If I d known you wanted them. LADY I don t believe I could use a dozen, Teddy ! No one is quite enough and it wasn t bought. It was made especially for me! HUSBAND Who made it ? LADY Andrew. 134 THE LADY WITH WINGS HUSBAND [looking up quickly, glancing at figure of GAR DENER in background and speaking thoughtfully] Andrew does a great many things for you. LADY [smiling] Everything ! HUSBAND Well not quite everything LADY [nodding sagely] Everything that I really want You see they are things I don t know I want ! I come out and find them and then I know I ve been wanting them a long time ! [Speaking very seriously] They are beautiful things, too, sometimes. When the peach-tree be gan to blossom he brought my chair and table and put them here under it. I have been so happy watching the buds come out and the perfume of the blossoms and the petals floating down the ground is covered with them. HUSBAND [looks down stupidly] Yes I see it is 135 THE SYMPHONY PLAY LADY [bends forward, smiling at him] How blind you are, Teddy ! HUSBAND [brushing hand across eyes] Blind ? LADY [nodding happily and looking at him affection ately] You don t see anything, do you ? TOINETTE [comes through small door in wall, R.] The dressmaker is here, madame. LADY [looking at her and pouting like a child] I don t want a dress, Toinette. [Putting feet more firmly on stool.] I am not going to bother ! TOINETTE [glancing at HUSBAND] Very well, madame. HUSBAND [looking at her solicitously, but speaking in casual tone] Oh, I guess you d better go, Louise. You will want the dress some day and then it won t be ready. 136 THE LADY WITH WINGS LADY [getting up] Well, I ll look at it, but I won t try it on [Goes R. Maid follows. HUSBAND [raising voice and speaking in tone of authority] Andrew ! GARDENER [comes slowly from rear. Stops to lift a vine that has fallen down. HUSBAND watches him nar rowly as he comes.] Good morning, sir. [The "sir" is spoken as if to an equal. HUSBAND [nods curtly] I want you to clear the ground to the east there as soon as possible. I am going to enlarge the garden. GARDENER [looking back] It will have to be ploughed HUSBAND [impatiently] You attend to all that, of course ! GARDENER [thoughtfully] And the wall moved 137 THE SYMPHONY PLAY HUSBAND Tear it down. Build new cheapest in the end. Get the work on as fast as you can. [Speak ing slowly and significantly.} Your mistress has taken a fancy to have it done and I want all her whims indulged. [Hesitates, walks away a jew steps, picks a bit of branch from tree and breaks it in fingers.} The doctor has said she must have what she wants when it can be done. [Looking at him narrowly.} You under stand that she is not well GARDENER [silent a moment] I thought she had seemed better the last few weeks HUSBAND [dryly] The doctor s opinion is what we go by. [His eye falls on stool and he stops, face changes} Of course, I appreciate anything you do for her. [Condescendingly} She was much pleased with the little footstool you made. GARDENER [who has turned to go, turns back, face im passive} She needed it. That chair is too high 138 THE LADY WITH WINGS all the seats here are too high for her. It tires her. At first I thought of cutting them down, lowering them. Then I saw a footstool would do. HUSBAND You thought of cutting down my garden- seats ! [Glares at them and at him. GARDENER For Mrs. Leavitt s comfort. . . . She needs special care and watching just now sir. HUSBAND [chokes something back] And I shall see that she has it. [Loftily.] I am responsible for her. [GARDENER makes no reply. Seems looking at something through and beyond the man who is speaking. HUSBAND looks at him sharply.} That is all. Kindly report to me as the work goes on. LADY [comes through door in wall, R. GARDENER lifts his hat to her and moves away. She watches him go. Turns to HUSBAND, one hand lifted to breast as if trying to collect herself.} Who is he, Teddy ? 139 THE SYMPHONY PLAY HUSBAND [tenderly] Sit down, dear you are tired. [Arranges footstool for her. LADY [her eyes turn again to watch the GARDENER] Do you know who he is ? HUSBAND [laughing artificially] What a question ! He is the gardener Did you like your dress ? LADY My dress ? Oh Yes It does very well. . . . The dressmaker is a dear ! And she has a very hard life. HUSBAND [looking vexed, sharply] Did she talk to you about that ? LADY She did not need to talk to me. I knew it. She is very tired and she needs a rest. I want some money for her, Teddy 140 THE LADY WITH WINGS HUSBAND [hand going toward pocket] What does she charge ? LADY Oh, it isn t a charge. I want to give it to her so she can rest. She needs it so HUSBAND [taking hand from pocket] We mustn t spoil the working people, you know. LADY No, of course not. ... I want to give her twenty-five dollars; she could rest as much as two weeks if she had twenty-five dollars. . . . I rest all the time ! HUSBAND I will arrange about it. LADY But I want to give it to her myself. I think it would rest her to know I thought of it for her. [Putting one foot on stool and looking down.] People like to have things thought of for them. [Holds out hand] I will give it to her. 141 THE SYMPHONY PLAY HUSBAND [vaguely, waving it away] I will see about all that. LADY [looks at him and down at footstool and back at ANDREW, speaks softly, to herself] I wonder if Andrew could give it to me. I don t suppose he has twenty-five dollars. HUSBAND Andrew ! Give you twenty-five dollars ! LADY [nods] He would like to if he had it I know. HUSBAND You forget yourself! [Tenderly.] You are not well. LADY [shaking head and smiling] No, I am not well it is the dressmaker s eyes that hurt me [puts hand on breast] here. She needs to rest. [She looks at him and then at ANDREW and moves slowly toward him as far as foun tain. 142 THE LADY WITH WINGS HUSBAND [sharply] Louise! LADY [turns] Yes. HUSBAND [holds out bills] Here is your money. LADY How good you are, Teddy ! HUSBAND Were you going to ask Andrew for it ? LADY Yes He is so good! [Coming close to him.] Who is he, Teddy ? HUSBAND He is the gardener. LADY [slowly] "He is the gardener" His name is Andrew Mcllvaine that is all we know, isn t it ? 143 THE SYMPHONY PLAY HUSBAND [laughing uneasily] Well, not quite. ... I made inquiries. We must have people about that we can trust LADY Oh, we can trust Andrew ! HUSBAND [scowling a little} I found out his record. He hasn t always been a gardener. [She leans for ward, looking at him intently.] He was in business Wall Street. Broke down went to pieces took to the woods simple life back to nature all that sort of thing. When he got well he didn t go back to the Street. Didn t have the money, I guess or nerve or something. Took up gardening. Seems to like it. [Patroniz ingly.] Makes a good gardener, too. LADY [breathless] Is that all ! HUSBAND [laughing] All ! I call that quite enough for a gardener ! Quite a romantic tale ! There is only one out about him. [Looking at her closely] He may forget his place and who he is. 144 THE LADY WITH WINGS LADY [slowly] I wonder what is his place and who he is ? HUSBAND [a little roughly, but earnestly] I want you to [She is looking at him with wide eyes, and his own drop. Hesitates a minute. Takes her hand.] See here, Louise, you are not well, you know. LADY [dreamily] I am much better. HUSBAND Don t you want one of the girls to come and stay with you a while? [Thoughtfully] Sally couldn t leave college, I suppose, but Rose could come. She d better do her settlement work at home. . . . It s a pity if you have had four children and not one to stay with you now when you need them ! LADY [her eyes laughing a little] Why not have Jack come home from his ranch to stay with "mother"? 145 THE SYMPHONY PLAY HUSBAND Jack ? Nonsense ! LADY Nonsense for Rose Isn t it, Teddy ? I am not so old-fashioned that I have to lean on my children. Besides, I don t need any one. I feel so safe and happy and loved ! HUSBAND [looking at her anxiously and stroking her hand] Yes you have me always. LADY [softly] And I have Andrew ! HUSBAND [starts] Louise ! [She glances hastily toward GARDENER. He speaks sternly.] This is not decent ! LADY It is queer isn t it ! [She laughs happily, looking at him.] I never thought Fd say that to you, Teddy ! It just came out ! I opened my mouth and it came out. [She looks at him, half appealingly, like a child. 146 THE LADY WITH WINGS HUSBAND I shall have Doctor Trescott see you this afternoon. LADY You think I am out of my head, don t you ? HUSBAND [protectingly] I think you are overwrought and nervous and tired, perhaps. LADY Sit down, Teddy. [Moves to bench.] I want to tell you about Andrew and about every thing. [Waits, shaking head a little^ It is so hard to tell ! I can t seem to find words to make you understand. I see such strange things things that I never saw before HUSBAND [encouragingly] That is right, Louise tell me. LADY [looks at him a minute. Then, very meekly and quietly] I want to be good! And it makes me feel queer ! I never wanted to be good before. I went to church, you know, and pretended. H7 THE SYMPHONY PLAY . . . But, really, I was afraid I might have to be good and it looked so dismal being good ! . . . Now I want to be good! [Nods and smiles at him gayly. HUSBAND But you wouldn t go and try on your dress. LADY [quickly] I don t mean that kind of goodness I don t mean any kind of goodness that you do, I guess. You wouldn t ever think of the goodness / mean. HUSBAND That s interesting. [Humoring her.] What kind do you mean ? LADY Oh. Just being happy, I guess HUSBAND Being happy ! LADY [nods] I used to worry, you know, because I couldn t get things for the children and 148 THE LADY WITH WINGS there was so much suffering in the world. Some times just the thought of it tired me; and I would try to get comfort making the home - sewing on buttons, you know, and darning socks and keeping the nursery bright and clean. . . . But there was always the little hurt down underneath. . . . Now I know that nothing matters except just goodness wanting to know what is true, and doing it. I feel cared for surrounded. Nothing can hurt me or the children, or other children. We are all in the care of a loving power. He cares what happens to us; and he has all power. . . . [Looks back of her.] When I see Andrew taking care of the plants, I seem to see Christ beside him, walking in the garden, bending to the frail plants, prun ing the dead ones and always so good. That is the way God cares for us, I think. And we can rest in it. All we have to do is to grow. HUSBAND [tenderly} Yes, dear all you have to do is to be patient. [Soothingly as if to a child or a sick person.] Everything will come all right. Next year you will not even remember you felt this way. 149 THE SYMPHONY PLAY LADY [leaning forward and looking at him intently} How blind you are! [He draws hand across eyes.] Yes, blind ! / used to be blind, but now [Half whispers, looking behind her.} There are wonderful things such strange things about us. ... And people are different ! I know now when they are good and when they are not and things that I didn t guess before. I do not need to look at them. I seem to feel what they are. Some of them are dead, Teddy and they walk around and say things and laugh and smile and really they are dead ! It makes me feel strange to look at them. Sometimes it is all I can do to keep from crying out: "Don t you know you are dead ? Please stop talking ! You are dead!" HUSBAND [getting up and bending over her tenderly. Speaks firmly} You must never say it, Louise ! LADY No, I shall not say it. [Wistfully} But it is hard sometimes to talk with them as if they were alive. THE LADY WITH WINGS HUSBAND [sharply] You re talking nonsense, you know ! LADY [leaning toward him] That is why I say you are blind ! I feel your blindness. [Looking at his eyes. Draws a sigh.} Yes, you are blind ! HUSBAND [laughs a little uneasily] Then all the world is blind. LADY No Andrew is not blind, nor Tommie. Children see always. They could tell us things if we would listen. But we hush them up and they grow blind like us ! [Shakes head] But Tommie sees many things. And Andrew sees everything ! . . . He is the Christ, I think ! HUSBAND [sternly] You are blasphemous ! Andrew is no more the Christ than I am. LADY [startled and speaking slowly] No more the Christ than you are Suppose that were true, Teddy ! THE SYMPHONY PLAY HUSBAND [stirs uneasily. Speaks half to himself] I don t know that I ought to keep the man. LADY [cries out sharply] Teddy ! You will not send Andrew away ! HUSBAND Why not ! LADY [half in terror] But you must not do that it would kill me ! HUSBAND [sternly] What has Andrew been saying to you ? LADY He has not said anything ! He is kind to me and to the flowers ! He cares for the broken ones. He does not expect they are going to give him back something because he is good to them. That is the way I came to know about God seeing Andrew in the garden. . . . You won t send God out of our garden ! [She has grown excited. 152 THE LADY WITH WINGS HUSBAND [quieting her] There, there ! You must not ex cite yourself! 7 shall protect you. Now, sit down and do your work. [Puts sewing in her hands.} I have to go and look for something. [Going into pergola, but does not leave it. Opens vines at side and looks out y watching wife. [LADY sews a few stitches. Takes handker chief and dries eyes. Looks about her hap- pily. Sees ANDREW. Bends forward in chair, watching him. HUSBAND in per- gola watching her. She gets up and goes toward fountain. Calls to ANDREW and goes back to chair. When he approaches her she points to chair across table. LADY Sit right down there and talk to me ! GARDENER [sits down y smiling] What shall I say ? LADY [drawing a sigh of happiness] Nothing. You don t need to talk. Just sit there ! [Sits a minute 153 THE SYMPHONY PLAY with hands folded, looking at him.} You are very young to-day. GARDENER A day older than I was yesterday. LADY [shakes head] No you are young very young. [Leans forward, scanning his face. He has taken off his hat and is leaning forward, relaxed, looking before him.} You are just a boy to-day ! GARDENER [looking at her and smiling} How do you know ? LADY I always know. I don t need even to look at you You are never the same, you know. GARDENER Nobody is. LADY But I never knew till now. I always thought everybody was the same always doctor, lawyer, merchant, priest, you know and always growing up, a day at a time, and 154 THE LADY WITH WINGS getting old. Now I know people are different every day. Some days a storekeeper doesn t feel a bit like a storekeeper, he feels like a boy just like a small boy; he would like to run away and go fishing, but he covers it up tight just goes on selling cheese and things / know even if he does cover it up. I don t look with these eyes, I guess. [She covers them with her hands a minute; then takes down hands with quick gesture, palms out to him.] Oh, it is so good to be with you ! and to say anything that comes into my head. . . . You don t think I am crazy, do you ? GARDENER [looking at her quietly} I think you are just beginning to see LADY [nods eagerly] But it isn t easy, some days, to hold steady. ... I see such strange things and no one knows [She is looking before her as if half afraid. GARDENER You must not be afraid. 155 THE SYMPHONY PLAY LADY I am not afraid with you. You are good! GARDENER [looking at her narrowly] Then I am always the same ? LADY No no NO ! You change more than any one, I think. Yesterday when I went out in the garden where you were, you were so tall and strong you seemed to fill the garden you were like some great physician. I felt as if if I put out my hand a little way and touched you I could be well. ... I had to keep saying to myself: "It is Andrew; it is only our gardener; it is no one but Andrew." Why are you so strange ? [Waiting a minute then under her breath.] I feel so near you and strange ! GARDENER [looking at her narrowly] Don t you know that the fight never stops ? Some days we gain a little and some days we lose. [He gets up, irresolute, and moves away a few steps. THE LADY WITH WINGS LADY [watching him, starts to her feet] But what is it ! Something is wrong ! [Puts hand to her breast. He has turned and is facing her.] Your face is ! I never saw it before. It is like [He stands very straight and quiet, looking at her, and she comes nearer to him, fascinated.] It is you are you are Mephistopheles ! See ! [She grows excited.] Your hands and shoulders and your feet ! Oh, you must not look like that! [She covers her face, shrinking back. He has put his hands behind him as she points to them; and, as he stands, his shoulders stoop a little. She takes down her hands and looks at him and draws a quick breath] You are yourself. GARDENER [smiling] Yes. LADY [comes nearer, trustfully] There are lines in your forehead, little lines going crisscross. Per haps they are thoughts. [Looks at them intently and nods] Yes, I think they are little thoughts. [Puts out hands impulsively] Oh, you rest me ! You have no idea how I rest in you ! 157 THE SYMPHONY PLAY GARDENER [looking before him] I want you to. LADY [wo<fj] Yes. [With sudden thought.] You will not go away you will not leave me, ever ? GARDENER [silent a moment] Not while you need me. [Singing is heard here. LADY I shall always need you GARDENER No. Only a little while now. . . . My work is nearly done. LADY [glancing behind her] We are going to enlarge the garden. There will be a great deal to do ! GARDENER Some one else will enlarge the garden. . . . You will not miss me. THE LADY WITH WINGS LADY [slowly, as if the thought came while she spoke] I can not live without you ! GARDENER How many times have you thought that ? LADY Never before GARDENER Not that but something like that. There is always something we cannot live without. LADY [looking before her, startled, speaking slowly] That is true ! I have always been like that reaching out my hands and eager for the things I must have ! I remember, before I was married, I was so afraid Teddy might not ask me to marry him. I felt as if I should die if he did not ask me ! Poor old Ted ! How strange it seems that I should have thought I should die if I could not marry Teddy. . . . And there were the children ! I wanted two boys and two girls and they came. . . . They are gone. [She opens her hands with a little gesture^ 159 THE SYMPHONY PLAY It is so strange ! . . . There have been little things, too always so eager ! It was as if I were afraid to wait as if something - some terrible Thing were determined I should not have them and I must wish them true or they would be snatched away forever. . . . I remember when we first came here, I wanted Mrs. Sidborn [moves hand, L.], the big house on the hill, you know - GARDENER [looks at her quickly as she mentions name} Yes I know. LADY I wanted her to call on me. I had such a curious feeling about her. I wanted her to call [laughs happily] well, partly, I suppose, be cause she was important. [Grows grave.} But it wasn t really that I wanted to know her. . . . And she didn t come! GARDENER You did not really need her, then. LADY I thought I did. And I longed so for it. I used to get up in the morning wondering if she 160 THE LADY WITH WINGS would come. But the other day I saw it didn t matter, after all. ... I can t seem to ex plain GARDENER It doesn t need explaining, does it ? People come when we are ready for them. LADY Do they ? [Looking puzzled. Face lightens.] You came and how I needed you ! And I did not even know I needed you or that you were here. I thought you were Andrew, the gardener. . . . And all the time, it was you ! . . . It was you! [She holds out her hands im pulsively and the GARDENER looks at them and then at her face, and smiles. Her hands drop and she stands looking at him happily. HUSBAND in pergola pushes vines apart and looks out at them. Sound of horn and motor stopping outside. LADY turns.] Some one has come ! [HUSBAND retreats through gate. GARDENER [moves toward wall, R., looking over] It is a car from the hill 161 THE SYMPHONY PLAY LADY Mrs. Sidborn s car Perhaps she has come ! . . . But I don t need her now ! GARDENER [coming back to her] We don t always know do we ? [He is standing with his back to the door in the wall and as it opens he moves toward the rear of the garden. MAID comes through door, followed by MRS. SIDBORN. MRS. SIDBORN [coming toward LADY, catches sight of GAR DENER and stops, looking after him] Who is that! [LADY half turns and they watch him as he passes out of sight, L. rear. LADY You see it too ! MRS. SIDBORN See what ? LADY [turning back and holding out hand] I am so glad you have come ! 162 THE LADY WITH WINGS MRS. SIDBORN I meant to come before. LADY I know ! It wasn t time MRS. SIDBORN [holding both her hands and looking at her af fectionately] You have come a long way ! LADY Have I ? [Wistfully.] Sometimes I feel as if I had not stirred a step. . . . It is like a dream one of those dreadful dreams, you know, when you cannot move hand or foot MRS. SIDBORN I know. LADY Sit down. [They move toward bench.] And I thought I did not need you, but I do ! Oh, I do ! ... Andrew said I needed you ! MRS. SIDBORN Your husband said ? 163 THE SYMPHONY PLAY LADY Not my husband. My my gardener! He takes care of the flowers and of me ! [Leans toward her a little.} You mustn t think I am crazy, will you ! MRS. SlDBORN [putting hand over one of hers] I do not think. ... I know that you are coming along a strange road. . . . LADY [nods eagerly] Yes and there are things such queer things I never dreamed of MRS. SlDBORN We don t dream them till they come. LADY [eagerly, with happy sigh] Oh I can tell you ! I can tell you ! MRS. SIDBORN Anything you like or you can be silent. 164 THE LADY WITH WINGS LADY I can be silent. ... I cannot be silent with Teddy, you know. I always have to explain and explain and explain ! [Spreads hands. [Chant of voices heard at intervals during the following conversation. LADY [repeats words of the chant. Turns and sees ANDREW at work} It is so strange about An drew. . . . Sometimes he looks like any of us. Just a common man in his old clothes. . . . And then, in a minute, he is changed and I see a face looking out at me oh, so sad ! Sometimes I want to cry ! . . . And then I look again and it is Andrew ! [Looks at her ear nestly} Can you ? MRS. SlDBORN [nodding] I understand yes. [LADY covers eyes with quick hands. MRS. SID BORN puts arm around her and draws her to her] I understand. . . . There, there ! ... It will do you good. LADY [looking up} No one has understood and I couldn t tell any one ! 165 THE SYMPHONY PLAY MRS. SIDBORN Only a woman could understand what you are trying to say. . . . Only a very old woman, perhaps, like me LADY You are not old ! MRS. SIDBORN I hope so ! ... Don t you know that we women only begin to see when we are old ? LADY Only begin to see ! [Eagerly.] Then they are true they are true the things I see and feel ? MRS. SIDBORN Some of them are true. You are coming home with me now and we will have luncheon to gether and talk and rest. LADY And rest ! [Holding out hands] Oh, I am tired! MRS. SIDBORN I know. [HUSBAND comes through pergola. 166 THE LADY WITH WINGS LADY I am going to lunch with Mrs. Sidborn, Teddy. . . . This is Mrs. Sidborn. [They shake hands.} She has come for me. I ll get my hat. I won t be a minute ! [She goes out green door, R. HUSBAND [looking after her] I am not sure she ought to go she has not been outside the garden for nearly a year now. MRS. SIDBORN I will take good care of her. Be sure HUSBAND She is excitable at times MRS. SIDBORN I understand. You need not be afraid. You can trust her with me. HUSBAND I am not afraid for her but [Pauses awkwardly.} The fact is I don t know whether it is safe for you or for any of us. [Moves THE SYMPHONY PLAY nervously a few steps and comes back.] I might as well tell you. The doctor thinks she s not altogether right. [He looks ashamed. MRS. SIDBORN [looks at him and smiles] Poor man ! HUSBAND [stiffly] You will not mention it, of course. MRS. SIDBORN How blind you are ! HUSBAND [starts] How blind ? [Wonder ingly.] She said I was blind, too ! MRS. SIDBORN [nodding] Stone-blind. . . . There are things going on in the garden here that would startle you if you could see. HUSBAND [darkly] I have seen more than you think more than I want to see, I can tell you ! 168 THE LADY WITH WINGS MRS. SIDBORN [shaking head] You have seen only the ap pearance of things. The real things are hidden from you. [Chant of voices heard. She stands listening, a happy look in her face. ANDREW seen at work in background. HUSBAND [moves vaguely as if disturbed by unseen things] I think I ought to telephone Doctor Tres- cott MRS. SIDBORN By all means, if you would feel more com fortable. [She sits down. HUSBAND goes out through pergola. Chant of voices. TOMMIE, who has moved nearer front, is looking shyly behind trees and bushes. MRS. SIDBORN [sees him, holds out hand, smiling] Were you looking for some one ? TOMMIE No m no, Mrs. 169 THE SYMPHONY PLAY MRS. SIDBORN Come here. . . . What did you think you heard ? TOMMIE [standing before her, digging toes in ground] Nothin ! MRS. SIDBORN [she looks at him and smiles. A smile comes slowly into TOMMIE S face; he nods shyly} Tell me do you often hear them ? TOMMIE [stoutly] I didn t hear nothin . MRS. SIDBORN Nor see anything ? TOMMIE [begins to shake head. Stops and comes close to her] I wisht I could see em ! How do you do it ? [MRS. SIDBORN looks at him and smiles. Chant of voices plainly heard.} I wisht I could see somethin . . . . Could I ? MRS. SIDBORN [shaking head} I am afraid you will never see them, Tommie. Only women see them very old women. 170 THE LADY WITH WINGS TOMMIE Do you ? MRS. SlDBORN Am I old enough, do you think ? TOMMIE [smiles at her shyly] I guess you see em ! [He retreats slowly, looking at her. Comes to a bush and stops to peer in. Voices heard softly. ANDREW, L. rear, with piece of wire. Begins tying up vines. Sees woman on bench and stops. She does not see him. Sits with bent head, listening. He stops by fountain, looking at her. HUSBAND comes through pergola and ANDREW turns away. HUSBAND [approaching bench] Doctor Trescott says it is all right. MRS. SlDBORN [looking up bewildered. Brushes hand across forehead] Oh yes I had forgotten you were gone a long time ! HUSBAND [looking at watch] Line busy. Louise hasn t come ? 171 THE SYMPHONY PLAY MRS. SlDBORN No. HUSBAND [taking cigar from pocket] Would you mind if I smoke ? MRS. SlDBORN Not in the least. [While he lights cigar, TOMMIE and ANDREW are seen together in background. HUSBAND [throwing away match] I am bothered about my wife MRS. SlDBORN She is a brave woman. HUSBAND Louise ? [Shakes head.] You are wrong there. She happens to be very timid almost a coward. MRS. SIDBORN Was she a coward when her children came ? 172 THE LADY WITH WINGS HUSBAND By George, you re right ! You never saw such pluck ! When Jackie was born he was our first one, you know MRS. SIDBORN She was brave then when her child came; she is brave now while the spirit is being born. HUSBAND [taking out cigar and looking at it thoughtfully] What do you mean by that ? MRS. SIDBORN You don t see that it takes courage, do you for a woman to grow old ? HUSBAND [gallantly] It doesn t seem to hurt them some of them ! MRS. SIDBORN Suppose you felt the world falling away under your feet, disappearing inch by inch [he shifts his feet uneasily] and there was nothing left to stand on and still you had to keep standing had to learn how 173 THE SYMPHONY PLAY HUSBAND [moves forward hastily] Say sit down ! [She sits down and he seats himself beside her, mopping face.] I believe you could help me about Louise if you wouldn t mind my talking ? MRS. SlDBORN Tell me what you like. HUSBAND [smoking thoughtfully] She s queer. . . . But it isn t that altogether. She s so far away and she seems farther all the time She s right here in the garden, you know doesn t see anybody, week in and week out, except me -and the gardener there. . . . [Bends forward, speaks confidentially] To tell you the truth, I don t dare to have her go anywhere. Sometimes I think she would apply for a divorce if she got a chance. I ve heard women do that sort of thing. [Looks at her inquiringly. MRS. SlDBORN [nodding] It is a critical time for her. HUSBAND That s what Doctor Trescott says. He says not to pay any attention to her queerness. 174 THE LADY WITH WINGS But it takes pretty steady steering, not to. You don t know, two minutes running, what she is going to say or do. MRS. SlDBORN She is in a highly sensitized condition. She sees and feels things that have never touched her before. She is using a new power and some times she gets confused and tries to use the old method with it and there is a queer cross con fusion in what she says. HUSBAND Do you mean she is insane ? MRS. SIDBORN [shakes head, smiling] Not unless I am insane. HUSBAND Do you see and feel things [looking about him uneasily] that way ? MRS. SIDBORN Very much the same, I suspect. But I have had a longer time to get used to them. ... I have ceased to trust my own judgment or to 175 THE SYMPHONY PLAY make decisions. . . . That is why I turned in here to-day. I was going by and I came in your gate. HUSBAND Without any reason ! MRS. SIDBORN [smiling] Without any reason except this. HUSBAND You thought of something you wanted to say I suppose ? [She is shaking her head, smil ing.] Say could anybody get on to this this power thing ? . . . Could 7 do it ? MRS. SIDBORN Do you feel as if you could ? HUSBAND I certainly do not! MRS. SIDBORN You never had a vague sense that some one wiser than yourself was speaking through you working through you ? THE LADY WITH WINGS HUSBAND [hesitates. Speaks bluntly] If you mean, have I had delusions ? I have not! [Proudly.] Of course, some days a man is in better form than others, thinks more clearly, decides quickly and all that MRS. SIDBORN You mean fine physical condition ? HUSBAND Yes. MRS. SIDBORN [shakes head] Sometimes the best physical condition shuts one out a prize-fighter does not see the truth or understand life best. . . . HUSBAND [bluntly] I don t believe a half-sick woman does, either ! MRS. SIDBORN [leaning forward] May I talk about myself a little ? HUSBAND [encouragingly] Go ahead. 177 THE SYMPHONY PLAY MRS. SlDBORN It is ten years, I think, since I began to guess that life was not over for me that I was not merely an old woman with a few more years ahead. HUSBAND [protests politely] You are not MRS. SlDBORN [puts up hand] Thank you. You are most kind and courteous. [Smiles.] But I am going to make a claim that even you may not grant I am younger than I ever was. [He sits with hands in pockets, smoking thoughtfully and watch ing her.] It began when I was about your wife s age. ... I had always looked forward to that time with dread. ... I thought it was the end. I should live a few years longer, growing each year a little more feeble and wrinkled and un desirable, and take to knitting-work and easy shoes and die. . . . [He removes cigar with polite gesture.} No wait. ... I was so sure of it all that the Lord of the heavens and the earth would do a stupid thing like that old ladies and knitting-work ! THE LADY WITH WINGS HUSBAND [removing cigar. Mouth open] The Lord ! MRS. SlDBORN [nods and laughs] And I did not feel old. I could not understand it ! I was like a child. I was being transformed in spirit, day by day, before my own eyes and no one knew or guessed. It was literally the change of life for me there are such wise old phrases in the language and no one guesses what they mean ! I had expected to change into an old, old woman and I was a child ! I wanted to be loved and cared for by some one. I wanted to feel safe HUSBAND [eagerly] That s the way Louise is ! She likes it in the garden here. MRS. SIDBORN Yes. [Sits looking before her, musingly] The caterpillar likes the snug darkness and safety of the cocoon. HUSBAND Caterpil ! 179 THE SYMPHONY PLAY MRS. SIDBORN And then the spirit comes with wings. I often wonder how the caterpillar feels when those first waking stirrings come there in the dark. . . . And it begins to suspect it is some thing besides an old lady with knitting-work ! HUSBAND [starts up with a little exclamation, looks at her suspiciously} I say MRS. SIDBORN [laughing] Sit down. I am not out of my head. [He sits down a little removed, watching her nar rowly.} My husband felt the same way. I think I stopped caring for him I didn t seem to care. HUSBAND That s the way Louise acts ! MRS. SIDBORN You must be patient and wait. HUSBAND I don t mind waiting but [Glances behind him at GARDENER. Moves nearer to her} There is a man here that I am afraid of for her. 1 80 THE LADY WITH WINGS MRS. SlDBORN What does he do ? HUSBAND Everything for her. . . . It s a different case, you see. [He looks at her and she shakes her head slowly. He stares.} Do you mean to say ! MRS. SlDBORN Yes. HUSBAND [smokes a minute} Women are all alike. [Dryly. MRS. SlDBORN And men are alike and we don t dare con fess it we cover up and pretend and sham and all the time nature is trying to tell us things and we blur her greatness with our little thoughts, our feebleness and flesh. . . . What kind of man is he, this gardener of yours ? HUSBAND Well the kind doesn t make much differ ence, does it ? He is a man. 181 THE SYMPHONY PLAY MRS. SIDBORN All the difference in the world. ... I had known a man for years he was a broker, my husband s partner, and I had seen him a hun dred times and not guessed. But when I came to see and feel people as they really were and not as they seemed to be or pretended to be I saw that he was different. ... I trusted him so ! [She sits looking before her.] Then I was in love with him HUSBAND [glances uneasily back at the GARDENER] Did he know ? MRS. SIDBORN I told him yes. . . . You see I loved his goodness. [He looks at end of cigar with a little cynical smile.] You are as blind as I was as blind as my husband was. HUSBAND What happened if you don t mind telling me ? MRS. SIDBORN I want to tell you. But I am not sure you will understand. For weeks, for months for a 182 THE LADY WITH WINGS year and more I lived in his strength. I steadied myself by his goodness. . . . While the spirit was coming to life. . . . [Turns to him.] Do you know why we worship mother hood and womanhood ? It is not because physical life is born of them, but because they themselves are the spirit children of the race. HUSBAND What about the man [Glances toward GARDENER. MRS. SlDBORN I wonder if you would understand ? I think he would have gone away with me if I had said the word. But we were held by something something greater than ourselves. I knew that I was not in love with him, but with the good ness something far within him. Sometimes it looked out at me such a sad, strange face, and I loved it. ... And I knew I should never rest until, when I looked at him, I should see only that face. ... I was so unhappy and so glad. . . . Then, it was one night at twilight I sat alone at the piano playing, just one thing and another, idly; and I found a ragtime piece one of the boys had brought from college; it 183 THE SYMPHONY PLAY was a silly thing but there was a strange chord in it, and when my ringers found it and played it, something happened to me, and I sat with the tears running down my face, play ing ragtime with a deep, still joy coming to me, and my little dog came trotting across and put his paws on my lap and looked up and I just gathered him up in my arms and cried and cried. HUSBAND [takes out handkerchief and blows nose] It sounds queer ! MRS. SlDBORN Yes. I should not make up a conversion like that. . . . After that night I saw only the beautiful face I loved when he was near me. . . . HUSBAND Did you tell him about it ? MRS. SIDBORN Everything. ... He understood so well! Let me tell you. [Bends toward him.] It is a happy woman when the spirit time is come, that finds herself in the presence of a good man. THE LADY WITH WINGS It will not be her husband. He has been a pas sion mate. This man will belong to her by spirit and he will not fail her. We hear so much of the lower nature of men and the dif ferent law for a man; but no one has revealed the gentleness and goodness of men s hearts when women in travail of spirit turn to them. It is as if God himself unveiled his face and looked at them, and said: "It is well with you, child. You need not fear!" HUSBAND [breaks out] I say You re talking the first good sense I ve heard in three months. I ve been pretty near out of my head trying to keep things running along kind of smooth ! Couldn t seem to get a line on Louise. I see it all now, clear as daylight she s kind of half in this world and half in another ? MRS. SlDBORN Yes she is being drawn toward goodness and truth. It is working as inevitably as the impulse toward achievement and business suc cess and prosperity was at work in you in your early life. But you were not moving away from 185 THE SYMPHONY PLAY your wife. You improved your position, but you did not leave her behind you were married for better or for worse. HUSBAND But Louise wanted to get on as much as I did, and more for the children, and all. MRS. SlDBORN And don t you want to grow in spirit as much as she does and more ? HUSBAND [a little crestfallen] Well maybe MRS. SIDBORN She has no more thought or wish to leave you than that. But she must seek goodness and truth. It has become as crying a need of her nature as success and prosperity for you. For twenty-five years you have controlled her destiny. Now she will control herself and she will be to you in the spirit life what you have been to her. She must seek goodness wherever she finds it whether in your gardener or in you. 1 86 THE LADY WITH WINGS HUSBAND You mean that unless I become pious I am going to lose Louise! [Smoking furiously. MRS. SlDBORN Not unless you become pious unless you become good. HUSBAND All the same, isn t it ? MRS. SIDBORN Very different. People are good because they see something something very beautiful and true. . . . They are pious because they are blind. HUSBAND [thoughtfully] She said I was blind. . . . [Fac ing her.] You talk as if you had authority. How do you know you are right ? Who told you ? MRS. SIDBORN [touching her eyes] These. He touched them and whereas I was blind, I see. HUSBAND And suppose I tell you / see something won derful that no one else sees ? THE SYMPHONY PLAY MRS. SlDBORN Do you ? HUSBAND [his eyes fall] No. MRS. SlDBORN [smiles] I thought not. But you will and you will learn to see first through her eyes. HUSBAND If you are right about this this uncanny power, why haven t people known it all along years ago ? MRS. SIDBORN Did you never hear of women of uncanny power ? HUSBAND Well there have been witches, of course. MRS. SIDBORN They have called us that and burned us at the stake. They have called it sorcery and deviltry and they have feared it. Men have always known. It is women who have not dared believe till now that this spreading of the 188 THE LADY WITH WINGS spirit wings is the natural and beautiful fulfil ment of life in them. . . . Nature is not wasteful; she would not clutter up the earth with old la dies and knitting-work for thirty forty years for nothing. When she has finished with physical exuberance and vitality she would fit us for the spirit s use. It is we who have been blind ! Now we begin to see and understand what it means to be a woman ! [Enter MRS. LEAVITT door in wall, R. LADY I have been gone such a time ! Toinette made me change my dress and everything ! I thought she would never be done ! HUSBAND [approaching her and taking her hands] How sweet you look ! [Kisses her.] Beautiful enough for wings ! LADY [submits hurriedly] I m ready now. Shall we go? MRS. SIDBORN Yes, come [To HUSBAND.] I shall bring her back to you safe. 189 THE SYMPHONY PLAY HUSBAND [who has caught sight of ANDREW] Suppose you saw him now that man we were speak ing of [LADY has seen ANDREW and moves toward him. MRS. SlDBORN You mean, do I care for him still ? HUSBAND That s it ! [Looks back uneasily at his wife and GAR DENER. MRS. SlDBORN I shall care for him always, I think. But I do not need to see him. I am nearer him in spirit than I could be if he were with me. [Speaks slowly and a little sadly} Sometimes I wonder about him. . . . When I am in New York I often think of it "perhaps he is here - somewhere near me in the crowd perhaps I passed him to-day and did not know." But that is only when I am sad or tired; when my spirit lifts again and I see far and wide, I know that he came only that I might have life. [Holds out her hand.] You need not be 190 THE LADY WITH WINGS afraid. Your wife is true to you and to her self! [They turn and look back. The GARDENER has gone off, L., and the LADY stands look ing after him. HUSBAND Come, Louise [LADY comes toward them, smiling happily.] Remember I shall miss you. Don t stay away from me too long. LADY I shall come back. You be patient, Teddy ! [Comes nearer and lifts her face to kiss him.} I shall come back ! [They go out green door, R. HUSBAND [hands in pockets] So it s up to me to be good and get a pair of little wings. The Lord seems to be taking care of Louise all right seems to be taking care of all the women ! But if I m good I ve got to do it myself! . . . [Sighs.] Well, if she s bound for heaven I ve got to hustle ! I ve never let her get very far ahead of me yet. [Walks a little toward back of stage, hands in pockets. Turns and comes for ward. Speaks over shoulder.} Tommie ! 191 THE SYMPHONY PLAY TOMMIE [comes front, rubbing hands on trousers} Yes, sir. HUSBAND [takes coin from pocket] Could you make use of that? TOMMIE [grins and puts it in pocket] Thank you, sir. HUSBAND That s all right. Run along now. [TOMMIE returns to work on knees by per gola. HUSBAND [rubs back of head, thoughtfully] There doesn t seem to be much else I can do in the garden in the wing line. I guess I d better go outside. [Looks about him thoughtfully at the trees and walls.] It s a queer world ! . . . There was Adam and Eve and that apple. [Waving hand vaguely toward trees.] And here is Louise and me [trying to peer over shoulder at his back] and these eternal wings ! CURTAIN 192 o-o 3435f? UNIVERSITY OF CALIFORNIA UBRARY