Dramatic Technique

NOTES FOR THE MODERN TRAGEDY

Rome, 19. 10, 78.

There are two kinds of spiritual law, two kinds of conscience, one in man and another, altogether different, in woman. They do not understand each other; but in practical life the woman is judged by man’s law, as though she were not a woman but a man.

The wife in the play ends by having no idea of what is right or wrong; natural feeling on the one hand and belief in authority on the other have altogether bewildered her.

A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial system that judges feminine conduct from a masculine point of view.

She has committed forgery, and she is proud of it; for she did it out of love for her husband, to save his life. But this husband, with his commonplace principles of honour is on the side of the law and regards the question with masculine eyes.

Spiritual conflicts. Oppressed and bewildered by the belief in authority, she loses faith in her moral right and ability to bring up her children. Bitterness. A mother in modern society, like certain insects who go away and die when she has done her duty in the propagation of the race.12 Love of life, of home, of husband and children and family. Here and there a womanly shaking-off of her thoughts. Sudden return of anxiety and terror. She must bear it all alone. The catastrophe approaches, inexorably, inevitably. Despair, conflict, and destruction.

(Krogstad has acted dishonourably and thereby become well-to-do; now his prosperity does not help him, he cannot recover his honour.)13

Persons

Stenborg, a Government clerk.

Nora, his wife.

Miss (Mrs.) Linde (a widow).

Attorney Krogstad.

Karen, nurse at the Stenborgs’.

A Parlour-Maid at the Stenborgs’.

A Porter.

The Stenborgs’ three little children.

Doctor Hank.

SCENARIO. FIRST ACT

A room comfortably, but not showily, furnished. In the back, on the right, a door leads to the hall; on the left another door leads to the room or office of the master of the house, which can be seen when the door is opened. A fire in the stove. Winter day.

She enters from the back, humming gaily; she is in outdoor dress and carries several parcels, has been shopping. As she opens the door, a Porter is seen in the hall, carrying a Christmas-tree. She: Put it down there for the present. (Taking out her purse.) How much? Porter: Fifty öre. She: Here is a crown. No, keep the change. The Porter thanks her and goes. She continues humming and smiling with quiet glee as she opens several of the parcels she has brought. Calls off, is he at home? Yes! At first, conversation through the closed door; then he opens it and goes on talking to her while continuing to work most of the time, standing at his desk. There is a ring at the hall-door; he does not want to be disturbed; shuts himself in. The maid opens the door to her mistress’s friend, just arrived in town. Happy surprise. Mutual explanation of the position of affairs. He has received the post of manager in the new joint-stock bank and is to enter on his duties at the New Year; all financial worries are at an end. The friend has come to town to look for some small employment in an office or whatever may present itself. Mrs. Stenborg gives her good hopes, is certain that all will turn out well. The maid opens the front door to the debt-collector. Mrs. Stenborg, terrified; they exchange a few words; he is shown into the office. Mrs. Stenborg and her friend; the circumstances of the debt-collector are touched upon. Stenborg enters in his overcoat; has sent the collector out the other way. Conversation about the friend’s affairs; hesitation on his part. He and the friend go out; his wife follows them into the hall; the Nurse enters with the children. Mother and children play. The collector enters. Mrs. Stenborg sends the children out to the left. Great scene between her and him. He goes. Stenborg enters; has met him on the stairs; displeased; wants to know what he came back for? Her support? No intrigues. His wife cautiously tries to pump him. Strict legal answers. Exit to his room. She (repeating her words when the collector went out): But that’s impossible. Why, I did it from love!

SCENARIO. SECOND ACT

The last day of the year. Midday. Nora and the old Nurse. Nora, impelled by uneasiness, is putting on her things to go out. Anxious random questions of one kind and another give a hint that thoughts of death are in her mind. Tries to banish these thoughts, to turn it off, hopes that something or other may intervene. But what? The Nurse goes off to the left.—Stenborg enters from his room. Short dialogue between him and Nora.—The Nurse re-enters, looking for Nora; the youngest child is crying. Annoyance and questioning on Stenborg’s part; exit the Nurse; Stenborg is going in to the children.—Doctor Hank enters. Scene between him and Stenborg.—Nora soon re-enters; she has turned back; anxiety has driven her home again. Scene between her, the Doctor and Stenborg. Stenborg goes into his room.—Scene between Nora and the Doctor. The Doctor goes out.—Nora alone.—Mrs. Linde enters. Short scene between her and Nora.—Krogstad enters. Short scene between him and Mrs. Linde and Nora. Mrs. Linde goes in to the children.—Scene between Krogstad and Nora.—She entreats and implores him for the sake of her little children; in vain. Krogstad goes out. The letter is seen to fall from outside into the letter-box.—Mrs. Linde re-enters after a short pause. Scene between her and Nora. Half confession. Mrs. Linde goes out.—Nora alone.—Stenborg enters. Scene between him and Nora. He wants to empty the letter-box. Entreaties, jests, half playful persuasion. He promises to let business wait till after New Year’s Day; but at 12 o’clock midnight—! Exit. Nora alone. Nora (looking at the clock): It is five o’clock. Five;—seven hours till midnight. Twenty-four hours till the next midnight. Twenty-four and seven—thirty-one. Thirty-one hours to live.—

THIRD ACT

A muffled sound of dance music is heard from the floor above. A lighted lamp on the table. Mrs. Linde sits in an armchair and absently turns the pages of a book, tries to read, but seems unable to fix her attention; once or twice she looks at her watch. Nora comes down from the dance; uneasiness has driven her; surprise at finding Mrs. Linde, who pretends that she wanted to see Nora in her costume. Helmer, displeased at her going away, comes to fetch her back. The Doctor also enters, but to say good-bye. Meanwhile Mrs. Linde has gone into the side room on the right. Scene between the Doctor, Helmer, and Nora. He is going to bed, he says, never to get up again; they are not to come and see him; there is ugliness about a death-bed. He goes out. Helmer goes upstairs again with Nora, after the latter has exchanged a few words of farewell with Mrs. Linde. Mrs. Linde alone. Then Krogstad. Scene and explanation between them. Both go out. Nora and the children. Then she alone. Then Helmer. He takes the letters out of the letter-box. Short scene; goodnight; he goes into his room. Nora in despair prepares for the final step; is already at the door when Helmer enters with the open letter in his hand. Great scene. A ring. Letter to Nora from Krogstad. Final scene. Divorce. Nora leaves the house.14

Finally, here is the full scenario of a play which made a great success both in England and the United States and was seen by practically all the Continental countries, namely, Kismet. Notice how well it fulfils the requirements for a good scenario stated in this chapter, not because Mr. Knobloch had these rules in mind as he composed it, but because, as a trained dramatist, he instinctively gave these qualities to his scenario. Carefully studied in relation to the essentials of scenario writing just stated, it should remove all doubt in the mind of a student as to what a good scenario is and why it is an essential preliminary to a good play.

KISMET
or
HAJJI’S DAY

Scenario for a play in three acts, by
EDWARD KNOBLOCH15

CHARACTERS
(in order of their appearance)

Original Names	Later Names
Hajji.	Hajj (as Hajji is Persian, Hajj Arabian).
A Priest.	Imam Mahmud.
Guide.	Nasir.
Sheikh of the Desert.	Jawan.
Young Beggar.	Kasim.
Sultan.	The Caliph Abdallah.
His Vizier.	Abu Bakr.
Shopkeeper I.	Amru.
Shopkeeper II.	Fayd.
Zira.	Marsinah.
Old Woman I.	Narjis.
Officer of Guard.	Captain of the Watch.
Executioner.	Mansur, Chief of Police.
His Scribe.	Turned into two characters:
	Kafur, the Sworder.
	Afife, the Hunchback.
Old Woman II.
Executioner’s Wife.	Kut-Al-Kulub.
Gaoler.	Kutayt.
Peasant. Trial scene at	Cut out in final draft.
Two Wives. Sultan’s.	Cut out in final draft.
Dancers, Soldiers, Courtiers, Women, the People.

ACT I

[Scene later introduced before the curtain.]

Scene 1. A Street before a Mosque.

Scene 2. The Bazaar.

Scene 3. Courtyard of a Poor House.

Scene 4. Courtyard of Executioner’s House.

ACT II

Scene 1. Interior Room of Executioner’s House.

Scene 2. Courtyard of a Poor House. (Act I, Scene 3.)

Scene 3. The Sultan’s Audience Hall.

Scene 4. A Dungeon.

ACT III

Scene 1. Courtyard of a Poor House (Act I, Scene 3) [cut in final version].

Scene 2. The Bath of the Executioner’s House.

Scene 3. A street before a Mosque. (Act I, Scene 1.)

The Scene is laid in Bagdad.

The action takes place from morning to night.

ACT I

SCENE 1

A narrow street with stone steps leading up to a Mosque left. (Small set.)

The sun is just beginning to rise.

Asleep on a large stone which juts out from the angle of the wall C. sits Hajji wrapped in his beggar’s cloak. On the minaret of the Mosque appears the priest, a venerable white bearded man. He calls to prayer. [See alterations in actual play.]

The crowd begins to pass into the Mosque as the sun rises. Hajji wakes up, rubs his eyes, and has a drink of water from a gourd which he draws out from behind his seat. He begins to beg from the passers-by.

An Old Man (Jawan) preceded by a guide (Nasir) is carried across the scene in a litter. He fixes his gaze on Hajji and is carried off into the Mosque. The guide remains in the portico. Hajji follows the Old Man on his knees to the steps of the Mosque, begging.

As he does so a lean Beggar of a younger cast of countenance takes Hajji’s place.

Hajji returns to his seat.

Hajji.	Hajji curses young Beggar. Explains young Beggar must be stranger. Who is he that he does not know of Hajji? He has sat on this seat for thirty years. His father has sat there before him. His grandfather before him. Great pride in his ancestry of beggardom.
Young Beggar. (Kasim.)	The young Beggar tries to retaliate. Hajji tells him to go and sit on a seat round the corner—“where other swine have sat before you.” He kicks the young Beggar.
The Guide (Nasir) of the Old Man comes down to interfere. The Young Beggar (Kasim) sulks into a corner nursing his kick.
Hajji.	Hajji and Guide get into conversation.
The Guide. (Kasim.)	Guide explains Rich Man here on a pilgrimage. Is really a famous old Robber Chief, a Cûrd, One of the Sheikhs of the desert: all of whom were notorious and banished by late Sultan (Caliph). Sheikh old and dying. Come to pray to Allah to restore his son to him before he dies (if son still alive).
[Sultan is used throughout this scenario—for which, in play, Caliph is substituted. Caliph is correct, as being Arabian. The title Sultan is of later origin and of Turkish influence.]	Sheikh was attacked by Sultan’s troops twenty-five years ago, and his son, then four years old, carried off. Hajji says he knows what that means. Had his wife carried off many years ago. The only woman he ever loved—really loved. The Guide: “I know, Hajji, and I pity you. I have a proposition to make: I know the Sheikh will give money to charity to save his soul just before dying. Now if you could predict something to him,— Say that he will find his son again,— The Sheikh will give you money.” And for this advice Guide and Hajji are to divide money. Hajji agrees to this. Prayers are over.
The crowd disperses coming from the Mosque. Sheikh is carried out of the Mosque in his litter.
Hajji.	Hajji throws himself in front of litter. Crying out: “Listen to me. I can see why you have come. You are looking for some one,—your son. You shall find him. Give me money.” Sheikh amazed at Hajji’s knowledge. Hajji says his wits have been sharpened through grief and suffering. “I had a wife and a son. They were stolen by my enemy. My son was murdered, My wife carried off . The swine of a beggar who sat round the corner did it. He is my enemy. The curse of my life.” Sheikh holds out purse, chinking it. Hajji blesses Sheikh. Sheikh bursts out laughing. Reveals himself to Hajji. He (Sheikh) is his enemy. He ran away with Hajji’s wife.
[Some of this is incorporated in the scene with Nasir.]	And became a robber under her inspiring influence. One of a band of robbers that attacked the caravans. It is their son (by Hajji’s wife) that the Sultan captured when he attacked the robbers. Laughs at Hajji for blessing him. Thanks him ironically. Throws the purse and is carried off by his men. Hajji shouts curses after him. And kicks away the money.
Hajji. (Alone.)	He is torn in two by the hatred for his enemy.
Young Beggar, in corner.	And the love of the money. What he could do with the money.
[This was cut at rehearsals, as halting the action,]	He could do so much for Zira (the daughter), The pride of his heart, the consolation of his old age, The one balm to his fatherly heart. But his enemy’s money? Never. But Zira? Trinkets for her. Her laughter. Her smile. But the Sheikh’s money—The beast who robbed him of his wife. Who was Zira’s mother? No one. A dancing girl, a passing whim. The fancy of a late spring. But his wife—the one that the Sheikh took—she was everything. His joy, his pride, the first finding of his manhood. To the purse: “I’ll not touch thee.” (He spits at it.)
	He sees some one coming. He quickly pockets the purse.
The Guide reënters
Hajji. Guide. Young Beggar.	Guide comes to claim half of his money. Hajji does not know anything of the bargain; “I saw no purse.” Guide furious. Hajji laughs at him. He appeals to young Beggar. Was there a purse there? The young Beggar sides with Hajji. Guide off, furious, vowing vengeance. Hajji says, “Go thy way in peace.”
Hajji. Young Beggar.	Young Beggar: “What do I get for siding with you?” “What?” “I saw you pick up the purse. I heard the agreement: you promised him half.” Hajji says the money was given him, not by the Sheikh, but by fate. We all have a day in life. This is Hajji’s day. There is a future before him. The Sheikh rose from the mud to power and riches. Why not Hajji? Fortune is smiling on him at last. He will forsake the seat he has sat on these thirty years. Go forth into the world. What shall he give the Young Beggar? His throne and his beggar’s cloak. (He instates him in his seat and goes off.)
[Here the Priest is introduced in the play to heighten the effect at the end. Also to make him a friend of Hajji’s, as Hajji sends his daughter to him at the end of the Hareem scene. Act III, Scene 1.]	Curtain

SCENE 2

The Bazaar. (Large set)

Shopkeeper I and Shopkeeper II lying outside of adjoining shops. They are very friendly.

Crowd.

Young Sultan (Caliph) rides through the bazaar on a white donkey. His Vizier (Abu Bakr) follows him. Also guards.

Hajji appears. Shopkeeper I. Shopkeeper II.	Political discussion. Young Sultan just come through bazaar. Hajji regrets he missed seeing him. Sultan only been Sultan ten days.
[Read Caliph for Sultan.]	Nephew of old Sultan now dead. Young Sultan brought up in a monastery,
[In the play, the shopkeepers have a scene of explanation before Hajj enters,—altered when writing play.]	Said to be a dreamer and a poet. The real ruler said to be the Executioner, A favourite of late Sultan, Young man, too, but very strong, Very cruel and selfish. Young Sultan does not see much of Executioner (Mansur). Supposed to disappear on nightly expeditions, To get to know his people, To have some love adventures. Has been brought up strictly in monastery, Has never yet, they say, tested the “charm of his beard.”
[This altered. See note above. In the play Hajj enters here.]	Hajji listens to all this humbly, Sitting almost under the counter, Then begins to finger stuffs. The shopkeeper is going to drive him off. But Hajji is in earnest. Shows his purse. He means to buy. Clothes are forthcoming. He selects some. Once he has gone to the bath and the barber he will be resplendent—as noble as the noblest. Hajji asks the price. It is very high. He begins to bargain. Shopkeeper No. II chimes in. Hajji pits Shopkeeper No. I against No. II. They quarrel. Hajji fans the quarrel into flame. They almost come to blows. Hajji escapes with his clothes.
Shopkeeper No. I. and Shopkeeper No. II	The shopkeepers notice his escape. They combine at once against the common enemy. Shopkeeper I will go for the guard, And have Hajji followed and caught. Shopkeeper II to meet him at the Executioner’s to witness against Hajji.
[Here Nasir the Guide is introduced to give away Hajj. This was done when the play was revised for production.]	Curtain

SCENE 3

(For “Zira” read “Marsinah.”)

Zira’s home. Small courtyard of a poor house. On right side a large gate backing to street. Fountain in courtyard.

Old Woman. Zira, the daughter Hajji. [Marsinah works. This was altered when writing play, because of Arabian embroidery frame seen in the Museum of Tunis.]	Old woman is spinning. Zira is lazily hanging her hand into fountain. (She works instead.) Old Woman reprimands her for not working. She has changed in last three days. Zira, who hides her wools, says her thread has given out. Old Woman will go to bazaar for thread. Locks door carefully, going out.
Zira springs up and goes to the casement in Courtyard and then, plucking a rose, throws it out. She then unlocks casement and goes back to the fountain.
Young Sultan appears in simple clothes, climbing in.
Zira. Young Sultan.	Love scene. His madness to come at daytime. Since he saw her first three nights ago from neighboring roof-tops cannot rest. She asks who he is. He is so different from her father. His hands so beautiful. He has love scene, In which they exchange rhymed couplets In Arabian Nights fashion. He puts a question (line one and two rhyming) She caps it (line three not rhyming, but line four rhyming with one and two). The girl is witty but natural. This charms the Sultan beyond measure. All the women he has had presented to him are so stupid. She says: ‘”All the women’!” Who is he? He says a simple scribe—brought up in a monastery. His uncle wishes him to marry. He has never loved before, Till meeting Zira. They embrace.
Noise of key in gate.	They hear noise. They separate—He will come back after sundown to see her. She gives him a rose. Then he will tell her something which will surprise her. He escapes through the window. Zira back to fountain, (to her work).
Old Woman reënters breathless.
Old Woman. Zira.	Old Woman says Zira’s father is coming. Thing he has never done during daytime. Luckily she saw him as she returned from bazaar. He was coming out of Public Bath, Beautifully dressed. They pretend to be busy working. Noise of key.
Hajji arrives, dressed in good clothes, curls trimmed and beard combed.
Hajji. Zira. Old Woman.	Greetings. Zira admires her father. Old Woman sent off to get meal ready.
Hajji. Zira.	Hajji has great plans for his daughter. His affection for her profound. He plans for her future. She is very charming to him, As she naturally wishes to hide her love affair, and get into his good graces. She takes out her guitar. Begins to sing to him. He sways before her admiringly on his knees. Says she is beautiful.
[This altered in the writing of play.]	Her mother was not beautiful, Not like his wife that he loved Not like his son now dead. But she is more beautiful than all, The light of his eyes. She laughs and sings. He claps his hands in ecstasy He has great ambitions for her. A knock on the door. Zira is sent by her father into the inner house. The Old Woman comes out of house and says it will be some pedlar at door. She opens.
The Officer of the Guard and Guard enter with the Shopkeeper I
Hajji. Shopkeeper. Officer.	Shopkeeper accuses Hajji of stealing garments he has on. Hajji denies it. Shopkeeper will have him taken before the Executioner (Mansur). Hajji protests. He is taken off in spite of his assurances that the Shopkeeper is a madman.
[Re-introduction of Nasir, saying, “I saw no purse!” Change made during rehearsals]	Curtain

SCENE 4

Hall in Executioner’s House (large set). A colonnade at back, showing courtyard.

Executioner (Mansur). His Scribe (Afife), an old man [Kafur his Sworder,—added when play was written. This first scene is enlarged in play by a letter from the Caliph. See play.]	Executioner very discontented. Young Sultan means to curtail Executioner’s prerogatives. Executioner was old Sultan’s favorite. Scribe and Executioner plan to assassinate Sultan. They need a clever man. Whom shall they get?
Hajji is brought by the Guard, followed by Shopkeeper and a Crowd, in which is the Guide of Scene 1.
Hajji. Executioner. Scribe. Guide. Shopkeeper I. Shopkeeper II. Crowd.	Hajji accused by Shopkeeper I. Shopkeeper II bearing No. I witness. Hajji protests. Meant to pay—Excitement of new clothes made him forget. Produces money. Where did he get his money? Sheikh of desert. They all laugh. Sheikh of desert does not give money. Sheikhs are outlaws, robbers. Not allowed in town. Hajji says he is in town. Notices Guide (Nasir) in crowd. Appeals to Guide— Guide says it is true that Sheikh is in town. Then, says Executioner, Sheikh must be taken before Sultan. All Cûrds banished by old Sultan. Sultan has an audience this afternoon. Sheikh an exile (by old Sultan). Executioner cannot allow the word of the deceased monarch to be disregarded. Sends Guide off to show the Guard the caravansary at which Sheikh is stopping. Hajji interrupts. One word. He asks Guide did he, the Sheikh, not throw Hajji a purse. Guide repeating Hajji’s words (Scene 1) “I saw no purse.” All laugh. Guide off with the Guard.
[Afterwards, “his hand cut off,” as this is the law of the Koran. Change made when writing play.]	Executioner orders Hajji to have his ears cut off. Hajji discourses on Fate, Kismet. Is very witty. Executioner becomes interested in Hajji’s brilliancy. Hajji is pardoned suddenly by Executioner. Executioner does more. He takes Hajji into his household Into his personal guard. A sword is sent for. Hajji kneels in gratitude at the Executioner’s feet. “His servant always.” The sword is brought in. Executioner takes it and hands it to Hajji. “Rise, Hajji, and learn to use this sword in my service.” Hajji rises. He begs he may begin his career by an act of clemency. Executioner grants permission. Hajji makes the Shopkeepers kneel, forgives them for daring to accuse a servant of the Executioner’s of stealing—tickles their beards with his sword and orders them to pay a fine to the Executioner. They leave more dead than alive. Hajji turns to Executioner. H. “Have I begun well?” E. “The beginning is nothing. Go now and the Captain will instruct you in your duties.” H. (with enormous swagger) “Captain?” He goes out, the rest following him.
The Scribe. Executioner.	Is amazed at Executioner’s clemency. E. “Don’t you see why I have pardoned him?” S. “No, Master.” E. “This man shall do the deed.” S. “The deed?” E. “Murder the Sultan for me.” S. “I see.”
(They both turn and look after Hajji who is seen traversing the courtyard at the back and twirling his moustaches, the servants all bowing low to him.)
Curtain

ACT II

An inner chamber in Executioner’s House. Door leading to Hareem.

[This is the same hall as at the end of Act I, only that curtains are drawn to hide the courtyard.]

Hajji. Executioner. Scribe. [Coffee and smoking suppressed, as both were found to be anachronisms.] [This altered. Eastern men do not speak of their wives to strangers.]	Executioner and Scribe seated on a platform drinking coffee and smoking. Hajji seated below them entertaining them with amorous stories. They are all laughing. Hajji finishes a story. Executioner says it reminds him of his principal wife. A slight pause. The Executioner gives Scribe a look as if to say “To business.” He says to Hajji— How would Hajji like to become a great power in the state? He broaches plan of assassinating the Sultan. Hajji hesitates. Executioner unfolds scheme. There is an audience in half an hour. Hajji can come as a Fakir.
[See play. All of this scene was split in half, and Mansur does not now suggest the assassination till at the end of the second half. The reason is clear: Hajj could not have a love scene (as he does now) if he were brooding about the assassination. This was altered in rehearsal at the suggestion of Mr. Grimwood, who played Mansur in England.]	Has told Executioner he could juggle—used to play tricks at his corner when begging. Hajji could get close to Sultan and kill him. No danger to Hajji. As the Guards are under command of Executioner. Executioner will be there. But, of course, Hajji must under no condition recognize the Executioner. Hajji feels doubts. Executioner fills him full of promises. Executioner will be made Sultan. Hajji shall become Executioner. Executioner off to put on his armour for audience. Scribe goes with him. Executioner: “Think it over. If you don’t like it—there is always room for a strangled body in the river.”
[Hajji (Alone).]	“So this is why I was pardoned this morning? Oh, Hajji! What a fool you are! And you thought your personal charm did it all.”
Hajji. Old Woman No II. [Changed to young slave Miskah. The note becomes a message, with dialogue between Hajji and Miskah]	Door of Hareem opens. Old Woman No. II appears with a note, gives it to Hajji. Hajji reads it, smiles and nods. Old Woman disappears.
Hajji (Alone).	“After all I cannot be so utterly without charm, if this can happen to me.” He twirls his moustaches up and looks at himself in the blade of his sword.
Old Woman No. II reenters with veiled woman (Executioner’s Wife). Old Woman stands guard.
Hajji. Wife.	The Wife has seen him from her window. As he crossed the courtyard at noon, she lost her heart to him. Her husband neglects her. She comes to Hajji for sympathy. Hajji makes love to her. She refuses to unveil,—at least, at once. She makes appointment with him. To meet him in the Executioner’s Bath at moonrise. All the women bathe then. She will leave a little screen unlatched that leads to the furnaces under the baths. These furnaces reached also from men’s quarters through the door in the Court. (She points it out to him.) He can come and see her there in Bath, when the other women are back in the Hareem. The Executioner never returns from the Sultan till after supper. They hear a noise. She withdraws. Hajji struts about in great glee. He hears Executioner coming. He throws himself on his knees and prays.
Executioner. Hajji. Scribe.	Executioner returns armed. What has Hajji decided? Hajji says he has been wrestling in prayer. He cannot make up his mind to kill Sultan, a descendant of the Prophet. Executioner says he also is a descendant of Prophet. Hajji is accused of cowardice. He denies it. He says he has ties that bind him. The risk is too great because of his daughter, his daughter, Zira. He tells about her. Finally he consents to kill Sultan on one condition. No matter what happens to him the Executioner must marry the daughter. The Executioner consents. Hajji is overjoyed. He quite forgets his own danger when he thinks his daughter will be the Sultana. He will hurry off to his daughter’s house, And have her conveyed to Executioner’s house after sun-down. Too beautiful to pass through the streets at day time. Begs for a guard to convey her. Once he has arranged with her he will come on to young Sultan’s palace,— “The Sultan who will be dead. Who is dead!” He hurries off in great exultation.
[When the play was written, the mid-afternoon call to prayer was introduced here as a Curtain.]	Curtain

SCENE 2

Zira’s home. Same scene as Scene 3, Act I. Small courtyard.

Zira sits with her guitar singing a love song.

Zira. Old Woman. [Cut when play was written.]	Zira tries to get the Old Woman to go out that night. Old woman suspicious. Zira calms her fears. Coaxes her, pets her.
	Hajji arrives.
Hajji. Zira. Old Woman.	Hajji has come to break news to Zira. Great news! He is going to give her to Executioner as wife. Zira dumb with horror. Violent scene of cursing and cajoling. Finally she rebels. The Old Woman agrees with Hajji whenever he appeals to her. He finally calls in the Guard, and makes them guard door.
[Altered during rehearsal. The guard,—eunuchs of Mansur—take the daughter away at once. Hajji remains on the scene, smiling in a self-satisfied fashion.]	At sundown they are to take the girl to Executioner’s house. Ungrateful child! Zira in tears. Hajji off.
	Curtain

SCENE 3

The Sultan’s Audience Hall (The Caliph’s Diwan). (Large set.)

Sultan seated on a Divan.

His Vizier by his side.

Dances of Women.

Sultan melancholy. He says to Vizier that all these dances are nothing to the faded rose in his hand.

Hour for audience strikes.

The women dismissed.

The gates are opened to the crowd.

The various dignitaries enter.

The Executioner and the Guard come and kneel to the Sultan.

Different cases for trial called.

First of all the old Sheikh is called.

His whereabouts have been ascertained through the Guide.

The Sheikh is carried in on his litter and with greatest difficulty descends to do obeisance to the Sultan.

Sultan. Sheikh. Executioner. Crowd, etc.	Sultan asks him how he, an exile, dare enter the city, defying the decree of his late uncle. Sheikh says he came on peaceful mission, not to rob. He is old; one of many robbers. No longer of consequence. Came to pray at shrine and give alms, the shrine where he had prayed in his youth. Invokes protection of High Priest. Sultan says Sheikh must be imprisoned. If High Priest proves that Sheikh came to give alms and to repent, he shall be released forthwith. Meanwhile, for his many sins, a short repentance in prison will not be harmful to his soul.
The Goaler comes forward and with two guards drags the lame man off. The Sheikh goes, blessing the Sultan for his wisdom and justice. The Sultan says: “Send to the High Priest at once to see if this old man spoke true.”
Sultan. A Peasant with Two Wives. [This scene was cut at rehearsal, as having nothing to do with the story. Instead of which, Hajj was introduced by a speech of Mansur’s. See play.]	This should be some comic trial with a difficult question to solve, Such as: “Should a man honour his first wife more—who is old and ugly, but devoted—or his second wife whom he mistrusts but adores for her beauty?” Or something of the kind drawn from Arabian Nights.
	The Sultan is puzzled He has no answer. Who can solve the riddle?
Hajji, pushing through the crowd,—“Let me, oh Sire!”—throws himself before Sultan.
Hajji. Sultan. Others	Hajji decides in a witty, whimsical way. The Sultan amused by him. Who is he? Hajji says he is a Fakir. He plays some tricks.
[Cut:]	While doing one, addresses the Executioner as a slave, asking him to bring a table. Pretends not to know who Executioner is, and begs his pardon when he is told of his rank.
	He then gets near the Sultan. Does a trick with a sword. Tries suddenly to stab the Sultan. The Sultan wears a coat of mail. The assassination has failed. Hajji is surrounded at once. He is to be cut to pieces. The Sultan says “Stay! This man shall be made an example of. I have heard there are rumours of sedition, and conspiracies against my person. Therefore I wear this coat of mail. I shall have this man burnt in my pleasure gardens tomorrow and the public shall be admitted to the spectacle. This shall show conspirators I am in earnest; mean to uphold my uncle’s policy. Take this man away.” Hajji appeals, he turns to the Executioner. The Executioner says he does not know him. Hajji says he does. He can prove it. He was in the house of the Executioner. In his pay. Executioner: “The man is mad.” The Sultan fixes Executioner with his eye. Sultan says he will sift matter to bottom. Hajji shall be tortured. The truth shall be wrung from him.
[Hajj is gagged here:]	“At once?” asks the Gaoler. Sultan: “No—let him starve the night first.” Tonight (smelling the rose) Sultan has other affairs of import to tend to. Tomorrow (with a meaning look) he expects the Executioner to carry out the tortures himself. The Executioner bows. (To Goaler) “Take the man away!” Hajji is dragged off, screaming. The Sultan to his Vizier: “Oh Mesrur! Mesrur! (Abu Bakr) When does the sun set?” “Another half an hour, sire.” “Half an hour! Oh, would it were that now? Why can I not make the sun set—I—the Sultan? Bring forward the next case.” Curtain.

SCENE 4

A Dungeon. A massive door at the back leads to an endless flight of shallow steps. It is dark: Hardly any light except from one barred window high up: through this come the rays of the setting sun.

The Sheikh is alone in one corner saying his prayers. He then lies down and goes to sleep.

The Gaoler opens the door.
Hajji is thrown in and chained.

Hajji alone.	Repentance. Curses every one. Raves. If only he hadn’t received money that morning, he would not have been tempted to steal. If he had not stolen, he would not have been taken to the Executioner. If he hadn’t been taken to the Executioner, he would not have been driven to kill the Sultan. The Sheikh is the cause of all his misfortunes. He stole his wife. He killed his son. Now he is killing him. Cursed be the Sheikh!
The Sheikh from the corner:	“Who uses my name in vain?”
Hajji. Sheikh.	Hajji recognizes him. What is he doing there? Sheikh says he is condemned to prison by Sultan. Hajji delighted. Says this is his only consolation in his trouble. Never a sorrow without a grain of joy. Joy to see his enemy suffer. He could almost feel friendly towards Sheikh, when he thinks how they will be executed together.
[Sheikh’s story of the broken coin and his lost son introduced here. See play. Allusions to wife were cut as unnecessary to the story.]	How strangely their lives have been interwoven. They talk of the dead woman they have shared. She is dead now. Better so. She would have been old and ugly now. Sheikh says: “She developed a bad temper.” Hajji furiously: “That was your fault. She was the sweetest tempered creature when she was mine. You ruined her, body and soul. You fiend you—but no matter. You will be tortured tomorrow.” He shrieks with delight.
Gaoler reënters with a decree and a soldier carrying some instruments of torture.
Gaoler. Sheikh. Hajji. Soldier.	Gaoler says that it has been found that Sheikh did come on a pilgrimage. The High Priest has testified in his favor. Therefore the Sultan forgives him. He is free, but must leave the city at once and never return. Sheikh asks Gaoler to thank Sultan. Would go—but his limbs are too weak. Could Gaoler send for his litter? Gaoler says he fears Sheikh’s litter gone, but could procure him a chair out of Sultan’s palace used to convey the lesser women of the Hareem when Sultan travels.
[Changed to a stretcher to “carry away the dead.” Alteration made when play was written.] [The torture was cut as too long and too ugly. Altered during rehearsal.]	Sheikh gives Gaoler money. Gaoler now turns to Hajji. Says he is to come to him. Makes him kneel down. Hajji: “I am free too, am I?” Gaoler: “Free? Here! (turns to Soldier and takes a casket from him and is about to put it on Hajji’s head). Sometimes these head screws and thumb screws don’t fit. There must be no hitch in the performance tomorrow.” “Head screw?” says Hajji, trembling. Gaoler tears off Hajji’s turban and tries on the torture helmet. Gaoler: “Does it feel comfortable?”
[All this cut. Instead of which, the Gaoler strikes Hajji with his key which makes Hajji faint.]	Hajji: “Comfortable!” Gaoler: “It ought to. It’s just as if it had been made for your Highness.” (Takes it off, laughing loudly; the soldier joins politely.) Gaoler (to Sheikh): “I’ll see to your Excellency’s chair.” Gaoler and Soldier off with instruments. Hajji is on the floor, more dead than alive.
Hajji. Sheikh.	Hajji bemoans his fate. Why should he have to suffer, and Sheikh be pardoned, when Sheikh is the cause of all of Hajji’s woe? Here is Sheikh, an old robber chief, forgiven. Here is Hajji, a simple, honest beggar, to be tortured and burnt. Who is dependent on the Sheikh? He has lost his son—has never found him again—he may be dead. No one dependent on Sheikh. But Hajji has a daughter dependent on him. A daughter! And the sun is setting. And at this hour she is being taken to the Executioner! The Executioner who has so cruelly forsaken Hajji. His daughter going to him, with Hajji powerless—and the Sheikh to live. It is unjust, cruel, not to be borne. “It shan’t be borne—it—”
[When the play was written, the breaking of the chains was introduced here.]	He gives the Sheikh an awful look. The Sheikh realizes his thoughts and draws his knife. Hajji springs at him, overpowers him, and cuts his throat. The Sheikh’s last words: “My son! My son!” A moment’s thought—then Hajji wipes the knife on his own turban (torn off by Gaoler). Quickly he exchanges clothes with the dead man. Puts on his turban. Then rifles pockets. Finds round the dead man’s throat a chain with the broken half of a coin. Slips it over his own neck. He puts the dead body into the corner where he (Hajji) lay when the Gaoler left the dungeon. He hears the tread on the steps. He assumes the old man’s attitude. The sunlight has died out: the scene grows quite dark.
The Gaoler reenters with the Soldier and a chair borne by two porters. They lift Hajji into the chair. Then take up the chair and carry it up the broad stone stairs.
Gaoler. (Turning to the dead body.) “Why not laugh tonight, Hajji? Tomorrow morning will be time enough to weep, when you are tortured in the Pleasure Gardens of the Prophet’s descendant.” (He kicks the body, then goes out laughing, and locks the door.)
Curtain.

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