THE DEVIL

by

FERENC MOLNAR

adapted by

OLIVER HERFORD

by exclusive arrangement with

the author

NEW YORK

MITCHELL KENNERLEY

1908 (Copyright by Henry W. Savage)

As originally produced by

HENRY W. SAVAGE

at Hartford, July 6th, 1908

Staged by Robert Milton, with the assistance
of Julius Herzka, Director-General of the
Volks-Theatre, Vienna

CAST OF CHARACTERS

IN ORDER OF APPEARANCE

SYNOPSIS OF SCENES

ACT I.—Karl Mahler's Studio, Vienna. (Afternoon.)
ACT II.—Conservatory Reception Room at the Hofmanns'. (Evening.)
ACT III.—At Karl's Studio. (The next morning.)

STAGE DIRECTIONS

Up. away from audience
Down. toward audience
Up C. centre of stage, away from audience
R. right of stage
L. left of stage
C. centre of stage
R. C. to right of centre
L. C. to left of centre

THE DEVIL

ACT I

SCENE.—Room next to KARL'S studio. At the back of the stage to the L. is a glass door with portière towards the stage. When this door is opened one can see the studio. Bach of the stage to the R. a fireplace with burning fire. Round the fireplace an elevation about half a yard high reaching into the middle of the room. This elevation is bordered by a wooden railing with an opening on each side—in the middle of the railing an ancient Gothic chair, with back towards the public; the back of the chair must be so high that a person sitting in it cannot be seen by the public. On the R. a door leading into the entrance hall of the apartment. There is a little invisible door covered as the rest of the room, with wall paper, on the L. near the footlights. About a yard from this door, a settee with the head end towards the glass door of the studio. Next to this settee a small, ancient table, about one yard high. On the L. a curio cabinet (small); next to it a hall stand with some shawls of different colors. On L. next the settee a large, gilded, stand-up candelabra, as used in churches.

There are many sketches, framed and unframed, about the room—some statues, some heads, and a very elegant electric candelabra hanging in the middle of the room. The whole thing unharmonious but artistic. Down stage on the R. a medium-sized table littered with books, magazines and bric-à-brac; a large palette lies on the top of some books and scattered among the other things some tubes of paint and paint brushes.

(When the Curtain rises the stage is empty for a few minutes.)

KARL, comes in with hat and overcoat which he takes off

Heinrich! Heinrich!

[HEINRICH, coming from studio.

KARL

Where were you?

HEINRICH

Nowhere, sir.

KARL

The door is wide open; anybody could have walked in.

[HEINRICH goes into the studio and comes out with a velvet house-jacket. Calling after him:

Where's today's paper?

[He finds the newspaper.

Well, hurry up.

[HEINRICH comes back and helps KARL put on his jacket.

KARL, lights a cigarette

Did you take my dress suit to be pressed?

HEINRICH

Yes, sir: he will bring it back in an hour.

[Starts R.

KARL

Good! Here's a crown. Get me a white tie, same as the last one.

[HEINRICH starts R.

Hold on! Put out a dress shirt on the bed, then look for my pearl buttons—they are probably in the top drawer—in a match-box. Stop! Give me that crown. Take this.

[Gives him a bill.

Get me a pair of white gloves, seven and a half. Oh! and Heinrich, before you go, put the Venetian chair next to the window. At three o'clock Mrs. Zanden will be here to have her portrait painted, and I shall be at home to nobody.

[Reclines on the settee.

Give me an ash tray.

[HEINRICH gives it to him.

All right; go along.

HEINRICH

Beg your pardon, sir—

KARL, seated on couch L.

What is it?

HEINRICH

Mimi is here.

KARL

Where?

HEINRICH

Waiting in the studio.

KARL, indifferent, reading newspaper

Send her away.

HEINRICH, goes to the glass door

Fräulein, Herr Marler does not need you today.

[Exit L.

MIMI, coming in

Hallo.

[KARL is silent, continues reading his paper.

[MIMI comes down L.

Don't you want to work today?

KARL

No.

[Continues reading paper.

[HEINRICH goes into the studio.

MIMI, in bad humor, crosses to C.

Good-bye.

[Turns around.

And tomorrow?

KARL

No.

MIMI, sad

Good-bye. (Wipes her eyes.) You don't love me any more ... you don't love me any more.

KARL

Oh! It's going to start again!

MIMI

Ever since last fall you've been different. I knew it right away when you started to paint landscapes. When you are in love you paint Venuses. I know what it means when you start to paint trees.

KARL

You're silly, Mimi.

MIMI

I know it. With her hat and coat on every model is silly.

KARL

Go home, Mimi.

MIMI, goes to head of couch

Yes, yes. Go home! Be a good girl. For a week now you've sent me home without my even taking my gloves off. I'm no use any more.

[Begins to cry but stops it at once.

Look here: I know everything.

KARL

Really?

MIMI

[From behind him, raises his head.

Look at me! Look at me! You want to get married? Tell me No—you don't dare.

KARL

No.

MIMI, comes to L. of him

Oh, you tell me anything you want to my face; but I know you're going to marry a girl named Elsa—the wife of your friend Mr. Zanden has arranged everything—look at me and deny it, if you dare. After all, what's the use! you wouldn't tell me the truth anyway.

KARL

You little mind-reader.

MIMI

She's a nice one, Mrs. Zanden! Instead of taking you on herself, she marries you to a friend of hers. But I don't care; you don't love me any more—doing landscapes all the time.

KARL

Well, what do you want?

MIMI, crosses to R. of him and kneels

Tell me you do love me. (Pouting.)

KARL, bored

Yes, yes—of course.

MIMI, imitating him

Yes, yes, of course. Is that the best you can do?

KARL

Well, what shall I say?

MIMI

Oh! You painters! It's always the same. First you say: "What an angel! What a Madonna! What a Venus! What color! What hair! What lines!" Then all of a sudden, it's: "Oh, my dear! Why, you've gone yellow." The next day you're green, and then it's: "I have no time today." And, first thing you know, you're—pooh! Landscapes. (Scornfully.)

[She goes to him above table at head of couch, takes his head in her hands.

Don't you like me?

KARL, smiling

Why, yes.

MIMI

If you were really nice, you would at least promise to marry me. All the other artists promised. They weren't so mean as you are! Oh yes, I know I am annoying you. I'm absolutely boring you.

KARL

If you were not such a dear little nuisance— [Reaches up and draws her down to him. —I would have done with you a long time ago.

[Kisses her.

And now, run away, little girl: go home.

MIMI

Don't you want me tomorrow? or the day after tomorrow?

KARL

No.

MIMI, crossing to him at couch

You will never have me pose any more for you at all?

KARL, rises; crosses with her to door R.

I'll look in on you this evening on my way to the Zandens'.

MIMI

But you can't work in my house. I've only a lamp!

KARL

Ha! Ha! Ha! Well, we'll put that out!

[Has taken her to the door.

MIMI

Oh, will we!

[Laughing.

Maybe you'll get put out.

KARL

Bye, bye!

[MIMI exits.

[Lights another cigarette—the bell rings sharply. Calls, somewhat excited.

Heinrich! Heinrich!

HEINRICH, comes in from studio

Yes, sir.

[Runs through the door on the R., which he leaves open, and goes off to open the hall door.

KARL

[Fixes his tie nervously, puts away newspaper, puts out his cigarette in ash tray, and arranges his hair. He goes towards the door through which HERMAN and OLGA enter, HEINRICH closes the door from the outside, KARL bows.

Madame!

[Bows silently to HERMAN.

HERMAN, in a hurry

I only came to bring Olga, my boy: I must go back at once.

[OLGA has been looking around.

OLGA, going to C. and over to L.

So this is the famous studio.

KARL, looking around

Funny, isn't it? More like a junk shop.

HERMAN

We might have chosen another day to begin Olga's portrait—we have waited six years, so we could just as well have waited until tomorrow; but the preparations for tonight's ball made Olga so nervous that I thought it best to bring her here. You know this ball is a kind of house-warming.

[Crosses over to C.

OLGA

We were obliged to invite such a lot of people, to clear off our social obligations.

HERMAN

I wish it was over. I hate these functions. Old Freebody, in whose business I started, was worth ninety millions, and he never gave a party in his life—or anything else, for that matter. When do you want me to call for Olga?

KARL, R. C.

Well, it gets dark very early now: in three quarters of an hour we won't be able to see any more.

HERMAN

Well, then—

KARL, looking at his watch

Let's say four o'clock.

OLGA, after looking at a picture L. very closely

Who is that?

KARL

Oh, some model.

OLGA

Wasn't that the girl we just met on the stairs?

HERMAN crosses quickly to L.

I must have a look at her.

[Looks at picture.

[OLGA stands so as to hide picture.

Oh, better not.

[Makes a gesture as if he had seen something indecent.

Well, every minute counts—I must be off.

[Shakes his finger at KARL.

You'll have to stop that sort of thing, now, Karl. You know you are one of the reasons of tonight's ball. Isn't he, Olga?

OLGA

Yes—tonight Karl is to fall in love with his future wife.

KARL, goes L. C.

I shall do my best.

[To HERMAN.

Sentenced to marry! Well, I'm prepared to meet my doom.

OLGA, seated on couch, with a little sigh

At last! I shall be glad.

HERMAN

So shall I. So will the girl. So will Karl.

KARL

I hope so. She's a charming girl.

OLGA

Wait till you—

KARL

I know—I know. I shall adore her. But I have till this evening, you know.

HERMAN, crossing to OLGA

Well, I'm off. My agent may telephone any minute.

[He kisses OLGA'S hand.

I shall call for you at four o'clock, my dear. And don't worry about tonight: the caterer has his instructions.

[Crossing to R., shaking hands with KARL, who holds him back.

KARL, shaking HERMAN'S hand

Aren't you afraid to leave your wife?

HERMAN

Shall I tell you the truth? I'm hurrying because I'm afraid of changing my mind and taking Olga away with me.

OLGA

You're not jealous?

HERMAN, at door

If I wasn't afraid of appearing ridiculous, I would say: Be good! And now, good-bye.

[He goes off, KARL bringing him to the door of entrance hall.

KARL

[Coming back, closes the door, stands still for a minute—when he comes back, OLGA shivers slightly and touches her forehead with her hand.

[Crosses to L. C. by OLGA.

What is it?

OLGA, with a nervous, soft laugh

Nothing—nothing at all.

KARL, tenderly

Are you frightened?

[OLGA does not answer.

Tell me.

OLGA, nervous, confused, as if she was afraid of him

I don't know, but—I feel as if—as if—

KARL

What do you mean?

OLGA, trying to laugh, but very nervously

I had the same feeling once in Dresden, when my mother took me to a boarding-school and left me there. I felt as if I were quite alone in this wide, strange world—and now—you know yourself. I have fought against coming here for six years.

[Looks around.

What a queer place. I don't think I like it. [KARL crosses C. and up laughing. Strange monsters, cut off heads, and you in the middle of all this like a wizard. While my husband was here I did not feel it, but now these heads seem to stare at me.

[She shivers.

KARL

Don't be nervous—every woman I paint comes here.

OLGA, seated on couch, quietly

And do you paint every woman that comes here?

KARL

No.

[Silence.

OLGA

Did you understand my husband just now?

KARL

I think I did.

OLGA

He has often pretended to be jealous, but this time there was a ring in his voice that made me feel that there was something behind it.

KARL

You don't really think he's jealous?

OLGA, crosses to chair

No. But this is the first time I've been alone with you.

KARL

Now we can talk things over. I've wanted to for a long time.

OLGA, leans against R. back of chair

We've done well to avoid it all these years. A good conscience is like a warm bath—one feels so comfortable in it.

KARL

Last Thursday, when we spoke about my painting your portrait, you seemed embarrassed.

OLGA, looks at him; their eyes meet

Don't let us talk about it. I don't want to.

KARL

Don't be afraid of me. If I were not I, your fear might be justified; but as it is, surely we can trust ourselves to talk things over quietly. To think that seven years ago I was a teacher in Herman's family—and I was there the day your engagement was announced—it was the evening of the day we—

OLGA, puts her hand on his, softly reproaching him

Karl.

KARL

—We kissed each other for the first time. Oh, I know. I was only a drawing teacher—but you—what were you? Just a poor little friend of Herman's sisters. Sometimes you were asked to tea in their grand house. And there we met—a beggar boy and a beggar girl at the rich man's table. Do you wonder? And then, just as we realized what we were to each other, one fine day Herman up and proposed to you. Such a dazzling offer—who could blame you?

OLGA, hurt

Please—please, Karl.

KARL

We were two poor little souls who found one another in the wilderness of wealth—only to lose each other. Even the memory of that one little kiss....

OLGA

Dear Karl, don't. We have grown up to be sensible people—we have put it out of our thoughts.

KARL

Oh, I know it's all over. To-day I'm—(humorously) the famous painter, your husband is my friend, and though we see one another every day, we have never spoken of it again. I wouldn't even have the courage to ask you to sit for your portrait. I was afraid, and I think you were afraid. And so was your husband. And that is why until this day—

OLGA, steps down one pace from chair, gives him her hand

You are a real friend.

KARL, goes to her, gently

There's nothing to be afraid of.

OLGA

Oh, it was only my husband's voice—something in his manner that frightened me. He must know what we were to one another, though he has never made the slightest allusion to it, not one single word in all these years. But when he left us here alone, he seemed to feel—

[Breaks off.

But there is no reason for it, is there? We are not in love with one another, are we? And it's just lovely to think that we have not entirely forgotten old times. Don't you think so, Karl?

KARL, goes to chair

Of course I do.

OLGA

Because if we still loved one another, you would not marry, would you?

[Taking off gloves.

KARL

Of course not.

OLGA

So you will be married and you will be very, very happy—and I shall be happy, too, because it is my own idea, and I have picked out a nice girl for you—pretty and clever—

[KARL bows silent acquiescence.

And now—

[Goes up and knocks on back of chair—business of entering imaginary door, etc. She speaks in an everyday voice, in marked contrast to former tone.

How do you do, Professor? I have come to have my portrait painted.

KARL, quite enthusiastic, R. C.

Last night I made a sketch of you from memory.... Oh, I've made lots of sketches of you; but now, now I see you in another light.

OLGA, R.

How do you mean?

KARL

Yesterday I looked upon you as a model. To-day you are a motif—you are a revelation...? there is something in your eyes....

OLGA

Please, please, Karl, we agreed that—that—

KARL

Pardon me, I'll try to remember.

[Goes up on platform.

OLGA

Let's go to work now—it's getting late.

KARL

Whenever you are ready—

OLGA

What am I to do?

KARL, steps behind her to take hat pins out of her hat

Take off your hat and your coat, please.

OLGA

Thanks, I can do that myself.

[She takes her hat and coat off. KARL takes her coat up on platform.

KARL, passing her chair as he goes up

Do you use perfume in your hair?

OLGA

I? Never!

[At chair up in alcove.

KARL

Oh, then it is the natural perfume of your hair.

[She looks at him reproachfully.

Pardon me: I stood too near.

[Looks at her in silence. She crosses back of large chair to couch L., and sits facing audience.

OLGA, nervously, turns her head to him

What is it?

KARL, leaning against big chair, looking at her dress

I was just thinking—didn't your husband say an evening frock?

OLGA

Yes. Herman wants me painted décolletée—in an evening gown; just a head and shoulders, you know. I would have preferred a street dress.

KARL

I'm afraid I agree with Herman on that point. But have you?... Didn't you?... Where is the dress?

OLGA

Oh, I thought you would only be painting my face the first sitting.

KARL, comes C., laughs

So you thought I began at the top of a portrait and painted down?

OLGA, hesitating

Yes.

KARL

Why, the drawing of the shoulders is almost more important than the head in the first sketch.

OLGA

Oh, dear. How stupid of me.

KARL, crossing L.

I'll tell you what—

[He selects some draperies from those hanging in the corner.

I have some draperies here—

OLGA

Well—

KARL

You can arrange one of these around your shoulders like—like an evening gown.

OLGA, mechanically

Yes.

KARL, hanging drapery on cabinet L.

You will have to be quick because it will soon be dark. Here are the draperies—you'll find some pins over here, and I'll go into the studio while you—until you—

[Goes to door of studio.

OLGA, seated

Until when? Why?

KARL

Why, if I'm to paint your shoulders—well—

[Turns away towards studio.

—your blouse?

OLGA, terribly embarrassed

Of course—

KARL

Do just as if you were at home. I'll close this door.

[Goes to door R. to entrance hall and locks it.

And now I'll go into the studio ... and you can lock this door yourself.

[He has opened the door of the studio and has made one step into studio, and now says in a low tone:

Oh! It's snowing.

[He looks at Olga.

OLGA

Snowing?

KARL

Snowing hard.

[Silence.

OLGA

Hadn't we better?—perhaps—perhaps—tomorrow—or—or—

[She has been saying this very slowly, as if afraid, but now suddenly regains confidence, as if she had had a saving idea.

Tomorrow I could bring my maid.

KARL

Oh, no, no. Your husband would certainly want to know the reason, and really—if this door is closed—

[He goes back to his studio.

It's too bad! This snow takes all the light away. But never mind—never mind; the snow shovellers will be glad of it.

[He has spoken the last few sentences in a very low voice, as if the situation was painful to him. He goes backwards into the studio and now closes the door. [OLGA is standing with her back towards the studio, staring in front of her. She now shrinks together, shivers, turns around. Sudden resolution, she turns the key, locking the door to the studio. Slowly unbuttons her blouse, looks at the shawls, of which she chooses one, afterwards takes her blouse off quietly, putting the shawl around her shoulders. She has put the blouse on the settee before she arranges the shawl. She now picks up the blouse and wants to put it on the chair in front of the fireplace; her arm is already stretched out when she suddenly drops the blouse, utters a suppressed shriek, dropping blouse by chair, and crosses quickly to foot of couch.

[The DEVIL, in fashionable frock coat, a crimson carnation in buttonhole, a man of from thirty-five to thirty-eight years old, resembling in face classical Mephisto, very elegant, picks up the blouse and offers to OLGA in a most polite manner.

DEVIL

Pardon, Madame.

[Comes C. a little.

I think you dropped something.

[OLGA takes the blouse mechanically and looks at him frightened.

I must beg your pardon, Madame. I came from lunch. Karl was not at home. I waited and I fell asleep in this very comfortable chair.

[He rubs his eyes.

Forgive me, Madame, for opening my eyes at a moment when, for propriety's sake, I should have at least kept one eye shut.

OLGA, puts blouse on couch and goes L., horrified and disgusted

Oh!

DEVIL, Right of couch L.

I am aware this is a base insinuation—of course you only come here—

[Ironical.

OLGA

To have my portrait painted.

DEVIL

I once had a similar encounter at a dentist's; and the lady, to prove that my insinuations were false, did not hesitate to sacrifice a perfectly good tooth.

OLGA

I tell you, I—

DEVIL, very polite

Oh, I know—you speak the truth. I am even at liberty to believe it, though your truth is only partly in style. Truth should have nothing on at all, you know.

OLGA

The insolence! What right have you to speak to me? Who are you? What are you doing here? Karl!

[KARL tries door outside.

Karl!

[She opens the door of the studio, KARL appears on the threshold and looks surprised at the DEVIL.

DEVIL, crosses up R. C. very quickly

How do you do?

KARL, taken aback

How do you do?—er—how are you?

DEVIL, quickly

You don't seem to remember me—we met at Monte Carlo—

KARL, up L. C.

Oh, yes.

DEVIL

Quite an eventful day it was.

KARL, comes down a little

Yes, yes, I remember. It was last fall, and I had just lost all my money at roulette. As I turned from the table, I caught sight of a stranger frowning at me.

[Pointing to DEVIL.

It was you. I was startled, because only a moment before I had seen you next to the croupier, and I thought I heard you laugh when I lost. But now I remember—you stood behind me, and when I had lost everything, you offered me, a total stranger, a handful of louis d'or.

DEVIL

You refused—beggingly.

KARL

Yes, but—

DEVIL, continuing

You took them—protestingly.

KARL

In five minutes I had won everything back, and 20,000 francs besides. Your gold seemed to have magic power, I remember. When you gave it to me it seemed to burn.

DEVIL

But you paid me back and invited me to supper. I had to refuse, because I was obliged to leave for Spain the same evening, but I promised to look you up the next time you needed me—

[Crosses to R.

and here I am.

KARL

Well, I'll be—

DEVIL, interrupting quickly

Don't mention it. I took a little nap in your chair.

[Goes up to back of big chair.

OLGA, goes C., pointing to big chair. Frightened

It's very strange—this chair was empty; there was nobody there.

DEVIL, stepping towards her, bowing; in a tone allowing no contradiction

Then I was mistaken, Madame.

[OLGA goes over behind couch L. Silence.

[OLGA and KARL look at the DEVIL suspiciously.

KARL, L. C., embarrassed

Won't you please sit down? Allow me to introduce you. I quite forget your name....

DEVIL, R. C.

Call me anything you like: we only call names when the party is absent; but I am here now—call me Miller, or Brown, or Black.

[Start from KARL. DEVIL stops him.

If you think Doctor sounds better, why not call me Doctor Miller?

KARL, very much embarrassed

Doctor Miller—

[Crosses to R. C. The DEVIL kisses OLGA'S hand devoutly at foot of couch.

Under ordinary circumstances, I should now take my hat and leave;

[Goes up C.; turns.

but my infinite tact compels me to force my presence upon you in this disagreeable situation.

[Sits down in chair C.

OLGA, crossing to KARL; to the DEVIL

How dare you! Karl! This man has the insolence to—

DEVIL, seated C. Very quickly

Your husband has been dead some time?

OLGA, R.

I'm not a widow.

DEVIL, very quick

Oh, divorced?

OLGA

No.

DEVIL

Well, if you think that I have insulted you, I should say the proper person to refer me to would be your husband.

[Rises; to KARL:

Of course, if you wish, I am at your disposal also.

[To OLGA:

But, Madame, this would be admitting—

KARL

What's it all about? I don't understand you. You come in here, I don't know how or where from, and you—you act as if you had trapped us—

OLGA, goes to KARL R. C.

The idea!

DEVIL

Say what you like: I cannot go.

OLGA

Why not?

DEVIL

If I were to go now, it would be as much as to say: "Pardon me, I fear I intrude." But if I remain, I show that I suspect nothing.

KARL

We don't need your assurance.

[OLGA crosses to L. below couch.

DEVIL, bows politely; embarrassing silence

Suppose we talk about something else. I think we are in for a snowstorm.

[Standing R. of studio door. Silence.

[OLGA stands near the door leading to the studio, quite astonished.

Are you sending anything to this year's exhibition?

KARL, uncomfortable

Perhaps—I may send something.

[Silence. The DEVIL lights a cigarette at table L. C.

DEVIL, puffs cigarette. On second puff

Permit me, Madame.

[OLGA, picking up blouse, as if suddenly awakened and realizing her position, goes into the studio, closing the door behind her.

Full of temperament—full of temperament. And pretty, too.

[KARL starts to light cigarette at table L. C.

KARL, dropping cigarette, crosses to chair up C., sits and looks at the DEVIL without speaking

DEVIL

Too bad she doesn't love her husband.

[KARL turns quickly towards the DEVIL. Quick:

How do I know? The way she turned to you just now when she fancied herself insulted—it didn't escape me.

[KARL takes up the ash tray and throws it angrily on table.

No; she doesn't love her husband. He must be either a genius or a very common man. Marriage with them is always unlucky. Believe me, common men live so low that women are afraid somebody will steal in at night through the window which they forgot to lock. And Genius, well! That lives on the top floor—so many stairs, no elevator. Her ideal is—

[A motion of the hand, wanting to express an even, middle position.

—the second floor.

[KARL looks impatiently at his watch and goes towards the door of the studio. The DEVIL leans back blowing the smoke of his cigarette, indifferently.

This is the second time I have seen her shoulders.

KARL, coming down left of couch

What do you mean?

DEVIL

The first time I saw them was in Paris—

[Start from KARL.

at the Louvre—only they were on the Aphrodite. Am I right?

KARL, crossing to large chair R. C. In bad humor

How should I know?

DEVIL, lifting himself upright, cynically

Which shoulders have you not seen?

KARL, angry

I've seen the Aphrodite.

DEVIL, seated on couch

Well, you may take my word. I have seen them both. And, believe me, since Alcamenes, I have only known one sculptor who could model such shoulders.

KARL

Who's that?

DEVIL

Good living. Such tender, soft lines are only possible for a woman who lives exquisitely well. I take it she is the wife of a millionaire?

[KARL goes again towards door of studio impatiently.

Is she dressing?

KARL, nervously

I suppose so.

DEVIL

Is there a looking-glass in your studio?

KARL, comes down L. of couch

Yes.

DEVIL

She must be very respectable.

[KARL looks at him astonished.

If a lady takes as long as that to dress before a looking-glass, she's not a—model—anyway.

KARL, crosses around foot of couch to table L. C.

Look here! I think your remarks are, to say the least, in very bad taste.

DEVIL, standing erect

Do you mean that?

KARL, aggressively

I do.

DEVIL, patting KARL'S cheek

Then you must be respectable, too.

[Crosses to big chair, KARL stares at him astonished.

In a situation like this, only a very respectable man can be so infernally stupid.

[KARL crosses to R. OLGA opens door of studio, goes towards KARL without looking at the DEVIL, who is hidden in chair.

OLGA, dropping shawl on couch

What's the time?

[Crosses to KARL, R.

DEVIL, looking up over back of chair

He'll be here in ten minutes.

OLGA, angry

Who?

DEVIL

Your husband.

OLGA

Oh! So you weren't asleep after all.

DEVIL

Oh, yes, I was.

[Rises.

But "What's the time?" always means the husband. A woman's intuition invariably anticipates her husband's coming by ten minutes. If it wasn't for that ten minutes, there would be more divorced women—

[He goes and unlocks the door of the hall.

—and less locked doors.

[KARL crosses to L. C.

OLGA, taking her hat

Will this never stop!

DEVIL

I tried to change the subject. I started to speak about the weather—the Exhibition—but Karl wouldn't have it.

OLGA

Karl!

KARL

I? I haven't said a single word.

DEVIL, crosses to big chair

But your actions fairly shouted. The way you jumped up, looked at your watch, went to the door—

[To OLGA:

He was afraid, the poor fellow.

KARL

Afraid of what?

[L. C.

DEVIL, to OLGA

That your husband would come before you had finished dressing. I don't blame him.

OLGA, R.

What, again!

[Goes up to hat.

KARL, L. C.

Can't you—

DEVIL

Come now! Let us be logical—let us look the situation in the face. Enter your husband—

[OLGA comes down R.

"Well, here I am: where is the picture?" "The picture?"

[Shrugs his shoulders.

"There is no picture. Karl hasn't even touched a brush." Your husband is astonished—he tries to speak—the words stick in his throat—he gasps: "Well, if you didn't paint, why is she dressing?" Imagine the situation! You look at one another horribly embarrassed; Karl stammers something, but that only makes it worse. Nothing has happened—and yet the mischief is done. What mischief? Appearances—appearances. They're like fly-paper. There's no getting away from them.

[Speaking to OLGA:

You go home with your husband, and he doesn't speak—and if you ask him: "Why don't you say something?" his blood seems to boil. If you ask him to take a cab, he suspects that you want to avoid meeting somebody—every word that you utter tortures him. And if—

KARL, C.

And if it were so, we are not alone, you are here.

DEVIL, icy and cynical

Just so, I am here—one word from me would save the situation—but—I know myself—I'm a strange, whimsical, almost cruel man—and I'm afraid I won't say the word. Tableau! Embarrassing silence! Then I say: "I regret that I should have come at such an inopportune moment." I take my hat and walk out discreetly. If necessary, I can even stammer my excuses.

OLGA

If this is a jest, it's a cruel one.

DEVIL, bowing low

Possible, Madame—but I can do better still. Of course, if you prefer it, I can make conversation—when your husband comes in, I can tell him that the portrait has not been touched and ask his pardon—

OLGA

Pardon? Pardon for what?

DEVIL, bowing For having—quite accidentally—seen your shoulders.

OLGA, horrified

Who are you?

DEVIL

I am one who always comes at the right moment—I come from Nowhere.

[Very bitingly.

I am here—

[Touching OLGA'S forehead.

OLGA

What do you want with me? You turn everything to evil. I have scarcely known you five minutes, and I seem to feel your fingers at my throat.

DEVIL

That's because I like you. With most pretty women I take longer.

KARL, furiously, starts towards him

Look here: this has gone far enough!

[Makes a few steps towards the DEVIL, who stands erect without moving. At the same time, HEINRICH comes to the door, which he opens, and starts speaking at once.

HEINRICH

The tailor has sent an evening suit, but it is not yours, sir.

DEVIL

Put it on the chair in the bedroom.

KARL

But it's not mine.

DEVIL, gives a sign to HEINRICH to go out and do as he was told. Speaking to KARL

It's mine.

KARL

Yours?

DEVIL, makes motion to HEINRICH, who goes out

[During speech OLGA goes up and gets her hat. KARL walks back and forth L. C.

I had to have it pressed. I told the tailor to send it here. I must dress for tonight. I'm going to a ball the prettiest woman in Vienna is giving at the house of the Duke of Maranse.

OLGA, coming down R., frightened

But the Duke does not live there now—he's Ambassador in Madrid; he has sold his house—to us.

DEVIL