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Fifty Contemporary One-Act Plays Novel Chapters
List of most recent chapters published for the Fifty Contemporary One-Act Plays novel. A total of 301 chapters have been translated and the release date of the last chapter is Apr 02, 2024
Latest Release: Chapter 1 : Fifty Contemporary One-Act Plays.by Various.INTRODUCTION Tradition in the sphere of book
Fifty Contemporary One-Act Plays.by Various.INTRODUCTION Tradition in the sphere of books is relentlessly imperious and will not be denied. The present anthology of one-act plays, in defiance of a keen reluctance on the part of the editors, is condemned a
- 301 HINDES. Miss Segal, I have loved you, and still do. But I refuse to be the altar upon which you shall sacrifice yourself.f.a.n.n.y. But a moment ago you dissuaded me from death. Will you now drive me back to it?HINDES. Your sister will be able to find hap
- 300 HINDES. Absurd!f.a.n.n.y [_resolutely_]. I know what I'm talking about, and I know what to do.[_Silence._]HINDES [_regarding her closely. With blunt emphasis_]. You're thinking now over what death you shall choose.f.a.n.n.y [_motionless_]. HINDES [_taki
- 299 LIZZIE. That's nothing. The point is that he is seeking to make a match with her. He has practically proposed to her.HINDES [_astonished_]. Practically proposed? To f.a.n.n.y?LIZZIE. Yes, and when f.a.n.n.y comes back you just see to it that you wish
- 298 f.a.n.n.y [_her breath short from delight_]. Did you understand it that way, too?LIZZIE [_still looking at the letter_]. How can it be interpreted otherwise? [_About to read the letter aloud._] Ahem! [_Reads with a certain solemnity._] "My drama has
- 297 PROSt.i.tUTE [_smiles_]. Don't talk to me like that.THIEF. You are being married now. Virgins come and bring you your bridal dress, your veil, your myrtle wreath. You are chaste. They lead you to the altar. Your mother lays her hand on your head and
- 296 PROSt.i.tUTE. And do you really think it an honor for one to remain with you? That man is decent at least.DRUNKARD. Ah, you grow pious as you grow old.PROSt.i.tUTE. I have always wanted to be in decent company.[_As the Beggar disappears, strange figures b
- 295 DRUNKARD. And where is your army?FOOL. I have left it on the Vistula.DRUNKARD. And when will you drive the Russians out of there?FOOL. I have given my orders already.DRUNKARD. Are they being carried out? FOOL. I only need to draw my sword.DRUNKARD. Your s
- 294 STRICKLAND. Good G.o.d![_And utterly unnerved he collapses to a chair. There is a long pause._]THE GIRL [_crossing slowly to the window, and drawing aside the curtain_]. Look! What a beautiful night! The thousands of sleeping houses! The millions of s.h.i
- 293 THE GIRL. Yes, sir. She says she doesn't want a big return on her investment. She wants something that will be perfectly safe, and she knows you will take care of her.STRICKLAND. Yes. Of course. What else have you?THE GIRL. A dozen other letters like
- 292 STRICKLAND. _I_ told you?THE GIRL. You said so this afternoon.STRICKLAND [_harshly_]. I didn't see you this afternoon!THE GIRL [_without contradicting him_]. No, sir? [_She produces a time-table._] Then I found this time-table.[_She holds it out. He
- 291 STRICKLAND. _I_ take the midnight. You follow me some time next week. We mustn't be seen leaving town together.BENSON. How will I find you in Chicago?STRICKLAND. You won't. You'll take rooms somewheres, and I'll take rooms somewheres else till it's a
- 290 MADAME LE BARGY [_softly_]. This is the time, Diane.DIANE. When you talk with him?MADAME LE BARGY. Yes.[_Diane goes slowly and sinks into the chair wearily. Suddenly she flings her arms out, crying "Maurice, Maurice." Madame le Bargy rises and goes to h
- 289 DIANE. Yes, a very dear friend.MADAME LE BARGY. Do you mean--Maurice?DIANE. Yes.MADAME LE BARGY. You knew him well?DIANE. I loved him. MADAME LE BARGY. Yes, I know.DIANE [_astonished_]. You know!MADAME LE BARGY. Yes, Maurice has told me.DIANE. No, no; tha
- 288 DIANE. You were with him from the very beginning then.NANETTE. I was an old maid of thirty-five. I had always lived alone. I hadn't ever had a dog to care for. Then all at once I had this baby, this little baby. I had his baby cries to call me. I had his
- 287 DIANE. Yes.NANETTE. Was it--Maurice?DIANE. Yes.NANETTE [_drawing away, her face going black_]. I see.DIANE [_going up to her curiously_]. Who are you? NANETTE [_drawing herself up, showing the utmost contempt, hatred and fear of Diane_]. Who are _you_?DIA
- 286 NANETTE [_unsteadily_]. What are you doing?ROBERT. It is strange.... [_Suddenly he falls into the chair and buries his head in the cus.h.i.+ons, sobbing and calling._] Maurice! Maurice!NANETTE [_hoa.r.s.ely_]. Monsieur Robert. [_As he does not answer--sha
- 285 NANETTE. He made himself a garden, everything in it was arranged as if for people only an inch high.ROBERT. But there are no such people.NANETTE. Of course not. That is why every one made fun of him. But he went on building it just the same. It was scaled
- 284 FOR ALL TIME A PLAY BY RITA WELLMAN [_SCENE: Sitting room in the house of Madame le Bargy. Furnished in excellent taste. Main entrance center, this leads into a hall.Another entrance left, back. French window right near back, near this stands a large wing
- 283 LUTER. Howll we git there? DOCTOR. Walk--unless somebody give us a tote. GIZ. We kin go in my John-boat. LUTER. Wholl row? [_There is fear in his voice._] GIZ. Well take turns. [_Luter looks with terror upon Giz._] LUTER. How fur is it? DOCTOR. Three an
- 282 GIZ. In m' pocket.[_They chew in silence for a minute._]DOCTOR. Yes, sir! It smelled like ker'sene ter me--and ker'sene 't wuz.... Ker'sene'll cure heaps o' things if you use it right.[_He punctuates his talk with covert glances at Giz. His thought
- 281 She's a mighty good little steam-boat.LUT'ER. She's water-logged.GIZ. She ain't water-logged.LUT'ER. She is.GIZ. She ain't. LUT'ER. She is.GIZ. She ain't.[_The argument dies of malnutrition. After a moment of silenc
- 280 THIEF. I've got to be getting out of here! Can't stay a minute longer!Charles, I wish you luck in that reform we were speaking of, but I haven't much hope [_looking at Clara_]. There is such a thing as total depravity. Oh, here! [_taking pa
- 279 [_Clara leaves, apparently for more string._]CHARLES. Who'd buy them?THIEF. There must be other people in the world with taste as infallibly bad as yours.CHARLES. Call that honest?THIEF. Certainly. I'm not telling you to sell them as relics. You
- 278 CLARA. Beggars shouldn't be-- THIEF. Where's my coat? That settles it.CLARA. Oh, don't go! I didn't mean it. Honestly I didn't. It just slipped out. You mustn't leave us like this-- THIEF. I don't have to put up with suc
- 277 THIEF. Ple-e-ase, don't screech! My head aches and your voice pierces so. Let's sit down quietly and discuss the situation like well-bred people, and when we've come to some understanding, I'll go.CLARA. Yes, after you've taken ev
- 276 [_The Curtain Falls Slowly._]SHAM A SOCIAL SATIRE BY FRANK G. TOMPKINS Copyright, 1920, by Stewart & Kidd Co. All rights reserved.THREE PEOPLE CHARLES, _the Householder_.CLARA, _his Wife_.THE THIEF.Originally produced by Sam Hume as the dedicatory piece o
- 275 THIRD CHINESE [_shrugging his shoulders_].There would be no creaking In the windless pavilions.FIRST CHINESE [_resuming_]. So far the lady of the present ballad Would have been studied By the hermit and his candle With much philosophy; And possibly the em
- 274 Before one can tell What the bottle is going to be-- Porcelain, Venetian gla.s.s, Egyptian ...Well, there are moments When the candle, sputtering up, Finds itself in seclusion, [_He raises the candle in the air._]And s.h.i.+nes, perhaps, for the beauty of
- 273 A PLAY BY WALLACE STEVENS Copyright, 1916, by Wallace Stevens.All rights reserved.Reprinted from "Poetry" (Chicago) by permission of Mr. Wallace Stevens and Miss Harriet Monroe. Applications for permission to produce this play should be addresse
- 272 Don't, dear--don't think it too strange. Everything is strange, after all.ATALANTA. Your face was like hers, then.BENVENUTA. Please don't say that, dear. It's--it's foolish--isn't it?But I told you once I was waiting for some
- 271 ROSALBA. I will fetch her, Reverend Mother.ABBESS. One moment. You have observed her of late?ROSALBA. Yes, Mother.ABBESS. She seems pale, and not so strong as she was. And her mind--but then she was always a simple child.ROSALBA. Of course, I do not know
- 270 BENVENUTA. To fit the little Child-- BEELZEBUBB [_interrupting sharply_]. I beg of you! I understand. The coat is of what color?BENVENUTA. It is the coat of the second of the Magi-- [_He puts up his hand, and she checks herself._]It is of carmine silk dam
- 269 BENVENUTA. Have you brought it, dear?ATALANTA. I've got the coat of the gardener's child, but I fear it is not what you wanted.BENVENUTA. I'm sure it will serve. Why do you fear for it?ATALANTA. Because it's the little girl's coat
- 268 Atalanta, the lute.[_Atalanta brings forward the lute and tries the strings. Rosalba takes up the puppet of the lady._]I saw the show-man. He was a most ill-favored man. Sister Rosalba, do you think he was excommunicate.ROSALBA. Of course not. And if he w
- 267 ABBESS [_turning to Sister Sacristan_]. I will ask the Sisters Grimana Emo and Rosalba Foscarini to examine the puppets.[_The Sister Sacristan goes out._]Their learning in theology may not be profound, but they know the world's judgment, coming as th
- 266 PUPPET MAN. I cannot have so excellent a work so slightly spoken of.ABBE FILOSI. A trifle ... a trifle. But I trust, when you have done your part, it may amuse the novices and the ladies--n.o.ble guests of Our Lady of the Rosebush.PUPPET MAN. Is it from t
- 265 SISTER SACRISTAN. By your leave, Sister Benvenuta.[_She ostentatiously locks the closed door._]BENVENUTA. Sister Sacristan, I trust the novice you left in my charge has returned to her task.SISTER SACRISTAN. I trust she has.BENVENUTA [_after a pause_]. I
- 264 BENVENUTA. That was all I saw of them. And then they would take me to my lady mother, of a forenoon, while she was having her hair powdered and curled; and there would be a black page bringing her chocolate, and her serving cavalier would be leaning besid
- 263 [_She taps her foot impatiently._]Well--well--will you come?[_Atalanta is still silent, her face hard with resolution._]I might mention it to the Sister Sacristan. She'd fetch you.[_Atalanta gives her a look of scornful disgust._] It's as well y
- 262 She pa.s.ses her hand across her eyes--then commences to laugh hysterically and goes to the organ. She sits down and starts to play wildly an old hymn, "There is rest for the weary." Keeney reenters from the doorway to the deck and stands lookin
- 261 MRS. KEENEY. It'd be different if you needed the money, but you don't.You've got more than plenty.KEENEY [_impatiently_]. It ain't the money I'm thinkin' of. D'you think I'm as mean as that?MRS. KEENEY [_dully_]. No
- 260 [_There is the shuffling of footsteps from outside and five of the crew crowd into the cabin, led by Joe. All are dressed alike--sweaters, sea boots, etc. They glance uneasily at the Captain, twirling their fur caps in their hands._]KEENEY [_after a pause
- 259 KEENEY. It's too cold, Annie. You'd best stay below. There's nothing to look at on deck--but ice.MRS. KEENEY [_monotonously_]. I know--ice, ice, ice! But there's nothing to see down here but these walls.[_She makes a gesture of loathin
- 258 _At the rise of the curtain there is a moment of intense silence.Then The Steward enters and commences to clear the table of the few dishes which still remain on it after the Captain's dinner. He is an old, grizzled man dressed in dungaree pants, a s
- 257 THE NEIGHBOR [_staring_]. But ain't they workin' in the store?THE OLD WOMAN. Yes, but they're comin' home early to-night.THE NEIGHBOR [_laughing ironically_]. Don't ye fool yerselves. Why, they've got to work harder to-night
- 256 THE BOY. You bet I ain't. I know pretty well when Christmas is comin', by the way I got to hustle, an' the size of the boxes I got to carry.Seems as if my legs an' me would like to break up pardners.h.i.+p. I got to work till midnight
- 255 [_A very bare room in a tenement house, uncarpeted, the boards being much worn, and from the walls the bluish whitewash has scaled away; in the front on one side is a cooking-stove, and farther back on the same side a window; on the opposite side is a doo
- 254 a.n.a.lYTIKOS [_very ominously_]. Who can read the secret of the Fates?MENELAUS [_frightened_]. What do you mean?a.n.a.lYTIKOS. He is the son of Priam, King of Troy.TSUMU [_adding fuel_]. And of Hecuba, Queen of the Trojans.[_She rushes out to spread the
- 253 PARIS [_throwing it back to Tsumu_]. This for your silence, daughter of darkness. A prince has no need of purses.TSUMU [_looking at him_]. A prince!HELENA [_gloriously_]. My prince of poetry. My deliverer!PARIS [_divinely_]. My queen of love![_They go out
- 252 HELENA. Remember who I am.PARIS. I have not forgotten, Daughter of Heaven. [_Suddenly he leaps to his feet._] Listen!HELENA. Shhh! That's the King and a.n.a.lytikos in the library.PARIS. No! No! Don't you hear the flutter of wings?HELENA. Wings?
- 251 PARIS. You are as wise as you are beautiful.HELENA [_smiling coyly_]. Why, you hardly know me.PARIS. I know you! I, better than all men.HELENA. You?PARIS [_rapturously_]. Human law has given you to Menelaus, but divine law makes you mine. HELENA [_in amaz
- 250 a.n.a.lYTIKOS. If you had diverted yourself with a war or two you might have forgotten your troubles at home.MENELAUS [_frightened_]. I detest dissension of any kind--my dream was perpetual peace in comfortable domesticity with a womanly woman to warm my
- 249 [_He makes a sign to a.n.a.lytikos._]PARIS. And on the s.h.i.+p at night I looked long at the stars and dreamed of possessing Helen.[_a.n.a.lytikos makes an involuntary movement toward the balcony, but Menelaus stops him._]PARIS. Desire has been my guidin
- 248 a.n.a.lYTIKOS. I am sorry the poets no longer divert you.MENELAUS. A little poetry is always too much.a.n.a.lYTIKOS. To-morrow we will try the historians.MENELAUS. No! Not the historians. I want the truth for a change.a.n.a.lYTIKOS. The truth! MENELAUS. W
- 247 TSUMU. He would die for you.HELENA [_relieved_]. Ah! Do you think so, Tsumu?TSUMU. All Sparta knows that His Majesty is a lover of peace, and yet he would rush into battle to save you.HELENA. I should love to have men fighting for me.TSUMU [_in high alarm
- 246 HELENA'S HUSBAND AN HISTORICAL COMEDY BY PHILIP MOELLER [_SCENE is that archaeological mystery, a Greek interior. A door on the right leads to the King's library, one on the left to the apartment of the Queen. Back right is the main entrance lea
- 245 [_Groping his way, with arms wide before him, he strides through the frail papers of the wall without knowing it, and continues seeking for the wall straight across the stage._]Where is the wall?[_Gropes his way back, and stands very near Thyrsis without
- 244 THYR. [_with hatred_]. I see.COLU. [_off stage_]. Look, Pierrot, there's the moon!PIER. [_off stage_]. Nonsense!THYR. I see.COLU. [_off stage_]. Sing me an old song, Pierrot,-- Something I can remember. PIER. [_off stage_]. Columbine, Your mind is ma
- 243 THYR. I know it, Corydon.[_They reach out their arms to each other across the wall._]COTH. [_prompting_]. "But how do I know?"THYR. Oh, yes.... But how do I know this isn't a trick To water your sheep, and get the laugh on me?CORY. You can&
- 242 CORY.-THYR. [_sorrowfully_]. Sir, we are always ready.COTH. Play the play![_Corydon and Thyrsis move the table and chairs to one side out of the way, and seat themselves in a half-reclining position on the floor, left of the center of the stage, propped u
- 241 COLU. Why, Pierrot, _I_ can't act.PIER. Can't act! Can't act! La, listen to the woman!What's that to do with the price of furs?--You're blonde, Are you not?--You have no education, have you?-- Can't act! You under-rate yourse
- 240 [_Curtain._]ARIA DA CAPO A PLAY BY EDNA ST. VINCENT MILLAY Copyright, 1920, by Edna St. Vincent Millay. All rights reserved.PERSONS PIERROT.COLUMBINE.COTHURNUS [_masque of tragedy_].THYRSIS [_shepherd_].CORYDON [_shepherd_].First printed in "Reedy�
- 239 FENTON [_pus.h.i.+ng her away in horror_]. I thought there was something queer about all this. Does he live here?MARGARET. Yes. [_Points to door._] He's in there now.FENTON [_excitedly_]. Good night! I'm goin'.[_Looks for hat._]MARGARET [_s
- 238 FENTON. You made that? Gee! that's great. [_Examines statuette._] Just like them statues at the Metropolitan.MARGARET. That figure is Apollo, Mr. Fenton.FENTON. Oh, Apollo.MARGARET. I was to engage a professional model for it, but I could never hope
- 237 [_Exit Margaret, door right. Mrs. Abbey calls through door center._]MRS. ABBEY. You c'n come in.[_Enter door left, Charles P. K. Fenton, dictionary salesman. He is a strikingly handsome young man, offensively smartly dressed in a black and white chec
- 236 BARONESS. That may be even more dangerous.PENDLETON. I'm fond of that kind of danger.BARONESS. Take care! I'm very fragile.PENDLETON. Isn't heliotrope in rhythm with the faint reflection of pa.s.sion?BARONESS. How brutal of you to have said
- 235 PENDLETON [_kisses her carelessly_]. There let me go.MARGARET. I want a real kiss.PENDLETON. Don't be silly, dear, I can't play this morning. I've simply got to finish my last chapter.[_A bell rings, Mrs. Abbey enters and goes to door._]MRS
- 234 MARGARET. Do you object to going out with me?PENDLETON [_doubtfully_]. No, it isn't that. But we're having too much of a good thing. And I've come to the conclusion that it's your fault.MARGARET [_indignantly_]. Oh! it's my fault?
- 233 MARGARET. I thought you were going to stop smoking before breakfast.PENDLETON. My dear, I can't possibly stand the taste of tooth paste in my mouth all day.[_Pendleton sits at table. Enters Mrs. Abbey with tray. Pendleton helps himself, then drops hi
- 232 OLIVIA I am here--close to you, Florio!FLORIO What have you women done to me![_To Olivia._] Your face! An evil dream is in my heart![_He gropes, catches her quickly on each side of the head with both hands. He draws her down to him. He runs his fingers fl
- 231 Florio, my Florio--draw down your arm.... No longer need you fear to look on me-- It was a test, my love, a cruel test! [_She draws aside her veil, the other women in back of her, Florio obliquely in front. Her face is seen to be one of surpa.s.sing lovel
- 230 Has she come? Is she here?... Go, Violante-- Go, leave us two alone! VIOLANTE She walked as one bewitched in a dream. She seemed to fear.... I bade her wait without.... Florio, could it be true you loved this woman? FLORIO Has all the brightness fallen
- 229 LIZZIA [_agonized_] My little children, you must not do this thing! Love is too high a gift to play with so. G.o.d only has the right to put the heart Of man to trial! VIOLANTE [_to Lizzia_] Will you be quiet, old woman! OLIVIA [_to Lizzia_] I would not
- 228 OLIVIA Strange woman, there is evil in your voice! And yet I know he loves me for myself, Taking my beauty, none the less, in gladness Like any transitory gift from G.o.d. VIOLANTE And yet you dare not put him to the test? OLIVIA What test? VIOLANTE To
- 227 [_To Violante._] Now, Lady Violante, you must go! VIOLANTE [_indignant_] How? I must go? LIZZIA You would not stay? VIOLANTE Yea, I would stay to see this love grow dark And shrink to hate. OLIVIA [_astonished_] And shrink to hate? VIOLANTE When you rem
- 226 FLORIO Have you no pride, my Lady Violante? VIOLANTE That I have not, For shameless is the heart that loves. FLORIO Then shamelessly I love Another face, another heart and body, Another soul, unto eternity-- She is all beauty to me, and all life-- So sh
- 225 FLORIO Remember that young n.o.bleman who died For love of you?... I was your pastime, merely that! And so I sipped what honey came my way. But why do you come now? Did you not leave me without a word? VIOLANTE My father.... [_Sombrely_] My father whom
- 224 VIOLANTE [_continuing_] Pray draw the arras, Lizzia, and close out The things that they bring by.... They have begun To move the nights innumerable Dead. [_Lizzia draws the large arras.... From now on, till the very last, just before climax, sound and mur
- 223 VIOLANTE [_coldly_]What has all this to do with me?[_Relapsing into forgetful eagerness._]Tell me, where, then, is his Olivia now?LIZZIA The Plague! He gave her to a doctor's care, Beggaring himself therefor, as one who loves!VIOLANTE And now he shu
- 222 LIZZIA Not so, Lady, but he-- VIOLANTE Tell him, then, Our friend Boccaccio, the story-teller, Has shaped a brave device against the Plague.... Before the sun climbs higher into day And the nights Dead are heaped up in the streets For buriers and priests
- 221 All rights reserved.PERSONS OF THE DRAMA.FLORIO [_a poet_].OLIVIA [_Florio's mistress_].VIOLANTE [_a Florentine n.o.blewoman_]. LIZZIA [_Florio's serving-woman_].DIONEO [_a member of Boccaccio's party_].ONE VOICE.ANOTHER VOICE.VARIOUS PROCE
- 220 Wazir rhythm, fast _Nubian_ hurries out Wazir rhythm, slow Reenters, staggering under a ball and chain [the chain of papier mache and the ball a balloon]Drum crash Drops these beside the Shepherd Clank, clank Rivets chain to Shepherd's leg Tap Rises
- 219 Wazir rhythm on _The Court_ _and_ _Ghurri-Wurri_ begin to wood-drum run, _Nubian_ first, then _Ghurri-Wurri_, [Telegraphically then _Vizier_, then _Wazir_. The running stated ... ... etc. is entirely vertical in movement, no ground being covered at all.Mu
- 218 The plain drop is lowered Cymbal crash The lights come up SCENE II._The Music_ _The Pantomime, etc._ Tambourine jingles _Ghurri-Wurri_ discovered above at center, with his dark gla.s.ses pushed up on his forehead, counting his money. Tap on piece He finds
- 217 PROLOGUE. [_The curtain rises on a plain drop curtain. The Maker of Sounds enters with his arms full of instruments, crosses the scene and sits with his back against one side of the proscenium, outside the curtain line. He tries out all his instruments, w
- 216 THE VIZIER.THE NUBIAN.THE SHEPHERD.THE GOAT.GHURRI-WURRI. THE MAKER OF SOUNDS.THE SHEPHERD IN THE DISTANCE is published for the first time. The editors are indebted to Mr. Holland Hudson for permission to include it in this volume. The professional and am
- 215 HAROLD [_desperately_]. Mrs. Carey, I a.s.sure you-- ANNE [_as if on the verge of a nervous crisis_]. Oh, please, _please_, Harold, don't protest any more. I am not blaming you. Understand, Mother, I am not blaming him. But my decision is irrevocable
- 214 ANNE. Of course I enjoyed it. It meant thinking of you, talking of-- HAROLD. Rot! Not of me, really. You didn't think I am really the sort of person who could write that--that drivel!ANNE [_hurt_]. Oh, I don't know. After a while I suppose you a
- 213 ANNE. Yes.HAROLD. These? These very letters?ANNE. Yes. I had to.HAROLD. Good G.o.d! [_He gazes at the litter of letters on the desk in stupefied silence._] But the handwriting.ANNE. Oh, that was easy. I had the letter you wrote to Mother. HAROLD. And you
- 212 HAROLD. But--but--why, I was going away. You and your people had been awfully nice to me, a perfect stranger in town. I was simply trying to do the decent thing. Good Lord! You don't mean to say you thought-- ANNE [_watching him very closely_]. Yes,
- 211 ANNE. Yes, rather. [_Then eagerly._] What do they say?RUTH. Oh, all sorts of things. Some of them horrid, of course! You can't blame them for being jealous. Here you are having just the sort of experience that any one of them would give their eye tee
- 210 RULER [_taking a revolver out of his pocket aims it at Mrs. Pencil_].Harm her and I'll shoot _you_!INKWELL [_who has come to in the meantime, manages to get his own revolver out of his pocket, he half raises himself from his lying position on the tab
- 209 [_Rushes to Ivory's arms._]IVORY. Oh! My daughter! My child! My child!MISS IVORY. Yes, father, I will, cost me what it may. I will.[_She reads last line flatly._]SUD. Miss Ivory! Show some feeling! Think how you feel when you read those lines! MISS I
- 208 IVORY. But if I see him tremble, Mr. Sud, wouldn't I ask him if he had a chill?SUD. It's not your business to be looking his way just then. Again, Inkwell.[_Inkwell trembles, etc._]SUD [_yells to Ivory_]. Don't catch his eye!IVORY [_to Inkw
- 207 RULER. I'm used to doing that, my dear. What gets me is the story of the plot the Sunday edition printed. How can the newspaper know the plot before the playwright does?MISS IVORY. Doesn't Mr. Sud know his own plot?RULER. Why! No, my part's
- 206 SUD [_nudging Wouldby--aside_]. Quite epigrammatic, eh?INKWELL. Even abuse at such fair hands could only please.SUD [_aside_]. Did you catch the subtlety of that line?MISS IVORY [_nervously_]. Wi--wi--will you have some more tea?INKWELL [_coming left of t
- 205 SUD. He doesn't see it! You hear? He doesn't see it! Begin again! And please, please, please--get it over--over!![_He motions violently with his arms during following scene as if to help them raise the vitality of the scene. Sud sets tempo again
- 204 SUD. That's not the play! That's the moving picture version!!! Come here.[_He fumbles with his papers. Takes blue pencil to her part, changes his mind and uses red pencil--and puts them back of different ears._]WOULDBY. Oh! Have you the same pla
- 203 SUD [_aside_]. That's merely to show the girl has a father.MISS IVORY. No, he is talking business with Mr. Inkwell.MRS. PENCIL [_starting_]. Inkwell!MISS IVORY. Yes, do you know him?MRS. PENCIL [_evasively_]. I? Oh--no. MISS IVORY. You've heard
- 202 Copyright, 1916, by Alice Gerstenberg.All rights reserved.THE POT BOILER was first produced by the Players' Workshop, Chicago, Ill., on the night of November 20th, 1916, with the following cast: THOMAS PINIKLES SUD [_the playwright_] _William Ziegler