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New\brk  World  -Telegram 


®bü 


SCIilf>PS  HOWAKB] 


VOL.  118— NO.  220— «sI?5oT3S?" 


Local  Forpcast:  Some  cloudiness  tonighi  and  tomorrow.  Sc  att  red  showe rs  by  morning.  Weather  Fotocajit  on  Pag«  45. 


NEW  YORK.  TUESDAY,  MAY  22,  1951 


kf  Mr*  Tork  W< 


Copyntb».  i»\ 
World- T'li'rTÄ-B 


7th  SPORTS 

FINAL 


BASEBALL-RACING 


(ritm  G^^ronriMan. 


FIVE  CENTS 


Hes  One  in  500! 


GOMMIES  RUN 


WEST 


RIP  BAP 

IThe  Scoreboard 


EAST  FLANK 


VINCENT   ISOLDI. 


Photo  bjf  Rtvenna. 


Shy  Guy,  12,  Named  Best 
Spor+WinsTrIptoCamp 


The  cat  can  gel  his  tongu^.  but 
Inot.  his  smlle. 

Vincent  Isoldl,  12,  was  just  aboul 
iiroud  enouKh  to  hast  »hen  he 
las  derlared  winner  today  of  the 
Ihildren's  Aid  Society»  Good 
irtsmanship  contpst.  He  le- 
iJved  the  23rd  annual  George 
ie  Nichols  medal. 
^ul  he  wasn't  doing  much  talk- 

|aybe  his  unwillinRness  to  pop 

ibout  hls  achievements  is  one 

ie    reasons    his    fellow    club 

pers   and   soclety   Supervisors 

fd  he  was  a  (?ood  sport. 

500  in  Conteat. 
liie  was  chosen  from  500 
[i-olds  who  are  meinbers  of 
clety  s  seven  clubs.  His  club 
Jamet:  Children's  Center. 
bester  St.,  where  the  award 
lade 

»asr  of  hi.<  all-around  abil- 

sports,    art.s    and    crafts, 

IK   and  dramatlcs.   and   be- 

^e  wins  and  loses  with  equal 

jie'U  gel  a  two-weelc  vaca- 

|s  summer   at  one  of   the 

four  camp.5,  wlth  all  ex- 

Mid. 

provided  by  the  George 
fhols  memonal  award,  es- 
by  Mrs.  Pierre  Jay  Wurts 
|)ry  of  a  friend's  .son  who 
,  the  atje  of  12  and  had 
ird   for    his   good  sports- 

A  Big  Smile. 

received  the  medal  from 

iGilson.   Supervisor  of    all 

iches  of  the  society.    He 

I  slightly.    smlled    a    mile 

threw   an  arm   around 

Iders  of  Joseph  Sirc.   12. 


Joe  al.so 

Daniel 
Vinnie 
and   a 


irn  Says  U.S. 
ilienate  India 


>TON.      May      22.- 

Rayburn    'D.  Tex.i 

li<;r  tnday  defeat  of  a 

|nr    India    might    rosl 

»he  friends  It  has  in 

benris  In  Ihls  world 
a'pr    needed    them 

|urn   said  in  nne 

|ousp  Speeches. 

Iiipporl    of    a 

^cy    loan     to 

the  United 

Lmlne.    The 

lilar  bin. 

t'ing  peo- 

(ht   that 

|on     we 

tr  «ny 

Mr. 

ap- 
to 

i)ale 
a 
iv. 


the  second-placp  winner 
gets  two  weelts  in  camp 

The  .'^on  of  Mr.  and  Mrs 
I.«oldi  of  203  Grand  St.. 
is  an  ardent  Dodger  fan 
Jacicie  Robinson  rooter. 

His  favorite  subjects  at  PS  130 
are  malhematics  and  gymna.<lum. 
He  want.s  to  be  a  carpenter  when 
he  grnws  up  "  'cause  I  like  to 
make  thlngs." 

Big-Time  Con  Man 
Now  Coins  Oimes 

Jaiied  Pending  Trial 
A$  Counterfeiter 

Edward  S.  Hidden,  49.  a  fliclc- 
longued  confidence  man  who  has 
fallen  from  $100.000  Xraud  deals 
to  the  piddling  busine.ss  of  making 
counterfeii  dimes,  wsls  arralgned 
today  in  Pederal  Court  and 
.socked  away  In  Jall  to  await  trial 
Monday. 

Hidden,  also  known  as  John 
Hall  Wat.son.  Robert  Wheeler, 
Robert  Williams  and  Lawrence 
Haywood,  is  wanted  In  as  many 
place«  Bf  he  has  name.s:  Brookl.vn, 
the  Bronx.  Montreal.  Pittsburgh 
and   Manhattan. 

.So  He  Chanced  lt. 
His  name  originally  wa.s  John 
Hall  Watson  but,  he  insists.  sev- 
eral  years  ago  he  had  it  changed 
itrally  to  Edward  Seymour  Hid- 
den. At  present.  he  said,  he  lives 
wilh  his  mother.  Mrs.  John  Hall 
Wal.^on,  at  161  E.  79th  St. 

A  Short,  gray-haired,  gray-mus- 
tached  man.  he  was  arresled  April 
13  after  he  allegedly  .slipped  a 
baich  of  phony  dimes  he  had  made 
in  a  plaster-of-paris  mold  Into  a 
stamp  machine  in  a  Brooklyn 
candy  .störe. 

Made  $20  In  tU  a  Dar. 
The  proprietor.  Mrs.  Helen 
Sundgrund,  became  suspicious  of 
him  and  a.sked  to  .«ee  the  dimes. 
Hidden  fled.  but  was  caught  by  a 
pa.ssing  policeman  He  had  85 
counterfeit  dimes  in  hls  pockets. 
and  according  to  police.  admitted 
maklng  $20  to  $30  a  day  by  get- 
tlng  stamps  wilh  the  slugs. 

Apparently  becnu.se  of  Hidden's 
long  record  of  ball  Jumping,  Ped- 
eral Judge  Robert  A.  Inch  ordered 
him  hrld  in  $1500  bail  and  then. 
wlien  he  couldn't  produce  it.  re- 
manded  him  to  the  Pederal  Hoase 
of  Detention. 

Hidden's  background  Is  atudded 
with  fraudulent  deals.  the  most 
fascinating  of  which  occurred  in 
1942  when  he  promoted  $125.000 
out  of  local  bnslne.s.smen.  accord- 
ing to  an  indictment.  by  saylng 
he  had  a  fleet  of  schooners  to 
cairy  caigo  to  Puerto  Rico  during 
the  years  when  U-boats  were  men- 
acing  shlpping. 

Only  an  Anrient  .Srhooner. 
Actually.  according  to  As.sistant 
U.S.  Attorney  Jeremiah  J  Sulll- 
van,  Hidden  had  only  an  anclent 
bay  .srhooner  that  was  un.va 
worthy,  and  a  few  bnrges  The 
schooner  sank  on  Us  flrst  voyage 
and  one  sailor  was  drowned. 
Hidden.  wno  attended  Yale  Unl- 
erslty  for  three  years.  was  in- 
cted  by  a  federal  grand  lury  on 
Charge  of  using  the  mails  to  de- 
i,Tud.  but  according  to  Mr.  Sulli- 
he  iumppd  the  $2300  ball  and 
Charge  is  still  pendinß. 
Prddled  Phony  Pill». 
viously,  he  h.Td  been  ariestrd 
Ulli«  phony  rcductna;  plll> 
onih«  to  RIkers  Island';  for 
phony  patent  medlcine 
ei;  for  pa.s.'ilng  worth- 
rks  itumped  ball';  for 
p  mails  to  rtefraiid  i  two 
nd  for  putting  slugs  In 
ephone.  iHe  escaped 
held  for  questlonlng. ' 


Latest  Baseball  Results 

AMERICAN  LEAGIIE.  R.    H. 

Browns  1000000  — 

Yankees  0400101  — 

Garver  and  I.ollar;  Rrynnldn  and  Berra. 

Tigers  100      000      110   —    3      7 

Red  Sox  0   0   1      10   0      4    0        -   6    1 1 

Gray.  White  and  (iinsberg;  MeDermott  and  Mos«. 
CilANTS  at  CHICAGO,  postponed,  rain. 
All  other  ganiM,  night. 


2 
0 


Belmont  Park  Resulti 


(Chart»  and  Other  Raring   Resultx  in   Sportf  Section.) 


1— Whit.suntide  (Arcaro). 

FIRST.  2-Roz's  Boy  (Bolandi 

3  -.Stevie  Dear    iGuerln). 


16.20 


9.00 
5.70 


S.90 
4.20 
3.70 


1 — Carry  Me  Back  iCole»    _ 

SECOND.  2— Master   Brian    (Guerin>_ 

3 — Mid  Reward  (Atkln.son)_ 

Daily  double  paid  $51.00. 


4.30 


3.40 
11.80 


2.50 
S.OO 
2.90 


Royal  Yugoslav  Exiles  Turn 
Press  Agents  to  Make  Liv'mg 


THIRO. 


1— Band  Leader  (Adams)- 
2— My  Good  Man  (Pield). 
3 — Rank  (Aasteatt) 


20.70 


6.50 
3.00 


1— Tina  Lazar   (ErricO. 

FOURTH.  2— Mlle.  Ell    (Wall» 

3— BlessusgaLs  (Boland). 


4.60 


2.80 
4.00 


1— BatUefleld   »Arcaro» 3.20 

FIFTH.  2— Nulllfy    (Cole)._  _    — 

3 — General  Stall  «Mehrten«),  v.       — 


1— Unclc  Edgar  lOuerlni 

SIXTH.  2 — Stunts  (Arcaro) 

3— Navy  Chief   iHettlnger). 


5.30 


2.40 

iSo 


3.30 


The  World-Telegram  and  Sun  Sports  Serfion  Leads  the  Field. 


U.S.  Golfers  Reach 
Third  Round  in  Brifain 


Hy  th^  Vnitrd  Prrat. 

PORTHCAWL.  Wales.  May  22.— 
Defending  Champion  Frank  Stran- 
ahan  of  Toledo.  Ohio,  and  Sam 
Urzetta  of  Rochester.  N.  Y..  the 
U.S.  amateur  titleholder,  led  an 
advance  of  13  Amerlcans  into  t.ie 
thlrd  round  of  the  British  ama- 
teur golf  championshlp  today  in 
the  wind  and  rain. 

Playing  under  far-from-löeal 
weather  conditions  on  the  66.58- 
yard  Royal  Porthcawl  course,  six 
other  members  of  the  victorlou.s 
U.S.  Walker  Cup  team  al.so  .scored 
spcond  round  victories.  while  «n- 
olher.  Harold  Paddock  of  Cleve- 
land.  was  among  the  five  Yanks 
who  were  bealen. 


Yanks-Browns 

By  DANIEL. 

Sportx  Writer. 

YANKEE  STADIUM.  May  22.— 
The  Yankees  tried  for  a  swrep  of 
the  three-game  seric.s  as  they  con- 
cluded  Operations  wlth  the  Browns 
today. 

Ned  Oarvef.  credited  wlth  flve 
of  the  .«even  games  won  by  the 
Browns,  faced  Allie  Reynolds,  who 
had  a  2-2  record.  The  attendance 

(Cnntiniied  on  Page  401 


The  vlctorlous  Walker  Cuppers 
in  additlon  to  Stranahan  and  Ur 
zetta,  were  Willie  Turnesa  of  Elm.<: 
ford,  N.  Y.,  who  won  the  Britls 
amateur  title  in  1947;  Dick 
man  of  Pinehurst.  N.  C.  runne 
up  in  1950  and  1947;  Bill  Cam 
bell     of     Huntington.     W.     Vi 
Charley   Coe   of   Oklahoma   Cil 
Jim   McHale  of  Philadelphia   a 
Bob  Knowles  of  Brookline.  Ma- 

(DelaiU    in    Sports    Sertlon.){ 

U.S.  Plugs  W.  Gemii 
Trade  Leak  to  Reds 

Rj/  Ihr  A^Mncintrtl  Prfx*. 

WASHINGTON.    Miy    22 
United  States  today  prohlbited 
ports    of    Strategie    materlals 
Western  German  business  firtni 
individuals     engaglng     in     iHlcai 
trade  with  Ru.ssia  or  its  satpHltes 
The     Prohibition     Is    effectivp|  at 
once. 

The  action.  whlch  is  an  »tlifnpt 
to  break  up  such  trade,  wa* 
ommended  by  U.S.  High  Cnn 
sioner  John  J.  McCloy.  His  ex 
at  Prankfurt  had  said  the  PI 
bition  would  be  usefui  in  »to 
leakage  of  vital  goods  lo  lhP|Rpci 
blor. 


To  Seil  Produc+s 
With  Prestige 

Kxüed  King  Peter  and  Queen 
A  'xandra  r>f  Yueosiavia.  de.scribed 
s'  "an  average  young  mairied 
co'iple  that  has  t,o  m'ike  money." 
ai''  going  to  work  for  Roy  de 
Gioot,  public-relations  counselor, 
of  551  Pifth  Ave. 

The  young  monarcli.s  ihe's  27. 
.she"g  30'  never  have  had  to  wrestle 
wiih  the  intricale  mysleries  of 
suc^h  things  as  Social  Securlty 
Cards,  unemployment  Insurance 
and  workmen's  compensation,  but 
they're  willing  to  learn. 

Income  Not  Enough. 
Mr.  de  Groot,  who  modeslly  ex- 
pl-iins  that  he  is  the  proprietor  of 
one  of  the  city's  "small  public- 
rflations  Offices,"  ouMined  the 
royal  dilemma  which  forced  Peter 
aiid  Alexandra  to  Join  America's 
« lite-collar  group. 

"They  have  a  small  income.  but 
'  isn't  enough."  said  Mr.  de  Groot. 
The  famlly  fortune.  of  course,  is 
4.00  ii,.|d  up  in  Yugoslavia.  So,  the 
2-401  kng  and  queen  were  faced  with 
6-10  u-n  ways  of  making  a  living; 
"2^  One,  they  could  take  the  cheap 
2  80'**''  "-  Bettlng  Publicity  tieups — 
2  50J.VOU  know,  pictures  of  the  king 
— — iiUitching  a  glass  of  Uquor,  and 
2-''] Sil  that;  er,  two,  they  could  take 
,fl-ßO|i/)s.  .hey  dedded  to  do  that." 
•*'***-i^^r jj  i«  nrnni^  announced  that 
trear«er  the  royal  coniue  «.  "" 
"available  for  Consultant  sen 

ires  and  public  appearances  fnr 
.  limited  number  of  pre.stige 
lients." 
Bolled  down,  that  means.  Mr. 
'  Groot  .«aid,  that  the  king  prob- 
3ly  will  help  to  Introduce  a  new 
vp«  of  Sports  car  to  the  Ameri- 
nn  market — drivtng  it  around 
.ind  exhlbiting  It  to  dealer.s — and 
;hat  the  queen  will  design  cloth- 
::ig.  Then.  too,  there  are  some 
oiher  projects  belng  lined  up,  but 
nothing's  definite  as  yet. 

Meanwhlle.  Peter  and  Alexandra 

and   thelr  6-year-old    .son.  Prince 

Alexander,  will  continue  to  live  in 

'.'lelr    three-room    apartment    ton 

;  i7th    St..    near    the    East    River. 

Thelr  only  attendant.  according  to 

.Mr.  de  Groot.  is  a  nurse  for  Alex- 

,. Inder. 

Hell  Meet  V.9.  Youth.. 
I  Plans  are  being  made  to  enter 
Alexander  in  "a  democratic.  co- 
fducational  school"  where  he  will 
It  able  to  meet  all  kinds  of 
Amerlcans. 

Queen     Alexandra,     a     former 

nrincess  of  Greece,  leaves  the  tiny 

ipartment  usually   for     big  occa- 

Mons"    only.    Mr.    de   Groot   .said. 

But  King  Peter  loves  lo  ".«lip  out 

iif   an   evening.   wander   to   Times 

■Square    and    stand    in    llne    at    a 

I  rnovle  house.    He  even  gets  a  kick 

inut   of   it   when    he    gets    pushed 

around   and  hls  toes  are  stepped 

on.     He  loves  Western  fllms  and 

goes  to  them  as  often  as  po.s.slble." 

"Most    of    all."    added    Mr     de 

Groot,  "he  wants  to  live  and  work 

Uke  an  averace  American." 


WilloughbySailsforU.S. 

B»  Ihe  Ax$oclttted  Prrts 

TOKYO.  May  22.— Mal.  Gen. 
Charles  A.  WlUoughby.  Gen.  Doug- 
las MacArthurs  intelUgence  offi- 
cer  for  almost  10  years.  today 
salled  for  the  United  States  and 
retlrement. 


Wa  ir"är?^^^^^^D  ll  c  y 
In  Korea,  Bradley  Says 


Srn.  Alexander  Wilrv  iR.. 
Wm.i  deiiouiices  as  a  "damvrd 
he"  aiiy  xuaQcslion  that  he  pMx 
to  "gel  adtniiiixtratinn  icitnexxes 
at  the  MacArthur  hearing.  See 
patje  S. 

Bv  RAYMOND  LAHR 
and  JOHN  L.  STEELF. 

United  Prexx  Sla/f  Writent. 

WASHINGTON,  May  22--Gen 
Omar  N.  Bradley  .said  that  Amer- 
ican political-military  poKcy  in 
Korea  was  ■still  »  wait-and-see 
proposition"  that  hinued  on  how 
the  current  Communist  offensive 
turned  out. 

Gen.  Bradley  made  this  State- 
ment to  the  Senate  Aimed  Serv- 
ices and  Foreign  Affairs  Commlt- 
tees.  investlgating  Gen.  Douglas 
MacArlhur'.s  di.scharse.  He  spoke 
in  respon.^e  to  queslions  by  Sen. 
Leverett  Salton,>tall  R.,  Ma.ss.>. 
who  told  him  it  appeared  ihat 
the  nation  was  following  a  nega- 
tive poiicy  In  Korea. 

Sen.  Saltonstall  read  from  re- 
port,s  of  the  Joint  Chiefs  of  Staff 
that  on  Peb.  13  and  again  on 
March  15  the  high  command  was 
unable  to  gel  the  .State  Depart- 
ment lo  define  political  objectives 
in  Korea. 

State  Wanled  (o  Walt. 

The  rhiels  reported  that  the 
State  Department  wanted  lo  walt 
until  the  militarv  oulook  had  been 
clarified.  Bi:l  the  Chiefs  wanted 
a  decision  on  political  goals  .so 
they  could  settle  on  the  course  of 
mllifary  action. 

The  March  15  report  roverM  a 


It  Sounded  Like  ffop  Corn  Popping ...' 

First  Jet  Ace  Describes  Red  Dogfigtit  as  He  Gets  DSC 


By  Iht  Voilfi  rrni 

TOKYO,  May  22.— The  first  lel 

ace  in  vlatlon  history  said  today 

he  feels    Just  like  a  knlght  out  of 

the    p  a  g  e  s    of 

history." 

Capt.  J  a  m  e  .s 
Jabara  of 
Wichita,  Kan., 
explalned  it 
this  way  as  he 
war  awarded 
the  Dlstln- 
RUlshed    Servire 


i 

^^B      Crnss: 
'mtlk  "We 

Cipt.  Jamts  Jabtra  our  iet.s 
jp     to    the     Manchurian 
.■vcry  day.     The  enemy 
In  hls  Jet,«.     II 's  always 


I     Capt.  Jabara  was  decor^lcd   by 
Lt..   Gen.   Earle   E.  Partner 
ing  Commander  of   the   " 
Air  Forces,  after  one  "f 
test  Jet  battles  In  hisinrv 
In  that  battle  he  got  two|*nen,y 
planes,  givlng  him  *  ^^*\  "'  Mx 
Russlan-built      MIO-l»» 
down  over  Korea.  1 

The  dogflght,  m  whirh  Com- 
munist MIOS  battled  • '  P-86 
Sabre-Jets,  ranged  from  'Oon  to 
5000  feet.  1 

Capt.    Jabara   entered   f»   700- 


get     In 

and  go 

border 

comes  up 

the  same 


place.  There's  probably  never 
^>een  such  apprently  prearranged 
meetings  on  the  battlefield  slnce 
the  feudal  knlghts  met  to  fiffht 
't  out.    Its  crasy." 


nrl- 
Käst 
hot- 
'inday. 


mlle-per-honr    battle 


Breat 


dl.sadvBiilaee    Pilots  of  '  |/'«bre- 
jets  normally  Jetlison  ^J^^  wing 


tanks  when  they  slghi  »•  J^V  air- 
rraft.  but  he  was  una'^"]  ^  drop 
one  of  hls.  ,„,^ 

vhat 
It    sounded    like    wtien    r"    R^^s 
were  on  hi»  fall  "'''^"j."'  '^'m 
■It  sounded  like  tv''^'"   P«p 


His  plane  was  .so  out  of  balance 
wlth  one  wing  tank  on  and  one 
off  that  he  had  to  u.se  both  hands 
on  Iha  stick  to  control  it.  He  .said 
the  battle  was  so  rough  that  to- 
day he  still  feels  like  he  had 
played  four  füll  quart«r»  of  fool- 
ball. 

"Im  «ore  all  over,"  he  ,sald. 

How  döes  It  fcel  to  be  the  flrst 
Jet  ace  In  history? 

"Sort  of  nice. '  he  said.  "I'm 
glad  it  happened  to  my  out  fit.  I 
think  the  41h  Flehter  Interceptor 
Wing  is  the  best  o\itrit  in  the  Air 
Porcp." 

'Have   (o   Get   the   Break«.' 

Biit  don't.  you  have  to  be  good? 

"You  have  to  get  the  breaks.'" 
he  replled.  "You  have  to  he  In  th« 
rlght  plaA«  at  the  rlght  time.  If 
you  get.  the  brealw.  .you  come  out 
ahetd." 


How  rio  you  fppi  when  you  are 
.shooting  down  another  pllot  and 
his  plane? 

"We  go  out  on  misslons."  he 
answered  "The  misslon  Is  to 
shoot  down  enemy  aircraft.  When 
I  shoot  at  an  enemy  plane.  I 
figure  Im  knocking  down  a  plane. 
I  dont  think  about  the  pllot.  What 
happcns  to  the  pllot  Is  immaterial 
to  me  '■ 

Capt.  Jabara  li.«ts  Wichita. 
Kans  .  ai  hi.s  home.  Whpn  he  wa.< 
graduated  from  high  .school  hc  en- 
Itsted  immediatplv  -  the  next  day 
in  fact  in  the  Air  Force  as  an 
aviation  cadet.  He  has  de^-oted 
hii  life  to  flylng  ever  slnce  that 
day  In  May.  1942. 

Now  27,  he  has  a  wlfe  and  two 
rhildren.  Mrs.  .labara  and  the 
chlldren  are  at.  MrKinney.  Texa,s 

The  boy  t*  2'/»  and  the  «tri  1« 
7  months. 


meeling  at  which  effort.s  to  ob- 
tain  an  understanding  with  the 
State  Department  were  postponed. 

Gen.  Bradley,  chairman  of  the 
Joint  Chiefs,  testified  that  the 
i.ssue  "pertained  primarily  to 
whether  nr  not  we  crossed  the  38t  h 
parallel  in  the  spring,  and  at  this 
lime  it  was  pretty  much  under- 
stood  XhAt  we  would  not  be  able 
to  get  any  political-military  poiicy 
until  we  had  been  able  to  see 
what  would  happen  in  Ihis  next 
offensive  ■' 

It't  .Still  Wait  and  .See. 

"It  Is  a  fact,  of  course,  that  thi.« 
is  still  a  wait-and-see  proposition," 
Gen.  Br.idley  said. 

Sen.  -Saltonstall  insisted  that 
this  addi'd  up  to  a  'negative  poi- 
icy. the  negative  poiicy  of  trylng 
to  stop  the  will  of  the  Chinese  to 
be  aggrc.-;.sor.s  by  killing  them  off 
or  by  .siopping  them  in  any  other 
way." 

Gen.  Bradley  replied: 

"Well,  that  and  the  fact  that 
this  all  added  up  10  the  propo.sed 
armistifp  terms,  if  you  want  to 
call  it  that.  which  our  governmenl 
was  disnissing  with  the  other  gov- 
ernmenls  involved  in  Korea,  and 
which  wa.s  .sent  over  to  Gen.  Mac- 
Arthur  for  commrnt." 

He  snid  Gen.  MacArthur  him- 
.self  later  announced  the  armistice 
plan  and  thus  '■voided  any  chance 
of  submitting  it  as  a  United  Na- 
tions  proposition.  " 

Still  Hope  for  Something. 

"We  still  hope."  Gen.  Bradley 
added.  that  the  United  States  again 
will  be  In  a  Position  to  "propose 
something"  for  settling  the  war 
Ihrough  the  United  NaMons. 
something  that  would  lead  to  a 
negotiated  peare  .Sen.  Saltonstall 
asked   If  the   MacArthur  hearings 

(Continued  on  Pate  2.) 

Tobey  llrges  Senators 
To  Call  Off  the  Probe 

Hy  lltr  ürilril  Prt.l 

WASHINGTON.  May  22 -flen. 
Charles  W.  Tobey  iR..  NH.)  told 
hls  colleagucs  Investlgating  the 
di.scharee  of  Gen.  Douglas  Mac- 
Arthur today  that  they  were  mpn 
of  no  "gumption  or  common 
.sensp"  and  shonid  'ring  down  the 
curtain"  on  their  inquiiv. 

Sen  Tobey  interrupted  lesti- 
mony  by  Oen  Omar  N.  Bradley 
to  gel   a  few  ihlngs  off  his  ehest 

I.  .Senators  with  ■'absolutely  no 
miliiaiy  trainlnc."  he  said  are 
putting  mllltaiy  queslions  to  mili- 
tary  experts  to  'try  to  stlr  the 
animals  up." 

2  'We  have  got  Ihe  whole 
conntry  hy  the  ears  piittlna  out 
btilleHns."'  and  Josef  Stalin  is  the 
blr  ffAlner, 


Chinese  Hing 
Arms  Aside  in 
HeadlongFliglit 

South  Korean  Linei 
Give  Way  Near  Coast 

Bv   EARVEST  HOBERECHT, 

Vniied   Prpsx   Stall    Weiter. 

TOKYO,  May  23  (Wednes- 
day). — The  Chinese  Commu- 
nist retreat  turned  into  a. 
rout  in  westein  Korea  today. \ 
But  in  the  east  the  Reds  at- 
tackcd  with  renewed  fury  25 
miles  .south  of  the  38th 
parallel. 

A  dispatch  from  the  west- 
ein front  said  the  Reds  were 
abandoninp  ammunition  and 
supplies  north  of  Seoul  in 
their  haste  to  e.scape  pursu- 
ing  Allied  tanks  and  infan- 
try. 

The  pursuit  «mashed  to  the 
Imiiim  River,  26  miles  northwest 
of  Seoul  and  fiva  miles  south  of 
the    parallel. 

Censorship  concealed  virtually 
all  facts  abou't  the  fighting  in 
ea-stern  Korea,  but  one  dispatch 
said  Communis!  troops  attacking 
there  rtpped  a  wide  gap  in  South  / 
Korean  lines  beiween  Pungam  and  ' 
the  east  coast. 

Highway  Reported  Cut. 

This  report  said  Ihe  Reds  cut 
the  lateral  Kaugnirng-Wonj'i 
highway  In  the  mou'.italn  area 
rast  of  Piuicam.  Allied  Command- 
ers threw  reinforcements  into  the 
area  in  an  effort  to  seal  off  th« 
Red  breaklhrough. 

Front  di.spatches  said  the  Red» 
were  either  in  headlong  flight  or 
out  of  contact  along  a  70-mile 
front  from  Munsan  east  to  the 
U.S.  2nd  Divi.sion  area  southeajt 
of   Chunrhon. 

The  retreat  was  most  ,.0- 
nounced  north  of  Seoul.  South 
Korean  forces  advanced  virfua.ly 
unopposed  to  the  ImJin  River.  On 
their  righl  an  Allled  tank-lnfantry 
force  Struck  deep  into  enemy  ter- 
ritory, It  killed  some  Chinese. 
Inok  others  prisoner  and  destroyed 
abandoned  supplies. 

Reds  I/eave  Equipment. 

Air  reports  said  the  fleeing  Feds 
were  carrying  all  they  could  with 
them  on  their  backs  and  on  pack 
animals.  but  were  forced  to  leave 
ammunition  and  equipment. 

In  the  Pukhan  Valley  northea.st 
of  Seoul  other  Allied  forces  gained 
5' 2  miles  in  a  general  advance. 
South  Koreans  crossed  Ihe  Puk- 
han River  .south  and  southeast 
of  Changgong  tChongpyong»,  23 
miles  northeast  of  Seoul.  An 
American  tank-lnfantry  rolumn 
was  driving  for  Changgong. 

The    Reds    attempted    to    hold 
their  Hnngchon  River  line  east  of 
Changgong.   but   American   forces 
breached  it  latc  yesterday. 
Wade    Swirling    Stream. 

Infantrymen  covered  by  artillery 
and  tank  fire  waded  the  swirl- 
ing,  walst-deep  mountaln  stream 

(Continiird  on  Page  t.) 


The  Weather 

(OlHcial  United  States  Forecast.) 
New  York  City  and  viclnity. 
Northern  Nrw  Jersey  and  Lonr 
Island'  Some  cloudiness  tonitht 
with  Chance  of  scattered  ahowera 
toward  morning.  Tomorrow,  .«otnc 
cloudiness,  less  humid  wlth  tem- 
peratures  much  the  same  as  to- 
day. Low  tonight  60  to  65;  high 
tomorrow  near  80.  Moderate 
southerly  Winds  tonight  becoming 
northwesterly  toward  morning  and 
continued  tomorrow. 

Connecticut:  Partly  clotjdv, 
litile  change  in  temperature  to- 
night and  tomorrow. 

riVK-DAT  roitrcAST 

Fnr«ii«i  for  indriT  thrnuiti  a«Ti(hirr 
flhnwprn  likfir  IndflT  or  tonlitht.  a^ia 
«bniir  Sa'urdaT:  r«ln(»!l  nne-outrt»T  t" 
thrK'-quirtfr.v  inrh.  Coolfr  wcdnFidaT 
or  Thiir'iJ'T  Wtrmfr  by  Tr\i»t.  Coel»r 
likfly  over  'ht  wfpliniil 

Comnlete  report  on   päd«  4A. 


Ton«T-s  ar.Annvrui. 


1  k    m 

2  ».  m. 
^  ^.  m 

4  «    m 

5  n.  m  ■  - 
*  «.  m 
1  *  m 


Tm-p   H'im 

«n 

11% 

Hfl 

**     »1 

M        «1 


T»mp  H-im 


»  1.  m  ~—  •* 

»  •  m  —  «s 

1(1  •  m *» 

11  »   m 7' 

Nonn 

1  p  m  — 

]  p.  m 

1  p   • 

<  r 


Yrkr   »fy.   H.gh    M. 

»  M       P 

HIJ*—  J  W      I. 
eunrtsr.    $  S]   . 


;> 


f 


NRW    YORK    wr)RLP:T;Et.EGRAM    AND    SUN.    TUE3PAY.    MAY    22.    1951. 


Carlo  Storia 


The  World  Over 

(Prom  D'npatchHi  of  United  Prea  and  Associated  Press) 

l+äly  Begins  +o  Modernize  Its  Navy; 
Bid  for  Bigger  Armed  Force  Made 

TIIESDAY,  MAY  22,  1951. 
Rapid  modernization  of  the  Italian  navy,  with  U.S. 
help,  is  under  way  to  prepaie  it,  under  Mediterranean 
defense  plans,  to  protect  the  llalian  coast  and  to  convoy 
merchant  shipping.  The  task  Involves  modernization  of 
two  old  battleships  and  construction  of  20  new  light  units. 
Under  the  peace  treaty,  Italy  is  limited  to 
a  25,000-inan  navy  of  67,500  tons.  But  the 
new  treaty  navy  will  provide  the  nucleus 
for  greater  expansion  if  the  Allies  agree  to 
Italy 's  request  that  the  peace  treaty  be  de- 
clared  "extinct."  Foreign  Minister  Carlo 
Sforza  has  suddenly  stepped  out  in  the 
open  with  that  request  after  months  of 
quietly  sounding  out  Western  powers.  And 
Washington  sourcos  said  Italy  probably  will 
be  allowed  to  build  beyond  its  treaty-lim 
ited  300,000-man  armed  forces  eventually.  But  right  now 
officials  think  Italy  is  pressing  the  issue  too  fast.  The 
time  is  not  ripe,  with  the  U.S.  denouncing  Russia  for  let 
ting  its  satellites  build  armed  forces  bigger  than  their 
treaties  allow. 

Europa,  Africa  and  Asia. 

Madrid"s  workers  walked  to  work  today.  The  boycott 
of  the  public  transportation  system  was  a  demonstration 
against  high  living  costs.  But  as  far  as  could  be  learned 
the  call  for  a  general  strike  in  Spain's  capital  had  not 
becn  heeded.  The  Walking  workers  braved  official  threats 
of  firings  for  lateness  or  absence  f rom  Jobs. 

• 
Warsaw  reported  that  Puland  and  Russia  have  agreed 
on  a  land  exchange  which  gives  the  Soviel  a  railroad  link 
■In  lyUblin  Province.    Poland  gets  a  small  parcel  of  Ukran- 
ian  territory,  including  an  oil  and  natural  gas  area. 

• 
British  Foreign  Secretary  Herbert  Morrison  was  in 
Vienna    reportedly    to    discuss    with    Austrian    officials 
attempts  by  the  West  to  get  Soviet  agreement  to  the  long- 
Üelayed  Austrian  treaty  of  independence. 

• 
In  Bonn.  Vice  Chancellor  Franz  Bluecher  complained 
.that  the  Allies  have  set  too  high  a  coal  export  quota  for 
West  Germany.    He  predicted  a  coal  shortage  next  winter. 

• 
In  Paris,  six  Allied  air  forces  prepared  to  start  Exercise 
.Umbrella  tomorrow  to  lest  Western  European  defenses 
against  air  attack. 

The  West  Berlin  city  government  refused  to  license 
the  German  Socialist  political  party  on  the  ground  that 
most  of  its  platform  points  are  patterned  after  the  old 
Nazi  book  of  rules. 

• 

The  Israeli  cabinet  prepared  to  consider  the  United 
Nations'  order  suspending  drainage  Operations  in  the  de- 
militarized  Hulch  swamp  area.  Syria  contends  the  work 
violates  the  true  agreement. 

• 

Western  deputies  in  Paris  told  Russia  bluntly  that 
two  items  dcmanded  by  the  Sovicts  could  not  be  placed 
on  the  program  for  a  Big  Four  foreign  ministers  Confer- 
ence. They  are  the  Atlantic  Pact  treaty  and  American 
bases  in  Europe  and  the  Middle  East. 

• 

The  cnd  is  near  for  the  last  seven  Nazis  condemned 
Jor  war  crimes,  Frankfurt  reports  indicated.  Wives  of  the 
.seven  said  they  had  received  permission  for  final  Visits 
Thursday. 

• 

Pacific  and  the  Orient. 

In  Singapore,  British  Malaya  anno 
shipments  of  rubber  to  Communist  China 
flow  that  has  mounted  to  120,000  tons  since 
of  the  Korean  war. 

• 
Communist  China  and  Pakistan  announced  agreement 
for  Joint   diplomatic   recognition   and   the  exchange   of 
ambassadors. 

• 
Formosa  reported  that  Information  from  the  mainland 
said  a  Russian  general  presided  at  the  meeting  at  which 
the  present  costly  Chinese  Communist  offensive  in  Korea 
was  arranged. 

• 
Smuggling  of  luxun,'  items  into  the  Philippines  from 
North  Borneo  is  worrying  President  Elpidio  Quirino.    He 
will  seek  British  co-operalion  to  halt  the  activity. 

• 

Western  Hemisphere. 

Mexico  City  was  hit  by  an  acute  meat  shortage. 
Butchcrs  closed  their  shops,  blaming  cattle  suppliers  for 
catering  to  higher-paying  export  markets. 

• 

In  La  Paz,  Bolivian  police  arrested  Sen.  Juan  Lechin, 
active  supporter  of  exiied  mine  union  leader  Victor  Paz 
Estens.sora  for  the  presidency. 


Walt  and  See  Is  Poiicy  In  Korea,  Bradley  Says 


(C.ontinued  Fi'tm  Page  One.) 

had  not  re.sulted  In  a  more  def- 
Inlte  poiicy  on  Korea.  Gen.  Brad- 
ley .said  he  dldn'l  know  that  he 
would  admlt  that. 

Military  poiicy  regardlng  For- 
tno.sa.  Gen.  Bradley  .said.  i.s  and 
ha.s  been  that  the  U.S.  .should  im- 
prove  the  equipment  of  the  Na- 
tionallst troop.s  thcre  and,  wlih 
that.  "their  abillty  to  hold  For- 
mcsa." 

The  U.S.  mllitary  Chiefs  do  not 
want  the  Island  to  fall  into  hostlle 
hand.s,  he  said. 

Sen.  Bourke  B.  Hlckenlooper 
(R.,  Ia.>  a.sked  what  kind  of  Ko- 
rean peace  terms  would  be  .satis- 
factory. 

That  i.s  a  political  declsion  and 
eventually  will  be  a  United  Na- 
tions political  decislon,"  Gen. 
Bradley  replied. 

Sen.  Hickenlooper  asked  what 
the  U.N.  forces  were  trylng  to  do 
in  Korea. 

"Well.  I  think  that  is  a  very  fair 
question."  Gen.  Bradley  replied. 
"and  I  think  it  Is  one  that  has 
bothered  the  people. 

"We  have  tried  to  stop  this  as- 
gi'e.s.sion  and  not  appea.se  in  the 
matter,  and  in  doing  so  we  have 
gat»en  mixed  up  in  a  pretty  good 
fighl. 

Hope  for  Nerotiations. 

"From  the  military  point  of 
View,  we  hope  that  by  InflicluiR 
severe  casualtie.s  on  the  enemy 
and  proving  to  theni  that  they  are 
not  Invincible,  that  they  cannol 
yain  anything  by  aggressive  ac- 
lion.  that  it  is  too  costly  a  matter, 
that  they  have  been  let  down  by 
Russia  In  getting  in  11,  that  they 
will  be  wilUng  tu  negutiate  u 
peace." 

Sen.  Hickenlooper  wanted  to 
know  whether  American  objectlves 
included  driving  the  Red  Chinese 
and  North  Korean  armies  "clear 
out  of  North  Korea." 

"At  the  pre.sent  time  that  is  not 
our  objective,"  Gen.  Bradley  re- 
plied. 

Asked  if  U.N.  troops  again 
would  go  north  of  the  38th  paral- 
lel, he  said: 

"We  are  fighting  an  action 
without  rega^d  to  the  38th  paral- 
lel. In  other  words.  we  are  not  ai 
the  present  time  contained  at  the 
38th  parallel  from  the  military 
point  of  View.  We  are  trylng  to 
Infilct  maximum  casualtles  with  a 
mlnimum  to  ourselves,  so  that  we 
can  get  some  kind  of  a  negotia- 
tion. 

May  Take  Place  Anywhere. 

"That  may  take  place  where  we 
are  now,  north  of  it  or  .south  of 
it,  but  in  any  case  we  hope  to  get 
a  negotiation  and  a  settlement  ou: 
of  lt." 

Gen.  Bradley  said  there  were 
three  cholces:  (!>  "Get  out  and 
for.^ake  Korea":  (2>  fight  it  out 
without  commltting  too  great 
forces,  and  <3i  "going  to  all-out 
war  and  committlng  .sufflclent 
forces  to  drive  these  people  out  of 
Korea." 

Gen.  Bradley  said  at  present  the 
nation  was  foUowing  the  second 
choice. 

Seh.      Hickenlooper      sugge.sted 
that    the  U.S.    was    pursuing    pn 
*  "■     a  m  ""' 
s  woui 


decislon,  then  a"  of  our  mll.iary 
people,  all  of  our  top  people  that 
are  here  and  who  are  respon.-lble 
for  world-wd  iestrategq  and  woli 
have  knowledge  of  our  capability, 
are  all  wrong,  and  you  are  righ  . 
I  am  sorry  If  we  dont  agree  on  lt. 
bui  we  would  Hke  to  try  to  make 
it  thls  way." 

Gen  Bradley  al'*o  sa'd  Ihat  the 
military  Chiefs  had  argued  for 
"conomie  sanction.s  agaln.st  Red 
China  "ever  since  China  got  mto 
the  Korean  Situation."  He  added 
that  the  military  had  not  changed 
its  Views  on  using  Nationalist 
troop.s 

In  past  Hearings.  Gen.  Bradley 
had  .said  the  Chiefs  preferred  to 
keep  Nationalist  troops  where  they 
were  for  defen.se  of  the  Strategie 
Island.  Later,  perhaps,  they  niight 
be  useful  elsewhere,  he  has  said, 

Gen.  Bradley  testified,  as  he 
had  repeatedly  bcfore,  that  the 
war  might  Iheoretically  be  short- 
ened  by  bombing  Chine.se  ba.ses  in 
Manchuria.  attacking  Chine.se 
loa.stal  eitles  and  blockading 
China.  But  he  added  that  "wlial 
worries  us  most  is  that  you  are 
running  a  ri.sk  of  starting  World 
War    III." 

As  had  Defense  Secretary 
Geoige  C.  Mar.shall.  Gen.  Bradley 
cited  the  Rus.so-Chinese  mutual 
defen.se  treaty  and  said  an  attack 
(>n  China  mighl  bring  the  Soviel 
Union  into  the  wai-. 

Sen.  William  F.  Knowland  iR.. 
Calif.  I  a.sked  what  the  Jomt 
Chiefs'  evaluation  of  Formosa  whs 
in  November-December,  1949.  Gt-n. 
Biadley  replied:         


"We  have  alway.s  had  the  vlew 
that  Formosa  had  very  ronsider- 
able  Strategie  value,  if  held  by  the 
enemy.  We  have  always  said  it  did 
not  have  sufficient  Strategie  value 
to  justify  our  occupying  It  with  our 
own  troops." 

Sen.  Knowland  questioned  Gen. 
Bradley  aboui  a  confldentlal  bul- 
lentin  of  D^c.  23,  1949,  in  which 
the  State  Department  said  For- 
mosa had  "no  special  military  sig- 
nificance"  and  that  il  was  a  mis- 
taken  populär  conception  that  It 
was  strategically  important  to  the 
U.S.  Sen.  Knowland  wanted  to 
know  who  was  advising  the  State 
Department  on  the  island's  Stra- 
tegie Importe nre.  and  the  general 
replied  he  didn't  know. 

Presse«   for   Concluslons. 

Sen,  Knowland  then  turned  to 
the  June  2.5  meeting  at  Blair 
Hou.se,  the  President'«  residence, 
preceding  US.  entry  into  Korea. 
He  pre.s.sed  Gen.  Bradley  for  the 
concluslons  stated  by  officials  al 
that  meeting.  The  general  said  he 
didn't  remember  the  concluslons 
of  any  individual  and  "wouldn't 
attempt  to  State  them  here  unless 
I  could  remember  tliem." 

Q.  "Not  even  the  concluslons?" 

A.  No  sir;  I  dont  remember  the 
concluslons  of  any  individual  at 
that  time." 

Q.  "Now,  general,  had  it  not 
been  the  poUcy  of  the  Department 
of  Defense,  prior  to  the  24th  day 
of  June,  that  Korea  was  not  the 
most  desirable  place  to  become  in- 
volved  in  a  war'.'" 

A.  "We  had  said  it  wa.s  not  the 
place  to  fight  a  major  war." 


Q.  "Could  you  give  the  con- 
clusion.s  as  expressed  at  the  Blair 
Hou.se  meeting  of  June  25  of  the 
spokesmnn  for  the  Defense  Dp- 
partmeni,  .Secretary  John.son 
ithen  Defense  Secretary  Louis 
Johnson)'.'" 

A.  "No  sir.  I  don't  remember 
what  was  said  by  any  individual 
at  that  time.  Senator." 


Reds,  Routed  in  West, 
Break  Through  in  East 


(Conlinued  Fruni  Hage  One) 


against  heavy  machinegun  and 
mortar  fire  and  establlshed  suli- 
.stantial  bridgeheads  on  the  north 
bank. 

The  Chine.se  fought  from  ridges 
overlooking  the  river,  falllng  back 
from  ridge  to  ridge  as  they  were 
pushed  north. 

The  U.S.  2nd  Division,  which 
broke  the  Communist  offensive  in 
a  five-day  battle.  sent  patrols 
.stabbing  more  than  a  mile  into 
enemy  territory  against  onlyslight 
resistance. 

Air  reports  Said,  however.  the 
Reds  were  "Streaming  down  the 
mountain"  east  of  the  2nd  Divi- 
.sion's  llnes  "by  the  thousands  " 
The  Reds  were  headed  for  the 
breakthrough  area  in  the  Allied 
line  east  of  Pungam. 

Enemy  spearheads  already  ■were 
south  of  Sok."5a,  25  miles  below  the 
38th  parallel,  the  dispatch  said 
But  censors  blacked  out  the  exact 
width  and  depth  of  the  Commu- 
nist breakthrough. 

An  8th  Army  .spokesman  called 
the  Situation  in  the  breakthrough 
area  "a  rat  race." 


The  GIs  Fired-Smack 
Into  'Eye  of  a  Needle' 

»y   WIMJAM   BIRSON, 

United  Prcs.i  Staff  Writer. 
CENTRAL    FRONT,  llke  Jacks  In  a  box.  pop  back  mto 


ON  THE 
Korea,  May  22.— Two  artlllery 
Shells  that  screamed  across  a  500- 
yard-wide  valley  and  into  a  cave 
filled  with  Communlsts  saved  the 
day  for  an  American  infantry 
Company  and  enabled  it  to  setze 
an  Important  hill. 

It  was  an  example  of  precision 
Biming— with    the    target    a    pin- 
polnt   sllghtly    le.ss    than    half    a 
mile  away— and  it  worked. 
Cils   Outrianked. 

Chinese  troops  had  outflanked 
8  battalion  commanded  by  Lt. 
Col.  Danzll  L.  Baker,  Mathlas. 
Tex..  without  realizing  lt.  The 
battalion  had  halted  the  eastern 
thrust  of  a  three-pronged  drive 
and  wound  up  with  Its  maln  line 
of  resistance  behind  ln.ste«d  of  in 
front  of  the  battalion's  ob.serva- 
tlon  post. 

You  could  look  .south  from  the 
post  and  .see  some  300  Chinese 
crouched  in  Ihe  natural  crevlce 
formal  Ions  honeyrombing  thecrest 
of  Needle-Eye  Hill. 

They  were  dlrectlng  their  llre 
the  other  way  and  didn't  .see  us— 
or  maybe  they  thought  we  were 
their  comrades. 

Up  the  wooded  hill  started 
George  Company,  commanded  by 
Capt.  Warren  H.  Cooley,  Van 
Nuys.  Calif.  Btit  for  the  thick 
woods  his  force  might  have  been 
^wiped  out.  For  eight  houis  the 
Iroops  Inclied  up.  unable  to  see  tlie 

^ncealed    enemy    laying   down   a 

»dly  fire. 

trom   o\ir  hlll    we  eouldn't   see 

Cooley  and  his  men  but  had 

Ijn  viPW  of  Ihe  Chinese.  They 

Littand  up  to  fire  and  then. 


their  holes. 

Their  best  hiding  place  was  a 
cave  that  looked  llke  a  railroad 
tunnel.  We  could  see  sl«  men  who 
would  fire  from  near  the  entrance 
and  then  scurry  inslde.  It  was  Im- 
possible  for  any  George  Company 
men  to  hit  them. 

Col.  Baker  called  for  a  75-mllll- 
meter  rlfle  to  be  set  up  on  our  ob- 
j^ervation  past.  First  Lt.  Wiley  Mc- 
Garity,  Atlanta,  directed  a  crew 
that  set  It  up.  He  looked  over  to- 
ward  the  enemy  cave  and  re- 
marked: 

"It  looks  Just  like  the  eye  of  a 
needle." 

The  men  set  the  gun's  ränge 
earefuUy  and  fired.  The  flrst 
round  whlzzed  slratght  through 
the  cave. 

The  .second  «hell  smacked  into 
the  cave's  roof,  showering  the  oc- 
cupanls  with  rock  and  shrapnel. 
Four  Chinese  ran  out  and  up  the 
hill. 

Then  a  bannge  was  directed 
onto  a  large  area  of  the  hill,  with 
mortars  from  the  Valley  to  the 
west  Jolning  in. 

Knemy  Routed. 

George  Company  began  movlng 
up,  throwing  grenades  to  clear 
an  assault  path.  Il  stoiraed  the 
crest.  and  nearly  200  enemy  troops 
fled  to  the  east. 

At  7  p.  ni.  the  Amerlcans  were 
In  possession  of  the  high  giound 
which  the  Chinese  liad  becn  or- 
deied  to  hold  at  any  cosi.  It 
wa.s  to  have  been  an  artillery  ob 
servation  post  for  their  central 
front  dfive. 


Apparently  angered.  Gen.  Brad- 
ley retorted: 

"Senator,  the  Chiefs  of  Staff 
are  unanimous  in  believ'ng  that 
we  should  fight  this  war  as  we 
are  now  fighting  it,  and  try  to 
run  It  this  way.  lOne  lire  deleted 
by  the  censor.' 

"I  have  füll  confldence  In  those 
three  Chiefs,  and  in  addition  to 
the  three  Chiefs  that  belleve  that 
way,  their  staffs  believe  that  way. 

"Now,  if  we  are  foilowing  the 
wrong  tactics   in   trylng  to  get  a 


■LICÜD   BErr   STEAK    WITH    FRrSH 
MISHROOM   SAUCE 

FEKSH  KU  LEIvrHirKVN  PAPRIK*<H 
wiFk    HrAT7E.I. 

'X'FFKD  I.IVK  LOBSTER  TIIERMn><>R 


/<!efiivihin/ 


5  fAST  aW"  st    off   f.'"  KM 


COMPLETE    I   eOURSE    DINNER 

SERVEO    REASONABLY    PRICED 

FRENCH-HUNCARIAN  CUISINE 

(lliirkrn     Paprikauli 

l.iubalrr   'l'hrrmidur 

Air-(^ondilionril 


Fresh  Chinese  troops  and  tanks 
were  reported  moving  east  and 
southeasl  either  to  exploit  the 
Soksa  breakthrough  or  for  a  new 
assault  on  the  battered  but  rein- 
forced  U.S.  2nd  Division. 

Probing  Attack  Halted. 

The  Communlsts  threw  two 
battalions— 1600  or  more  troop.s — 
against  the  2nd's  line  south  and 
southeasl  of  Hangye  in  a  probing 
attack  early  yesterday.  The  dlv- 
ision's  guns  laid  a  curtain  of  steel 
and  explosives  ot\.  both  sides  and 
behind  the  attackers,  then  syste- 
matically  annihilated  the  trapped 
Communlsts. 

By  7  am.  all  the  enemy  had 
been  killed  or  dispersed. 

The  2nd  Division  alone  Is  be- 
lleved  to  have  slaughtered  40.000 
Communist  troops  since  the  Reds 
launched  the  second  round  of 
their  spring  offensive  last  Wednes- 
day. 

•  Unofficial  sources  placed  total 
enemy  casualties  on  all  fronts 
durlng  the  flrst  six  days  of  the 
assault  at  more  than  80,000. 


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If 


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»nciAiiti»  IM  nniM«  ihi  haiiow  mii 

163  FIFTH  KilM^V*  NEW  YORK  17 
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> 


PARK  EAST 


THE  MAGAZINE  OF  NEW  YORK 

Alexander  Tailleur,  President  and 
Publisher 

A.  C.  Spectorsky,  Editor 

Clyde  f.  Newsti^and,  Managing  Editor 

Mildred  L.  Neiman,  Associate 

Joseph  C.  Jones,  Art  Director 

Iles  Brody,  Restaurants 

Gilbert  Seldes,  The  Arts 

Hilda  Horbs,  Beauty 

B'Ann  Thompson,  Carriage  Trade 

Nathan  Mandelbaum, 

Fashion  and  Merchandise 
Andree  Vilas,  Food 

Herbert  Schwartz,  Calendar  aml  Guides 
Lewis  Morton,  Books 
Alexander  Kirkland,  Stage 
George  Wiswell,  Promotion 

Winn  J.  Eller,  Advertising  Director 
Marshall  Hayes,  Circulation 


All   nianuscripts  and   art   submitted 

must   be   accompanied 

by    a    stamped,    self-addressed    envelope. 

The   Publisher   is  not   responsible 

for   unsolicited    material. 

Park    East,   220    East    42nd    St.. 

New   York   17,   N.   Y.   MU   7-7325 


OCTOBER,      1951 

FEATURES     AND     FICTION 

COVER    KY   TOM    FUNK 
6       KINC;   WITII   A   SP  ade,   QUEEN   WITH  DIAMONDS 

John  Mariot  Graham 
1  4     sc:alpi:ms  and  Brokers     Richard  B.  Gchman 

1  8     Hovv  I  LOST  THE  WORLD  SERiES     Zachanj  Gohl 

AUTUMN  constellation: 

2  2  THEATER     Bert  McCord 
2  6  Music     Cecil  Smith 

2  9     swANNiE  SONG     Charles  Isaacs 

3  4       WHAT    NEWS    ON    THE    RIALTO?       iJoyd    MovriS 

4  3       RACKETEERS    AND   REFORMERS    IN   CII Y    HALL       Rohert    BcndinCr 

5 1      cooKiNc;  WITH  oiL     Andrcc  Vihis 
FASHION     AND     BEAUTY 

5  4       LEt's   STAY    HOME 

5  8       OVER   THE    WAVE    LENGTHS       IHkUl    llohhs 

DEPARTMENTS 
2     carriac;e  trade     B'Ann  Thompson 

4       RESTAURANTS:     ALMANAC    OF    GOTHAM       lU'S    BrodtJ 

4  1     THE  LivELY  ARTS     Gilbert  Feldes 

6  2       NEW  YOUK   INTELLIGENCER 

6  4     BOOKS  IN  REVIEW     Lcicis  Morton 
GUIDES 

6  7       THE  MONTH  AHEAD 

7  1        REVIEWING  THE  THEATER 
7  1        IIEVIEWING  THE   MOVIES 


Editorial    Footnotes 


^ 


ZACHARY   GOLO 

BASEBALL'S  CLASSIC,  the  World  Se- 
ries,  begins  the  first  week  of  this  month, 
and  to  get  you  set  for  this  American 
extravaganza,  to  prep  you  for  the  hours 
of  TV  viewing  (coast-to-coast),  to  at- 
tune  you  to  the  constant  blare  of  radios 
and  to  the  elevator  man's  caustic  morn- 
ing  comment,  we  offer  "How  I  Lost  The 
World  Series"  (page  18),  an  "it-could- 
only  -  happen  -  in  -  Brooklyn"  story,  by 
Zachary  Gold. 

Mr.  Gold,  his  wife,  "who  is  a  foot 
shorter  than  I  and  twice  as  pretty,"  and 
two  daughters,  "both  wonderful,"  have 
been  around.  One  winter  there  was  a 
hotel  in  Monaco,  last  summer  a  flat  in 
London,  now  Sherman  Oaks,  California, 
nestled  in  the  San  Fernando  Valley— 
"as  beautiful  a  Valley  rimmed  by  moun- 
tains  as  I  have  ever  seen."  "But,"  says 
Mr.  Gold,  "we  used  to  live  on  the  Cor- 


ner of  Avenue  N  and  13th  Street  in 
Brooklyn,  which  I  like,  too,  and  still 
sometimes  miss." 

THE  SAME  MAN  who  startled  and  de- 
liglited  you  vvith  his  "Footnotes  to  the 
Windsor  Memoirs"  which  we  puhlished 
a  year  ago,  brings  you  now  the  first 
of  a  two-part  report  on  Peter  of  the 
Yugoslavs,  his  Queen,  his  heir,  his  life 
and  loves.  John  Mariot  Graham  in 
"King  vvith  a  Spade,  Queen  with  Dia- 
monds" (page  6)  brings  to  liglit  for  the 
first  time  the  behind-sct'nes  story  of  the 
little  prince  who  captured  tlie  world's 
heart  whcn,  within  a  few  small  hours, 
he  changed  from  schoolboy  to  King. 
What  manncr  of  man  is  this  royal  exile 
in  our  land?  What  are  his  dreams,  liis 
aspirations,  his  anxieties  and  frustra- 
tions?  What  is  he  like  as  a  family  man, 
a  private  (or  semi-private)  Citizen?  Our 
article  reveals  all  the  details. 

IIS  AUTUMNAL  EAGERNESS  for  a  gala 
season  undimmed,  New  York  City  this 
month  enters  on  its  three-hundred-and- 
twenty-fifth  October.  With  this  useless 
but  fascinating  jjtatistic  in  mind.  Park 
East  enlisted  the  skill  of  two  experts  to 
preview     the     Coming     entertainment 


scene,  for  the  edification  of  serious 
aesthetics  and  seekers  after  simpler 
pleasures. 

Bert  McCord,  theater  columnist  for 
tlie  New  York  Herald  Tribüne,  has  writ- 
ten  the  first  part  of  this  preview,  "Au- 
tumn  Constellation"  (page  22).  Mr. 
McCord,  a  product  of  Swiss,  French, 
and  Italian  scliools,  and  possessor  of  a 
degree  from  Princeton,  has  been  a  news- 
paper  man  for  over  a  decade,  with  a 
three  ycars'  stint  in  the  Shuberts'  press 
department.  A  bachelor,  he  has  a  flat  in 
town,  a  typewriter  at  the  Trib,  and  an 
Office  at  Sardi's  Little  Bar. 

Cecil  Smitli,  well-known  music  and 
dance  critic  both  here  and  abroad,  has 
written  for  us  the  "Music"  section  of 
Autumn  Ccmstellation  (page  26).  Mr. 
Smith,  editor  of  Musical  America,  has 
to  his  credit  Musical  Comedy  in  Amer- 
ica, a  book  puhlished  last  year,  which 
is  the  only  full-scale  account  of  the  his- 
tory  of  the  Broadway  musical  stage.  A 
vice-president  of  the  Dalcroze  School 
of  Music,  he  has  been  music  critic  for 
the  Chicap,o  Trib,  an  associate  editor 
of  Theatre  Arts.  A  graduate  of  the  Uni- 
versity  of  Chicago  and  Harvard,  Mr. 
Smith  will  return  to  London  this  spring 
as  music  and  dance  critic  for  the  Daihj 
Fix  press. 


OCTOBER,  1951 


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^^^HriPlRHK^^.i..  _    r 

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Fefer,  Alexandra,  Alcxander-exiled  royal  famihj  of  Yu^oslavia 


king  with  a  spade, 
queen  with  diamonds 


Peter  of  the  Yugoshivs,  rühr  at  eleven, 
exile  at  eighteen,  hic/n/s  in  his  comk-opera 
hadground  Graustarl  and  truc  trügedy 


PETKH  II,  non-practicing  King  of 
the  Yugoslavs— tlu'  most  vigorous 
and  valiant  people  in  Europe,  vvho 
dared  to  resist  HitlcM-  and  now  def>' 
Stalin-and  bis  wite,  Queen  Alexandra, 
make  their  home  in  a  small  apartment 
on  New  York's  East  57th  Street.  The 
royal  eouple,  who  used  to  be  sur- 
rounded  by  butlers,  lackeys,  footmen, 
maids,  and  chefs,  get  along  nowadays 
vvithout  servants— the  Queen  cooks  and 
the  King  washes  the  dishes.  Recently 
on  a  radio  program  devoted  to  the 
praising  of  eorn  muffins  and  similar 
plebeian  but  *iisty  trifles,  the  King  was 
asked  how  he  liked  the  Queen's  cook- 


6 


ing.  His  Majesty  eomplimented  enthu- 
siastieally  Her  Majesty's  eulinary  abili- 
ties;  however,  Alexandra  publiely  de- 
nouneed  Peter's  dishwashing  aeeom- 
plishments.  "He  is  terrible,"  she  said. 
'T  always  have  to  elean  up  after  him." 
Royait)-  probably  longs  just  as  fer- 
vently  for  a  bourgeois  existenee  as  or- 
dinarv  mortals  crave  to  be  prinees,  and 
when'  a  king  is  exiled  this  never-ex- 
pressed  wish  is  finally  fulfilled.  Abroad, 
without  a  crown  upon  his  exalted  head, 
a  king  beeomes  either  a  playboy  or  a 
glor.fied  Babbitt,  or  both.  Most  former 
rulers,  never  having  been  taught  how 
to  earn  a  living,  run  after  Jobs  in  rather 


BY  JOHN  MARIOT  GRAHAM 

a  haphazard  fashion.  King  Peter  is  a 
publieit)  man,  a  preearious  sort  of  oc- 
eupation.  When  he  is  asked  whether  he 
really  is  a  publieit\  man,  the  King  an- 
swers  vehemently,  underhning  his 
words,  "No!  I  am  a  Vuhlic  Relations 
Consultautr  He  also  is  vaguely  con- 
neeted  with  the  Western  Electrie  Com- 
pany. "Nothing  definite  yet,"  he  says 
aboiit  this  latter  job.  Peter  in  his  spare 
time  also  tries  to  aid  Displaced  Persons 
to  eome  to  this  eountry. 

The  King  is  a  short  young  man, 
Standing  five  feet  five  and  one-half  in 
his  stoekinged  feet.  He  wears  moccasins 
by    preference    and    sometimes    allows 

PARK  EAST 


r^ 


them   to    slicle   ofF   his    feet   at   public 

places.  Once  at  El  Morocco,  when  he 

was  discovered  wiggling  bis  royal  toes, 

he    Said    laughingly,    "My    feet    hurt!" 

London  tailors  lament  tbat  it  is  difficult 

to   dress    His   Majesty;    Savile   Row   is 

used  to  lanky  Anglo-Saxons,  but  Peter 

does    not    fit    that    Classification,    even 

though    on    his    mother's    side    he    de- 

scends   frcHii   the   British   royal   family. 

To   make   matters   worse,    the   King   is 

addicted   to  wide   Shoulders,   the  pad- 

ding  mereh    accentuating  his  diminu- 

tiveness. 

As  for  Peter's  plnsiognomy,  he  has 
an  oddly  shaped  forehead,  the  line  of 
his  shin\'  brown  hair  giowing  close  to 
his  eyebrows;  he  has  large  ears,  a  big 
nose,  sparkling  brown  eyes  and  long 
lashes;  a  cupid's  mouth  (inherited  from 
his  mother)  which  discloses  sound  but 
oddly  shaped  little  teeth  (inherited 
from  his  father)  and  too  much  of  the 
gums.  Coming  to  the  chin,  there  isn't 
much  to  speak  of.  The  little  King  has  a 
warm,  pleasing  voice,  speaks  English 
without  a  trace  of  an  accent,  and  laughs 
easily  and  loudly. 

A  royal  personage  generally  seems 
most  impressive  and  puzzling  to  com- 
mon people.  But  Peter's  presence  is 
neither  overbearing  nor  enigmatic.  As  a 
matter  of  fact,  Peter  is  described  ad- 


mirably  by  the  lyrics  of  the  song  My 
BiU-"dn  ordinary  guy,  Walking  on  the 
Street  you'd  never  notice  him."  Let  us 
put  it  i)luntly:  Peter  is  a  king  anointed, 
but  he  has  no  majestic  air  about  lüm. 

THE  character  of  the  King  of  the 
Yugoslavs  is  a  mishmash,  just  like 
anybody  eise's.  The  majority  of  people 
who  know  him  superficiale  describe 
him  jubilantly  as  "cute,"  a  very  charm- 
ing  "boy."  True,  the  King  has  engaging 
manners,  and  possesses  that  certain 
charm  of  youth  which  can  be  so  capti- 
vating.  But  behind  the  attractive  faq'ade 
Peter  hides  a  moody,  changeable,  and 
impetuous  disposition.  We  are  loath  to 
admit  it,  but  Peter  the  Public  Relations 
C^ounsel  is  not  very  good  with  people; 
he  has  not  much  of  tlie  savoir-faire  of, 
sav,  an  Edward  L.  Bernays. 

We  do  not  propose  to  force  the  voung 
King  onto  a  sofa  and  dissect  his  soul; 
liowever,  the  literary  man  doesn't  have 
to  be  a  Balzac  or  a  Stendhal  to  make 
a  blueprint  of  the  ruling  passions  ot 
his  hero.  So  we  must  teil  you  that  Peter 
is  shy  and  unsure  of  himself;  he  is  füll 
of  frustrations  and  inhibitions.  For  one 
thing,  intimate  friends  agree  that  the 
King  is  rather  unreliable.  Not  so  long 
ago  one  of  these  intimates  gave  a  part\ 
in  his  New  York  penthouse  in  Peter's 


honor.  The  King,  off  for  Washington 
two  davs  previously,  had  promised  to 
come  back..  When  he  had  not  arrived 
in  time,  the  host  delayed  the  dinner  for 
an  hour.  C:()ffee  was  being  served  when 
Peter  finallv  telephoned.  "Where  are 
you,  Peter?"  asked  the  host.  "I'm  al- 
ready  in  Baltimore.  1  will  be  at  your 
place  in  a  couple  of  hours.  Do  forgive 
me  for  being  late!"  When  Peter  still 
didn't  show  up,  his  host,  who  knew  the 
King's  weak  points,  decided  to  check  up 
on  him;  he  called  the  Raleigh  Hotel  in 
Washington  and  asked  for  the  King's 
apartment.  In  another  instant  His  Maj- 
esty's  sonorous  voice  oozed  over  the 
long-distance  wire. 

His  nonchalance  is  not  restricted  to 
forgetting  appointments.  It  would,  for 
example,  also  be  futile  for  you  to  write 
a  note  to  Peter  and  expect  an  answer 
-the  King  doesn't  write  letters.  For- 
merly,  when  he  still  had  an  aide-de- 
camp,  Branomir  Popovich,  the  latter, 
struggling  with  his  multifarious  duties, 
attempted  to  answer  the  mail  more  or 
less  regularly.  But  now,  with  Mr.  Popo- 
vich out  of  the  picture,  there  just 
doesn't  seem  to  be  a  chance.  This  aver- 
sion  to  replying  is  significant.  It  mani- 
fests  the  King's  thoughtlessness  of 
others;  it  shows  his  stubbornness  and 
the  fact   that   he  has   in  him   at  least 


KITSTOK« 


The  little  King  with  Regent  Paul  at  Beigrade  Station,  on  his  thin  Shoulders  the  weight  of  hloody  Jüsfonj 


OCTOBER.   1951 


\ 


King  Alexander  of  Yugoslavia, 
an  arbitrartj  ruier,  his  Queen, 
Marie,  and  their  first  hörn, 
Crown  Prince  Peter 


Britisli  air  forcc  represcntatives 

(right),  Marshai  Petain,  France  (center), 

and  General  Goering,  Germanij  (left), 

march  together  at  the  funeral  of  Alexander 

of  Yiigoslavia,  five  ijears  hefore  otithreak  of  World  War  11 


HftMiU 


,ife 


,  ♦'*'i ' 


>« 


*m> 


\ 

■*^^ 

^ 

%ffiH 

f 

m 

^4  ^ 

4i 


yiijx^Ai«^ 


some  of  the  laziness  proverbially  at- 
tributed,  bv  some  Europeans,  to  the 
Slav.  However,  the  King  also  possesses 
some  good  points:  to  begin  with,  he  is 
intelligent.  And  he  is  truly  devoted  to 
his  native  country.  His  patriotism  is 
clearly  expressed  by  his  fervent  wish  to 
go  home  and  "protect  my  people."  Un- 
fortunately  his  keen  mind  is  now  mainly 
focused  on  cars,  aeroplanes,  television 
sets,  the  State  of  his  finances,  and  hav- 
ing  a  good  time. 

King  Peter,  who  never  abdicated  but 
was  deposed-and  deprived  of  his  na- 
tionality-by  the  Yugoslav  Parliament 
following  a  plebiscite,  is  28  years  old. 
He  was  born  in  Beigrade  on  the  6th  of 
September,  1923,  to  the  boom  of  a  101- 
gun  salute  and  to  the  pealing  of  church 
bells.  The  heir  to  the  throne  was  chris- 
tened  Petar,  the  "a"  taking  the  place  of 
the  "e"  in  this  Biblical  name,  thus  put- 
ting  the  emphasis  on  the  Slavic,  or 
Orthodox,  origin.  However,  since  the 
King  has  been  in  exile,  he  prefers 
"Peter,"  probably  wishing  to  avoid  con- 
fusing  our  Western  civilization. 

PETERS  childhood  was  spent  at  the 
Castle  of  Bled,  which  used  to  be- 
long  to  the  Princes  Windischgraetz  when 
this  part  of  Yiigoslavia  had  been  Aus- 
trian.  The  heir  to  the  throne  was  at- 
tended  by  English  governesses,  but  to 
satisfv    the    strong   chauvinism    of   the 
people,  six  pcasant  boys  of  Peter's  age, 
who  had  been  carefully  selected,  joined 
the    Prince    in    his    kindergarten.    The 
homespun      boys      didn  t      stay     long, 
though.  Allegedly  they  were  much  too 
tough,  too  füll  of  resistance,  and  Peter 
was  sent  to  school  in  England,  as  were 
his    two    brothers,    their    Royal    High- 
nesses   Prince  Tomislav,   now   23,   and 
Prince  Andre,  now  22.   (Even  Titoites 
admit  that  these  two  princes  are  bright 
and  likeable.) 

The  three  royal  boys'  father  was  the 
late  Alexander  I,  whose  overambitious 
nature-and  probably  a  poorly  function- 
ing  alimentary  canal-caused  him  to  be- 
come  an  arbitrary  ruler,  and  to  meet 
the  not  uncommon  fate  of  arbitrary 
mlcrs.  In  October,  1934,  a  few  minutes 
after  Alexander  arrived  on  French  seil 
in  Marseilles,  the  first  King  of  Yugo- 
slavia  was  assassinated  by  one  of  his 
aggrieved,  banished  subjects.  We  say 
first  king,  for  it  was  Alexander  who 
changed  the  former  official  title  of  his 
country,  Kingdom  of  the  Serbs,  Croats, 
and  Slovenes,  to  the  brief  and  all- 
embracing  Yugoslavia.  Not  long  be- 
fore  this,  "the  powder-keg  of  Europe" 
was  called  Serbia,  and  a  bit  before  that, 
Servia,  the  treacherous  name  causing  a 
great  deal  of  mental  anguish  to  a  proud 
people  who  could  never  be  accused  of 

servility. 

When  his  father  was  murdered,  Peter 
was  11.  The  tragic  news  was  told  him 
by  stages.  Early  in  the  morning  the 
headmaster  of  the  school  stood  at  the 


8 


PARK  EAST 


foot  of  bis  bed  with  a  red  nose  and  a 
mournful  expression,  and  said  tbat 
something  awful  bad  bappened,  and 
tbat  Peter  bad  to  go  up  to  London  at 
once.  Tbe  Prince  dressed  quickly,  and 
wben  bis  car  drove  tbrougb  tbe  gates, 
be  saw  tbat  tbe  place  was  surrounded 
by  poHce.  He  searcbed  bis  conscience 
and  examined  tbe  minor  crimes  of  an 
eleven-year-old,  wbicb  at  sucb  mo- 
ments  grow  to  immense  proportions. 
Tbe  party  was  in  sigbt  of  St.  Paul's 
cupola  before  Peter  was  informed  tbat 
be  bad  succeeded  bis  fatber. 

Next  day  be  was  brougbt  back  to 
Beigrade  to  become  a  sort  of  junior 
king.  For  since  be  was  too  young  to 
rule,  tbe  royal  prerogatives  bad  been 
vested  in  a  regency  beaded  by  Prince 
Paul  Karageorgevicb,  Peter's  cousin. 
Prince  Paul,  wbo  bad  been  educated  at 
Eton  and  Oxford,  and  bad  spent  most 
of  bis  time  abroad,  appeared  more  for- 
eign  to  tbe  Yugoslavs  tban  an  Englisb- 
man  born  in  Putney.  And  it  was  tbis 
foppisb  dandy  wbo  played  bis  beloved 
Hitler's  game  and  signed  tbe  Tripartite 
Pact  witb  tbe  Nazis  on  Marcb  25, 
1941!  In  otber  words,  tbe  Regent  de- 
livered  bis  trust,  tbe  people,  tbe  very 
eartb,  everytbing,  to  tbe  Nazi  borde. 
But  tbis  rasb  act  sbowed  bow  little 
Prince  Paul  knew  tbe  Yugoslav  nation! 

DuRiNG  tbeir  long  and  tragic  bistory, 
tbe  Yugoslavs-and  especially  tbe 
natives  of  tbe  Serb  provinces-bad  never 
made  a  compromise  wben  tbe  inde- 
pendence  of  tbeir  country  and  tbeir 
personal  liberties  were  at  stake.  "Better 
deatb  tban  slavery,"  was  always  tbe 
motto  of  tbese  extraordinarily  brave, 
yet  kind  people.  Wben  tbe  news  was 
flasbed  around  tbe  world  tbat  Yugo- 
slavia,  too,  bad  given  in  to  Hitler  and 
Mussolini,  Cburcbill  and  Roosevelt 
were  more  tban  gloomy.  Knowing  tbeir 
bistory,  tbey  just  could  not  compre- 
bend  it.  Tbe  Yugoslavs  in  tbe  Nazi 
camp?  Impossiblel 

Tbe  two  leaders  merely  bad  to  wait 
a  couple  of  days.  On  Marcb  27,  1941, 
Winston  Cburcbill,  more  jubilant  and 
beaming  tban  ever,  füll  of  pride,  an- 
nounced  to  a  wildly  cbeering  House  of 
Commons  tbat  "we  bad  been  migbtily 
worried  about  tbis  most  important 
Balkan  State.  But  early  tbis  morning 
Yugoslavia  found  ber  soul!" 

Earlier  tbat  fateful  morning,  less  tban 
forty-eigbt  bours  after  tbe  Nazi  pact 
bad  been  signed,  tbree  battalions  of  tbe 
Yugoslav  Royal  Guards,  togetber  with 
some  air-force  troops,  seized  all  im- 
portant government  buildings  in  Bei- 
grade so  swiftly  and  silently  tbat  tbere 
was  no  loss  of  life,  wbicb  was  surely  a 
novel  sort  of  rebellion  in  tbis  country 
so  accustomed  to  bloody  uprisings.  Tbe 
King  was  in  on  tbe  conspiracy,  and 
wbispered  to  tbe  Commander  of  tbe 
Fourtb  Battalion  of  Royal  Guards,  wbo 
were    tben   still   actually   guarding   bis 


Dowa^er  Queen  Marie  of  Yu<i,os}(wici 
and  her  Juinclsome  young,  son, 
King  Peter  II,  at  tJie  age  of  eleven 


PHOTOS     mOM      KtYSTONE 


palace  against  tbe  rebels,  tbat  tliey 
must  not  fire  on  tbeir  comrades  if  tbe 
latter  wisbed  to  enter  tbe  grounds.  Tbe 
young  ruler  was  visibly  nervous— for 
days  bis  court  officials  bad  told  liim  tbat 
tbe  nation  was  rising  and  tbat  tbe  peo- 
ple seemed  to  be  most  appreliensive 
about  wbat  tbeir  King  would  do. 

PETER  II  knew  tbe  bistory  of  bis  own 
country  well,  and  particularK'  tbe 
precise  data  on  rcgicides.  It  was  as 
tbougb  tbe  Yugoslavs  repeated  to  tbem- 
selves,  wbenever  in  ovcrawing  presence. 
nil  admirari.  Peter's  prime  ancestor,  tbe 
fanatic  patriot  C'rni  Gjorgje  (Black 
George),  bad  killed  bis  stepfatber  in- 
stantly  wben  tbe  latter  mentioned  tbat 
be  was  going  to  surrender  to  tbe  Turks. 
Black  George  tben  took  tbe  body  to  a 
nearbv  monasterv  and  paid  witb  a  berd 
of  pigs  for  an  elaborate  funeral.  In 
tbose  Napoleonic  times,  wben  warriors 
scorned  tbe  efFeminate  fork,  tbis  tougb 
and  rutbless  fouiider  of  tbe  Karageorge- 
vicb dynasty  used  a  long,  sbarp  knife  to 
eat  witb.  It  may  be  added  tbat  on  occa- 
sion,  wben  Black  George  feit  be  bad 
been  insulted  by  a  dinner  companioii, 
tbis  blade  workcd  awfully  fast.  After 
tbe  body  bad  been  cleared  away,  Oni 
Gjorgje  went  on  eating  witli  tlie  same 


kiiile  as  calml\  as  tbougb  notbing  bad 
bappened. 

But  even  witb  tbe  use  of  sucb  effec- 
tive  metbods,  Peter's  dynasty  was  not 
always  in  power,  and  tbis  tbougbt 
made  tbe  young  King  a  little  nervous 
on  tbat  Marcb  morning  in  bis  Beigrade 
l^alace,  called  tbe  "Wbite  House." 
Tbere  bad  been  two  coinpeting  ruling 
dynasties.  Sometimes  tbe  Obrenovicb 
were  sitting  on  tbe  tbrone,  otber  times 
tbe  Karageorgevicb.  In  nur  time  it  was 
tbe  Karageorgevicb,  for  tbere  were  no 
more  Obrenovicb.  Tbey  bad  simply 
died  out,  altbougb  tbe  family  was  a 
virile  and  bealtby  one. 

Perbaps  King  Peter  II  tbougbt  of  tbe 
grim  picture  of  King  Alexander  Obren- 
ovicb, vvlio,  one  daybreak  around  tbe 
turn  of  tbe  Century,  was  suddenly  asked 
by  bis  Royal  Guard  wbetber  be  would 
abdicate.  Tbe  Obrenovicb  King,  young, 
well  fed,  and  pince-nezed,  in  a  red 
silk  nigbtsbirt,  flanked  by  bis  Queen 
Draga,  also  in  fantastic  desbabille,  of- 
fered  a  sad  spectacle.  However,  be 
faced  tbe  swords  and  revolvers  witb 
tbe  courage  so  cbaracteristic  of  bis  na- 
tion. "I  am  your  King!  And  I  am  not 
going  to  nm  away!" 

The  bodies  of  Alexander  and  Draga 
lav   on    tbe   grass   in   front   of  tbe   old 


OCTOBER,  1951 


CRAfUlC 


Peters  lieir-upparent  kneels 
as  in  pratjer,  nhile  Tito, 
the  heir  de  jure, 
mies  the  Yu<ioshivs 
u'itJi  an  iwi)  hand 


KKYSTONF. 


be   a   free   land   based   on   Jeffersonian 
principles!" 

But    alas,    kings    can't    be    choosers. 
Willy-nilly,  Peter  had  to  sit  on  bis  throne, 
in  a  brand-new  uniform  made  hastily 
and  on  the  cuff,   it  was   rumored,   })y 
Maurice  Tiller  &  Co.,  the  foremost  niili- 
tary  tailors  of  Budapest.  The  democrat- 
king  scorned  ostentation,  parades,  and 
ceremony,  however,   and  would   stand 
wistfully  in  the  doorway  of  bis  "palace" 
in   an   unbuttoned   gray   tunic,   on   the 
lookout  for  a  fellow  billiards  player.  If 
even  the  simplest  peasant  walked  by, 
the  King  would  ask  bim,  "Will  you  play 
a  game  of  billiards  with  me?"  Since  bis 
subjects    were    instructed     to    address 
Peter  I  as  their  equal,  the  man  would 
give  suitable  answer:  "If  you  feel  like 
it,     King."     Whereupon     peasant     and 
prince  would   adjourn   happily    to    the 
nearest    cafe    in    old    Beigrade    which 
could  boast  a  billiard  table. 

It  is  necessary  now  to  introduce  a 
new  actor  who  is  most  important  in  the 
mise-en-scenc  of  our  king  drama.  He  is 
Prince  George  Karageorgevich,  first- 
born  son  and  original  heir  of  Peter  I, 
eider  brother  of  the  Alexander  who  was 
murdered  at  Marseilles.  Prince  George 
once  was  next  in  line  for  the  throne, 
and  he  was  beloved  by  the  Yugoslavian 
people.  But  he  manifested  the  strängest 
tendencies-following  in  bis  father's 
footsteps,  he  trafficked  with  the  lowest 
classes,  not  in  a  restrained  manner  like 
the  old  man,  but  in  the  most  extreme 
fashion.  Also,  he  spent  money  far  above 
bis  allowance. 

George  would  support  talented  but 
povertN-stricken  artists  and  writers;  he 
would  give  the  equivalent  of  a  thou- 
sand  dollars  to  a  needy  old  peasant 
woman;  he  would  set  up  again  in  busi- 


palace  during  an  agonizingb  long 
morning.  It  was  the  month  of  June,  in 
a  coimtry  where  seasons  are  clearly  de- 
fined  and  rain  has  no  business  to  fall 
in  summer,  short  of  a  quick  out- 
burst;  but  there  was  an  ominous  drizzle 
that  morning  in  Beigrade.  Not  minding 
the  weather,  the  people  flocked  to  look 
at  the  last  of  the  Obrenovich,  until  the 
Russian  Ambassador  plcaded  with  the 
Royal  Guards,  "For  God's  sake  take 
them  inside.  Ghastly  sight.  For  the 
peasants,  I  mean.  .  .  ." 

The  Obrenovich  King  was  followed 
by  a  Karageorgevich,  the  exiled  Peter 
I,  grandfather  of  our  Peter  II.  The 
first  Peter  introduced  the  strängest  ex- 
periment  ever  attempted  in  the  Bal- 
kans in  monarchical  ruling-democratic 
kingship.  This,  of  course,  is  an  anomaly, 
for  a  king  is  a  symbol,  there  to  stay  and 
continue  presumably  unto  eternity.  He 
is  like  the  elements,  like  the  sun  or  the 
rain.  On  the  other  hand,  we  know  how 
very  few  were  the  worthy  democratic 
leaders  who  were  able  to  stretch  it  out 
for  even  four  terms. 


The  beginning  of  Peter's  experiment 
was  innocent  and  inspiring  enough,  but 
it  turned  out  to  be  disastrous.  The  stoiy 
goes  that  Peter's  grandfather,  who  had 
spent  long  and  meager  years  in  exile  in 
Switzerland  and  there  got  infused  with 
liberal  ideas,  was  told  by  bis  barber 
(whom  he  owed  for  countless  shaves) 
that  he  liad  been  proclaimod  King  by 
the  Beigrade  parliament  the  day  be- 
fore. 

YouR  Majesty,"  (luavered  the  barber 
as  he  executed  three  low  bows  to 
the  new  King-very  much  in  need  of  a 
haircut  that  morning-'pray,  do  not  tor- 
get  US.  .  .  ."  History  makes  no  record  ot 
whether  the  man  was  hinting  at  pay- 
ment  or  spoke  from  gentler  motives. 
But  the  Story  continues  that  Peter  I  be- 
came  angry!  However,  since  there  ex- 
isted  that  economic  tie  between  King 
and  barber,  he  controUed  bis  temper 
as  best  a  Karageorgevich  could. 

"I  don't  want  to  be  King!"  he 
shouted.  "ril  only  return  to  Servia  if  I 
can  be  President!  I  want  my  country  to 


kVZ&s/      va^ir      vsBajv      XflB&i?^   \a^^sr       vsÄvar      vs^ss^  1 


Royal 

Exiles 

at 
Large 


Michael  of  Rumania 

Ex-King  Michael,  his 
Queen,  and  their  two 
princesses  live  in  Swit- 
zerland. Not  as  rieh 
as  his  dad,  he  still 
lacks  not  for  pelf 


10 


PARK  EAST 


r 


) 


ness  a  bankrupt  little  grocer,  Fuitliei- 
more,  he  was  accessible  to  the  untoi- 
tunates  in  bis  conntry  at  all  times.  In 
other  vvords,  he  was  an  easy  mark,  a 
queer    character.    Bnt    tbis    generous- 
hearted  Prince  bad  a  conflicting  nature: 
often   he  would   lose   bis   temper   and 
mete  out  justice  rigbt  on  tbe  spot,  like 
a  Karageorgevicb.   Wben   in    1909   bis 
orderly    died    under    "mysterious"    cir- 
cumstances,  he  was  excluded  from  the 
rigbt  of   succession,   bis   brotber  Alex- 
ander   taking   bis    place.    Tben,    wben 
Alexander  became    King,   George   was 
officially  declared  a  mental  case  and  put 
in  a  home.  It  remained  for  tbe  present 
government  to  free  tbe  Prince.  Today, 
at  the  age  of  60,  he  lives  alone  in  Bei- 
grade in  a  comfortable  villa,  drawing  a 
Pension  of  $200  per  month  from   tbe 
government,  which   also  provides  bim 
with  an   automobile,   an  expression  of 
true  affection  in  a  country  wbere  there 
are   only   7,179   pasenger  cars.    Prince 
George  and  Marshai  Tito  are  friends, 
and  tbe  man  wbo  was  branded  a  luna- 
tic  by  bis  lata  brotber  behaves  ration- 
ally  despite  tbe  changed  circumstances. 
And  bere  is  a  point  for  argument-man\' 
of  tbe  Yugoslavs  maintain  that  brotber 
George   should  have   been   their  king. 
These     adherents     explain     away     tbe 
death  of  the  Prince's  orderly,  claiming 
that   it   was   an   accident,    and   that   it 
happened  in  wartime  anybow,   at  the 
time  of  the  Bosnian  crisis,  wben  there 
was  martial  law. 

Peter  II  has  more  material  security 
in  exile  than  bis  Uncle  George  has  at 
home;  and  he  is  far  better  off  than  was 
bis  grandpa,  wbo  had  to  eke  out  a  liv- 
ing  in  Geneva  giving  lessons  and  doing 
translations.  Monarchs'  excbequers  are 
frigbtfulb  complicated  and  are  shroud- 


ed  in  obscurity.  Yet  in  spite  of  Peter's 
secretiveness  in  finaucial  matters— Alex- 
andra, for  instance,  basn't  the  faintest 
notion  about  tbem-it  is  known  that 
be  has  a  good  deal  of  money  in  several 
countries.  He  has  "a  few  pennies"  in 
Brazil,  in  Turkey,  in  England,  and  in 
France;  and  allegedly  a  part  of  tbe 
Yugoslav  millions  in  tbe  United  States 
(reportedly  a  $250,000  slice)  has  been 
recently  unfrozen  for  tbe  King.  Tben 
eighteen  months  ago  Peter  sold  bis 
shares  in  tbe  Paris  Metro  (subway)  for 
a  considerable  amount.  These  latter 
shares  had  been  purcbased  quite  a  few 
years  back  by  bis  late  fatber,  wbo  bad 
keen  foresight  as  far  as  bis  own  and 
bis  family's  economic  futures  were  con- 
cerned. 

ALEXANDRA,  wifc  of  our  Pctcr,  is  fond 
of  expensive  royal  pleasures.  She 
loves  baubles,  and  for  a  considerable 
time  Mr.  Scblumberger,  tbe  New  York 
jeweler,  advised  the  young  Queen  on 
tbe  jewels  she  wished  to  purchase. 
Joseph  Bernheim,  tbe  noted  furrier, 
was  the  privy  councilor  wben  it  came 
to  the  selection  of  pelts.  Even  today  it 
would  be  difficult  for  the  Queen  to 
imagine  life  witbout  being  dressed  by 
Balenciaga,  one  of  tbe  most  expensive 
of  Parisian  couturiers.  Furthermore,  be- 
fore  Captain  Molyneux  retired  from 
business  last  year,  tbe  Queen  kept  bim 
busy,  too.  In  New  York  Her  Majesty 
favors  Mme.  Valentina's  famous  estab- 
lisbment;  and  she  has  often  been  seen 
talking  matters  over— presumably  con- 
cerning  fashion— with  Mme.  Valentina's 
busband,  Mr.  Schley. 

Queen  Alexandra  has  brown  hair, 
large  blue  eyes,  an  elongated  aristo- 
cratic  nose,  beautiful  teeth,  lovely  skin. 


and  a  wasp  waist.  She  bas  an  enchant- 
ing  sort  of  naturalness  about  her.  She 
is    completely    frank    and    aboveboard, 
and  wbatever  she  does  is   never  done 
under  cover.  Tbe  Queen  doesn't  care  a 
scrap  of  wbat  people  tbink  or  say  about 
ber.  One  becomes  aware  of  her  direct 
nature  tbe  moment  she  sbakes  bands, 
and  on  meeting  you  she  will  look  you 
straigbt  in  the  eyes.   In  short,   sbe's  a 
human     being,     simple,     terre-ä-terre, 
charming  and  naive,  to  whom  creature 
comforts  and  luxury  mean  much  more 
tban  (jueeuly  grandeur  and  family  tree. 
King  Peter  and  Queen  Alexandra  are 
distant    cousins.    Both    are    direct    des- 
cendants  of  Queen  Victoria,  Peter  be- 
ing   tbe    great-great-grandson    of    that 
monarchical    matriarch,    and    therefore 
a    Saxe-Coburg-Gotba.    Peter    is    also 
related  to  tbe  Romanoffs,  tbe  Hoben- 
zollerns,  tbe  House  of  Savoy,  the  Lor- 
raine-Brabant    House    of    Hesse,    and 
most  of  tbe   other  princely  lines.  Tbe 
King's  motber  is  tbe  Dowager  Queen 
Marie,  nicknamed  "Mignon,"  daughter 
of  the  irresistible,  interesting,  and  in- 
discreet  late  Queen  Marie  of  Rumania. 
To  simplify  tbis  complicated  genealogy 
a  bit,   Marie  of  Rumania's  fatber  was 
Alfred   Duke  of  Edinburgh,   wbo  was 
tbe  brotber  of  Edward  VII.  It  is  evi- 
dent, therefore,  that  Peter  II  is  pretty 
well  inbred.  Wbat  outbreeding  there  is 
came  from  bis  fatber,  wbo  contributed 
tbe  new  and  unprincely  blood  of  Black 
George.  Tbis  patriot,  before  he  became 
tbe  bead  of  the  Balkan  country  in  the 
19th  Century,  was  a  prosperous  swine- 

berd. 

Peter's    better   half   is    a    Schleswig- 
Holstein-Sonderbourg-Glücksbourg.But 

before  we  get  bopelessly  l>ogged  down 
with  her  genealogy,  we  hasten  to  re- 


Umberto of  Italy 

Rumorcd  to  he  down  to 
bis  last  couple  of  mil- 
lions, 47-tjea.-old 
Umberto  I  of  Italy 
abdicated  in  1946  and 
headed  for  Portugal 


Carol  of  Rumania 

Carol,  father  of  Michael, ^ 
is  the  Crocsus  of  wan- 
dering  rulers.  Cash, 
El  Grecos,  and  stamps 
make  his  exile  with 
LupescH  a  cushioncd  one 


Leopold  of  BeUium 

Ilavinfi  abdicated  in 
favor  of  his  son,  Bau- 
douin,  Leopold,  grand- 
son  of  hlstonjs  ahlesi 
business  man,  plays 
polf  in  royal  comfort 


Otto  of  Hapsburg 

Archduke  Otto,  pre- 
tcnder  to  the  thrones  of 
Austria  and  Iluni^ary, 
is  the  saddest  case  of 
(dl.  Ile  really  isn't 
too  well  off  financially 


Edward  of  England 

As  one-time  wearer  of 
the  World' s  wealthiest 
crown,  the  Duke  of 
Windsor,  hest-selUng. 
"author,"  has  many  in- 
come  sources—all  good 


OCTOBER,  1951 


11 


s 


■  'T 
r 


late    the    simple    facts-the    chic    and 
vivacious    Alexandra    is    the    daughter 
of  the  late  Alexander,  King  of  Greece, 
and  the  former  Miss  Aspasia  Manos,  a 
commoner.   The  King  of  the  Hellenes 
died  of  blood  poisoning  resulting  from 
a  pet  monkey's  bite,  in  October,  1920, 
six  months  before  Alexandra  was  born. 
The  dead  king's  father,  ex-King  Con- 
stantine,    was    quickly    recalled    from 
exile  and  replaced  on  the  throne.  Mean- 
while,    Mademoiselle    Manos   went    on 
living  quietly  in  the  palace.  But  there 
must   have   been   a   housing   shortage, 
what  with  the  return  of  the  huge  fam- 
ily,  consisting  of  twenty-five  brothers, 
sisters,   cousins,   and   aunts,   and   there 
were    "gentle    hints'-Aspasia    was    re- 
quested  to  move.  Quite  naturally  she 
refused. 

She  claimed  that  a  secret  marriage 
had  been  performed  between  the  late 
King  and   herseif  in  Athens  in   1919, 
that  she  was  with  child  by  him  and 
that  if  she  were  turned  out  the  gossip 
would  be  terrific.  The  royal  family  real- 
ized  the  fairness  of  her  claim;  besides, 
Aspasia  was  a  lady,  and  charming,  and 
they   had   all  known   her  from   child- 
hood  days.  So  after  much  deliberation 
King  Constantine  very  generously  be- 
stowed    upon    her    the    doubtful    title, 
Madame  Manos.  But  Miss  Manos  was 
not  at  all  content  with  "Madame."  She 
produced  various  documents,  with  the 
result  that  on  September  10,  1922,  her 
marriage   to   the   late   King  Alexander 
was   recognized   as   having   been   mor- 
ganatic,  and  as  having  taken  place  very 
privately  on   November  4,   1919.   And 
from  this  point  on  she  was  known  as 
Princess  Aspasia.  All  is  well  that  ends 
well.  .  .  . 


Peter's     marriage     with     Alexandra, 
notwithstanding  the  heart-warming  do- 
mestic   picture   of   the   Queen   cooking 
and  the  King  washing  dishes,  is  some- 
what  unsettled.  For  the  last  two  years 
there    have    been    intermittent    rumors 
concerning  a  divorce,   a  very   compli- 
cated  business  indeed  when  it  comes 
to  a  royal  wife.  And  Princess  Aspasia, 
perhaps    because    of   her   outbreeding, 
because  of  that  fresh  Manos  blood,  re- 
cently  proved  to  be  more  useful  then 
an    entire   hereditary    reigning   family. 
Because  of  her  eflForts,  the  young  King 
and  Queen  were  reconciled  even  after 
Peter  was  already  in  Conference  with 
Colonel  Sol  Rosenblatt,  the  noted  New 
York    attorney.    The    moment    Peter's 
mother-in-law    heard    the    disquieting 
mmor  that  the  King  was  trying  to  shed 
Alexandra,  she  left  her  villa  in  Venice 
and  hurried  to  America,  issuing  edicts 
to  the  couple  right  and  left  with  the 
sure  snap   of  a  real   monarch:   no  di- 
vorce, complete  seclusion,  no  frivolous 
Publicity,    concentration    on   happiness 
within  the  family  circle  and  not  with- 
out.  Above  all,  at  least  an  attempt  at 
royal  bearing. 

P[E  Kings  wedding  on  March  20, 
1944,  was  both  royal  and  famous. 
Peter  and  Alexandra  had  got  engaged  in 
1942,  after  three  dancing  dates  in  Lon- 
don supper  clubs.  There  was  so  much 
Opposition  to  the  union  that  it  had  to 
be  postponed  numberless  times  during 
the  next  two  years.  The  resistance  to 
the  marriage  came  not  only  from 
Peter's  mother,  but  also  from  the  King's 
own  people.  The  Yugoslavs  just  then 
were  busy  with  the  Nazis  who  had  oc- 
cupied    and    plundered    their    country. 

KBYSTONE 


Queen  Marie  of  Yugoslavia  and  her  three  royal  princes:  Crown 
Prince  Peter,  Prince  Andre  (now  22),  and  Prince  Tomislav  (noiv  23) 


Taking  to  the  mountains  and  the  for- 
ests,  these  bom  warriors  put  up  an  un- 
precedented  fight  against  the  aggressor, 
and  the  whole  world  marveled  at  the 
superhuman  heroes.  To  Peter's  people 
this  was  just  another  occasion  where  it 
was  necessary  for  them  to  defend  their 
native   land.   The   poorly   fed   and  ill- 
equipped    guerrillas    managed    to    kill 
or  capture  one  million  Nazis,  and  Hitler 
was  forced  to  keep  in  Yugoslavia  more 
than  twenty  divisions  which  were  des- 
perately  needed  on  f  our  other  Nazi  f  ronts. 
When  the  news  of  the  King's  im- 
pending  marriage  reached   the  heroic 
Partisans,  a  howl  went  up  in  the  Serb- 
ian  mountains.  "He's  getting  marriedl 
He's  dancing  while  we  fight  for  our 
country!  It's  not  right."  However,  with 
a  young  man  in  his   twenties  who   is 
also  in  love,   no  one  can  reason.   He 
takes  his  own  desires  much  more  seri- 
ously  than  the  tragedy  of  his  country. 
And  so,  Peter  and  Alexandra  were  mar- 
ried  at  the  Yugoslav  Legation  in  Lon- 
don.   The    Yugoslav    red,    white,    and 
blue  flag,  with  Peter's  arms  on  it,  flew 
over  the  building.  King  George  VI  of 
Great  Britain  was  there,  for  he  is  the 
godfather  of  Peter.  In  fact,  four  mon- 
archs    and    their   families    were    there. 
The  press  gave  a  füll  list  of  the  exalted 
guests,  but  we  never  saw  it  mentioned 
that  Dowager  Queen  Marie  of  Yugo- 
slavia or  her  two  younger  sons  attended 
the  wedding. 

We  are  able  to  give  you  a  description 
of  the  bride's  dress— white  satin  with  a 
myrtle  laurel— and  the  groom's  uniform 
—the  light  blue  gala  outfit  of  the  Yugo- 
slavian  Air  Force— but  we  are  unable 
to  ofFer  you  a  legitimate  alibi  for  the 
groom's  family.  We  can  even  teil  you 
that  Archpriest  Ristanovich  of  the  Serb- 
ian  Church,  and  Archbishop  Germanos 
of  the  Greek  Church,  placed  the  By- 
zantine  crowns  firmly  on  the  heads  of 
the  young  couple,  not  merely  holding 
them  above  as  prescribed  by  the  Ortho- 
dox rites,  but  fitting  and  almost  mold- 
ing them  to  the  head,  not  unlike  Mr. 
John  of  New  York,  or  Lock  of  London, 
when   they  wait  on  their  special  cus- 
tomers. 

TiE  Dowager  Queen  and  her  two 
younger  sons  live  in  England,  keep- 
ing  their  distance  in  more  ways  than  one 
from  the  Head  of  the  House,  who  now 
spends  most  of  his  time  in  the  United 
States.  The  strained  relationship  de- 
veloped  from  two  paradoxical  reasons. 
First,  Peter's  Alexandra  hadn't  exactly 
been  his  mother's  choice.  But  then, 
when  His  Majesty  made  an  attempt 
to  divorce  that  same  wife,  the  cus- 
tomarily  placid  and  kind  Mignon  was 
ready  to  hit  the  ceiling.  She  was  ex- 
tremely  cross,  since  she  longs  for  her 
grandchild.  For  Peter  and  Alexandra 
have  a  6-year-old  boy,  Alexander,  who 
was  born  at  Claridges  Hotel  in  Lon- 
don. There  were  two  delegations  pres- 


12 


PARK  EAST 


ent  at  ihv  l)iitli  of  thc  roviU  infant- 
the  representatives  oi  Peter's  exiled 
government  and  the  representatives  of 
the  Tito  government.  The  excited  father 
tried  liis  best  to  keep  the  tvvo  factions 
apart,  bnt  somehow  they  got  niixed  np, 
tlie  delegations  nniting  at  the  bar  at 
the  end  and  drinking  a  toast  to  cele- 
brate  the  occasion. 

Formerly   the   King   and   tlie   Queen 
celebrated  various  oceasions  at  tlie  fin- 
est  restaurants  in  New  York;  but  lately 
they     have     disappeared     trom     these 
hangouts  of  onr  cafe  society.  The  per- 
sonnel   at    these   pUices,   hovvever,    still 
remenibers  that  the  Queen  was  always 
excessively   fussy   about  her   food;    the 
portion  was  either  too  big  or  too  small; 
the  meat  too  tender  or  too  tough;  the 
ice  Cream  too  cold,  the  coffee  too  hot. 
But  everyone  knows  that  an  only  ehild 
vvho    is    a    queen    besides    develops    a 
thonsand   idiosyncrasies:    playing   with 
the  idea  of  having  her  preeious  stones 
reset,  weighing  the   trends  in   fashion, 
magnifying   nutritional   or   matrimonial 
Problems,  and  so  on. 

TUE  King  is  less  interested  in  solid 
matters.  He  pays  attention  to  li(piids, 
and  Peter  and  Martinis  were  often  at 
variance  with  eaeh  other,  with  the 
result  that  sometimes  even  a  lowly  Gib- 
son  would  win  the  battle  over  this  high- 
ly  placed  person.  And  in  füll  view,  at 
that.  At  such  moments  the  Queen 
would  send  the  King  a  sobering  glance 
across  the  table,  for  Alexandra  knows 
where  to  stop,  and  in  any  event  just 
toys  with  a  glassful  of  liquor  as  though 
an  Old  Fashioned  were  amber  topaz, 
a  Daiquiri  frosted  diamonds  (the  latest 
fad  in  preeious  stones),  a  Creme  de 
Menthe  fine  emeralds. 

However,  during  the  entire  year  ot 
1950  the  qneenly  roving  glances  were 
nonexistent.     They     were     not     there. 
Weither  the  Queen  nor  the  gaze.  King 
Peter  devoted  this  year  to  a  beautitul 
Bulgarian  lady,  wholly  disregarding  the 
ancient    discord    beUveen    his    country 
and  hers.  The  King  must  have  figured 
that  aflFection,  if  strong  enough,  over- 
powers  tribal  enmity.  Intimates  of  Pe- 
ter observed  that  the  young  King,  who 
had  been  imder  the  Queen's  influence 
ever   since    they    were    married    seven 
years  ago,  suddenly  came  out  from  un- 
der  this  gentle  feminine  anesthesia.  He 
was   not    totally   liberated,    though-he 
merely  transferred  the  sceptre  from  his 
Queen  to  the  Bulgarian  brünette  beau- 
ty.   Temporarily   at   least.   Then   it   re- 
mained   for  his  courageous   mother-in- 
law  to  restore  the  former  rule.  A  last 
word  on   the  present  State  of   affairs— 
while  Windsor  considers  Winchell  his 
particular  scourge,  Peter  feels  the  same 
way    about    Cassini    (Cholly    Knicker- 
bocker). 

We  now  have  to  rctrace  our  steps 
to  the  Beigrade  of  1941,  and  to  the 
events  vvhich  ultimately  brought  about 


OCTOBER,  1951 


The  roijal  pcilace  in  Bel^radc,  once  the  home  of  Feters  parents, 
the  former  Princess  Marie  of  Rtimania  and  Kin^  Alexander 


the  catastrophe  of  the  Karageorgevich 
dynasty. 

Peter   II,   as   we   already   know,   for 
days  before  the  Futsch  had  been  con- 
ditioned  by  his  palace  officials.  He  was 
a  bit  shaky.  So,  just  in  case,  he  put  t\vo 
automatics  in  his  pockets  on  that  March 
morning,  and  waited.  We  can  have  no 
idea  what   goes   on  in   the   mind  of   a 
king  who  has  to  wait,  particularly  in  a 
countr\'  of  regicides.  Peter  had  no  in- 
formers.    No   eommunication   with    the 
outside  World  for  the  moment.  Palace 
politics  dictated  that  the  youthful  king 
must  only  wait.   Wait!   Either  for  lib- 
eration    or    for    death.    Peter    had    one 
tiny    advantage-not    long    before    the 
anti-Hitler  revolution,  he  somehow  liad 
secretly    arranged    to    have    a    private 
telephone  installed  in  his  bedroom.  He 
guarded  the  secret  of  this  phone  jeal- 
ously.  There  was  only  one  person  who 
knew  of  the  telephone  and  the  number 
and  who  could  call,  a  young  man  b\ 
the  name  of  Kostitch. 

The  King  was  glued  to  the  i->hone  all 
during    that    morning,    not    daring    to 
make  a  call,  but  hoping  against  hope 
that  Kostitch  would.  Mr.  K.  finally  did! 
Peter  asked  him  at  once  if  the  revolu- 
tion  was    really   direeted   against   him. 
His  fritmd  told  him  that  it  was  not,  that 
the   people   loved   him,   and   that   they 
only  wanted  to  get  rid  of  the  Regent 
Prince  Paid  and  the  latter's  pal,   Herr 
Hitler.  Later  in  the  day,  after  Paul  was 
put  on  a  train  and  Peter  II  had  taken 
the  Oath  of  Accession  at  his  new  and 
splendid     Dedinye     Palace,     Patriarch 
C;avrilo  celebrated  high   mass  and   of- 
fered  up  thanks  that  the  country  had 
such  a  fine  King  who  upheld  the  tradi- 
tional  honor  of  bis  people  in  such  a  dif- 
ficult  moment. 

It  trulv  was  a  difficult  moment.  But 


a  glorious  one.  This  is  how  The  New 
York  Herald -Tribüne  summed  it  up  in 
its  March  28,  1941,  issue: 

"This  act  of  courage  b\  a  little  peo- 
ple is  an  event  of  utmost  historical  im- 
portance.  To  stand  up  and  fight  and 
iuive  their  country  exposed  to  war, 
ver\'  probably  to  being  oxerrun  and 
ravaged  rather  than  to  accept  betrayal. 
But  there  is  a  country  whieh  has  been 
overrun  before  and  has  lived  because 
its  people  have  dared  to  fight." 

HiTLr.H  naturally  attacked.  There  were 
twenty  thonsand  dead  in  Beigrade 
after  the  first  few  hours.  The  Yugoslavs 
didn't  ([uaver-they  wanted  to  live,  so 
they  were  ready  to  perish.  They  want- 
ed a  future,  so  now  they  were  w illing 
to  face  death.  They  had  a  young  King 
who  would  lead  them  into  victorious 
battle.  And  Iutc  is  where  Peter  missed 
his  chanee-he  left  Beigrade  right  after 
the  air  raids  started,  went  to  Monteni'- 
gro,  then  flew  to  Jerusalem,  and  finally 
to  London.  His  actual  reign  lasted  only 
ten  days. 

"He  marries  while  we're  fighting 
with  si^ides!"  cried  his  almost  gunless 
people  in  the  mountain«;.  Men  fighting 
for  their  lives  never  make  allowances. 
And  when  they  are  engaged  in  battle 
in  the  hills,  starved  and  cold  and  with 
the  stench  of  gangrene  in  the  air 
around  them,  these  unreasonables  un- 
derstand  next  to  nothing.  .  .  . 

The  King  of  the  Yugoslavs  recently 
picked  np  the  spade,  figuratively  speak- 
ing,  aTid  he  is  ready  to  go  to  work.  And 
his  Queen  has  stopped  caressing  the 
idea  of  having  her  jewels  remounted. 


This  is  the  first  of  two  articles  on  Peter 
II  of  Yugoslavia  and  his  Queen.  The  second 
article.  to  be  published  next  month  will 
discuss  Peter's  present  Situation  and  the 
pos^ibilities    of    his    return    to    the    throne. 


IV 


Scalpers  and  Brokers 


BY  RICHARD  B.  GEHMAN 

ONK  DAY  in  mid-July,  wlieu  tlic 
Shiiners  were  in  town,  a  husk\ , 
prosperous  -  looking  gentleman, 
evidently  from  the  Midwest,  vvalked 
confidently  into  a  Times  Square  ticket 
broker's  office  and  asked  for  tvvo  seats 
to  Guys  and  Dolls. 

"Next  case,"  the  clerk  said,  smiling. 

"What  do  you  mean?" 

"I  mean,"  the  clerk  explained  pa- 
tiently,  "we  got  no  seats  for  that  show 
for  tonight  or  any  other  night  soon, 
Mac.  You  might  try  the  place  across 
the  Street,  but  I  doubt  if  you'll  get 
anywhere  there,  either.  It's  sold  out." 

"Sure,  sure,"  the  man  said.  He  leaned 
across  the  counter.  "Son,  l've  heard 
how  you  fellows  operate,  and  I'm 
vvilling— " 

"Get  lost,"  the  clerk  said,  without 
changing  his  expression. 

"I  mean  I'm  willing  to  pay  extra," 
the  man  persisted. 

"Sorry,  Mac,"  said  the  clerk.  and 
lurned  to  a  lady  vvho  had  come  in. 

After  a  moment's  puzzled  silence, 
the  man  in  the  Sports  shirt  shrugged 
and  left,  muttering  something  about 
smart-aleck  New  Yorkers.  He  went 
across  the  street  and  went  througli 
practically  the  same  dialogue  with  an- 
other  broker's  clerk.  Again  he  failed 
to  get  his  pair  to  Guys  and  Dolls.  In  the 
third  agency  he  tried,  the  clerk,  after 
türning  him  down,  looked  around  to 
make  sure  that  the  manager  wasn't 
watching,  then  leaned  across  the  coun- 
ter confidentially.  "You  really  Wiuit  to 
see  that  show,  Doc?" 

The  man  nodded. 

"Teil  you  what  you  do,"  the  clerk 
said.  He  scribbled  an  address  on  a  slip 
of  paper.  "Go  to  this  place-it's  a  drug- 
store-and  ask  for  Harry.  Teil  him  AI 
said  you  were  all  right."  The  clerk 
looked  at  the  man  significantly.  "Don't 
expect  to  get  'em  free,  though."  Then 
he  stood  back,  waiting.  The  man  start- 
ed  to  leave,  then  realized  what  he  had 
forgotten.  He  pressed  a  five-dollar  bill 
on  the  not-so-reluctant  clerk  and  head- 


ed  for  the  address  he  had  been  given. 
The  drugstore  was  located  in  the  Times 
Square  area,  near  44th  Street.  There 
wasn't  much  bnsiness  on  this  hot  after- 
noon.  "I'm  looking  for  Harry,"  the  man 
said  to  the  cashier.  The  latter  gestured 
toward  the  back  of  the  place.  "That's 
him  in  the  telephone  booth."  The  man 
waited  until  Harry  came  out. 

The  transaction,  when  it  was  started, 
didn't  take  very  long.  Harry  informed 
the  buyer  that  the  going  rate  for  Guys 
and  Dolls  seats  was  $25  per  ticket,  plus 
another  ten  "for  a  friend."  The  man 
indicated  his  satisfaction  with  these 
prices,  and  Harrv  vanished  like  some 
sneaky  wraith.  He  was  back  in  a  few 
moments  with  an  envelope  (a  piain 
envelope,  appropriately  enough).  The 
man  handed  over  his  $60-plus  another 
five  for  Harry's  trouble. 

BUSINESS  deals  of  this  kind  are  fairly 
common  along  Broadway  these  days. 
Ticket  scalpers  and  illegitimate  brokers 
have  never  had  it  so  good.  The  yearly 
gross  of  the  seventy-odd  licensed  brok- 
ers operating  in  New  York  is  around 
$10,000,000,  at  a  conservative  estimate. 
No  one  could  begin  to  estimate  the 
yearly  take  of  the  scalpers,  but  it  could 
umount  to  twice  that  figure. 

The  graft  involved  in  illicit  tickets  to 
South  Pacific  alone,  according  to  one 
broker,  was  over  $500,000  in  the  first 
six  months. 

Honest  brokers,  in  an  effort  to  clean 
up  the  bnsiness,  have  formed  a  group 
"to  police  the  industry,  enforce  a  ticket- 
selling  Code,  and  contribute  toward 
stabilization  of  the  bnsiness."  Author- 
ities  and  officials  inside  and  outside  the 
bnsiness  have  conducted  periodic  in- 
vestigations  in  an  effort  to  set  matters 
straight.  These  (»fforts  have  both  been 
futile.  The  ticket-bootleggers  are  still 
operating  happily  and  profitably  in  and 
around  Broadway  and  Shubert  Alley. 

Not  that  this  is  anything  new.  Scalp- 
ers have  been  plying  their  trade  ever 
since  the  Romans  were  reserving  seats 
to  watch  Christians  being  eaten  by 
lions.  When  Charles  Dickens  made  his 
second  American  lecture  tour  back 
around  the  mid-1860s,  culture-hungry 
Citizens  coughed  up  as  high  as  $50  for 
$5  seats.  Mark  Twain  was  once  offered 
a  ticket  to  one  of  his  lectures  for  $2 


above  the  going  rate;  like  some  of  his 
other  more  specialized  utterances,  his 
response  to  this  never  received  wide 
circulation.  Scalpers  harrassed  Belasco 
and  later  plagued  Ziegfeld. 

The  volume  of  Operations  in  the  old 
days,  however,  was  feeble  compared  to 
what  it  is  now.  Illicit  traffic  has  in- 
creased  enormously  in  the  last  fifteeu 
years.  One  reason  for  this  may  be  found 
in  the  decline  of  the  American  theater. 
A  quarter-century  ago,  it  was  not  un- 
common  for  around  250  productions  to 
appear  on  Broadway  in  a  Single  season. 
Now  about  70  shows  come  in.  There 
are  fewer  legitimate  theaters  today  to 
house  these  productions  than  at  any 
previous  period  in  history.  Consequent- 
ly,  if  a  show  is  a  hit,  the  demand  for 
seats   is   startlingly   disproportionate. 

At  this  writing  there  are  practically 
no  seats  immediately  available  for  The 
King  and  1.  But  as  for  the  other  hit 
shows,  it  is  fairly  easy  to  get  tickets, 
if  you  know  the  right  people  and  have 
the  right  price.  Currently  you  will  pay 
fiom  $25  to  $40  per  seat.  Frequently 
you  don't  even  have  to  know  the  right 
people;  they  will  hear  of  you,  through 
their  connections  in  legitimate  broker- 
ages.  Or  if  you  belong  to  a  high-toned 
private  club,  eat  in  an  expensive  res- 
taurant,  or  stay  at  a  carriage-trade 
hotel,  virtually  all  you  need  do  is  make 
your  wishes  known.  Tickets  will  come 
to  you— not  on  a  silver  platter,  but  out 
of  the  greasy  sweatband  of  a  scalper's 
hat.  Scalpers  maintain  phone-booth  Of- 
fices in  Broadway  drugstores  and  bars, 
but  thev  are  welcomed  wherever  monev 
is  spent.  Today 's  going  rates,  by  the 
way,  are  rather  low.  Time  was  w^hen 
a  pair  for  South  Pacific,  whicli  one 
broker  has  called  "The  Gold  Mine," 
brought  as  high  as  $125.  Today,  with 
the  original  cast  largely  replaced,  they 
go  at  around  $60  per  pair. 

The  awful  truth  is  that  scalpers  actu- 
ally  have  taken  over  show  bnsiness.  It 
is  well-nigh  impossible  to  get  a  ticket 
to  a  hit  in  its  first  six  months  without 
going  through  the  pay-off  boys.  It  often 
is  impossible  to  get  tickets  in  the  first 
year.  But  it  is  always  possible  to  get 
tickets— as  many  as  may  be  wanted— 
through  a  scalper  or  a  broker  who  does 
not  mind  taking  a  little  under-the-coun- 
ter  ice. 


14 


PARK  EAST 


WHOSE  MAJESTY? 


An  Original  Motion  Picture   Story 


-by- 


JEROME  BAYER 


■'41 


< 


i 


i\ 


■v 


; 


m^ 


Prom  darkness  comes  the  great,  lorig,  thundering  ginant  of 
an  ocean  liner^s  voiae»  Then,  as  it  dies  away,  a  comterooint  of 
Chattering  voices,  sentimental  music  and  cackling  broadcasts  Is 
accompanied  by  views,  in  succession,  of  different  oerts  of  the  ship, 
Passengers  reoresent  many  different  national  ities,  classes,  ages^ 
All  Show  traces  of  recent  suffering,  relieved,  now  and  again,  by 
half-smiles  of  hope««.«  The  sea  is  rough.   Some  on  board  are  sea- 

sick« Now  the  camera  takes  us  to  a  quiet  corner  of  a  dedk» 

Here  we  see  two  men  alone*  Ladmus  and  La Jos»   The  former  stands  at 
the  railing  and  looks  out  th'Ughtfully  at  the  sea*   In  bis  middle 
thirties,  he  carries  his  tall  body  with  maaculine  grace  and  easy 
dignity«  An  abu-idance  of  curly  blonde  hair  crowns  his  finely 


mo 


ulded  head»  And  his  sun-tanned,  smooth-shaven  face  has  a 


distinguished  beauty«  His  voice  is  cultivated,  but  without  loss  of 
honest  warmth.  His  English  is  flawless.   One  might  say,  in  a  word, 
that  Ladmus  is  richly  endowed  with  regal  oomoh.   Lajos,  unliäppily 
in  the  throes  of  sea-sickness,  is  stretched  out  on  a  deck-chair, 
wrapped  in  a  blanket»   He  is  a  rather  short,  stoutish  man  in  his 
forties,  with  the  pure  and  immutable  soul  of  a  servant»  ^ut  don*t 
misunderstand*  His  is  a  high  order  of  servility.   A  very  high  order, 
indeed.  At  the  monent,  his  every  utterance  is  a  battle  between 
strictly  formal  obeisance  and  the  mortifying  helplessness  of  nausea. 
Each  little  bow  of  deference  is  a  most  perilous  enterprise» 

Ladjnus 
La JOS,  this  is  a  memorable  day  in  our  lives. 

La  J03 
(valiantly  leaning  forward  for  a  bow) 
Yes,  Your  Majesty.   It  ughl  It  certainly  is,  Your  Majesty* 

-1- 


f 


I 


Ladmua 


^ 


It'3  a  day  for  great  rejaiicing,  my  manl 

La,1o3 
(leaning  forward  for  another  perllous  bow) 
It  i3  indeed,  sir.  A  day  for  --  ughl  --  great  rejdicing. 

Ladmua 

You  don' t   so und  convincing,   Lajos« 

Lajoa 
Oh,   but   I  mean  to,   Your   Majesty.      I     --   ughl    —   I  really  dol 

Ladiiius 
Why  don't  you  pace   the   deck?      It  would  be    so   much  better   — 

La  JOS 

Not  for  the  deck,  Your  Majesty.  -,-,  .n 

(Ladmus  chuckles  good-naturedly.  And  then,  thoughtfully . ; 

Ladmus 

Think  of  it,  Lajosl   One  hour  more  and  we  shall  have  our  first  view 

of  the  new  worldl  All  my  life  I«ve  thought  and  dreamt  of  America* 

Read  every  book  I  could  find  on  it.   ^ictured  in  a  th. usand  ways 

its  great,  free  demmcratic  life.  And  now,  at  last,  I  shall  aee  itl 

See  it  with  my  own  eyesl  And  not  merely  as  a  touristl   But  as  one 

who  comes  to  make  it  bis  homel 

Lajoa 
Your  Majesty  wears,  if  ^  niay  say  so,  a  very  brave  front.   It  is  — 
ughl  -.  deeply  touchlng,  sir.  A  most  noble  example  of  kingly 


valourl 


Ladmus 


Front?  Valour??  Nonsense l   I  mean  it  with  all  my  heartl 

Lajos 

I  humbly  beg  your  Majesty' s  pardon* 

•2- 


Ladmua 


> 


A 


Lajos,  I  feel  cloae  to  you*  Very  cloael   Of  all  who  left  the 
homeland  with  me,  you  alone  have  stood  by  your  King.   You,  my  loyal 
equerryl   So  now,  at  the  dawn  of  a  new  life,  I  want  to  Cünltde  in 


you 


Lajo3 


In  mejt,  Your  Majestyt 


Ladmu3 


Exactly.   I  shall  teil  you  what  no  other  person  knowa« 


Laj03 


I  hone  1  may  prove 


worthy  of  the  confidence,  xour  Majesty 


Then  Ladmua  tella  Lajoa  how  the  whole  pretentlous  business 
of  "ruling"  Bulkrania  had  alternately  bored  and  annoyed  him.  For  aa 
king  he'd  been  leaa  uaeful  to  hJ3  llttle  country  than  he  could  have 
been  in  almoat  any  other  capacity«   Populär?   Yea,  Indeed.   But 
powarleaa,  futile,  dead*  A  frieüdly  figurehead,  tied,  beyond  action, 
to  an  in^erited  throne •  Leaa  productive  and  leaa  free  than  the 
humbleat  of  hia  aubjecta.  A  vacant  aymbol  --  that's  vhat  he'd  been. 
A  national  luxury  to  remind  Bulkraniana  thet  they  were,  after  all, 
Bulkrfljiiana,  and  not  cifclzena  of  aome  other  and  leaa  importsnt 
country.  And  then#  to  add  irony  to  inault,  he,  thia  empty  royal 
Ornament,  had  been  revered  aa  head  of  an  exalted  claaa,  far  above 
and  apart  from  all  the  reat  of  the  people.   Still,  there^d  been 
nothing  he  could  do.   So  he  had  made  the  beat  of  a  bad  Job,  until 
finally he  v/aa  flred.  And  now,  thank  hea»«na,  lie^a  free» 

« 

Lajos  ia  deeply  ahocked.  A  monarch  commltting  leae 

majesty  ag-^inst  himaelfl   Ingenioua  treaaonl   Lajoa  atoutly  defenda 

hia  king  againat  hia  king.   He  cautioualy  auggesta  that  the  present 

-3- 


^ 


MT 


attitude  of  Ladmua  ia  largely  one  of  aour  grapes.  Ladmus  sharply 
denies  thls.  Why,  ever  aihce  boyhood,  v;hen  he  was  deorived  of  hia 
first  aweetheart  because  she  waa  a  coimnoner,  he  haa  nuraed  a  deep, 
aecret  contempt  for  the  whole  inatitutlon  of  royäty.  Lajoa  looka 
at  hia  king  with  horror.  This  ia  rauch  too  much  to  bear.  He  jumpa 
out  of  hia  chEdr  and  runa  to  the  railJjig  to  feed  the  fiahes. 

A  bit  later,  Ladmus  enters  the  shlp'a  saloon,  where  a 
number  of  people  are  listening  to  an  American  nev.-a   broadcaat, 
bringing,  at  the  moment,  the  last  worda  of  a  report  from  war-torn 
Europe.  Ladmua  greets  hia  fellow-paasengera  cordially,  and  atooa  to 
hear  the  broadcast.  Several  paaaengers  quietly  comrient  to  each 
other  on  the  friendlinesa  and  democratic  manner  of  the  king.... 
Now  the  broadcast  turns  to  domestic  news»  this  afternoon,  the 
steamer  Excelaior,  carrying  a  large  number  of  refugees  from  variuus 
parts  of  the  Old  World,  will  land  in  New  ^ork  harbor.  Most 
distinguiahed  pasaenger  o«  board  is  Ladraus  III,  former  king  of 
Bulkrania,  who  was  forced  from  his  throne  a  year  ago,  when  the 
Steel  Front  Party  seized  power  there  and  aet  up  a  dictatorshio. 
'i'his  party,  an  alleged  tool  of  foreign  powers,  oppoaed  the  young 
monarch  aa  a  symbol  of  Bulkranian  autonomy.  Since  leaving  hia 
native  land,  Ladmus  has  been  forced,  by  the  spread  of  war,  to  seek 
reguge  in  one  country  after  another.  Hia  vast  holdinga  in  Bulkrania 
wer©  forfeited  to  the  State,  and  moat  of  hia  remaining  fortune, 
Inveated  in  vanquished  lands,  haa  likewiae  been  lost 


\ 


Ladmua  resents  this  emphasia  on  him  to  the  exclusion  of 

aeveral  diatlnguiahed  artiata  and  scientiata  on  board.  Besides,  he 

ia  at  loas  to  understand  this  highlighting  of  his  kingly  career. 

After  all,  he  comea  to  America  not  aa  a  royal  viaitor,  but  aa  a 

piain  refugee  aeeking  a  home.  Why  ahould  democratic  America  be  ao 

-3a- 


f^ 


9^ 


much  interested  in  kingliness?   It^s  shocking,  3llly,  stupid 

The  broadcast  of  news  continues*  As  the  passengers  listen 
intently,  suddenly  so-ieone  bursts  into  the  saloon.   "Cone  outll 
Come  quickl   You  cnn  aee  itl   At  lastl   Game  «luick^  The  passengers 
hurry  to  the  deck.  Ladmus  amons  them.  La  Jos  too.  All  look  hard, 
inteiisely,  hungrily.   And  as  the  radio  booms  out  another  news  flash 
from  troubled  Europa,  there  in  the  distance  they  aee  at  last  the 
long^awaited,  fervently-hoped-for  sight ••..••  America* ••.  Statue  of 

Liberty  Skyline  of  Manhattan*  They  watch  it  as  millions  of 

persecuted  people  have  watched  it  before  them.   In  wordless  gratitude 

....  vast  wonder  deep  rellef  ..••  throbbing  suspense 

soaring  hone.   There  they  stand,  these  exiles,  huddled  together  on 

the  deck tense,  silent,  mdtionless.  Royalty  and  commoner,- 

artist  and  merchant,  cid  and  young,  mechanic  and  scholar,  rieh  and 
poor,  seven  nations,  seventy  pasts,  —  all  united  at  this  moment  by 
the  same  deep  basic  sense,  the  feeling  that  one  day  will  make  them 

all  --  AI^RICANS. 

Music  issues  soltly  from  the  radio*...  The  onlookers  maintain 
a  charged  silence....  Finally,  Ladmus,  in  a  quiet,  reverently  dreamy 
tone,  speaks  to  the  world  they«re  approahhingl 

^America. .  .*•  Vast,  warm  heart  of  freedom....  Haven  of  the 


homeless Where  all  men  may  live  and  love  and  labor  and  laugh  -- 

freely  and  as  equals*  Where  kings  cpn  be  men  and  no  man  -  .  king. 

Where  people  rule  pnd  liberty  reigns Americal   Blessed  Americal" 

Time  passes The  towering  masses  of  Manhattan  come  palpably 

close*  The  music  is  lost  in  the  thundering  grünt  of  the  steamer's 

voice*  With  reverent  slowness,  the  ship  now  passes  the  Statue  of 

liberty.  Bearded  men  attter  solemn  prayers*  Women  sob.  Children 

-3b. 


excitedly  questlon  their  eldera.  And  Lajos  —  is  aeaaick. 

The  veasel  docka Official  red-taoe  is  co.*pleted 

The  refugees  land They  are  accorded  a  nolsy,  hysterical 

welcome  by  relatives,  friends,  officials  and  sensation-seekers. 

Ladmua  and  Lajoa  are  in  the  NHV  WORLD.  They  are 
greeted  by  a  delegation  of  notables  and  a  score  of  reporters. 
They  are  anapped  by  official  photogranhera  for  newareela  and 
oaoers.   ^hey  are  led  to  a  high-powered  car.   They  speed  tl^cugh 
the  atreeta  of  the  city.  T^^ey  arrive  at  a  awa^k  hotel.  There  are 
interwlews  and  invitationa,  tributes  and  gifta.  Thua  life  begins 
anew  for  the  forraer  klng  and  hia  equerry. 

And  what  ia  the  natura  of  thia  new  life?  Well,  a  king, 
any  aort  of  king,  «en  an  ex-king,  even  a  king  ^.ithout  a  country  - 
i3  a  aupremely  aought  prize  for  celebrity  hounds.  So  Ladmua  is 

duly  hounded He  ia  wined  and  dined.  He  ia  courted  and 

coveted.  He  is  feted  at  teas  and  aoirees.  Simptuuus  receotl  na 
and  red-pluah  partiea  are  given  in  hia  honor.  Lajoa  ia  aorely 
taxed.  Never  wäre  the  buaiest  daya  in  the  royal  palace  like  thia. 
Countlesa  changes  of  attire.  Packing  and  unpncking  baga. 
Keeping  track  of  dates.  Anawer ing  calla.  Attendlng  to  correapond. 

ence.   What  a  lifel 

The  King  is  ^^^^   ^^   honorary  member  of  fashijnable 
Clubs.   He  is  taRen  cruising  on  palatial  yachts*  He  is  guest 

4-  ^^Ak-end  parties  on  sumotuous  country  es  tatest  Life 
of  honor  at  weeK-enu  per 

T.   rr.^.    ^r^    nnressant  round  of  blinding  busyness.  But  His 
becomes  an  mceaaaxiu  -^ 


%^ 


-3c- 


Majesty  is  neither  flattered  nor  entertained  by  any  6f  this  empty 
adulstion  and  exacting  hospitality»  Por  thla,  to  him,  Is  not 
American  life#   He  wants  to  get  over  being  a  royal  nobody  and  start 
belnft  a  common  aomebody*  He  wftnta  to  rise  above  the  gilded 
vacancy  of  kingship  and  attain  the  füll  dignity  of  an  average 
American  Citizen«   Still,  for  the  moment  It  aeems  necessary  to 
cater  to  the  decadent  aapirationa  of  the  celebrity  chaaera«   Besides, 
Y/hen  for  over  thrity  years  one  has  been  achooled  in/the  art  of 
graciousnesa,  it  i3  not  so  easy  to  suddenly  abandon  it»   So  Ladmus 
continues  to  acceot  invitation  after  invitötion» 

At  one  party  he  meets  beaatiful,  young  Sybil  Brent, 
hsiress  to  the  vast  fortunes  of  her  father,  the  late  Henry  Brent« 
Mr.  Brent  had  been  the  uncrowned  king  of  canned  fruit,  who  rose  to 
gi*eat  heights  from  humble  origins«   Sybil  is  really  a  spoilt 
butterf ly-bitch.  But  she  wears  an  appealing  facade  which  it  is  not 
easy  for  a  foreigner  to  aee  through*  She  exhibits  a  breezy  charm 
and  a  ready  line  of  smart  talk,  which,  at  first,  LadLnus  f inds 
delightfully  American«  Moreover,  he  had  read  with  gre^^t  relish  the 
history  of  her  father's  meteorlc  career,  --  his  lowly  beginnings 
and  staggering  achievement»   Thus,  to  Ladmus  Sybil  represents  the 
very  flower  of  American  opportunity  and  initiative«  With  the  stern 
discipline  of  a  snob,  she  had  always  ruled  out  of  c  »nsciousness  the 
history  of  early  paternal  struggles«  But  now  she  bones  up  on  the 
subject  for  the  benefit  of  his  Royal  Highness«  She  sets  her  cap 
for  the  king*   And  Ladnusi  is  not  unresponsive« 

One  evening,  about  a  fortnight  after  their  first  meeting, 

thin^^s  com©  to  a  head«   Sybil  shrewdly  construes  a  remark  of  the 

-4- 


King  aa  a  prooosal  of  marriage.   Blushlngly  ahe  accepts»  And 
since  Ladmua  is  far  too  chivalrous  to  reject  the  acceptance,  they 
bec-^me  engaged.  The  betrothal  is  promptly  and  widely  publicized. 
And  sträLightway  the  whole  country  is  in  a  dither  of  delight  over  the 

joyous  news« 

But  a  fortnight  later,  Ladmus  is  filled  with  grave 
misgivings»  He  now  sees  through  Sybil  quite  cleerly»  He  doesn't 
love  her»  He  hates  what  she  representa»  He  disdains  her  wealth» 
Manhattan  society  life  has  become  mtolerable  to  him.   Araong  other 
things,  it  ia  far  too  expensive*   It  means  maintaining  himself  aa 
king:-  de  luxe  attire,  an  elaborate  auite  at  a  ritzy  hotel,  a  ^olla 
^"^oyce  car,  etc.,  etc«»   Hia  funds  have  dwindled  to  a  mere  pittance» 
He  can  no  longer  keep  up  the  ahow*  Tw#  corporati ona  (The  Glosay- 
growth  Hair  Tonic  Company  and  The  Monarch  ClothlArs,  Inc.)  have 
offered  him  generoua  suma  for  endoraernenta  of  their  producta*  But 
he  conaidera  the  propoaitiona  obnoxioua  and  doesn» t  even  acknowledge 

the  lettera» 

Üne  evening,  Ladmua  returns  to  hia  hotil  auite.  To  hia 

loyal  equerry  he  iasues  an  abrupt  command:- 

Ladmua 
Lajoa,  atart  packing.  We  are  leaving  in  the  morning. 

Lajoa 


Yea,  Your  Majesty* 


Ladmua 


And  atop  calling  me  thatl 


Lajoa 


I  beg  pardon,  Your  Majeaty? 


-5- 


Ladmus 
I  say  —  stop  calling  me  thatl   Prom  now  on  I'm  simply  Mr*  Lawrence 
Grau«   I'm  no  longer  to  be  knov/n  as  king»  Do  you  understand? 


Lajos 


Yea,  Your  uh  —  Mr.  Grau* 


Ladmus 


We  are  going  forth  as  two  piain  Citizens  in  search  of  piain,  honest 
work«  We  shall  leave  no  fb  r^-arding  address*  No  one  is  to  know  our 


destination» 


Laj'os 


Yes,  I  --  I  see*  But  uh  — 

Ladmua 


But  whattt 


La  JOS 


Well«  I  --  I  don't  wish  to  anpear  inquisitive,  ^our  uh  --  Mr.  Grau, 
but  -  but  where  are  we  going?   '^'here  is,  after  all,  the  matter  of 


our  bag^age,  sir# 


Ladmua 


Well,  in  the  more  rugged  and.  primitive  part  of  the  country  -  the 
Middle  West  they  call  it  -  there's  a  city  — .   ^  ^^^'^  ^^^^  '^'^'''^ 
about  it,  but  the  name  has  always  intrigued  me»   It's  called  — 


Kalamaloo* 


Lajos 


I  beg  pardon,  sirt 


Ladmus 


Ka  -  la  -  ma  -  zoo» 


-6- 


Lajoa 


Just  a  moment,  please» 

(writing  on  a  päd) 

Ka  --  la  —  ma  — ? 


Ladmu3 


•  • •  ZOO  • 


(writing) 
^oo#  Veryt^  good,  3ir# 


Lajos 


Later  that  evening,  Ladmua  phones  Sybil*  He  teils  her 
that  he  unexpectedly  finds  himself  obliged  to  make  a  hurried  business 
trip  to  the  Middle  West  and  that  he  will  write  her  details  in  a  few 
days.  Somewhat  susoicious,  Sybil  asks  him  a  dozen  questions*  But 
he  firmly,  though  tactfully  refuses  to  answer  them. 

Next  morning,  Ladmus  and  Lajos  are  off.  Two  days  later, 
Kalamazoo,  unbeknown  to  its  unsuspecting  ln>  abitants,  becomes 
automatically  the  capital  of  Bulkrania.  l^he  newly  arrived  pair 

take  a  modest  furnished  apartment. 

Ladmus 

Lajos,  our  financial  Situation  is  acute. 

Lajoi 


Yes,  Your  Majesty. 


Ladmus 


We  must  look  for  work.  And  stop  calliiig  me  Your  Majesty.   I've 
told  you  my  name  is  Lawrence.  Or  more  fainlliarly,  Larry. 

Lajo3 
Yes,  your  uh  —  Law  -  Larry.  Whnt  sort  of  work  shall  it  be,  air? 

Ladmus 
For  yourself,  that  £ou  must  decide.  As  for  me.  Well,  my  ultlmate 


alm,  of  courae,  is  to  run  a  gas  and  oil  Station.  Yes,  Lajos,  a  real 
American  vocation.   Standing  at  the  side  of  a  great  free  highway 
and  watching  life  ride  by*  Yea,  my  good  man  —  serving  the  people. 
Serving  them  with  the  potent  elixir  of  locomotion,  the  f ine,  rieh 


wine  of  speed* 


Lajoa 


(feebly) 
Yea,  Your  Larry. 


Lac3mu3 


But  first,  let  us  have  breakfast» 


Lajoa 


A  heartening  thought,  sir. 


Ladmus 


And  remember  now:   no   one  here,    absolutely  no   one   is   to  know  who    I  am, 
You  understandt     9äi  Vm  done   with  royalty  foreverl     And  that    reminds 


me  --- 


(he  removes  a  file  of  documents  from  his  suitcase) 

I  shall  run  no  risk  of  detection*   ^    ,    ^   ^,    .   +.v,^  f»n«\ 
(he  walks  over  to  the  wasbstand  and  sets  f  ire  to  the  nie; 

Lajoa 

(with  a  shriek  of  horror) 
Your  MajestylU 

(Too  lata»  The  documents  that  establish  the  regal  identity  of 
Ladmus  are  reduced  to  ashea» 

Ladmus 

And  now,  Lajos,    —  let  us   eatU 

La  Jos 

Yea,  YOur  High  --  Larry • 

They  breakfest  at  the  Royal  Lunch  Counter*   The  fruit- 

juice  is  canned;  the  toast  aoggy,-  the  creain  milk;  the  coffee  stale. 

-8- 


Lajos  Is  visibly  dlstreased«  But  Ladmua?  He' 3  aglow  with  delight» 
And  the  reason  ia  —  öinger  Meade.  Ginger  is  waitress  at  this 
temple  of  gustatorial  art#   She  is  a  beautiful  girl  in  her  late 
twenties,  -  fresh,  disarmingly  forthright,  slightly  hard-b-jiled. 
She  had  worked  her  way  through  high  school  and  two  years  of  College» 
And  now  ahe  slings  hash  in  a  manner  that  nroclalms  her  the  equj^.l 
of  any  man»  Ladmus  is  utterly  fascinated»  To  him  Glnger  represents 
the  very  embodiMant  of  distinctive  American  charm  --  a  glorious  girl 
of  the  people«   ^'hereaf ter,  he  insists,  to  the  disgust  of  Lajos,  on 
eating  three  meals  a  day  at  this  vile  and  greasy  counter» 

The  two  man  pursue  a  sweaty  search  for  work»  Por  days 
neither  has  aay  trace  of  luck»  Finally,  Lajos  finds  a  part-time  Job. 
But  Ladmus?  Nothing»  He  begibt  to  be  sor4ly  troubled«  Besides,  for 
the  first  time  sincä  his  boyhood,  he's  fallen  in  love.  He's 
desperately  in  love  -  with  Qinger»  She,  in  turn,  ia  fascinated, 
bewildered,  susoicious» 

One  evening,  as  Laöjnus  and  Lajos  are  reclining  in  the 
livlng  room  of  their  furnished  apartment:- 

Ladnius 
Lajos,  did  you  ever  feel  as  though  your  innards  were  all  melting 


away? 


Lajos 


Oh  yes,    sir»     ^he    second  morning  out   from  Cherbourg»     A  miserable 


exoerience   -   sea-sickness» 


Ladinus 


Well,  in  my  case  it's  not  the  sea»   It's  -  she» 

Lajos 


I  beg  pardon,  sir? 


-9- 


Ladmus 
Lajos,  what  I  want  and  need  ia  Ginger« 

La  Jos 
Very  excellent  for  the  digestion,  sir.   Shall  I  fetch  some  for  you? 
The  corner  druggist  is  still  open,  I  bel4*ve# 

Ladmus 
It's  not  to  the  druggist  y.u»ll  have  to  go,  my  friend,   It's  that 
lunch  counter.  Lajjos,  I'm  in  love»  Desperat ely  in  love.  Do  you 


underste.ndT 


Lajos 


Yes,    indted,    sir«     Quite   a  common  malady.      I'm  deeply   sorry,    sir« 

But   it  will  pass   away,    I  assure   you» 

Ladmus 
But  damn  it,    I  don  t  v/ant   it    to   pass   av;ay.      I  adore  her*      If    I  had 
any    income,    I'd  marry  her   --   if   she'd  have  me« 

Lajos 
Have   you,    sir?     Why,    a   common  v/aitress 1 

La  draus 
Common?  Ye^U      A   child  of   the  piain  people*      A  waitress    serving    ^:  .. 


commoto  3^0  Ik   their   foodl 


La  Jos 


But  what   food,   Your   uh  Larryl      $he  most  abominable    coffeel 

Ladrnus 
Who's   talking   about   coffee??      It's  her  great,    free  beautiful  heartl 
Her  clear,   honest  eyesl     Her   freshness   of   spiritl      Her   -  her   -- 
I   teil  you   I've  got   to   find  work  and  marry  her«     That's   all« 

La  Jos 

Wellf    I  have   a  bit   of  a  Job,    sir« 

-10- 


Ladmui 


We  can*t  live  on  your  income,  Lajoa» 

Lajoa 


Not  in  style,  sip  -- 


Ladmus 


Style^s  got   nothing   to    do  with  it.     We   shall  lead   a   simple  American 
life*     You  under stand?      It's    a  matter  of  principle.    Self-reliancel 
I  must  find   an  income.      %  pwn  income* 

Lajos 
Yes,    I     -    I  3ee#     Well  uh     -  how  -  how  about  giting   those   endorse- 
ments?     Hair    tonic,    I   think   it  was   —   and  clothing. 

Ladmus 
Out   of   the   questionl      Bntirely  out  of  the   questionl 

Lajos 

You  mean,    sir,   because   you're   a  king   

Ladmus 
...   no   longer.      I  can*  t   exploit  my  past*     Aid    remember   thisJ 
Ginger  must  never  know  who    IWe  been.      It  would  spoil  everythUng. 

Lajos 
I   shall  bear    that   in  mind,  Your   Majes   —    I  mean  —  But  uh  -   if   I 

may  be    so   bold  aa   to    ask,    sir   -- 

Ladmus 


Yes   — T 


Bft^os 


How   about  —  Miss   Brent,    sir? 


Ladmus 


Who? 


11- 


Lajoa 


Why  uh  --  Mi33  Brent.  Your  flancee,  airt 

Ladmus 

Ohl Oh,   herl      Oh,  goodnessl      I  promiaed  to  write  her.      She's 

probably  got   a  whole  reglaant  of  detectivea  on  our  trail  right  now. 

Take   thia  down,   pleaae,  Lajos« 
(atarta   to   dictate) 

""^  ^(rto?f  tioüi^tfully^  Inl  then,   not  ^ictating:)  ^^ 

You   know,   Lajos,    that  canned-pea  princesa    is   really   interested   in 


onj-y  one   th^ng  ab  out  me. 


Lajos 


That  being,  sir  --? 


Ladmus 


My   title.     And   for    that    titje   ahe'd  huund  me   all   the   rest  of  my 

natural  life.     Take   thla   down. 

My  deifsjfil'i^^^here   is   aomething,   my  dear,  which  I  muat  now 
helatedly  diaclose    to    you.     Living   in  Bulkrania,   waa   a  young  man 
namad  Georg  Dontescu.     By   aome   stränge   trick  of  Pate,    thia   fellow 
so   cloaely  reaembled  King  Ladmua,    that  it  waa  practically   Impoasible 
to    teil   them  apart.    It  waa   often  rumored  that   he  waa   a  half-brother 
of   the  king,  but   thia  waa   never  fuUy  eatabliahed.     At   any  rate, 
Ge«pg    is   a  piain  commoner,    though  he  waa   often  employed  by    the 
government  aa  a   atand-in  for    the  king   on  certaln  state  occaaiona, 
when  the   personal  appearance  of  filaMajeaty  waa  deemed  too   perilous 
a  venture.     Well,  when  King  Ladmua   fled  the   country,   G#«rg  Donteacu 
likewise  disappeared.     And  it  now  pains  me   to   teil  you,   my  dear, 
dear»  Sybll,    that  the  man  to  whom  you  have   unhappHy  become  engaged 
is   not  King  Ladmus,   but  his  double,    Georg.      I  have  meant   to   aay  this 

aooner,  much  aooner.     But    there  were   so  many  parties   and  recaptions, 

-12- 


I  simply  never  got  around  to  it*   Under  the  circumstances  I  can  no 
longer  live  a  lie.   So  you,  my  dear,  daar  Sybil,  may  consider  your- 


Regretfully,  Georg« 


seif  free»  No  longei»  am  I  your  betrothed*.  • . 

(he  is  done  dictating) 
There«  That'll  aettle  her« 

Lajos 
But  --  but  is  this  a  safe  th:ng  to  do??   She  may  cause  trouble,  sir« 
A  great  deal  of  trouble,  sir« 

Ladmus 
NO,  no.   She  wouldn't  rlsk  the  humlliatlon  of  a  scandal.   This  way 
she  can  simply  announce  that  she  has  broken  her  engage.^ent  with  the 
king.  That  will  save  her  free,  you  see.   Send  the  letter  in  a 
separate  sealed  eanolope  to  Bari  in  Boston,  and  teil  him  to  mail  it 


from  there« 


Lajos 


yes,  sir« 


Well,  Sybil  receives  the  letter  in  due  course.  And  she  is 
consumed  with  rage«  She  is  determined  to  eventually  destroy  this 
iii5>o.8ter,  when  and  if  she  can  find  him.  But  for  the  moment,  she 
protects  her  pride  by  announcing  that  she  has  broken  her  engagement 
with  King  Ladmus  and  that  he,  presumably  out  of  hurt  pride  and 
despair,  has  left  New  York  for  undesignated  parts. 

Ladmus  continues  to  see  Ginger  day  after  day.  She  now 
belleves  in  him  completely  and  reciprocatea  his  love.  Ladmus  is 
acutely  worried  ab  )ut  finances.  He  is  now  living  mostly  on  the 
slender  earnings  of  Lajos  -  a  most  humiliating  st^te  of  affairs« 
One  evening  ( it  is  Ginger's  day  off)  the  two  lovers  have  a  date  for 

dinner«  He  has  asked  her  to  come  to  his  anartment  beforehand  for  a 

-13- 


highball.  When  she  arrivea  he  ia  out  for  a  few  momenta.   So  ahe  ia 


greeted  by  Lajoa« 


Lajos 


aood   evening,   Miss»     Hia   Majeaty  will  be  here  presently.     He   aska 


you  pleaae    to   wait« 


Ginger 


Hia    --  hia  WHAT? 


La.ioa 


Why,   Hia  Ma.iesty# 


Ginger 


Whoae  Majeaty? 


Lajoa 


Why,  His.   The  King's*.*.  0hl   Oh,  dear,  I  --  I  ahould  have  aaid  Mr. 
Grau  —  uh  Larry  --  why,  Lawrence,  of  courae» 


Ginger 


Oh. 


La  Jos 


That'a  --  that'a  juat  a 


Ginger 


Nickname,  huh? 


Lajoa 


Preciaely  ao,  Mias.   Preciaely  aol 

Ginger 

I  see«.««     H'mmm»««« 

(in  a  fondly  dreamy   tone,    after  a    thoughCftll  pauae) 
He   l3    like  a  king,    though,    ian't  he? 


Lajoa 


Oh  indeed,   Miaa« 


14- 


Ginger 

You  know,  that  guy' s  just  go  t  8verything# 

Lajos 

Not  quite  everytlilsg,  Miss» 

(at  which  point,  Ladmus  entera) 


Ladmua 


Hello,  Ginl 


(bowing  low) 
Grood  evening,  Your  Majeaty« 


Qinger 


Ladmus 


What  the  devilV  ^.^.  ^  x 

(gives  Lajos  a  dirty  look*  Lajos  turns  away,  mortified,; 

Ginger 
How  come  you  never  told  me,  Larry? 

Ladmus 

Oh,  well,  it's   --  it's  a  rather  delicate  subject*   You  see,  Gin,  - 

(confidential  tone) 
Lajos  was  uh  --  he  was  shell-shocked  in  the  Firnt  World  War,  and  on 


tty") 
s 


certain  subjects   he's   

(taos  his    temple  with  his   forefinger   to    indicate      nutty 
So  he    thinks   I'm  a  king...»  Yes,    it's   very   sad.      Oh,   but  he» 

harmless*     Perfectly  harmless^     Anyway,    darling,    don't   call  me    that, 

please.      I     *-    I  don't   like    it. 

Ginger 

But  why?     It's   fun.     ^"'its   you  perfectly. 

Ladmus 


Nonsensel 


Ginger 


But    it    does,   Larryl     Honestlyl     Why,    you're   tall  and  handsome   and 
noble   and  dignified  and  cultured  —   öoodness,   what's   any  king  got 


that   you  haven*  t? 


-15- 


Lacünua 


A    throne l 


Ginger 


Oh,   well  --  but  maybe .   Say,   you  know,    it»s   funny  -- 


Ladmua 


What,    Gin? 


Gmger 


Well*    he   admitted  it's   a  nlcfcname*  You   say  he's  nuts»     He   talks 


just    like   a  kingis  man-servant«     And  ^oü  "-  7^^   lo^k  and  act  exactly 
like   a  real  king.     Larry,   why  didn*t  you   teil  me   you're   a  king? 

Ladmus 

Because  I'm  not«  Don't  be  sillyl 

Ginger 
But  you  werel   Oh,  how  thrllling,  dearl 

,  Ladmus 

Will  you  stop  talking  nonsense l 

Ginger 
But  I  know  it's  true«   V/hat  happened?  Get  canned? 

Ladmus 
I  teil  you  — -l   It's  no  use*  Well,  if  you  must  put  it  that  way,  -- 
yes,  yes,  yesl   Now  lets  talk  no  more  about  it# 


Ge 


Ginger 
e,  this  is  marvelousl  What  conntry  was  it? 


Ladmus 


Bulkrania» 


Bul  --? 

kranial 


Ginger 

Ladmus 
-16- 


Ginger 
Let  me    see   That's   --    that'3    in  Europe,    lan't   It? 

Ladmua 
It  was«      It'3    In  Germany  now# 


Ginger 


Oh  ••••  Too  badl 


Ladmus 


V/ell,  it's  all  overl   All  over  nowl 

Ginger 
No  regrets,  Larry ♦   But  really,  --  why  didn't  you  teil  me?   '^'hink  I'd 
hold  it  ag-  inst  you?   Oee,  just  imaginel   Having  been  a  kingl   What 
funl 


Ladmus 


Por  who^^? 


Ginger 
(visualizing  his  regality) 
Your  Ma je styl   Your  Royal  Highnessl 

Ladmus 
It's  all  overl   Pinishedl   Utterly  and  irrevocably  spoiltl 

Äinger 
No  bitterness,  Larryl   i'hat  doesn't  help«   I've  got  a  past  too«   I 


wan 


ted  to  be  a  doctor«   And  now  —  I'm  slinging  hash.  ^ut  I  don*  t 


go  aronnd  being  morbid  about  it. 


Ladmus 


But  what  I'm  thinking  of  -  isnU  my  past^   It«s  our  future« 


I  uh 


Ginger 
I  don't  know  what   you  mean,   Larry. 


Ladmus 
Don't  you   see?     Everything's   changed  now«      Ohanged   comnletelyl 

-17- 


Ginger 
But  how?  Why?  What's  changed  what? 

Ladraua 
I  love  you,    Ginl      Love  you  more    than  anyth^kig   ia    the  worldl 

Ginger 
And  I'm  not   exactly  allergic   to   you,   Larry ••••   So  what?? 

Ladmu3 
The  only  reason  I've   haven't  proposed  is    that  I  don  '  t   have   the  means — | 

Ginger 
To   keep  me    in   the   style    to  which  I'm  accuatomed?     Huh  -   that's    a 
riot*     But   I   still  don't   see  what's    changed   so   awfully. 

Ladmua 
It»3  -  your   suddenly  knowing  about  my  past*     Oh,    I'm  sure   you   think 
it  won't  make    any  difference« 

Ginger 
Of   course    It  won't»      Goodness,    I'm  bBoadminded.     And  after   all,   who 


am 


I   to   be    so   snooty? 


Ladmua 


Stop  being  facetious»     That  ' s    just   the   point,     Don«t  you    see? 


Gihger 


Ho 


Ladmus 


You're  a  sensible,  realistic  American  girl«  Beet  on  the  ground# 
No  false  values.  No  blind  adoration  of  empty  Inherited  glamour* 
That's  what    I  adore   about  you,   Gin«     You're   the    livlng  heart   of 


America# 

Ginger 
U'mramm  --  how  you  know  us,, Larry»  Well 

-18- 


-  and  30?? 


Ladmu3 
You  might   love  me,    acceot  me,   marry  me,    and      -   and  everything*   But 
always   lurking   deeoly   in  your  mind  --  Oh,    you  v/ouldn't  want   It    to   be, 

but    it   would  always    lurking   there  would  be   a   doubt,,a  question, 

an  aching  worryl  What^s   a  king  want  with  a    siWiple,   Ainerican  girl   for 
a  wife?     How   can  he  endure  marriage  with  a   piain  child  of   the  people? 
Isn»  t    just  a  whim?     A  diverting  novelty?     An  entertaining   caprice? 
That's   the   sort   of  confounded  nonsense  you'd  bepJLx  plaguing  your- 


seif  with» 


Qinger 


But  uh  


Ladnius 


There  are  no  but's  about  it.  ^M  s  sense  of  uncertainty  in  you  and, 
of  course,  the  stifled  hostllity  it  would  provolte  —  well,  it  wmld 
ruin  US.     That '  s   alll     WeWe  got    to  be   realistic# 

Oinger 

Larry  dear,   you    really  know  me   just   like   a  bock In  Sanskrit. 

It's    all  very   clear.      It's   your   feelings   for  me    that  you   don't    trust. 
But   you  don't  want   to   adnit   that.      So   you're    trying  to   pass   the   bück 
to  me*     ^ardly  chivairous,    I  should   say. 

Ladmua 

I«m  not   trying   to  be   chivairous. 

Ginger 
Thet's   quite   evident.      Now   let  me    teil  you    soiaeüiii  g#      I've  got  no 
inferiority   complex.     Understand?      I  know   I'm  pretty  good  stuff» 
And   I  feil   fully  co^petent  to   hold  the  man   I  love.      It's   your   own 
Billy  snobbishness   thatia  makes  you   fear   I'll  think  more  of  your 

kingly  past    than  you  do  •     Why,    I  wouldn  t   even  be   afraid  of  a 

-19- 


Movie   starl      Huh  -  a  kingV     Why,   any  king   can  marry  a  fussy 
princesal     But  how  many  ex^kinga   can  marry   the   likesof  me? 

Ladmua 
Gin  darling,    you  don't  underatpnd. 

Ginger 
Don't   öin  me.      I  änderst.- nd  30  darned  well   that   it   atinga»     Just 
forget   the  whole   thing.      I  don't  want  to   ever   aee  you   again# 


Ladmus 


Gin  -  — U 

She  is  gone.  Ladmua  is  desolate.  #or  daya  he  can  neither  eat 
ndr  aleep*  Pinally,  ke  goea  to  her#  He  ia  the  essence  of  humllity. 
He  begs  her  pardon  for  having  miajudged  her.  Though  It  is  her 
auperb  American  quality  that  firat  endeared  her  to  him,  he  failed  to 
realize  how  deeoly,  how  paasionately  ta  aha  embodiea  that  quality, 
She  is  the  heartening,  the  bracing  antithesis  of  the  world  from  which 
he  sprang  and  which  he  was  finally  forced  to  abandon* 

Ladmua 
Everything  you  are,  darling  -- 


Ginger 


A  hash  alinger   -- 


Ladmua 


ia  due   to   your  own,   honest  efforta*     You're   alive,   proud,    aelf- 
reliant.     You're   the   product   of  a   civilization  where  nobody's   a 


king  because   everybody's   a  man  — 

Ginger 


Not  me» 


Ladmua 


You're    the   living   aymbol  of    the   democratic  v^ay  of    life.      Beautiful, 

-20- 


free,   confident,    individual*     You're  glorioua,    öinl      I'm  crazy 


about  youl 


Ginger 


Then  why   the  devil  don't   you  ask  me    to   marry  you?     You're    the 


fuimieat  guyl 


Ladmus 


Because   I  can' t   suooort  you.      I  can't  even  support  myaelf*      I'm 
poorer   than  you.      I  haven't  even  a   Job.      And  what's   worse,    I   see   no 

proapect  of  getting   one. 

Singer 
But  goodneaa,    -  being  a  king,    even  an  ex-king  -  gosh,    that   ought  to 
be  worth  somethlng.     Think  of  your   publicity  valuel     V/hy  not  try   to 
uae  your  past   to  make   your  future? 

Ladmua 
Well,    I  did  have    a  Chance   to   endorae  hair   tonic  and   clothea. 

Ginger 


Swelll      And   — ? 


L&dmus 


I«ve  never   anawered   the    lettera. 


Ginger 


Too   proud? 


Ladmua 


Gertainly  not.      I  didn' t  want  you   to  know   Vd  been  king.      I  didn»  t 
want  ZXK   it   to    atand  betv/een  ua .     And  of   course,   you»d  have   aeen 


the   ada • 


Ginger 


You   aapk 


-21- 


Ladrnus 


Besides,    I  dontt  want   to  exploit  my  past«      I'm  aick   of  being  a 
gilded  goof#      I  want   to    uae  my   own  latent  power s»    I  want   to   be   real. 


useful,    aiiriDle» 


Ginger 


What's   30    difficult   about  being   simple? 


Ladmua 


You've  never  been  a  king# 


Ginger 


Then  let  me   teil  you   something  abdut  commoners*     We   all  have   two 
sides:      tiie   real  and  the  racket*     What's    fine   —   and  what»s   front. 
I   try   to  make    the  best   of  my  looks    and  manner.     '^'hat's  mj;  front. 
Ydu've  got  a  kingly  past.      Is   the  hair  tonic   any  good? 

Ladmus 

I   can't   teil.      I  haven' t   any  dandruff* 

Ginger 
Endorse   it  anyway.      It   can' t  be   worse   than    the    others.     ^nd  the 
clothes   too.      öet  some    cash  and  then  — -   do   what  you  want» 


Well,    Ladmus   finally  fWlows   Ginger *s   advice.     He 
Glossygrowth  Hair  Tonic   and  the  de    luxe 


endorses 

garments  of  the  Monarch  ClothMrs,  Inc..  He  is  genercusly  pald 
for  his  sacrifice.  As  a  result  of  this,  a  new  cigar  is  named  after 
the  King.  More  revenue.  Ladmus  is  advancing  nicely.   He  obtanns 
an  honorary  executive  oosition  with  an  enterpriaLng  corooration 
that  wishes  to  reap  the  prastige  of  his  name.   Still  more  revenue. 
He  and  Ginger  become  engaged.  Thelr  betrothal  is  announced  in  all 
the  papers.   They  decide  on  a  date  of  marriage,  a  place  to  live 


and  numerous  other  things» 


-^- 


And  then  Sybil  reads,  first,  the  ads  containing 

endorsementa  of  King  Ladmus,  ncxt,  the  ne\v3  of  his  betrothal  to 
Ginger.   She  is  at  vhite  heat«   And  in  her  indignation  she  ia 
determined  to  expose  Ladmus  as  an  Imposter»   Close  friends  warn  her 
that  by  such  action  she  may  put  he:':'3elf  in  a  humilif^t ing  position« 
Suppose  he  i_s  King  and  the  Jetter  to  her  v/a:.  fslse.   But  Sybil 
cannot  be  restrained.   Her  passion  for  revenge  is  now  far  svronger 
than  the  desire  to  spve   her  pride.   She  prefers  chai^ges  a^^ai'ist 
Ladmus  with  the  District  Attorney  of  Kalamazoo«  And  to  substantiate 
these  charges,  she  subnits  the  letter  in  which  he  represented 
himself  as  Georg  Dontescu,  the  King 's  double»   Ladmus  is  bra;ght  to 
the  District  Attorney' s  Office»  Confronted  with  the  damning  letter, 
he  denies  its  truth#  The  District  Attorney  than  demands  proof  of 
of  his  identity  as  King«  Ladmus  can  offer  nuthing  but  ika  his  own 


Word  and  that  of  La Jos»  All  this  gets  into  the  papers 


The 


corooratiDns  that  have  paid  him  for  endorsements  and  the  Organization 

that  made  him  an  honorary  executive  all  insist  that  he  est^-blish 

the  falsity  of  Sybil' s  Charles.  After  all,  the  fair  names  of 

Glossygrowth  Hair  Tonic  and  Monarch  Clothiers  must  be  vindicated» 

oral 
But  alas,  against  the/testimony  of  Ladmus  and  Lajos  is  the 

language 
unequivocal/of  that  signed  letter«  True,  the  document  is  signed 

''GEORGE'',  but  the  handwriting  is  soon  proved  to  be  that  of  Ladmus • 

Moreover,  since  the  rise  to  power  of  the  Steel  Front  regime  in 

Bulkr^nia,  the  diplomatic  corps  of  the  little  country  have  been 

comoletely  changed»   »^o  there  is  no  off icial  here  or  abroad  to 

whom  Ladmus  can  go  for  aid#  The  District  Attorney  tries  to  be  fair« 

He  writes  to  Bulkrania  for  informationt  But  all  that  he  can  find 

out  is  that  when  the  King  fled,  the  double  lisappeared,  and  nothing 

-03. 


can  now  be  told  of  the  wh  ereabouts  of  either«   3o  the  Diatrict 
Attorney  ia  obllged  to  ask  the  GranÄ  Jury  to  return  an  Indlctment« 

The  ^and  Jury,  after  carefully  welghing  the  evidence, 
f inally  comes  to  this  conclusion:--  Either  Lsdmus  lied  when  he  w©ote 
the  letter,  or  he  lied  when  he  claimed  to  be  King»   There  was  plenty 
of  reaaon  for  hia  claiming  falaely  to  be  the  exiled  monarch.  But 
what  motive  could  he  poaaibly  have  had,  if  he  were  reelly  the  Mng, 
for  confeasing  that  he  is  merely  the  double?  '^'he  admisaion  cost  him 
hia  marriage  to  the  beautiful  heireaa  and  hia  publicity  value  aa  a 
former  monarch,  Obvioualy,  he  waa  moved  by  aome  tardy  pang  of 
conacience  to  reveal  the  truth,  or,  fearing  that  be'd  be  found  out 
eventually,  he  decided  it  would  be  leaa  damaging  to  come  clean  before 
the  marriage»  Therefore,  s'-^ys  the  Gjand  Jury,  the  letter  tt   Sybil 
is  true;  the  claim  of  kingahip  falae.   Ladmua  ia  guilty  of  fAlae 
Imperaonation  and  fraud#  The  indictment  ia  duly  iaaued«   Ladmua 
engagea  an  attorney»  The  opinion  of  the  attorney  ia  moat  discoara^in^ 
There  ia,  he  inaiata,  only  way  out:   a  plea  of  Not  Guilty  by  reaaon 
of  Inaanity»  Ladmus  ia  horrified»   He  pleada  with  hia  lawyer: 

Ladmua 
But  I  teil  you  I'm  not  crazyl   I'm  Kingl 

Lawyer 
Alright,  alrightl   Don't  fight  with  me.     After  all,  I'm  your  lawyer* 

Ladmua 
InaaBiti   Why,  it'a  prv^poateroiaal   Me  inannel 


Lav/yer 
Only  in  point  of  lawl  Nothing  to  be  upaet  aboutl  And  the  beauty  of 
it  is  that  it's  an  abaolutely  wholepruof  defenae^ 


•24- 


•■  'n 


.  .t.-,A  I 


Ladmus 
How  do  you  mean?   No  Chance  to  prove  I'm  sane? 

Lawyer 
Exactlyl   If  you  are  king,  you  were  certainly  crazy  to  write  that 
denial  to  a  beautiful  helresa  you  could  have  marrled« 

Ladmus 
Were  you  ever  engaged  to  her? 

Lawyer 
Stop  trying  to  underraine  my  confidence  In  our  defense l  Well,  on  the 


other  hand,  if  you're  not 


are   that^s   even  crazler« 


King  but   are   firmly   cmvinced   that   you 


Ladmus 
But   I'm  not  merely   convinced,    I   teil  youl      I  am   the  Kingl 


Lawyer 


Prove    it« 


Ladmus 


I  can' t     --   beyind  my  appearance   and  my  knowledge. 

Lawyer 
Equally  consistent  with  yo^Jir  being   the    double.     What  point    is    there 
in  being  what  you  can' t  prove?«.*«  Either  you're   legally  insane,    or 


I'm  not  your   lav;yer« 


Ladmus 


But,   good  öod,  what  will  happen  to  me? 

Sftirytr 

For  a  while,  you' 11  be  institutionalized«   And  then  —  then  pethaps 

you »11  be   fortunate   and  lose  your  delusions   of  grandeur«     You »11 

frankly   teil   the  authorities   --   you  now  know  you're  not   the   king* 

You' 11  be   cured«     And    3£  --   relea3ed# 

-25- 


Ladmus 
You  mean  -  lle  my  way  in  and  lie  my  way  out? 

Lawyer 
Eave  I  asked  you  to  lie?  Besides,  this  ian» t  a  matter  of  morala* 

It's  lawl 

Ladmua 

But  it's  all  30  unconvincing. 


Lawyer 


To  whom? 


Ladmus 


Anyone  knowing  Bulkrania*   »o  to  all  the  trouble  of  hav ing  deluiions 
of  grsndeur  —  and  then,  be  ruler  of  Bulkrania^?  Why,  madmen  believe 
they're  king  of  the  world,  emperor  of  the  Universel   Poor  llttle 
Bulkrania.*  How  flattered  it  would  bei 

Lawyer 
Well,  if  it  will  make  you  feel  surer  of  yourself,  add  on  a  few 
other  countries.  Or  the  whole  of  Europe,  if  you  like. 

Ladmus 
Why,  a  paranoid  thinka  he's  ruling  lillions  aroand  hlm.   Not  a 
tidblt  nation  flve  thouaand  milea  awayl 

Lawyer 
Thä,  my  friend,  ia  what  makea  your  caae  ao  espetlally 
intereating.  Deluaions  of  grandeur,  touched  wlth  modeaty  and 
martyrdom.  Very  appealing.   And  terribly  convincing.   Sonetimes, 
you  know,  I'm  airaply  amazed  how  aane  you  aeem. 

Well,  the  plea  of  "not  gullty  07  reaaon  of  inaanlty"  ia 
entered.  And  eventually  Laämua  ia  brought  to  trial.  Needleaa  to  aay 

-26- 


Ginger  atanda  loyally  afi  hia  aide  during  thia  atn  nge  and 
bewlldering  ordeal.  Ladmus  merely  behavea  naturally  --  as  hia 
normally  regal  seif.   The  proaecution  tries  to  prove  him  tok  be 
sane  and  fraudulent.   It  triea  to  eatabliah  not  only  that  He'a  not 
the  King,  but  also  that  he  doean' t  really  believe  he's  King.  But  the 
proaecution  ia  out  of  luck.   The  lie  detectora  fail  to  aid  their 
cauae.  For  Ladinua,  in  inaiating  that  he  is  King,  ia  really  aoeaking 
the  truth.   A  number  of  paychiatria ta  are  called  aa  expert  witneaaea. 
One  of  them  timiaiy  auggeata  that  perhapa  the  defendant  really  ia 
King  Ladmua  and  thnt  tt£  letter  denying  hia  atatua  waa  written 
becauae  he  finally  diacovered  that  he  didnot  wiah  to  marry  the 
beautiful  heireas.  Thia  utteÄly  fantastic  viev;  ia  gre.ted  with 
contemptuoua  laughter.   The  other  doctora  all  agree  that  thia  ia  a 
clean-cut  caae  of  the  tyoe  of  inaanity  wherein  one  comea  to  believe 
that  He  j^  the  peraon  of  higher  atiion  with  whom,  in  actual  life, 
he  has  been  cloaely  identified«   But  how  about  the  diaclaimer  of 
kingship  in  the  letter  to  Sybil?  A  lucid  interval,  perhrng? 
Perhaps.   Hut  far  more  likely,  thia»   believing  hlmaelf  to  be  King, 
he  finally  decides  that  he  cannot  ooaaibly  marry  a  commmer.  And 
30,  to  extricate  himaelf  from  a  difficult  aituation,  he  Claims  to  be 
hia  ovm  double.   Vary  aimplel   And  completely  convincing.   After  a 
brief  period  of  dellberatlon,  the  Jury  returna  a  verdict  of  "Not 

mm 

guilty  by  reaaon  of   insanity. 

Ladmua    ia    taken  to   an  aaylum.     Here  he   flnda   himaelf   in 
the   familiär   enviromuent   of  royalty.     There  are   aelf-eateemed 
•^onarcha«  galore.     And  a  number  of   "dictatora"   aa  well.      They  are 
ttnding  aa  much  aatisfaction   in  being  what   they're   not,    aa  Ladmua 

had  wiahed  to   achieve    in  not  being  what   he   ia .      One^monarch" 

-27- 

a 


patient  aporoaches  hlm: 


Patient 


Kneel  before  mel 


Ladmus 


WhyT 


Patient 


Don't  you  know  who  ^  am? 


Ladmus 


I'm  afraid  not» 


Patient 


You  must  be  crazyl 


Ladmus 


So  thay  say. 


Pr.tient 


I'm  Ilapoleon  Bonaparte # 


Ladmus 


Ohl   Men  of  Destiny,  eh? 


Patient 


Destiny  of  Man,  you  mean«   I*m  GOD. 

Ladmus 
Can't   you  make   uo  your  mind?      Napoleo^ji  or   God? 

Patient 
Both,    you  fooll     Where's    the    inconaistency?     The   lesser   included   in 
the   greaterl      Kneel  before  me,    upstartl 

Ladmus 


I  don' t  have    to» 


VVhy  not? 


Patient 


-28- 


Ladmus 


I'm  a  K"ng  too» 


Patient 


Of  whatt 


Ladmua 


Bulkrania» 


Patient 


(turning  away,  contemptu  ously) 

Small  fryl 

(atops  for  a  moment) 
Uh  -  lend  me  a  dime,  will  you? 


Ladmus 


What  for? 


Patient 


I  want  to  phone  the  future# 


Ladmus 


How  I  envy  youl 


Patient 


Why?   I'm  only  a  poor,  persecuted  ruler*  Millions  are  hounding  me 
and  plotting  my  death«  Make  it  fifteen  Cents,  will  you,  brother? 


I  need  a 


pack  of  Luckies« 


Ladmus 
{ handing  him  the   money) 

What   a  racket  madness    isl 

Day   following,   Ladmus   chats   with  «nother    inmate. 

Adolini,    dictator   of   the  world,  which  in  globular   form  he  wears   on 

his  watch-chain» 

Adolini 

Wh£3 1  brand  of   insect   are   you?' 

-29-  s 


Ladmua 


Me?      I'm  King  of  Bulkrania* 

Adolini 
0hl      Oh  yesl      We   liquidated  that  semi-colon  at   two    forty-eight   last 


year« 


(fingering   the  globe   on  his  watch-chain) 


What   a  c  mtemptlble    trifle   --   this  worldl      Äo   lebenaraum  at  alll 

But  waltV     ^ou'll  seel      I've   got    a  fifth  column  on  Mars  nowl 
(he    stalks   off) 

Ladmua 
fine      (to  himself,   wistfully) 
(l  deluslon  of  grandeur    IWe  got»      King   of   Bulkranial      Thl  s  place   is 

giv^ng  me    an  inferior  3  ty  comp  lex  • 

Ginger  Visits   Ladmus   each  week   at    the   asylum«     And  when 

they  are    left   alone,    he   drops   the   highly  regal  manner   of  his    pretende^ 

madness   pnd   speaks    to   her  with  natural,   warm  simpliclty»     But  alv/ays 

she  Warna   him  that    if   he   should  be   discovered,   he*d  be    taken  out  of 

the   asylum  and  into   prison»      So   he   returns   to   his   royal  manner»     She, 

to   aid  and  abet  him,    sometimes   enacts   the    part  of  a  humble,    commoner 

subject  of   the   King«     But   tH  s   drives  him  to   dlstrsction»      So  ^e   then 

assumes   another  role,    that   of  his    lovi  ng  queen»     But    so    thoroughly 

does    she   seem  to   rolish  this   role,    that    he   begins   to   be   alarmed# 


Maybe   she '11  go    ''regal"   on  him  after  all 


At   the  asylum,   Ladmus   Is    subjected   to   all  sorts   of  drastic 

therapy»     Pinally,    after   consulfcations  with  his   lawyer,   he  ded  des 

to   apoear   cured»     He   comes  before    the   heads   of    the  asylum.     He    teils 

them  he   now  knows  he   has  been  deludedl      he 's   never  been  and   isn't   now 

the  king  of  Bulkraniaj  he's  merely   Georg,    the   double    of   Ladmus* 

Simply   tiis   and   --   nt»  thing  more*      The   doctors   examine   him  at   3e  ngtli» 

They  are  dejlghted  to   find   that   thelr   therapies   have  wo  rked»  And 

-30- 


since    the   case,    in   ita   earlier   stages,   had  been  widely  publiclzed, 

they  are   now  proudly  glad   to   announce    that   thelr   famous  patlent    la 

cured»     Prom  King   to    commoner   --   a  remsrkable   reatoratiun  to 

normalcyl     Within  twenty-four  hours,    the  v/hole    country  haa   the   newa« 

And  then  --  while   arrangements   are  being  perfected  for   the   cured 

inmate'a   diacharge,    there    auddenly  appeara   at    the  hoapital   a  man 

with  black  hair,   black  beard  and  mduatache   and  horn-rimmed  apectaclea 

He   aaka   to    see   King   Ladmua*     He    ia    told  there    ia   no  King  Ladmua    there 

He    inaiata  on  aeeing   the  man  who   called  himaelf  King  Ladirma«     ^e    ia 

then   braught  face   to    face  with  the    recently   cured  patient.     One 

look   and  the  bearded  man   proclaima    "Thia    ia    in    truth  my  Kingl      King 

Ladmua   of  Bulkranial      It    ia    all  a   terrible  miatakel      ^nd  who    ahould 

know  better   than    I?'* 

''How    30**,    the    aatoniahed  doctora   aak# 

"Becauae    I     --  _!  am  Georg  Donteacu,    hia  doublel'' 

••Hia  WHAT??"      'i'he    doctora   burat  out    laugbing*      Why,    til  a 

man  doean't  bear   even  the   slighteat  reaeinblance   to   their  patientl 

But    auddenly   they   atop   laughing»      '-^hey  give    each  other   prof eaaionally 

knowing  glances»«»«  They  nod  confidently  at   each  other»«».  Another 

proapective  patient«».»  Thia  man ia  madl 

But   the  bearded  arrival   Inaiata  on  telling  his    atoryl#- 

"When  King  Ladmua  waa   forced   to    leave   Bulkrania,    I  realized  at    unce 

that    with   the    cloae   resemb].ance    I  bear  Hia  Majeaty,    It  would  be 

highly  unaafe   for  me    to   remain  behind«      So    I  alao  makde   a  getaway» 

But    alaa,   whereEver    I  went,   peril  hounded  me»      I  would  eacape   from 

one   CGuntry,    only   to  be  gravely   threatened   in  the   next»      That    I'm 

atill   alive    ia   a  miracle    indeed»     And  all   thia  becauae   of  my 

reaemblance   to    the  K^ng»" 

(the   doctora   look  at  each  other   aignif icantly ) 

-31- 


\ 


"So    I  finally   decided   there  was   only   one    thtng  to   do.      I  muat   alter 
my   anpearance«      I  took   to  wearing    theae   aoectaclea.     Not  en:-ugh. 
I  raiaed  a  moustache   and  bea-d.     Still  not  enough.      IK»  dyed  them 
biäck  and  my  hair   to  match.     Very  goodl     At   least   I  was  no    longer 
taken  for    the   King.     Oh,   but  doa  't   think  my   troubles  wäre  over. 
Merely  betog   a   stranger,   ▲  Bulkranian  stranger   in   theae  foreign  lands 
was   plenty  dangerous    in    itself,      '^-here  were  detentionf  deportat ions, 

priaona    tili  finally,    I  eHcaped  to  America,      I  arrived   in  New 

York  five  daya   ago .     And   then  -    then  I  read  about    this   terrible   case. 
At   once   I  left   for  Kalamazoo.     And  now,    gentlemen,    I  am  here    to   prove 
the    identity  of  my  King,    -   to  vindicate  him  before   the  woild.   Long 

live  King  Ladmus   of  Bulkraniall" 

Georg   is   detained  at   the   asylum  for   Observation,     ^he 
doctors  give   strlct   Orders   that    no   ragor  be  made   available   to   him. 
Also,    that   Ladmus  be   kept   apart   from  him.      Despite    the    familiär 
voice,   Ladnua   doesn' t   really  believe    that    the  bearded  man   is   his 
double.     Moreover,   he   doesn- t  want   to   believe    lt.      He    is  quite   done 
with  belng   a  king.      He  wants   to    settle   do^vn  peacefully   as   a  piain 
American  citixen.     He  wants   to   run  an  oll   Station  on  a  piain 
American  highway.     And  above   all,    he  wants    to  avoid  all  further 
trouble.      But   Ginger?      She   learns   what«s  hanpened.      Andshe  feels 
differently   about   it.     «uite   differently.      She    is    too    intenaely 
aware   of   the   commerciali  value   of  being  an  ex-king.      Besides,    she    is 
now   secrefily    intrigued  with  the    idea  of  belng  a  might-have-been 
queen.      Surreptitiously   sh*  gets    to    Georg.      She  hands   him  a  razor 
and   a  bottle    of  fluid   that  will  restore    the   natural  blondeness   of 


his  hair. 


Five  hours  p»s3. 


Meanwhile,    the   doctors,   with  an   eye    to 
-3  2- 


Publicity,    have    invited  representat ives   of   the   presa    to  witness    the 

these 
disCharge    of   their    celebrated  patient»      And  now,    in  the   presence   of/ 

welcome   reoortera,    there  apoeara  before    the   doctors   the   trans- 

formed  Georg.      The   doctors,    taking  him  for   Lactmus,    are   about    to    band 

him   the   coveted  document   of  liberation,    when  he    ctiimly   teils    them 

that  he    is   not  Ladi'ius   but   the   nev/ly   arrived  Bulkraniän,   v/hom   they 

last   savr  with  spectacles   and  a  black  beard»     At    this  point,    Ladmus 

arrives   on   the    scene*      The  Doctors   are   now   utterly   at    loas   to   say 

who's  Uuv«      In  the   hope   of   saving    their   faces,    they   contend   that 

the    recent   arrival   is    the   King   and   their    cured  patient,    the    double • 

Ladmus   corroborates    them»      But   Georg  soon  upsets    this    comforting 

supposition.      He   reveals    a  birth-mark  on  his    thigh,    which,    through 

an  army  record  he  has   at   band,    establishes   him  beyond  doubt   as 

Georg  Dontescu.     The   gentlemen  of   the  press   are  delighted  with  the 

story«      '-i-'he  physicians    are  enraged«      If    it    is   now   disclosed   that 

comjnoner 
they  mistook   tiie  king  for   a  madÄ^fj    that    they  cured  a   sane   king   of 

insanity  he   never  had,    they  will  become    a   laughing   stock   throughout 

the   World.    Still,    they  have   no    choice   but    to   discharge  bo th  men» 

A  week   later,   Ladmus  and  Finger,   with  Georg   aB  best- 

man  and  Lajos   as  witness,    are  married  by   Judge  Treaty     During   the 

Service,   which  is  hampered  by  numerous    interrupti  »ns,    the   Judge   is 

constantly  mistaking   the  groom  for    the  best-man  and   the  best-man  for 

the   groom.      But    the    ceremony   is   finally  completed  and  Ladmus   and 

Ginger   now  face    the  world  as  man  and  wife» 

Soon  thereafter,   Ladmua  buys   an  oil  and  gas    statiun. 

It   is    situated  all  the   side   of  a  pleasant  highway,    six  miles   distant 

from  the   nearest    town.      He   and   Ginger    str^rt    living  a   simple,   hard- 

working  American  lifo.      Georg   comes    to  work  for   them.     And  Lajos 

-33- 


returns    to   hla  King   to   run  a   nearby  hot-dog  stand»      Soon  it  becomes 
genorally  knoA-vn,    through  the    preaa,    that   a  king   is  running   an  oil- 
station.      Thou3ands   of  curioua  motorists   drive  by  with  their   familiea 
and  friendg,  to   aee   a  real  King«     "^^hey  buy  oil  and  gas,    cokes    and 
hot-gogst     Many  wish  to    stay   awliile.   So    an  adjoining  picnic  ground 
is   estpblished»     Later  on,    to  meet   an  ever-increasing  demand,    anX 
inn  is   opened,    close    to    the   oil  stA  ion.     Business    flourishes.     And 
eventually  an  extensive  pleasure-reaort    settlement,    a  whole  booming 
village,    grows   up   around  the   estsblishment   of  Ladinus«     And  Ladraus 
himself:^    is   an  ever-gracious,    ever-demo oratio  royal  host   to    thousands 
of  aopreciative  visitors.      And  since    the    Community  represents,    in  a 
sense,    the  meeting  of  Bulkrania  and  America,    the   populace   votes    to 
call   the    settlement    "Bultner ica"»     On  the   Kingfis    side   of    the   high- 
vjay  are   auto-camps    and  motels    for   the   piain  people.     On  the   other 
side,    through  the   enterprise   of   some   big   corooration,    is   a  de    luxe 
hotel  for   the  elite.      Ladmus   resents    this   ritzy   intrusion,    but   there 
is   nothing  he   can  do    about   it»      High  society,    in  this    swank  hostelry, 
sacrifices   sport    clothes   in  favor  düUL  ßi   the  garb   of  a  king,    --    the 
uniform  of   an  oil-stä:  ion  attendant« 

One  week-end,    out  of    irresistible    curiosity,    Sybil  flies 
to   Michigan  and  registers   as   a  guest  at    the   de    luxe   hotel.      She 
had  learnt,    of   course,    that  her  ex-fiance    is   an  ex-king  after  all» 
And  now,   when   she    observes   the    evidences   of  his  success   and  aoparent 
happiness,    she   feels   a  renewed  passion  for   revenge»      She    sues   Ladmus 
for   breach  of   promise   and  has   an   att-abhment   levied  on  his  numerous 
enterprises«     But  what   can  be    the    theory  of   su  ch  a   suit?     Didn't 
she  break   the    engagement?     Yes,   but   only  because   of  false  represr^nh- 

ations  made  by  Ladmus.      So,    it    is   ar^ued,    the  bürden  shifts    to   him. 

-34- 


Moreover,    the   \70rding  of  his   celebrafeed  letter,    --  wasn't   that 
tantamount   to   a  breach  of  promiae    in  Itaelf? 

Ladmus    i3   Incenaed«     He    takes    it    out   on  Georg» 


( to   Georg) 
It'B  all  your  faultl 


Ladmu3 


Georg 


MY  fault?? 


Ladmua 


Of   coursel      I^fyou  hadm' t   shaved,   none   of   thia    could  have   happened. 

Georg 
And  who   out  me   up   to    it?     Who   brought  me    the   razor?     Who?     WHO??? 

Ladinua 
Who???  Don't   aak  mel      I  don't  knowl 

Georg 
I'm  not   aaking  you*      I'm  telling  youl    It  waa   Ginl     YOUR  WIFEl 

Lacinua 
Gin??      My  wi  --?     Prepoateroual      I  don't  believe   a  word  of   it« 
Why,    she^ll  deny   it   in  your   very  nresencel 

Ladmua  goea  to  Ginger •  He  finda  her  in  the  bedroom  of 
their  apartment,  looking  at  heraelf  in  a  mlrror*  She  ia  wearing 
the    jewÄÄs   and   formal  attire   of  a  queen« 

Ladxiiua 
Por   the    love   of  Heavenl     What'a   the  meaning  of   thia?     V/here»d  you 


get  thoae  jewela? 


GLnger 


Pive  and  ten« 


And  that  r ig- out? 


Ladmua 


35. 


Ginger 


Thestrical  costumer»   Llke  it? 


Ladmua 


It's  ridiculousl  Absurdl 


Ginger 
(feminine  venity  hurt,  her  eyes  fill  un  with  tears) 
I  thought  you'd  find  it  fun.  That's  why  I  did  it» 

Ladmus 

That'3   not  true«     YouWe   got   the   queen-bee   in  your  bonnet   after  all 

(through  her   teara)        Ginger 
And  what   if    I  hadV     Would    that    be    so   unnatural  --  for    the  wife   of  a 


king? 


Ladmus 


It's   stupid,    infantile  mockeryl      that's   what  it    isl 

Ginger 
öh  Larry,   Larryl     This  high  ideal  you've    set  me   --    I  can*  t   live  ilp 
to    it   every  hour  of   the   day  and  night.      It's   such  a   strain-being 
nothing  but  a  piain  American  woman,    -   a   simple  daughter   of   democracy, 
as   you   out    it,    -  when   I  know,    after   all,    that   I»m  married  to   a  king, 

Ladmus 
H'mml      So    that  » s   Itl      Then  I  sunpose    it   was   you  who  feave   Georg   the 


razor   to   betray  me??? 


Ginger 


What 's    that   got   to   do  with  anythäng? 


Ladmua 

Well  --  was  it  you  -  or  not? 

(she  fails  to  reoly") 
Then  -  it  wasl 

Ginger 

Of  coursel      And  tiB    stuff  to   bring  teack  his  blondeness   tool     You 

-36- 


can't  keep  denying  youraelf,   Larry.     You   canU  kaep  runnlng  av/ay 


from  youraelf  • 


Ladmus 


I  do^L't  want   to   run  away  from  myself.      I  want   to   keep  othera   from 

running  after  mel      I*m  aick  and   tired  of   belng  a  relic  of  royal  ty  #• 

for   foola    to   gape   atl Sol     You  gave  him  the  razorl     You   started 

it   allV     And  now   —  now  look  at  whä:  »s  happenedl 

(he   showw  her   the    summona  and  complalnt   In   the    breach  of 
promise    suit»      ^he  maintains   a  guilty   silence«) 
Önce   and  for   all,    I'm  done  with   this   phoney  businessl      Playing  up 

my  pastl      Or  what^s   v/orse,    letting  others   play   it  up  for  mel     We're 


going   awayl 


Ginger 


Where   to,    Larry? 


Ladmus 


Far  avjayll  Some  place  where  kings  can  be  menl 


Some  days  later,  as  part  of  Sybil's  suit,  her  depositijn 

is  to  be  taken  at  the  office  of  Ladmus 's  lawyer.  Ladmus  is  so 

uoset  by  the  whole  messy  business,  that  he  refuses  to  attend  the 

proceeding.  But  he  asks  Georg  to  go  in  his  place#   it  is  merely  a 

Kl  matter  of  showing  interest  in  the  defense.  Georg  conplies« 

He  has  never  seen  Sybil  before  andXa  is  greatly  excited  by  her 

beauty#  Throughout  the  whole  deposition,  he  stares  at  her  longingly 

'i'his  renders  Sybil  highly  uncomfor table*  For  she  naturally  asaiames 

it  is  Ladmus  himself  who  is  attending  this  preliminary  round  in  the 

case  against  him«  Ladmus *a  lawyer  interrogates  herl 

Lawyer 

And   is   it  not  a  fact   that  at   the    tiire   you   became   engsged  to    tbe 

-37- 


defendant,    you  believed  him  to   be   tlie   former  king  of  Bulkrania? 


Sybil 


That's   right. 


Lawyer 


But   that    fact  had  nothing   to    do  witji  your   accepting  his  proposal? 
I3   that    correct* 


Sybil 


Of   course» 


Lawyer 


In  other  words,   you  would  have  been  just   as   ready   to  become 
engaged   to   him,    even  if  you  hadn't   thought  he'd  been  a  king? 

Sybil 
Certainly«     What » s   30    hot   about   an  ex-king? 

Lawyer 
You  were    in  no  way   influenced,    then,   by   his  royal  past  and  title? 

Sybil 
aood  he^^vens,   nol      Unf)  rtunately,    I  feil   in  love  wi  th  the    3ap# 

iMwrn 
Then,   after   he  v/rote  you   he  v/asn't  king,   bhb  merely   the   double, 
did  you   ever   teil  him  his  being   a  mere   commoner  wouldn't  make   any 


differenc»? 


Sybil 


Most  decidedly  notl      I  don't  have   to   run  after   anyonel      Besides,   he 
was    lyingl     He    said  he  wasn^ t  Ladmus» 

Lawyer 
In  other  words,    despite  his    letter,    you   continued  to  believe  he  was 
king,   but   still  didnot  want   to  marry  him? 


Sybil 


Oh,    I     -   I  can'^t  remember   all   thatl     What's    that    got    to   do   with 


anythin  g? 


Lawyer 


A3   a  iwtter   of  fact,  when  once   you  were   convinced  he  »aan«  t  klng, 
you  no   longer  wanted  him  for.  a  huaband?      Isn't   that   the  piain  truth? 

Sybi  1 

I  donU  Icnowl     No,   of   course   it    isnßt   truel 

Lav/yer 
well,    if   it  waan't  his  kingship,    then  v/hst   was   it  abcu  t   the   defendant 

that  you  feil   in  love  with? 

Sybil 
What  do  you   auppose?      His   lookst,    confound  hlml     Hla   courtly  mannert 
Hi3   old-world  charml      Hia   disarming  

Georg 


Wait  a 


( interrupting  excitedly)  ..  ^,  j.    i.^.      i      Tv.« 

a  mtoutel     Sit  a  mlnuteU     '^'hs   looka   -   I've  got   theml     The 

Cham  and  manner  —   thoae   tooU     Bo  why  not   — ??? 

SWil 
Don't  you  dare   talk   to  mel     You  fraudl     You   aw'ndlerl     You  -  you-l 

Georg 
Itve  never  defrauded  youl      I've  never  done  anythüig  at  e  111 

Sybil 
You   ran  away  llke   a  naaty  aneak,    to  marry  a  common  hash-allhgerl 

Georg 
But   I  teil  you  I've  never  married  anyone    in  all  my  lifel 

Sybil 
What???     More  lies   to   add  to   that  rotten,    lying  letterl 


Georg 


But   I've  never  written  you  any  letter   in  all  my  lifel     Listen»  to  me. 


SybilU     I'm  not  — l 


Sybil 


Teil  youp   phoney  story   in   courtl 

Georg 
But    I  won't  ba    in  Courtl     Don« t  you   underatpnd?      Thia   isn' t  my  caael 
I>ni  not  Ladmusl      I'm  not  hlm  at   alll      I'm  Georgl      Georg  Donteacu, 
the   double    of   tbs   kingl     And   t  love  you,    adore  you,  worship  youllll 


Sybil 


WHATllll 


Lawyer 

(to    Georg) 
Will  you  pleaae   stop    interrupting   the  deoositiOnl 

Georg 
The  devil  with   the   depoaitionl      There'a   no   one   to   deooael      V/e're   all 
commonersl     And   I  love  her   and  she   loves  mel 


Sybil 


I3   that   30?tt 


Georg 


Of   courael      It  was   evident   in  every  word  of  your   teatünony;      We're 
waating   time   nowl     Definitely,  we're  wasting  time l 

And   iihe   atrange   thing    ia    that    Georg   ia   rlght.     He   and 
sybil  leave    the   lawyer 's   office   together   and  30    to  a    Cocktail  bar 

for  drlnka   and   a  tete-a-tete» 

Neddleaa»  to  any,  there'a  a  Jot  of  notoriety  and  trouble 
over  this  breach  of  promise  auit.  Ladmua  ia  disguated.  Bulmerika 
is    in  an  uproar.     Ladmua   decidea    to   leave   thia    idyllic   aettlement 

and  to   Start   life  all  over  a^aln  --  a  really  simple,   American  life, 

-40- 


with  an   o?M  Station  on  aome   faraway,    quiet,    country  road.      He  will 
follow    the   earlier   example   of   Georg  and   radically   change   his 
apoearance.     Ladmus  he  will  be   no    longer*      Ginger    is    incensed* 
What   about    the  business    they've   worked   so    hard   to   build  up?     How 
about  Bulmerika?     What  of  all   they'd  planned  and  dreamt   of   for    ihe 
future?      Ladmus  replies  with  calin  decisiveness :     As   for   the   running 
of  Bulmerikk,    let  Georg  do    itl     And   their  hopes   and  dreams   --   they'll 
be   substantially  revised»     Revised  --   and   siinplified*     Ginger  refuaes 
to   subscribe    to    this    attitude.      Both  are  equally   stubborn» 

And  now,    Georg  returns   to  Bulmerika  from  the   city* 

Ladinus 

(to    Georg) 
Georg,    I've  got  something   to    teil  you  --    something   Importantl 

Georg 
Waitl    IWe   got   somethir^.g   to    teil  you   ---   and   it's    even  more 
importantl      Sybil  and   I  — -   are  going   to   be  married. 

Ladinus   and  Ginger 


WHATVVIV 


Georg 


Park  Avenue,    to   be    exact» 


Yes,    and  we're   going   to    live    in  New  York. 

Ginger 

( to   Ladmus) 
There   goes  your  plan,    darlingl 

Georg 
Oh  -   and  also,    the  fe^each  of  promise   suit  will  be  dllsnissed.      I've 


arrenged  all   that • 


Ginger 


Well,  thank  heaven  au»  traables  are  overl 

Ladmus 
You're  very  much  mistaken,  my  dear« 

-41- 


Ladmus    is   adamant«     Mo   more  BulmeriKa  for  hij^.     No  more 
exploitatlon   of  his    regal   oast.        He's   determined   to    atart    life 
afrssh«      In  a  part   of   the   world  where   he    ian't  known*     And  v'ith  an 


a 


Itered  personal  ity,  through  which  he  crn  successfully  elude  detec- 


tlon»   Ginger  refuses  to  go  with  hiin«  She  Cölls  him  a  quitter,  a 
coward,  an  escapist.   She  remains  in  Bulmerika«  öut  he  leaves  -- 
for  Califidrnia.  He  raises  a  moustnche  and  a  beard,  and  dyes  them 
black«  Likewise  dyes  his  hair  and  takes  to  wearing  spectacles* 
Thus  transformed,  he  goes  to  the  Golden  State  and  acquires  an  oll 
Station  on  some  moderately  traveiled  road.   He  lets  Giiiger  know  where 
he  is,  but  pledges  her  to  secrecy  --  and  doesn't  ask  her  to  join  him. 


Meanwhile,  momentous  th:*  ngs  ka€  been  happening  in 
Bulkrania*   The  big  oowers  had  gained,  bloodlessly,  a  complete 
mastery  over  the  little  country,  through  aid  of  tho  Steel  Front 
regime.  But  Bulkranians  have  a  s-  vage  national  pride.   Therefore, 
to  conciliate  them,  for  the  time  being,  the  conquerors  decide  to 
allow  them  the  illHilon  of  national  autonomy.  And  nobody  more 
thoroughly  symbolizes  the  patriotic  ardour  of  his  people  —  than 
LadjTius.  This  the  conquerors  know.  Ladraus  is  not  only  XXtMX   populär. 


He  is  also  aafe.  For  politicolly,  he  is  weak  and  ineffectual.   So 
the  conquerors  rlesolve  to  reinatate  him  as  a  puppet  king. 


Ginger  is  terribj.y  lonely  for  Ladmus,  --  and  also, 
remorseful*  She's  been  doing  a  lot  of  hard  thlnking.   Sh*  certain 
he  considers  her  a  wash-out»   She's  terribly  eager  to  redeem  herseif 
in  his  eyes«  Well,  now  comes  her  Chance •  The  Bulkranian  minister 
to  the  United  States  travels  to  Bulmerika  to  bring  Ladmus  nev:s  of 

-42- 


the   decision   to   restore   him»     And   to    obtain  his    answer •      Ginger, 
learning   the    identity  of   the   vlaitor,      addreases  him  in  what   she    is 
sure    is    the  sentine  nt  of  Ladmus«      She    teils    the    dis  t  inguished 
visitor    that  her  huaband   cannot  be   reachedj   that   he   has    left   atrict 
Orders   not   to   divulge  his   whereabouts    to   anyone«      The   diplomat 
assures   her   that  his  mission   is    imperative;    that   he  brings  good  news- 
in fact,    great   news#        She    insists    that   she   cannot  disclose    the 
address   of  Ladmus,    no  matter  what    the   purpose    is   --   not   even  if   it 
meant    the   gift   of  a  brand  new  oil   Station« 

Minister 
Oil   Station????      This,   my  gracious   lady,    is  no   mere  matter   of  an 
oil   stati^ni      It  means,    if  you  must  know,    the   restoration   of  His 
Majesty   to    the   throne   of  Bulkrania« 

Ging er 
Oh,    is    that    all  you  wanted  to   see   him  about?  Well,    I  can  teil  you 
for  my  husband,    that  he  wouldn't   think  of  going  backl      No,    not   for    a 
momentl      Why,   he 's    an  American  Citizen  nowl      He »  s   doing  useful  work 
in   the    world«     He's   no  mere  king;   he   a  man  nowl      He's    simple,    real, 
importantl      He  wouldn't  become   a  useless  puonetl 

Minister 
Useleas???     Serving  his    country??     Why,   he'd  be   very  usefull      Thnt»s 
precisely  v/hy  he   want  him  backll 

Oinger 
Yea?     Useful   to  whom?      To    the   gang    that's   ruling   the    country*    Nu, 
there's   not    a  Chance    in   the  world,     Ladmus   loves  his    country  far    too 
much,    toa  become   a  royal   tool  of   the   gangster s  who   are  bleeding    it« 
When  the    time    cone  s   to   really  help  his  people   --   then  he(ll  return« 
Meahwhile,   well   --    let   Georg  do    itl      Georg  Dontescul      Pool   the   ■    / 

-43- 


people  wlth  him.     He' s   the   aplit    image  of  Larry     And  nobody  will 
be   allowed  to    examine  his   thigh.      So   the   real   truth  will  never  be 
known  --   tili  Ladmus   finally  returna   to  help  his   people.     Bealdea, 
I  don't  mind  telling  you    that   Georg  haa   a  very   rieh  wife,   who    adorea 
royalty.     That   ahould  be   very   important   to    the   gang  that'a  ruling 
your   country.      And  since   all  the    newa   in  Bulkrania   is   strictly   cen- 
aored,    nobody  koowa   that   Larry   is   married   to   me .     And  now,    if   you 

pleaae,   I  have   work   to   do . 

The   Minister  aaaurea   Giuger   that   ahe   is    tak  ing  a  grsve 
reaponsibility.     But  ahe   is   ad.-^mant.      öo   finally,   he   leavea. 
Immediately   thereafter.    Ginger   feels   sick  with  bewildered  anxiety.  " 
Without  her  huaband' s    consent,    she,   a  mere  haah  alinger,   has 
rejected  his   throne   -   a   throne,   moreover,    that  would  have  made   her 
a  Queen.     She   confides    in  Lajos.     He  reßrovea  herJ-   It   ia    all  very 
well   for  Ladmua   to  want   to   be   a  piain  Americm    Citizen  while   here, 
but  wlth  a   Chance   to   return  to  hia   throne   —  well,    that'a   a  very 
different  matter.     So   upset   ia   ahe,    that   she   leaves  Bulmerika  at 
once   and  goes    straightv/ay  to  Lad^ius.     Uoon  her   arrival,    ahe   tella 
Ladmua   that   ahe 's   done   aoiaething  awful. 

Ladmus 
SO?  What?     Found  some   new  way  to    explolt  my  royal  paat? 

Ginger 
NO,   Larry.     Quite   the   contraryl      And  -  much  worsel     Oh,    I  thought 
it  was  what  yai'd  want   at    the    timel      But   afterwarda   -   v/ell,   what 
I  did,   Larry     --  I  -  I  turned  down  your   throne l 

Lactaua 
(still  bitter,    and  not  taking  her   aeriously) 
Why?      Have   a  better  one    lined  up? 

Ginger 
Oh,    I  knowl      You  wouldn't  believe  me    if  I  told  you  wh;^  t  happened. 

-44- 


Ladmua 
After  all  I've  been  thro>  gh, ,  I'm  quite  ready  to  believe  anything 

So  Oinger  teils  him  what  she  told  the  Minister  of 
Bulkrania«   Ladmus  feigns  severity«  But  that,  she  assures  him, 
isn't  the  worst«  fihe    then  reveals  her  recomm;  ndation  of  Georg  for 
the  throne»   For  a  moment  he  gazes  at  her  in  utter  amazement.   And 


then,  he  bursts  out  laugl^ing»   He  takes  her  into  his  arms»   'J-'here  is 
a  tender  love  scene  between  them.   He  kisses  her  again  and  again, 
and  holds  her  face  close  to  hi3#  Pinally,  she  dmws  av/ay  slightly 
and  gently  mas^ages  her  cheek  with  her  fingers,  to  allay  the 
Irritation  causec  by  his  beard« 

Ginger 


Darling,  w-uldn't  it  be  wonderful  <fcwü? 


Ladmus 


What,  sweet? 

Ginger 
(massaging  her  face  again) 
If  you  could  find  a  less  painful  way  of  not  looking  like  King  LadriJs» 


Well,  some  days  pass«   ihen, Qne  morning  Ladmus  appeprs 
böfore  Ginger  --  blonde  and  beardless  once  again« 

Ginger 
(delighted  but  apprehensive ) 
But  darling,  aren*t  you  afraid  of  being  recognized? 

Ladmus 

I  think  I  can  now  afford  to  be  myself ♦ 

Ginger 


But  why? 


Ladinus 


Because  myself  is  now  thoroughly  and  comoletely  a  piain,  American 

-45- 


*e 


4|r 


Citizen.      I'm  afraid  of  nothing. 


So   Ladmus    and   Ginger    live    the    simole^    useful   lives    of 
American  democrp. ts,    sarving  hundreds    of   their   f ellow-cit Izens,    v/ho 
are    oart    of  the   great,   happy,    vital  pa^eftnt   of  a  free   people   on 


whe  eis» 


One   afternoon,    sone  v/eeks    later,    a  glossy   limouaiine   atoos 


in  front   of   their   rural   oil   stati)n.     Änd  while   Ladmus   filla    the 
Order   of   the   uniformed  Chauffeur,    a  middle-aged  man   in   the  back   seat 
of   the    car   looks   at  Ladriius,    again  and  again,   with  growing  wonder 

and  excitement*      Finally: 

Ladmus 
(aware  of   the   close    scrutiny) 
Anything  wrong,    sir? 

Middle-aged  Man 

NO,    nol      No,    nothing  at   all I  uh  --    I  was    just   thinking  -- 

it*s    too  bad  you're   not   an   actor. 

Ladmus 

A  rather  bold  assumption,  sir, 

Middle-aged  Man 


^ 


How»3    that? 


Ladmus 


It   30   hapoens    that    I  am  an   actor.     A   very  experienced  one# 


Middle-aged  Man 


Whatl  You  --  you  mean  -?? 


Ladmus 


A  bit    limited   in   scope,   but   good.      Very  good,    if   I  may    say   so l 
So   good,    in  fact,    that   I  was  keot    in  one  role   for   eleven  years. 


Finel      Greatll 


Middle-aged  Man 
Now   listen:      I'm  a  motion  picture  producer* 

-46- 


It     30 


*«f 


Happens   thnt  you   bear   a  rather   atriking  resemblance   to    the   lead- 
ing   charrcter   of   a  plcture  v;e're   Dlanning   to   produce. 

Ladmua 


ff. 


Indeedl 


Middle-aged  Man 


Yea,    a  gay,   mad  farce.     The   story's  baaed  on   the   stränge   foiblea   of 
an  exiled  king.     Am  eccentric   chapl      Game   to    tH 3    country  quite   a 
while  back,    and  only   just   recently  faded  from  vlew.      Gone   to   South 
America,    I  hear.     Well,   we've  been  havlng  no   end  of  trouble    castiag 
the    leading  role.     Oh,   of   course   the   characters  are  all  fictitious, 
and   any  resemblance   to   actual  eventa    ia  purely   accidental.     But 
atill,   we'd  like    aomeone   for   the   part  who   at    least  auggeata    the 
familiär  personality  of   the   king.     Well,   you're   the  man.     Provided, 
of  courae,    that   you   can  act   the   role. 


^admua 


No   v/orry  on   that   acore« 


Middle-aged  Man 


♦ 


SDlandidl 


Ladmua 


But   aomehow,    I   Just   can« t   aee   the    atory  -   as   a  farce.       You   aee, 
I  happen  to   be   fairly  familiär  with  the   facta.     And   to  me,    that 
Story   --  well,    It    ian' t   farce;    it's   a  aatire   on  anoba.     Fools   that 
fawn  upon  kingal     People   ao   alightly  touched  by   the   basic   Ideals   of 
our    land,    that   to  gratify   their   own  ailly  vanity,    they'd  keep   a 


mc 


onarch  from  being  a  man. 


Mlddle-aged  Man 


Well,   we   disacree   there.      However,    that's  beside    the  polnt. 


•V 


-47- 


Ladmu3 


^ 


i^ 


P 


Not   exactly» 


Mlddle-aged  Man 


How   do    you  mean? 


Ladmus 


I'll   take    that   role,   but   only  on  one   condition   -- 


Middle-aced  Man 


WoRt ' 3    thfib  ? 


Ladmus 


That    the  real   story   Is    told  —  with   clear,    füll  emphasis   on   Its 

real    Import« 

(at    this   point,    ^inger   aopears   on   the    scene) 

Mlddle-aged  Majn 
But    imposaiblet      Thia  king  may  be   a  crack-pot,      but  he's    still  got 
legal  rights •     The  rights   of  privacy  which  we   are  bound  to    respect« 

Ladmus 
There    I  can  give   you   the    füllest  protection» 

Middle-aged  Man 
You?     Protection???      How   could  you   --??? 

Ladmus 
This   preaent   conversätion  between  ua,    sir,   would  be   the    endiji^  of 
the   story»     Quite   effective,   don* t   you    think? 


Good  heavensl      The   face   - 
mean   to    say  you're   ??? 

Exactly,    atr» 

( to  Ladmua ) 
Anything  wrong,    darling? 


Middle-aged  Man 
-  oil  stption and   the   GIRLUl      Do   you 


Ladmus 


öinger 


-48- 


•^ 


*K 


Ladmus 


No,  dear*   Nothing  wrong.   I'm  just  belng  Hollywooed*  And  I»ve 


decided  —  to  acceot» 


> 


9 


-49- 


II 


.  7^  ■ 


-,    \     -^   .   .*!  \  ■'-, 


'>'-'  Mi 


■ .?- .  >V'  *■■'•*' 


-•-^  -r-ir.  -  . 


■V-'.. 


■  •■        -.Vif!;!' 


[  ■m? 


THE   HEIvIARKABLE  RI3 

a  comedy 
-bv- 

JEROME   BAYER 


■HK 

'SII'.vj:- 

.., 

K-^': 

i 

1 

. 

''.-i^ 


TBS  REMARKAILE  HIB 


m  eoBsedy 
in  ' 

three  acta 


»y 


JBROMB  1AY5R 


■'->;<fS(.jJ^      /.^m^-^ 


OHARA  CTEHSS 


LADKÜS  (LARHY):     A  European  of  royal  braedlng. 
In  VSm  early  thlrtiea«     He  ayeaka  a  British 
Engllah  not  uithout   traces  of  the  Anieriean- 
696  he  haa   tried  to  maator*     Though  nalTely 
romantic  in  aplrlt,  he   is  both  aound  and 
•  incere   in  hia  determination  to   lead  a  aimple 
life  of  aelf-reelization  and  uaefulneaa«     le 
la   tall»  blonde  and  handaoxne»     In  temperment 
he   tenda   toward  Impuls ireneaa» 

BELA  (attendant  of  LADMU3)t     a  European  in  hia 
early  fiftiea,  with  the   ineurable   aoul  of  a 
serTant«     Hia  Britiah  Engliah  ia  alightly 
colored  by  a  oontinental  aooent«     In  marked 
oontraat  «ith  LADMUS,  he   ia  highly  formal  in 
both  apeeoh  and  bearing,  reflecting  the  dig- 
nity  and  faatidiouanesa  of  the  royal  house- 
hold  to  whioh  he  was   long  attached«     He   ia 
moderately  well-edueated  In  a  nineteenth 
Century  manner ,  with  apooial  emphaaia  on 
Unguis tica  and  literature# 

PHYIXIS  BREWSTERt     a  beautiful  American  social- 
ite  of  27  or   thereabouta«     She  haa  a   aharp, 
natural  Intellftgence  and  oonaiderabla  artiatio 
talentp  both  of  which  have  suffered  from  neglect. 
Spoilt,  wilful  daughter   of  a  parvenu  milllonaire, 
ehe  nevertheleaa  reTaala,  even  at  the  outaet, 
tracea  of  endearing  honeaty  and   ingenuouaneaa 
and  a  auppreased  regret  oTer  unraalized  potent- 
ialitiea« 

GE»  Mc  CARTHEYt     an  attractive-looking  American 
atenographer  of  about   28 •     She    ia  a  high-achool 
graduate   of  olear,   practical  mind  and  moBgre 
culture«     Her   intereata  are  atrictly  oonTention- 
alt     appearancCf   ecqulaition,   eacape»     She    ia  a 
devout  worahipper  of  material  auccaaa» 

MRS.  Mo  CARTHEYi   adäquate ly  described  in  the   tejit# 
PLAIHCaLOTHES  MAB 
U.C.   OH  TT 

TOICES  OF  RADIO  AHHOUMCERS 


Tl£  RBMARKAILB  RIB 


ACT  ONE 


ACT     Og 


a— n>  On> 


Ob  th«  4««lt  of  aa  ooe«a  lii"'» 
iMtac«.  •  «lil*«  »»11»  «ontalalng 
elrmilu  «InÄow«  «t  r«sttl«r  interir«!«. 

Dovnatag«»  •  raUln«.     <>»  **^«  *"•"'»  • 
BmA»r  at  A«^-ebalva* 

I«  ia  lata  aftar»oo&.    At  tha  »laa  of 
th«  aurtalH,  L4BKIS»  atratetaa«  out 
an  ona  of  tha  4aak-ohalra,   la  '•••-^ 
In«  a  ¥oak.    BBU,  trouMa«  *y^*^*" 
of  ■aa-aleknaaa,   la  «tandlni  at  tha 

raU. 

Thara  ia  a  aosant  of  tatet*  Than 
lAEHiS  fcagln«  roftdln«  alou*,  a«  thoulli 
half  to  hlMaolf  • 


? 


»■••atif«!  Ha»!*  of  na»,  *»»•»*•»  »l»«»»   **«*  U^*"  *°  "^  'l*'' 

Sri  uiiwl«.  JoMan'aloS*,  flllH»  tha  waatorn  akj 

(■a  lowara  hla  *oak  aiiÄ,,for  a  mammat,  looka 
eat  thoashtfnlly  at  tha  aea.) 

mm  axaitl««  1.  tha  fr-laa  of  It  «IJ..--  £jj;°Sj"?!^iiÜ. 
Afta.  aU  thaaa  «ontha  of  anxloua  '•"J»««  .'**iJ'.°'i:*;^t;;. 
aaA  Ha  Joyful.    Thia  tlJM  to-«rpow,  »«  ahall  *a  —  in  Awrioa. 

(tavainc  te  loek  at  lala)  «,w.«ii,^« 

To«  ahoi  a  alSiala»  want  of  alatlon.     tean«t  jo«  thrlllalt 

lala 
(wlth  a  alokli  alatfalnaaa) 
Oh  jaa,  TottP  Majaatj.     I  aai,  InAaad,  - 
HaJaatT« 

Lataua 
(areatly  axarolaad)  ^  ,,4„.  ««  kviatit 

ro>  ha.^an'a  ..ka,  »ala.  aUl  »?«  «*•»  «:Ü^Sa?*rlrililn  Mr. 
lav  »anj  «om  hnnArad  tlaaa  auat  I  tall  J«»«-*5!;iJ     iISt   ...I. 
.ortoa°Jo,T    Lauranaa  lortoa.     0,,  «'^jJ^J^^^JTjJ^^JJ'i;;;--;« 
Ton  know,   I  llka  that  —  Larry.  /  "^?*"*Ti:  .„  2««T.i««n.     A 
Hafora.     Ifa  ao  rafraahlngly  Inf^aal.  ,^  •»  ^!jfS*     J, 

■ort  of  Tooal  alay  on  tha  kaok.     *•?*•  '?Ji°S5i!rÜl  ISi 
kualnaaa.    Ihy,  aaeh  aornlnf  I  look  into  tha  aipror  ana  aay» 

*I1,  Larry  old  KU", 


-  vtgh  —  thrlllad,  Tour 


1-t 


1 


Ladmua   (oont*4) 
(lela  ifulpma  at  thla*) 
That'a  what  yoa  muat   call  aa  now#     Larry. 


Tea,  Tour  ÄaJ  — 


Larryil 


■•la 
-  I  -  I  meaxit  Mr»  lort  —  uh 

Ladaua 


Bala 
(wlth  paine*  Alataata)  ^   ^         • 

Ih  —  Larry*     Oh,   «tr,  you  —  you  don»t  know  what  you'ra  aak- 
Ing  of  m8#     Xou,   my  king« 

Lacbiiua 
•ut  4aMn  It  all,   that*a  friclaely  tha  polntl     And  If  you  AonU 
get   It   Into   tltot  klng-oondltionad  head  of  youra,   you»  11  ruln 
averythlngl      I  am  not  your  klng  any  longerl     Wa^ra   on  tha 
threahhold  of  a  naTTlfal     Vm  Juat  a  flaln,   ordlnary  conmonar 

nowl 


■ala 


Oh  pleaaa,   air»*«*« 
(aea-aiok)     Igh«««. 


Ladaiua 
Why  don^t  you  faca   the  daokt     It  would  %e  ao  muoh  lietter  — 


lot  for  tha  dack,   alr# 


Sala 


Ladmua 
Your  dondltlon*a  ouraly  aantal«  Coneantrata  on  to-.»orrow,  on 
our  futura,  and  you^ll  faal  quita  raatored#  lara«  tat  mm   half 

you* 

(taklnÄ  a  llttla  »ook  out  of  hla  pooket  and  op#Ä- 

Ing  1  tj 
Lat  mm   aaa  how  «all  youWa  maatarad  theaa  Amarleanlama« 

(turning  tha  pagaa  of  tha  %ook) 
lo«  uh  —  what  ia  tha  typleal  Amarloan  axpreaaion  of  approvalt 


(trylng  valiantly) 
I&maflua.««»Lat  ma  aaa« 


It*a  two  aiMpla  lattara« 


lala 


LadJBua 


Bala 


Two  lattara.f»  I'aBam«  •••Two Ah,  yaa,  I  hava  It:  A*C.l 

Ladaua 
lo,  It^a  not  A.O«.   It^a  O.K.. 


I 


L 


1-9 


'oj. 


r  ! 
♦  • 


'j    • 


.i) 


-    T  f 


A.      •  - 


f'f  T  ! 


»   ♦    •    • 


m  ^  i 


t  >' 


Ohii   Ift»  aorry^   «IPt 


■dla 


Lateus 
Aldi  no«  flT«  m«  the  i^opular  moäm  of  •xpapeaslng  —  enthAslam  « 

That  on«  I  know,   alp«     It*a«**«t  Lat  am  BBm...^ähß  Touthl* 


!•«    AD 


Oh< 


Iiateua 
(wlth  vlalAf  SaqM^tienc«) 
,  m,  Mmlm.     1%  im  aot  "Ah,  Touth"» 


lalft 


It»Ä   «Oh,  loy»! 


Itatetti 
Otti  Aore  iiow#     What  la  th«  saanlng  of  "Xaay  your  Shirt  on^t 

0>,  thAt«a  ftilta  avlAant,   alr#     It»a  the  oppoalta  of  mäovIm 
one*a  ahlrt# 

La4aiaa 
CoÄflately  anA  mttarly  wonfl     IWe  neTap  «adovintera«  auch 
foverty  of  Imagination^     It  Kaana  -  to  avold  axoltatlon. 

(oloaaa   tha  kook) 
Ifaeh  nora   Intenalva  atudy,  «y  ft-ientl     Anarloa  axpeota   It  of 
yout     Tou  Ruat  aoaa  to  faal  at  hona  In  her  eolopful,  poetlo 

nfi!**T;r**\f2***J^^^  ®'  ^^*  •^^^     Oyy  oountry  aho  will  ka« 
0«»a#     All  jay  Ufa  Vrm  vaaA  and  draamt  aVout  harj  piotura«  in  a 
thonaand  waya  her  great,   ftpee  Ufa.     And  now  «  now,  at  laat, 
I  «hAll  aea  her   in  tha  fleah  -  and  call  her  mina  forevai»* 

••1« 
Tour  MaJ   --  I  sean  -  «h  •  if  1  aay  aay  ao,   air,  you  wear  a  rery 
»pave  ftpontt     It  ia  a  Moat  touching  examyla  of  klngly  valor* 

Ladnua 
It^m^l     lonaanael      I  «ean  It  with  the  wholaneaa  of  mj  heart. 
ön  lala,  Bala,  ahall  I  neww  penatrata  that  Iron  curtain  of  your 
royaliat  mindt      IBt«   told  you  ao  inuch  and  you  underatand 

nothing» 

I  humMy  iMg  your  pardon,   alr» 

Ladnua 

•?*  yj'^SHti  underatand,  damn  it,  or  you^ll  apoll  everythin«. 
I  11  try  once  again,  -  thia  tisa  aaying  what  Pve  never  told  a 

anyonJ  llll       '^'•^  *^^"  •^^^  you^re  clo aar  to  mc  now  than 
Oh,  thank  you,  air.  Thank  you. 


1-4 


t         i    ^    ^rlf! 


t    «    ♦    ♦    f 


f  4 


--f^ 


•   «   ♦  f 


(j 


«• 


m 


4 


Ladmufl 
Fo3P  whatt     Who  liut  yoo  «tooA  %j  me  wlth  loyalty  unf  lagging 
anA  vmfalterlng  -  aa  Mv«  Ohurohlll  woulA  aayt     You^  sy  Aevotad 
at  tanAant • 

•ala 
I  truat  I  ahall  j^ova  wortby  of  your  intlaiata  dlaaloaura«  aj>» 

Iiadnoa 
Ton  ahanpoaad  ma  tor  twanty  yeara«     X»at  us  not  talk  of  Intlmacy. 
•  •••••«  Kov  what  I  haTa   lo  aay  will  ba  hard  on  yoit,  lala«  Yary 

hard«     lut  you*T3  got   to  know««**««  Xou  ramendier  MltalT 

lala 
Xitiit     Tod  -  yo«  maan  tbat  -->  that  eojnmonepT 

Ladmua 
IboA  thay  aada  olb  giYa  op«     My  firat  aveathaart«     Wall»  Bela, 
avaip  ainaa  that  axpavianaat   I^Ta  naraad  a  daap»   aaevat  oontaayt 
tor  tha  vhola  inatitation  of  apoyalty« 

lala 
(profoundly  ahookad) 
Oh  —  oht  no»  Tour  Majaatyl     Whyt   that*a  —  that*a  laaa  aajaatat 
lo«  oan  a  kixsg  -*-rt 

Ijadjma 
A  kingt     An  aniaatad  flag-folal     Thä:  *a  what  Z  waa»     An  ampty 
Ornament,   laaa  tT€%  and  laaa  uaaful  than  tha  huaUaat  of  Ay 
aabjaetal     Whara  did  Z  atart  ay  rulat     In  tha  nuraaryt     Wlth 
diayara  fw  royal  robaa  and  a  aalloloid  rattla  for  a  aaaytrat 
And  what  did  I  finally  attain«  aftar  all  «y  aducdiionT     Ah«   iüxi99 
yaara  in  Inglaad  and  rranoal     What  a  braath  of  Ufa  thay  waral 
What  did  I  finally  baao»aT     A  gildad  graaophona  raoord  to  rdaix^ 
loinaTiana  that  thay  wara,   aftar  all,  loanaTlana  and  not  oitiaema 
ef  aoma  othar  and  laaa  ImpraaaiTa  landl 

lala 

lut  you  wara  ao  adnirad,   ao  lialoTad«     Toa  wara  ao  -  ao  populär« 


Ladfflua 
Populär?     for  tha  part  I  playadl     For  tha  erown  I  worat 
daianad  thing  didn*t  avan  fit. 


Tha 


■ala 

(«uita  daflatad) 

Oh  daar,  daar,  daar.««««» 

(aea-alak  agaln) 
«gh ♦ 

Xiadaua 

A  dufflayl     Ihat»a  all  I  waa«     A  nonarchic  marionatte  wlth  no    lifa 
of  hia  ownl     That  w^a  «y  fata.     Until  tha  and  of  tha  ahow,   whan 


i~~äK^m 


1-5 


1^      1 


'    ••**•( 


t>  >  ,,  .■.   :. 


r< 


'1 


^• 


•-.fr. 


"1 


4  .        ', 


A 

J 


i 


♦  •  »  •  •   * 


Ladnua  (eont*d} 
tl»    curtain  feil  anÄ  wei  «ad^  a  haaty  exlt*     Forcsd  out I     Flradl 
w?Ll     now  I  aÄ  f iFadt      I«m  f Ired  with  amUitlon  tu  Ha  ayaelf ,   to 
ia  uiafnl*  t~taat  mj  a^llltlea,   to  ka  acceptad  fo3P  «y  omn 
mortui    Y%M,  and  awntually  to  »arrj  a  piain  M  of  tha  P^opla, 
iISo?U  lova  Ä6  far  what  I  a«l     »hat  U  tha  aplrlt  in  whlch  I 
aoaa  to  Amarlea  --  Amavleat  whara  tha  ao»oii  «an  la  klng  -  aad 
a  klM  la  tre^  to  ba  a  coanaoneyl     lad  nothingt  »ola,  Äothln| 
mu.tte  allowad  to  afioll  i%....  üll,  do  you  ^<^*^?*°^\*^!fJ,J>^_ 
yoit  aaa  why  Vm  travalllnß  Inoognltat     Do  ynu  reallaa  why  it'a  ao 
iaportant  ta  ooneaal  «ly  Idontltyt 


Wall,  but  ~  k«t  ~ 


■ut  «hatt 


Bala 


i:«ad»na 


lala 
Wall,   If  yoa»ll  »armlt  aa  to  aay  ao,  alr,  —  no,   I  don»t  fulta 
aaa.     If,  aa  yo«  atata,    in  Ainariaa  a  king  ia   traatad  aa  a  common- 
er  and  nothlng  »om,   -  why  la  it  aa  impoptant  to  ooncaal  your 
identityt 

Ladjauc 
•ecausa  thay'd  think  I  axoact  anecial  favora«     Thay'd  feal 
atrainad  and  auaaicioua  in  tliaip  ralatlona  with  m».     Aagard  ma 
aa  ananltad  to  almpla  work.     Thay'd  find  It  dlfflcult  to  rUw 

ma  aa  I  Tlaw  myaalf  •  ^^  .,     ,    ^         ^ 

(Ladmaa  anapa  oa  a  portakla  radlo  l/ixig  along 

alda  hlm») 

Lat*a  —  If  «•  can  gat  a  lilt  of  mualc  oi»  nawa 8o  now  you 

can  aea  how  Important  It  la#     My  whola  ftttura  la  at  ataka#     Wa'wa 

*ot  to  -- -  ^ 

(fj?om  tha  padlo  aoma  tha  final  aplaahy  phraaea  of  a 
pleca  of  orahaatral  ODaalci  than  two  aoconda  of 
ailenaaj  than  aounda  of  chljaaa;  thaatha  ▼oice  of 
an  AÜOIICSR.) 

4nnoancdr 

(▼ia  vadlo)  ,     ^^^     .  ,, 

It  ia  fiva  ».m*  liy  tha  cantupy-old  chimea   in  hiatopic  Olty  lall, 
la«  Topk  —  a  city  ahara  aight  mllllon  paopla  llTa  in  paaca  and 
anjoy  tha  kanafita  of  damocpaay* 

<fanfara  via  radla) 
Fiva  oUlock,   ft-ianda,   and  tima  to  liatan  onca  again  to  Bill 
Ijpay,  who  bringa  you  anothar  tuartap  hour  of  off-tha-raoord  nawa 
fpom  hara  and  thara#     And  hara  ha  la  ~  IUI  Irayl 

•111  BiPay 
(▼ia  Radio) 
Oood  avaningt     Wall,   tha  rnmora  that  hara  pocked  tha  na t loa 


L 


'^ 


I 


1-6 


e 


J     • 


:^^ 


•111  Iray  (contM) 
}%«▼©  at  lÄst  *«en  eonfirme*«     fipoa  iolljrffaod,  California,   oome« 
Aeflnite  wopA  that  ehantaaa«t  terraino  Lynn,  who  afpeavMl  hare 
last  month  at  the  Stork  Olul?,    la  expeoting  a  Weaaad  oventt 

(•oanA  of  kall  via  radle) 
f^om  the  hl^  aeaai     Aaton«  the  paaaenfara  on  oeoon  liner  SetinAf 
dua  to  arrlTe  in  Ämr  York  to-iaorrowt   Sa  IiadÄUa,   tlie  FiXth  — 

(XiaAiius  ai^  Bela  both  look  atartled) 
forater  king  of  BoanaYla«     Vhe  young  moaareh  -  tallf  kloade  aad 
hßoAaoae  -  who  haa  llean  wandeving  about  Surope  ainee  hla  fovoed 
aMlleatlon  aeveral  yeara  ago,    la  travelllng  liieogalto.     And  he 
ia  now  plannlng  ta  — 

Ladsma 
(turning  off  tha  radlo  tlth  an  angjpy  geatura) 

Oht  «odtt 

(Bela,  who  had  Roved  totard  the  radio  to   liaten, 

now  hastily  raturna  to  the  railing«     For  he   ia 

foeling  far   laaa  than  well«) 

Ladenia 
Vhat  settlea   itt     Sow  how  in  the  name  of  ~t 

(vm  A  andden  flaah  of  auaplelon) 
BelalU 

•ela 
Te  --  yea,  Xotir  Baj   --  1  -  I  raean  — 


Bld  you  —TT 


Ladaaa 


Bela 


Ohj  no   —  ao,   •!     Ihy,    I  eanH  laiaglne  —  why,    I  — l 

Ladiaiie 
Tou  whatt     fto  onl     Who  olae  eould  It  have  beenf 


Bela 
JTuat   -   Jttat  let  me   think,   slr,  pleaae  •—  juat  a  -- 
i§  (a  gvoan  of  aalden  reeollectlon) 

Oh*««*«*   It  «-  It  auat  have  been  yeatsrday«     I  rejuLaxabar  now 


Beet 


Ladiau« 


Bela 
Well,   you  aee,   I  «-^  I  waa   chatting  -  oh,  quite    Iniiooently,   air, 
with  thoae  two  AaiarieaB  gantlesett  In  the  aulte  oppoalte  oura« 
It  waa  not  ontll  thla  morniiig  that   I  learnt   tbfy*'«  neTiapaper 
men««#«  WeU,   I  -  I  happened  *-  Oh,   It  waa  «ulte  aocidelital, 
beliebe  ne,   alr,   ««  I  happened  to  refer  to  you  aa  -  Ha  Majoaty« 

Ladmue 
Iherel     I  knew  Itl 


1-7 


K.-J 


"  .-L 


•:  >rf  j^r' 


r      ji 


i  1    ■ 


-:a 


<»  i 


<  f  1  • 


dftAled  e^rythlMa     iBt  --  well,   aoaahow  -  ttie  »om   I  tri«*  to 

Ladona 
latupally«     Ifellt  ««  ^»t  «^*  o*^' 

B«la 
And  thsn  --  th»n,  rVen  I  le  1 1   tbe»,   thay  re»alnad  In  &  hnddla, 
talking*     lÄter^   I  -  wall,   I  aaw  tböia  ayalr«  you  closely  and  — 
and  aa  I  gaaaa  

X^adnua 
Ion  fiiaaatt     You  knowt     Oh,  lala,  Bala,  how  could  youl 

lela 
I  f«al  ao  aahaAad,   alr.     »atraylng  lay  klng. 

liadjBua 
lut  rm  not  yonr  klnfH     Oreat  haarana,   can»t  you  gat  It   out  of 

iTala 


your  aya* 


lala 


(non  t9Tj  lU  ittdaad) 
Oh,   If  only  ~  ath  —  If  oaly  I  aoald  gat  It  out  of  mj  ayatam, 

air« 


Xiadaua 
Iuh**#«#  Wall,  what  ahall  wa  do  nowT     Wa'll  hava   to 
abaoltite   aoclualon.     Wo  oontraraatl«  a«     lo  oontaeta 

hang  It   alll 


Oh, 


(tojp  a  moBient,  Ladawa  and  lala  pamaln  In  allent, 
troubled  thoughtfulnasa,     »han  PITLLIS  artara 
lireeilly.     »ha  oarrlaa  a  drawlng  päd  undap  her 
arn.) 


Phyllia 


lello  • 


Ladmua 
Oood  ef«n5ng,   Miss  teewatar« 


Am  1  intrijd.lngt 


Phyllla 


Ladmua 
(muatarirtg  a  manaura   of  aalf-poaaeaaion,   but 
apeaklng  ulth  formal  reatralnt) 
Oh,   no,    lt«a   —  qulte   alright.      Sit  downT 

fhyllla 
(altting  down  In  a  deok-ohalr) 


i 


«  "=• 


t 


♦   ♦  »  t 


1-a 


/ 


Thanka* 


Kftl  A  ^Iftaaant  aftemoont 


Phy>lia  (aontM) 


lAcbnia 


fisyllia  ,^  ^ 

►  •  aajt  yati  know^   I  was  Juat   liatan- 


«i  hall«    ••«»  akateliinf  •• 
Ing  lo   tha  rsdlo  and  — 

Iiauteiui 
I  Ai4nU  knon  you'w  an  artlat# 

Phjllia 
Oll  well#   l»a  not,  «allj«     I  waa  an  art  major  at  oollega*     Bat 

All  tha  atttff   I  aaw  in  Europa,    I  «ueaa*     ^ou  cäu  ke  aure   It  won't 
last.     Aa  I  «aa  aaying,   on  tiia  «*lo  juat  now  ~ 

May  I  9^%  youjp  akatoht 

fhylll« 
It»a  nothinf  Äueh»     J^at  a  tpy« 

(aa  ahi  ofena  tha  päd  anA  handi   It  to  hlm) 
It«a  MonalauF  Pochon»     Ihat  cid  Franohsan  wlth  tha  keard. 


I« 


lAdama 

(looking  at  tha  drawlng) 
....  «hy,   thla   la  axoallant 


►Vary  aansltlTC  drawlng» 


Phyilia 
lonaatt     Yon  4on«t  hava  ta  ka  pollta,  you  kiiow# 


Ziadwtta 


It'a  fUlta  prufaaalunal« 


Pl^yllla 
Itth*     »hat  «aa  «y  wild  Idaa  unoa  —  to  ke  a  ppofoaaiünal. 
Whan  I  f inlahad  aehool,    1  waa  all  aat  to  have  ap  own  plnaa  In 
tha  vlllaga  - 

(wlth  aolf-iüüokery) 
and  davota  aiy  Ufa  to   *aht%     Oan  ^on  JLaaginaf 

LadK^a 
Qalta  yeadily«     And  what  kapt  you  trom  do5jig  ItT 


Pliyllla 
Oh  —  thlnfs«     SidnU  hava   tha  raal  atuff,    1  guasa« 
daddy  had  othar   Idaaa«     Th^t  waa   tha  main  thlng* 


Thaa 


laiMua 


I  aaa« 


~'mm^ 


.L^m^mmmmm 


\f 


■'  •  A  wmy^mf'rf'miiyim'm»':' 


1-9 


) 


n 


•  •  • » 


LadiAua   (oont'd) 
(looking  at  the  dU'a^inii  again  (md  folntlng  wlth 
hia  fingep  aa  ha  aiieaks) 
Tery  deft  handllng  of  hi^hlighta  haj?a AwfulXy  good# 


{9hM  haa  laaneA  ovar  to  aaa« 
haada  rethar  aloaa  togathea?» 
look  at  aaeh  othav*     Thani) 


Thia  teinca  thelip 
For   an  Instant   thay 


Fhyllla 
W#llf  anyway  --  I  eould  aaa  4addy*o  polnt,   of  oouraa«     Ia*a 
pretty  alona#     Thaaa  laat  tan  yaaapa  ha'a  raally  had  ao  on«  liut 
mm...^m  Ohp   It  «aa  Juat  a  ei^aay  Idaa  anyway«««»«  Daddy^a  alwaya 
'been  awftally  apHltiona  foi»  m^^     Showera   Juat  evarytlilng  on  jne« 
And  he  wantad  m»  to  aoMa  oat  — 

Ladmua 
(not  undara tandlng  tha   Idiom) 
Coraa  outt     Out  —  of  whatt 

PhylUa 
(ohttokllng) 
Oh#     »hat  »aana  joar  daliut«     »oelaty,  you  knon. 


/' 


/< 


Z«adKua 


I  aaa» 


Fhyllla 
It  waa  all  pratty  aplaahy,    I  ean  teil  you. 
Iiean  liuay  aa  blaaaa  e^er  ainoa* 

Ladmua 
In  a  aonaa,   then,   yoa^pa   a  m  clal  -  worlcar» 

^hyllla 
(amlling) 
I*m  not  aupa  1  like  that  eraek# 


And  —  wallt   IWa 


Sorpy» 


For^lveit 


Ladmua 


Fhyllla 


Ladmua 
By   tha  iiay»  ho«   la  your  fathar   to-dayt 

Fhyllla 
Oh,   atill  a  Hilt  ahdkyt     la»3  ataylng  in  bad.     la  adoroa   It 


Whatt     ladt 


LarliBui 


■o«     Bolng  111« 


Fhyllla 


*r^6M  l. 


.-r.iÄ^-ftÄ- 


1-10 


■m 


i 


Leclii^ua 


♦    »   «    «    » 


.r. 


•-•T 


-j 


Curloo«  predlleetlo*!» 

Fbyllis 

l:"'i;;tlk?ri  cAlJg.  .-  that.»  »hat  I  .tarte*  tc   .ay  *«for. 
hpre  yon  hanr4  tha  new«f 

5eT53f 

Phyllla 
Just  came  over   the  radlo.     Ifha  whole   «hliD's  Bgog. 

LatiBius 
Wliat    1«    Itt 

V/a^^a  zot  t  klnc  ai^oar*-     lan't  that  axcltl.^t     A  real  kin&l 

Ledatta 

InAa  a4t 

PhyllU 
Ladmtta  tha  Fourth  of  loaxiÄVlä* 


SaaA« 


Daa«T 


iMiämim 


fhylljüi 


Ladmua 


Oh,  well,  «ayba  lt»a  tha  Flfth,  then.  That' 3  lt.  I^J«^»;  J« 
Flfth.  fPf.TaUlng  incosnlto^  Gay,  Just  wh«ra  U  loanavU  aay^ 
%eyt     M©   and  i^aogruphy,  you  kniJW» 

I^dAua 
Wfll,    It  ^aa  onca  a  little  blua  coBMa  on  tha  map  of  Bupopa. 
The   oolop'*«  — .  obangad« 

Phyllla 

But  whlch  £uy  on  boerd  ^   you  auppona  ha  coulrl  bat 

Ladfiiaa 
Pva  no   Idaa« 

PhyllU 
Tha  padlo  aaya  ha»a  tall,  »londa  and  handaoma. 

($ha  oaats  a  talok  glanoa  at  hl«^ 
I  Muat  have  aaan  hl»  In  tha  nawa»aala  at  ao«a  tlaa  oy  otnar. 


1-11 


r.  •• 


.    aa 


••JtV'r 


Tob  tbink  «oT 

(•  *jlef,  illÄÜtU  •%?•■? in^t  pause) 

Phylll« 
Hut  «liat  Ao  you  suppos«  th«?'-!  i^et 

.^'^l^ftar  all.   he 's  an  ax-klng,   lan't 
Oh,   I  AonU  toow,  *ut   -  W.11,   after  all,   ne  __ 

hat 

phylll» 

£o  «hatt 

Perhar-,  eoml^e  Jo  l«.rloa  ..  J^  «JJj'^  \^^y^  1.. 
hli  title  -  atart  afreali  -  »e  «co«F»»em  * 

,,^t.,  .111».  «'.  .i.7-»c^"i"''f»»  »•-' »"  *"« '°""'"- 

Haoketoar.  ha^fe  Twen  knowu  to.     At   l.aat,   so   I'»   -oW. 


V 


^\.. 


Phylli« 


Ladiflaa 


What  ß  oomparlsonl 

(Julia  aptf   I  thlnk« 

,^,   ,„.  tl.1.   of  kl»«  -  Ä"?  th.  ^..t.«..     -t  .  .0.1^ 
aaset l     Why^   It^ts  an  open  aea^me  ~ 

Xtddmu« 

To  whatt 

Oh,   Juat  «bntrt  evei^ythine* 

I*»dmua 
lut  perVinpa  lia  pr«fera  to  atand  on  hls  own  i»«rtta* 

l.n«t  It  anoush  «erlt  for  a  king  to  ba  r.ally  domocratlcT 


Phylil« 


■n^rrvm. 


I'IM 


■:) 


-^  r 


Phjills   (oont»d) 
It  b«  hldafi  hls  rojal   ot^tun,   trhc'a  goln^  to  know  ho^f»  deinooratlo 
he   l»f 

(fts  thoug}\  quo t Inf  a  haadlin#) 
Ilng  Inaliti  on  lleliig  pl^ln  coÄr.onerl     That»s  i^ewst     Wh^r,    It  eould 
Start  a  vhola  tranAt     Vhat  a  glwalekt 


I»adttua 
Pephapa  ha*A  vajaet  auch  oooortuniaBi*     ^ust  ifetilly  wanta  to  Ha 
a  alu^^la  eitli;an« 

P!iylll« 
Whfit^a  ao  tarrific  alioat  ihatt     Axijona  aan  1^  that» 


Teuere  r.cver  'hoen  a  king« 


X*adJiU8 


Phyllla 
Weither  here  you  —  or  —  spy,  walt  a  alnutet  You  kaoK  all  tha 
ana^^ji'a*  Yf^a're  tull,  blonde  and  —l  Say^  I'll  bat  — l 


DonH.     You«  11  loaa. 


Ladaua 


f  i 


*i 


i 


Phyllla 
Oh,    far  lie   It  froa  sia  to  probo»     Let*a   aklp  it« 


Z.et«a» 


X*actaua 


(a  fauae^ 


m 


1 

i 


Ph^lUs 
Stille   frankl^,    I  den'  t   aee  v/liy  yoti  ahould  denv  — - 

X^adüiia 
If  I  rauaiibdr  hla  piata^aa  curractly^  ^^l^Ä  taelBiua  wora  a 
au>uatao]na  and  liaord« 

Phiyllia 

ShaviiiĻa   legal  --  even  In  JKurope 

(aurvaylng  hl«  eloaaly  and  Inaglnlng  tho  nlaslng 
öle.'nenta) 

K6i^rd»«^.jucuatAclad..».tfill*.»]ilond«**»«and  sosia  mlKlit  even  aay 
hGndaofii«»»».^^  Xou»pe    lt. 


I^amua 
(ahrugfijlng  hie   ahouldera   in  helplaasnaaa) 
Oh,  what»a   the  aae 


doah 


/^      ,         PhyllU 
(draaally) 

•••  *  ^^iig Tour  lajeaty«*«« 


1-15 


-i  * 


V 


-.  t  4 


♦   «    • 


** 

■■'V' 


(yalM4) 
Plaa««« 

Phrlllt 
Xott  know,   £f  !•*  kaowÄ  »«foip«,   I  «Igjit  haT«  lieen 
eonsalomMi  In  talklnf  to  jo«. 


A  llt   Mlf- 


lAtens 


lottt 


Phjllla 
It  —  looked  «y  to  liy  «  rtJol#  natlon  — 

For  HearlAft  •  folltleal  Mjt th--JMirk  • 

PbyXlla 
That»«  li#     »oyal  Woo*.     Tradition*     And  all  th«  gloaour  and 
tbo  fllTtoy  and  dlgnity  of  It*     Llvlng  In  tho  aplendo»  of  a 
falaeo  — 


That^o  ono  Tost  oesoMft 


Ladmus 
of  glldod  ofaoraW« 


OPMtt  ^l 


thjlUm 
Wat  aotnaUy  newlnf  a  ovown  --  a  Jawallad,  hlatorla 

l4tteaa 
Then  awalloidng  aoplrln  for  ttai  hoadaehaa  It  oauaad» 

Pliyllla 
So  «hatt     It«a  otlU  a  orovn  •-  a  roal  orownt 

^    (half.fliffally  )  „  ^        . 

Tom  khon,   1  alvaya  toll  daddy  —  ha'a  raallj  ao  awoot  and 
gonoroaa  —thatU  aUcmt  tht  only  thlng  hU  «onay  oanU  ¥uy  mb. 
Ttaan  ba  langlia  and  aa^at   •Don't  worry,  Phylj  yon  alvaya  managa 
to  gat  «hat  yoa  want«^ 


Alwayat 


Wall»  pra tty  naarly» 


X  aao* 


Iiadnaa 


rhyllla 


Ladama 


Ftayllla 
(playfally  ronlnlaoent) 
Ton  kno«9   I  dld  «aar  a  orovn  onoa« 


It  waa  a  fanoy  droaa  ball  -*- 


•  •  • » 


'•^^        ..'■  ^       ..*      M 


1-14 


V 


•  a^liööXS. 


*  •  ♦  • 


...f       .r 


*   -t 


>  I  4    •- 


0' 


' :  *rff 


^^:foa  J^% 


.  fj  .  '- 


* 


/   c-3 


'fiü> 


i  n     n   '*    . 


•  r 


..•r 


So   M*   tte   Mim  »'  I*«««. 


nifUia 


Fkgrlli« 


Ti>i1bb^i 


So  X  gatbH^« 

I 

4 

Jffbi  Mr4  M7t  I  f«^* 

BoaU  Wo»!«    Tempil  *•  twrlfls  ww  l»w* 

(loakiBg  «t  h«y  OTlat  mt^) 
Fv#  tot  to  9vm  MW«     Sxwui#  ■•¥ 

(Uoklng  «t  hla  wlth  a  to»A  of  jfonA«) 
I  «ojiAor*    WottM  fw  mlnA  If  I  «•  fo«t 

Bo  «ot    Oh»««*  01^  a  fOYtralt«  yo«  M«At 


SoMltlYo  to  tfai  Xlkoly 


¥h  bah«     It  wonl»  ha  oitoli  fto  hÄVln*  a  kln«  tow  a  »Äjaot« 


I  lih  •«.   tiOll#    POrhAlM 


SMll« 

(ao  obo  loAfoa) 


lotov« 


n^ixio 


Xift4faKlftO 


SooA# 


(rhyllla  oxlta) 


liL 


ri  »Mic^^arvr' 


1-16 


f    »   ♦    ►    ♦ 


n 


^rr^r 


»     ♦ 


t   u 


Ladttaa  (oontM) 

r«B«.|...^»jn|;'^2S  ••1«.  Wh»  1«  gttiitiJj  lookia« 

••IK 

(fulltlly)  ^  ^     _, 

Oh,  I  4o,  ■!».     I  *o»   In*««*. 


tolef  oanAlet     »hat  «Imlle  4oaan»t  fit*     Anywaj, 
no  tlme  for  poetrjl 


Outt     Like  a 
it,   thla  Aa 


lo«  Tary  troa»  alr 


Yaat 


lala 

I  Uli«*«« 


lala 


Vm  aura  yo«  ean  hanAla  It^  alr.     Tha  altuatlon,   I^-Jf»*   ,^  ^^i^ 

Ja?  im  Jot  .0  kln*  an*  tolarant«     J*^*  J««'  '•fg  *'!!;^a[;a 
Ihy,  anyona  not  knowing  mi^^t  hava  alaoat  auapaetad  ^  you  wara 

attraotad  to  har« 


Whattl 


Wor gif  mm  for  «ayln«  It, 
te  almoat  too  gallant« 


Jjkioßmm 


Wmlm 


y 


y 


aliPf  -  liot  wlth  eartaln  typaa  ona  oan 


Ladania 

Oallantt  You  thlnk  It^a  that  -  that  fll?l  1»ä  *tT!^?*/lÜ''**  a 
Iah,  galUntryl  Xou  thlnk  for  ona  mlnuta  that  Pd  lat  har  — t 
I  know  hon  ta  handla  woman,  «y  flfland» 

lala 
I  moat  faFTontly  hopa   It^    alr* 


lava  you  any  doubtat 


Ohf  no  —  no,   alr» 


LadKua 


lala 


Ir^dH^a 

(half  to  hlaaalf ) 
Wall« «« «««  I  hava« 

(jBualngly) 
So  liaautlful and  ao  Uraah.     And  talantad,   too«  What  a  waat«. 


L 


1-16 


»     •      »     4      f 


•,•    V 


•   r 


'.v-> 


Latans  (oonfA) 

??f  ^ha  we!«  It  llkea  party  drea..     And  her  «ole  «i-sl^nTa 

ill!d"j%«sjii:ir  «.•'.  .  lo.t  .elf,  ••l«.     A  lo.t  .elf.     If. 
vathtr  touohln*  —  •iKoak» 

Tour  klngly  «o«p«.aloa,  «Ir.*  Maj  I  huaAly  «rge  that  yo«  hol*  It 

in  eheek» 

X«acäAUft 

Don't  be  fatuoua,   pleaae..**,*  . 

(pecalllnd  with  salf-aatlafaotlon)         ___^     ^. 
Waarlng  Ufa  llka  a  »arty  Apaaa«.«.  A  good  flgure,  »eim. 

Balü 
Oh,  aha  la  ahafaly,   alp# 

X^admua 
I  happan  to  Ha  rafarrlng  to  gt  flgura  —  of  apeach. 


Bela 
Oh.#»  I  Hag  pardon,   alr. 

Li^dnua 
Sonahow,  one  can't  helf  wondering  lOwt  ahe'a  really  llke  »«netth 

lt. 

Bela 
I  truat,  alr,   that  you  will  not  faal  tajaptad  to  axplopa* 

Ladlaiua 
Ihatt     Why,   that  glrl  la  the  Tary  ambodlment  of  all  Vm  agalnat. 

Bala 
It«a  her  Ic^tk  of  notela  blood,   alr# 


lonaanaa«     Look  at  Clan« 


Iho,   alpT 


Ladfliua 


••la 


IiAdiBiua 
Clan«     Map  father'a  atenogpapher«     low  charmlng  aha   la« 

(looking  at  hla  wrlat  watch) 
Sha  ppoalaed  to  meet  na  hara..«.  low  thare   la  «y  Idaa  or  a  peax 
Ainerloan  glrl«     Llka  a  Spring  fragranea« 

(Thia    la  too  mach  f dp  Bala.     la  haatana   to  tha 

relling  again«) 
gound  valuea«     Salf-pallant   and  aelf-peapaoting«     Iha  tpua  ooa 
mon  wo»  — l      atPÄnga,   you  know«     Ona  aaya    »tha  oommon  «an'    and 


tiL 


1-17 


k     J 


«     •      • 


>R!rc« 


•^ 


.   :i 


'i 


Lataas  (cont'd) 
It  haa  a  flna  aomd  of  ali^la  grandaw,     lut  UoÄ»n  Ho«an» 
nell,   that'a   aomethln«,  elaii  agaln» 

Too  -  yott  AonU  maan  to  aay,  alr,   that  you  — T 

Iiftdaiua 

Ih.^.ah.     leM  «>»  comaa. 

Oan 
(aa  aha  %nteT9) 
lallo,  Larry* 

(lala,    on  haarlng  thla  familiär Ity,    aqulrmaO 


dood  aTaningf  Qan« 


Ladnua 


dan 


lanU  It  awall  out  thla   avanlngt 

Xiadiona 
My  frlend  lala  doaanU  thlnk  aot     ■•  and  tha  aaa  donU  agrae» 

Why  don't  ySa*go  down  to  th«  atilta  and  t»y  ona  of  thoaa  «otha^p. 
alU  taMetat 

I  Bala 

Taa,   I  —  I  thlnk  I  ahall* 


w 


(aa  he   laaTaa) 


dan 


So  od  luck« 


Thßnk  ▼oü,  jflaa« 

(Bala  azlta) 


Bala 


Ladmua 
Poor  lala.*.«*«  Wall»  had  a  buay  dayt 

ni  aayt     »•  Irowatai»  •ren  dletitaa  in  ^ad« 


Lfiduma 


An  avld  man  of  affalra»  ahT 

Oen 
luainaas  affaira« 
^  Tfhay  Hoth  Isugh) 

Who  alae  would  thlnk  of  takln^  hla  own  atano  ovaraeaaT 
dlctßtad  «11  ovar  Bnropa» 


Xa 


1-18 


it 


I 


W      »t 


/ 
>  1 


r  f 


,  7»^T 


•   »   T   • 


^.«  gy^ftt  Älctftt©»» 


Iiadatus 


d^n 


iy«p»     Äon9i»eh  of  hli  »lllion«  •-  ai  3üinaon#  aald  once» 
sfaaking  of  Äonarcha  —• 


»•y^ 


ifax»a  wat 


laira  you  ha^rd  tha  nawat 


Xiateaa 


Gan 


Va  have  rojal  Mood  alioard« 


XiQdmtia 


Qan 


fha  whola  ahip*a  liuailn«« 


l 


I^adsaa 
Stranga  that  Anariaana  ahould  kothar  Mout  an  ampty  ralio  of  tha 

aast« 

Oan 

lall,   I  oan  tall  you,   lt*a  nothl)i«  In  my  young  llfat     Oh,    It^a 
only  nntupal  tc>  Ha  aarta  au7!lrma,  I  guaaa»     Bayaolally  whaa  a 
ftuy^a  aalllng  WRAmr  falaa  aolopa»    Bat,  —  wall,  aa  far  aa   Vw^ 
eonearnaA  -     aay,   I  aiia  «osana  of  aalakrltlaa  In  tha  off  loa« 
Raal  onaa.     Ifet  Jaat  2Sli#     What'a  an  aä-klngt     A  haa^aan* 
laalAoa,  ha  aoul4n*t  gira  two  aanta  for  na«     So  wby  ahouU  X 
bothaipT 


Ladnua 
Wf  11,  you  navar  aan  tall*     Suppoaa,  Ckin 
ajc-klng  waa  attraataA  ta  yon« 


«--  Juat  auppoaa  that  an 


Sali  It  to  filanay» 


low^a  thatt 


<lan 


Ladratia 


Qan 


Fairy  talaa«     Hot  a  ohanea  in  tha  world«     Anyvay,  no  Cln^aralla 
ataff  fov  mm.     Say,   I  want  a  aan  --  not  a  gilt  lakal« 

LadMua 
Bnt  oouldnU   thara   poaalHly  ba  a  man  liahind  tha  labalT 

0an 

Ih  oh.     Bot  fap  m,  lipothar*     Say,    I  want  a  gay  wlth  a  futura, 
not  a  paat«     Somona  I  oan  faal  at  hoaa  «Ith«     A  good  amart  gny 


1-19 


.90 


^-«  - 


» 
(1 


8  'WuÜ! 


tfan  (oont^d) 
frose  £0t.  «^Itlan  to  get   alu?ii«  ^nd  do  ^ig  thingi^ 

LadsLUS 
11  thÄt  fairj-talö  really  ca»e   ti*ue  — T 

What  In  heck  would  «  rojal  niHa  «ant  of  »t   I'*J^^,I?«  "f  * 
phJney;--..-  Tou  got  B^m   spaelal  r^aaon  for  aakliig  all  thls, 

Larryt 


And  ao,    If  ^hfit  you  c.<f 


only  to  h6»r  you  o 


onfirm  what    I  alraady  know#     Tou'ie  aweet,  Wn« 

Gau 


ou  Kaan 


thatt     Or  la  It  juat   ona  of  thoaa  ßentle  aea  teaeaaat 


lAdana 


I  saan  It^  San* 

(la  puts  hia  ar&  aroond  har) 


Gen 


YDo^re  aorta  nlca  too*     Tau  thlnk  It  will  ke  ditto  attar  we  dockt 


Z*»  ture  of  It« 


Ladama 


C«A 


Teil  aa,  Larry  —  Iknow  aa  llttla  akout  you  —  «hat  do  you  dot 


Dot 


I  maaii  -  what*a  your  linaT 


Ladsna 


Qmn 


Ladaua 
Wall  uh  ~  nothlnf  daflnlta  at   tha  ÄOJaant*     Owar   thara,   I  waa    uh 
wall,  you  Mlgjit  aay  1  waa  fübllc  ralatl«a  «an  for  a  ii&tlcnal 
Oüticarn*     lut  now  -   I  ahall  be   atartlng  a  naw  Tantura* 


Oton 


l«Äma Sounda  Intaraatlri«*     öot  plenty  beokingt 


I  -«  donH  need  any* 


Lcidsitta 


(k%n 


OYi....  ao   lt«a  that  way,  hnhf  ••••  Tou  «uata  Haan  pratty  auocaaa 

ful  ovar  thara« 

Ladnua 
SucoasafulT     I  ahouldn*t  aay  ao« 


.«iiillpii, 


l-fO 


S    r 


W 


ivv 


,:^ 


l-VÄBI   I 


^^  n 


den 
{  aae«»««*  So  you  Inharitad  what  70U  gotf 

Xiadmaa 

(wlatfttlly) 
at   I  got   —   1  Inhorlted,   yes,     But  It  waa  —     «an,   thera'a 

omatb 5.11g   thnt    I  want    to    — 

(At  thla  Moawnt,  Phyllla  aypaara) 

Fhyllia 

l)h«*«  ParAon  M6  Tot  Intrudiii^.     Oan,  Oad^a  roarlng«     He  «anta   to 
Aiotata  agafjn« 


^:^K  ütiir      t^^»  I  —  ^'^^  ^•^^^  *^»y 


r         /• 


So  I  aaa# 


1*11  go  rlght   in. 
(to  Ladxtua) 
lajceuaa  aa» 


Oen 


Phyllla 


Gen 


tr-rj    ;?r  f  ■' 


.*    -  »^-i-i; 


So   long* 

(den  axlta) 


Ladttua 


Phyllla 
IIa  Majaaty  *oaa  hava  tha  oosimon  toaob»  doaan*t  haT 


Meanlngt 


Oh,  nothlog,     Sklp  lt# 


IiPdj&ua 


Phyllla 


0 


•  V « *  » 


•  •  ♦ « 


I  ahall« 


Ladiiua 


Phyllla 
I  waa  a*oiit  to  aak  If  yoa^d  joln  a  faw  of  ua   In  the  lounga  for 
dpinka.     lut^   of  oourae,    If  you^ra   involTod  -- 


Wallt   t     ~  you  aae  — 


Ladaua 


(Bala  pa-antara,   olivioualy   In  teightai»  apirita) 

AI.     *.!.  1.1  Phyllla 

on,   that»a  iLUita  alrlght*     I  Juat    thought  you»d  — 


LrHdmua 


l.«l 


'  '  *  mm  I 


•  •  ♦ 


•         "9 


0<\ 


'1  J 


t 


•wall# 


Ladmua 
.mi  l^e   thoM#     Thank  yout     In  a  few  »omenta» 


Pliylll« 


(fhylll«  ajclts) 


ladMas 


tlmidatlon. 

(AiatraaaeA) 

li  lala,  lala  — 


Bela 


(ehearllj) 
M  youi»  aarTlaa»  alr.      I  oan  fac«  wat  a»ything  now# 
Xn  fact,    If  I  »ay  lia  ao  bold  aa  to  U0i    mo,   I  fael  — 

(fi»oudlj  Faaalllng  whQt  ha  h&a  laarnt) 
i.ika  a  milllon  franaa« 


fhAt  ylll« 


Lfidmua 
J>ollaP8#     If  jou  muat  uaa  a  noÄatary  meaaura  of  well-belng,  »aka 
tha  moat  of  It* 


■ela 
I  ahaXl  ahanga  tha  franca  into  dollari,    alr« 
trou*llnj5  yotit   »li*^ 


May  I  aak  what  im 


ladama 
.••••fhat  flplt    Thara'a  ao»athlng  about  har#     Sha   ~  ahe  - 
Sajn  It,   Am  Äot  folng  to  hava  toinka  wlih  hart ••»•#Wallt  thara» 
tto  aaa  Ia  hortlng  hmr....  Oh,  hang  It  alll«.««*  And  than  -  Oan« 
I  dldn't  gat  a  afaanoa  to  tall  hmr.     law  ahaUl  haar  alsewhara  t 
flrat  and  faal  Vw%  dacelred  >iar#    Ä  klngt     Oh,  my  whola  flan'a 
vuinad  «-  vulnad» 

!Ba^  a 
There'a  tto  n%^d  to  moTTj,  Ynu  Kaj   —  I  aaan  —  alr,    Vv^   thoxaght 
It  all  out« 

(taking  a  11t tla  black  book  out  of  hla  pooket  and 

oj^anlng  It) 
It«a  all  in  thla  11t tla  book  have. 


What   lat 


Ladiaua 


lela 


(raadlng) 
Inltad  Statas  of  AraerloaJ      total  pipulptlon  -   t^o  hundrad 
allllona;   total  araa  S^O^C,  789  aquara  mllaa. 

Ladmua 
And  what,  aay  I  aak,   do  you  daduea  froM  thatt 


L 


i-sa 


>  «  «  *  •  « 


.urft 


J 


tl      , 


(H 


♦  •  »  •  ♦ 


a 


•> »..  -.' 


A'i 


Bela 
It»»  so  Ißrge,  »Ir.     So  litJBy*     Mo  «^ne  peraon  —  not  «Tan  Your 
Majesty  naeö  worry  alout  belng  — • 

^es»#*.  yä»f   I  a«e  youp  polnt*     YouWa  paalXy  a  niitlT«  wlsdom, 
lala« 


tala 


OK,   thank  you,  aly# 


Ziadsna 
WhT,    lt«s  preauial^toua  to   think  they^ll  taka  mope   than  peaalng 
no'tica  of  m«     What  an  X,   aftep  allt     What  a»  I  l«it  — 

lala 
Ladmtia  tha  Flfth  of  loanavla,   alp# 

latatis 
A  merm  sj-aln  of  aanAt     That't  what   1  ami     A  teop  Ift  tha  ooaaal 
A  moleculol     An  atomi*«.  Wall,   lat«a  not  oappy   it  too  faF*  Oh, 
thepa^ll  ^6  an  Itan  or  two   In  tha  yapava,  äo  doukt«     lut  any- 
thing  laoraT     Vf^aaanaal     Ihara,   aftap  all^   la  ona  treer  ta  fca 
unlMpoptan*  than  in  tha  graat,  vaat  lalPiyplnth  of  Amarloan  llfat 

lala 
(dali^htad  with  hlmaalf) 
You  aaid  a  »outhfal,  alrl 


Whatt 


( amatdA) 


La<!jmi3 


lala 


You  aaa,   I  knun  tham  now,   all»  —  thoaa  ijaarlaanlaBUi«     I  rahaaraa* 
thom  aaaln,   on  avallowlng  tiiat  J^ill« 

Tammapatlng  wlth  falae  Intoaatlnna  and  awphaaea 

as  ha  oounta  on  hla  f ingera) 
A*  K« 


Ladmua 


0.  IL. 


lala 
Oh,   yaahT     Sex  youl     Out   It  outl 
aln»t  -  aaan  -  authln^   -  yatl 


Katain  youp  ahiptl     Xou  - 


ftida-out   on  laat  ifopda 


\ 


-^'^'■^MIIIPIl! 


1-41 


3o«tia  Tw 


1    «    «   » 


'4 


i 


Tb«  MBam  «•  Se^xi«  One» 

It  i«  lato  aftornoon  of  tlie  foUow- 

XiadBiua  antera  and  atarts  oroaalxig 
tl-ba  deok«     1«   la  fellowed  by  lala« 
Both  waaz»  hata  azMl  kopooata*     Itateua 
capriaa  a  tolaf  kas  ami  a  aultaaaa} 
lela^  a  aultaaaa  and  tha  portahXa 
7«  dlot    f^cua  tbd  radlo  oomaa  a  aadlay 
of  aoondat   liialuAlc«  mualo  and  aliattar 
ing  iroloaa« 


♦  A     •  f\ 


Wall,  my  frlend,  hera  v;o  are  at   lona  last  — t 


(laeklng  anthnalaan) 


Bela 


LadBua 
Iha  c^'ioua  land  af  tha  ftar  S^cüiglad  Baimarl«».«« 

(Irrltaklr) 
Will  yoo  tall  me  whjt  at  a  hlatorle  aoment  llke   thla,  you 
Xlatea  to  that   Infernal  radlot 

lala 
If  you  don»t  mlnd,  air,    It  helfa  to  ateady  my  iierTaa. 


■uat 


Oh,  well  


Xiadaua 


(▼U  vadlo,  a  bywa  la  liaard) 

(Ladmua  and  lala  apoaa  a  few  atepa  furthar. 
Tbant) 


(atoyi^lng  ahort) 
Liatanlll 


Why,   lt«a  ---U 


Ladttiua 


lala 


>  1 


J  Kt 


\l 


l-t4 


Lfttau« 
t»i  Bosnavlan  natio&Al  •ntx'^mtt 

(l«lA  4bPoyt  tb»  aultens«  anA  eoiMs  to  attentlcrif 
»laoing  Ibilt  hat  over  nii  haart«  «la  two  of  them 
llatan  Intently  to  the  followlng  sounla  from  tho 
rndioj) 

(lolaaa  of  an  exeltad  orow*,   ov«Plap|>lnjj  th« 
sualo»     fban  a  Hoomlxig  void^i) 

•111  Bray 

(via  Radio) 
flila   Is  1111  Iray,  fplanda  -•  yow  »oving  raporter*     We»y«  «ovn 
kars  at  Fle?  67,  «3iare  tha  oo«l  llner  Regina  doöka*  a  f%m  alautaa 
Bgo»     Arooiid  ma  here  ara  hundreda  of  aen,  woman  and  ahlldFfÄ« 
pany  -  farliapa  a  half  of  t>7«m  -  ara  tovmmit  natlonala  of  RofnaVla« 

äy»re  aw^ltlnf  tlia  toTmi^t  tdtng  of  theti»  natlTe  lan*,   -  Ladmaa 
ihe  Flfth« 

(Ihi?lng  thaaa   laa^i  «orvia  and  aa  tb#  liroadoaat 
aontlnuea,   tha  aoana  fadaa  out  and  a  mall  apot 
fadaa   la,  ahowlng  tha  head  of  1111  Bray  at  a 
dtkaj 

thildran  in  nativa  Boxnavian  aoatumaa  ara  danclnf  toVs.  daneaa« 
Aa  you  aan  heait  «any  ai»a  ainging*».*  fh  — •  Juat  a  minuta  now, 

Ileaae»*«««  fha  axaltasanfa  runnlng  ao  high,   It'a  r^r^  hard  to  • 
ust  a  mo»entU*#»WhatU   thatt«»«*,  Ria  Majeaty  ought   to  te 
afpearln«  on  tha  punway  any  mosiant  nowlt»»««  Otsj?  there,  at  my 
tlght,   la  an  old  Aan  wavlng  a  —  I  auppoaa  It^a  a  loam  vlan  flag« 
%  Jnat  oan»t  —  lt»a  ao  hard  to  saa«     BvaryHo^r'a  atralnlng 
rorwardl     fha  polloa  aan  hardly  hold  Hank  th^  ero\tdl     Juat  a 
»Innta,  plaaaai     SonathJing'a  —t 


ILlng  Ladati 


(A  burat  of  ebaarlng^   aaove  ifhloh  oan 
iadiEtial*t   *Walooiaa  to  Ajna)*iaai^f  W) 


ho  haard  ^eloona. 


laa,   thaya  1cm   lal     Thara  hft   ia  on*  tha  runwayll     Tall#  blondo, 
handa  oma l     Wearlng  blaok  glas  «aal     Qhlldran  ara  paltlng  hl«  wlth 
flowersl»».^  Rh  -  who'a  that  wlth  hJai  tharat*,«*  Whot»«.  Oh,   — 
ah,   thatU  Mlaa  Fhyllla  Irenvatar  •*-  davghtar  of  S.  Phlneaa 
Bi^avtater«     Rlaa  Ibawatar'a  a  wall«kno«n  aoalallta»«#«  And  no«  — - 
Xet*a  aaa  no«  -  tha  young  laonareh  la  «*<•  ho^a  noddlng  and  gaaturn 
Ing  aa  thns  gh  ha  dldüri*t  apppova  of  tho  ovatlon*   It^s  no  nao**«« 
Juat-   IIa  ton  to   thoini 

(Anothar  hunt  of  ohaerlng  whlch  oulmln-jtsa   In  tbo 
alnglng  of  tha  RoKn^rlrn  hynn) 


•  i  i 


GIRTAIR 


rr  ^  ^  t?  .'■  ft  S»  n,f(     ^r 


•?  m   »  f  AÄ 


) 


»-.  .  <i» 


j 

^ 
.''^. 


•f    \ 


^   er 


IHB  RESLMUUBLB  R3 


r»    • 


^6  «^  * 


I 

I 

i 


I 

i 


ACT  TWO 


•  *  »  •  4 


t-1 


ACT  WO 


Se<n>  Qu» 


At  tht  rla«  of  th«  ourtalA,  Riyllls 
!•  Matsd  at  a  taklaOteak»  taallj 
oocupUA  wlth  »aya»  »o*  fllaa»  Sha 
ia  alana*    Tha  9)10^  7lnga#     Stm 
anavaya« 


fhyllla 
(inta  ahona)  ^       «^   •         -« 

Ik  iSSrl.«  fa»  that  »»»oa«  ia  t«lta  out  of  tha  ««"»J^^.  «^ 

£jaat7  «lT.a  mo  ao-aarfilal  »•■*i»>eJ^^w*.**"Ü!!:  5^» 
PaJllaiaita Oh.  that'a  fulta  aU  rlght.    Thaak  jou. 

(«M  toanga  a»  aa«  raavoMa  aark  wlth  »apa»a.? 

n»  yhoaa  »lag«  afala«    Mbm  aaaaara.)  .,„„.  «„« 
Oh,  hill^  ■%••. ..»!•,   It'a  O.K..     I'«  «lo«»  no*. 


Taat 


• . .  .«h  hah. .  *  «Oh,  flu«  •     A«fail7  Haav 

(la  a  auletly  ««x>a>  eavaaainc  ton«} 
Ih  hah...«»  Ia*a  «oaAapfal«....  Iah,  what  Ae 


m  aay 


thinkt 


Oh,  joa  —  tha  oynleal  flaroaoof«  agalat  «ay.  I»* 


that*a 


yo« 
_       7^'d  fael  axaotly 

tba  Um»  If  ha'i'naw  aaaa  a  a*oim.    Walt  tili  you  «aat  hja.... 

Iaht 1*11,  halna  a  kln«*a  aothing  agalnat  hl»,   la  itT.... 

l*aaMa,  I  thlnk  h«  ^e»*,     iä*a  awfully  Maa»»ad.     !•«,  hon, 
anythlng  apaoialt     I»va  got  to  run.....  To-aorrowT     laa, 
O.K....  Plaia  at  ona.     ««all *■!•»  T^^on» 

(Sha  hanga  af  and  raatoiaa  «ort.     Aftar  a  «oaant 

tba  fhona  rlnga  agaln*    9hm  anawava) 
lallo Taa,  It  la.     Who<a  apaakljag,  »laaaaT 

(aha  aakaa  notaa  aa  aha  apaaka) 

Hr.  laaton  of  tha  lawa  Lattav.     Taa,  Mr.  Fantont xaa,  «nxa 

hla  aaaratary Photographa.     I  aaa.     Fo»  tha  naxt  laaua.... 

wall,   I«ll  hava  to  taka  that  up  alth  IIa  Majaaty.     May  aa  call 

yott  on  that  to.w>rro«t Tary  good.     »hank  yoa,  Mr.  Fanton. 

Ctood-hya« 


-,  ■¥%'WV9'^!w^if^^SfKf. 


2-t 


•    «    « 

»    ♦    f 


»    ♦  » 


•Jl 


«  'IIA 


•  •  •  « 


<  •  •  « 


♦♦♦♦♦♦ 


'      »     «      k  f 


•     •     •     ♦     . 


<Sh8  hang«  »P»     5*ä  •ntpano«-4ooi»  oy«xui« 
!•  loeks  rather  worn  «iiA  wlatful«) 


IaAbdu«  •atara« 


[it   iMfVJ. 


Phyllla 


%mimsm 


fhylllal     XoÄ  atlll  hawl 

nigrllla 
Sathar«     AziA  thara  ara  Iota  af  sattara  to  •»« 


(painad) 
Loak»  Pliyllla  -- 


Satena 


Xaa,  yaa  •«-  I  know  what  joa'ra  goiac  to  aay«  Tou  4on*t  want  »a 
to  lia  *olnf  all  thla  ~l  Wlqr,  rm  loYlng  It,  Imrvj.  Vre  navar 
gottan  anah  a  klak  out  af  anything* 


Bat  that^a  aot  tha  ftiiit« 
▼ary  klnA  af  you  and  all  -* 

agalnat  atarythlng  that  I 


Oh^  lia  youraalf f  Larry* 


Ladma 

IWa  told  yoa,  Pbyllia  -«  oh,   lt<a 
-  tat  Z'm  Jaat  not  intaraatad«     It*a 


thyllla 


ladanaa 
Tbat'a  vhat  Vm  trylng  to  lia  «<• 

niyllia 
I  kaov,   I  knov«     A  »laln  oltlMa«     Strippad  to  tha  aoaaoii  hlda. 
SovA  «Ith  poiv  and  yraatl^t     Oh»  Larry 

ladama 
Ton  ha?an*t  tha  alightaat  eom|«rahanalon  af  «hat   I  sean« 


Phyllia 
Ton  donU  halleTa  that,  Iiarry,  da  yont     Vot  raally*     Why,   Vrm 
told  yon  akout  nyaalf  -«-  tha  kig,  11t tla  draam  I  had«     Wa  all  gat 


ti 


^  <•  1 1 


Phyllia 
*•*'**  mw*A  1»  mwj.jL^wm   «ii»i»t  jMi^ry,  da  y»«>  ■***  *"•' 
told  yon  akont  nyaalf  -«-  tha  kig»  11t tla  draam 
thaaa  wild  Idaaa  whan  ira*ra  yoimg« 

Iiadnua 
Tonngt  I  hava  raaehad  pnkartyt  yon  know« 

Phyllia 
I  nh  —  Itva  rathar  anafaetad  that«  Bat  yonr  draoa«  Tour  grand, 
ronantie  draan  —  wall,  in  your  eaaat  it  Jnat  atartad  lata* 
ThatU  all«  Cirm&atanoaa« 


Ladnna 
What  yon  aall  ny  draan  ia  Juat  tha  ai^pla  raality  of  two  hnndrad 


hpt 


^^■f*^^.ai^ 


i-s 


> 


rn 


mH 


.*.  n«;-.füit 


iT» 


LadflBia   (0ont*4) 


mlllloü  ABflriean«# 


Bat  yoa«M  *lff«Mnt  ftp©Ä  thM»     Let«a  fao«  It,   Imttj. 
dir f erant • 


Xoa  *  r« 


Prepottwottal     BiäM*«  aolhing  Alfferent  «kout 

Phylll« 
Ion  that^g  yottP  teaa«»     Tour  lllualon« 

Laims 
It'a  not  X  who  hara  «n  illvalon«     It«a  you« 

fl^lll« 
Xoutra  a  San  «Ith  Alatlnc^lahaA  tltla  anA  traA 
illmioAT 


Mt 


Is  that  an 


to  kalleva  thay«M  of  aay  alsnlfloanos  l£l     I  rejact  tbmm.    Tou 
reliah  thoa  out  ef  ao«a  aort  af  roawntle  aHloiup«»*««  AnA  «hat  of 
yovup  draa«r     fhink  of  all  yeu  gave  «p# 

Phyllla 
(wlth  Mocklng  faoatlouanaaa) 
Bw.     A  Oasanna  ia  aklrta  <»  loat  to  tha  vorlAt 

Xioat  to  jouraalf#     fhatta  tha  lapartant  thing« 


rhyllla 
Bunk»     I  Aldn^t.  giva  np  anytHlog  «^* 
morm  ean  yoa/'S'than  happlxiaaaf 


iapoFtant»     What 


Toa*pa  — -  happyl 


Parfedtly,   I  thixik# 


LadflBia 


Phyllla 


Xiadjaua 

Ck)od»     fhan  thara^a  nothlng  ta  argua« 


m 


Of  oourao  thara  lan*t«  Xou  can*t  fllght  faata»  Larry«  Xoa  oanH 
avadd  the  eona«t^anoaa  of  what  you  ara  •»-  yoar  poaition,  your 

*ackground,  your  •*«.U»»«»  Wallt  anyway lau  look,  IWa  got  to 

ba  off  In  a  faw  mlnutaa  -~ 

(laoka  at  har  wrlat  watoh) 
and  thara  ara  all  thaaa  jaattara« 

(piaking  up  a  ahaat  of  papar) 


w 


^  immf' 


■jr^ 


-r:w^^ 


IS  ^■■Sti'A 


i-*4 


i 


i 


Phyllia   (cont'd) 

loM  ComfaAlon.     Pewonallj^l  thiÄk  tlfa««  your  bett  bat.     ril 

(plaklac  »p  anotlia»  «he et  of  yayar; 
fhara  weM  —  lat*a  9m%  —  03fta»»#  two«.«  tliraa*««*«#  aeven 
Ältoffatba»  —  aaran  raaaaata  foF  taatlmonlala.     tooth  Msta, 
whiakai  ..  «aa  of  Clatlnatlon  toand  ^  tbay  wara  tba  »oat  InaiatmÄt 
Orown  hata,  Royal  Clgarattaa,  Ragal  ahoaa#     I  tuMad  tHa*  all 
dowxif   of  aouna* 

lAdKua 
Thank  €N>dl     And  yo«  aan  -«-I 

Phyllia 
Waitl     TouWa  had  thraa  Invitationa  to  appaar  on  telaviaicm 
prcßramat  -  *«©  affara  of  radio  oontracta,   -  a  liid  to  apaak  «t 
tha  annual  aonTantion  öf  tha  PlcuBhara*   Bhlon.     Wa»ll  work  out  all 
that  toHBorrow« 

(pieking  np  anothar  ahaa»  of  papap) 
Oh,   and  hara«a  aomsthinf  you»ll   llka.     Oriola  Ctellaga  wanta  to 
award  you  an  honorary  dagraa  on  May  tenth#     And  tha  publiahora, 
larbaby,  Irdca  want  to  aaa  yoo  ahout  publiahing  your  «ajQoirat 


•t  any# 


Tou*ll  mita  tham,  Larry* 
Trrltar» 


Laduua 


Phyllia 

If  nacaaaary. 


wa^ll  gat  you  a  ghoat 


Memoira   of  a  ghoat 


Work Ing • 


Whatt 


Ladmua 
ly   tha  wayt  whera'a  Belat 

Phyllia 


Xiddftua 


Ha*a  got  a  job 


Phyllia 


Ladaua 
A   Job?      Tou* ra  not  aariouat 

Phyllia 
Uh  huh»#...*  You»ve  both  iia,aied  you»ra  not  rolllrg  in  wealth. 

And  80 Wall,  ycu  know,   deddy^a  atlll  fnr  from  well,  Larry • 

And  I  figurad  ha  needa  an  attandant«     So   I  fizad  it  up#     lala 
atartad  this  aftarnoon» 


S-5 


-4 


K    -^"      littest 


> 


»    > 


C  *i  Wi 


U  ^^      a'^5V 


;.^ 


;-| 


oW 


^^i  Hff  w 


U      j 


»     4      «      4      « 


(half  to  hiMBBlt) 
Oh#  §oA# 


lAdaufl 


PhjflU« 


lAAmua 


tixm. 


(pAlnaA) 


rhyllis 
Oh,    I  fortot  to  aantlon  thÄP«'«  al«o  a  llst  of  invltatlona  to 
pecaptlona,   partlaa,  Ainaars  and  what  not#     »it  th«y»ll  kaay# 

Ladnua 
fhay'll  haTe   to.     And  ao  will  evarything  alaa*     It  «ay  Intereat 
you  to  know,  Phyllla,    that   Vf  takaa  a  Joli«     1  atart  to- 

BO»OWf 

Phjllla 
K  Jo¥t     Larry,  you^ra  Joklng. 


Ladftua 


I  am  not  Joking« 


Phyllla 
But,  for  haaran^a  aaka^  Yhat  aort  of  — t 

Xiadwia 
Ihan  I  «aa  a  iKiy^   I  alvaya  anjoyad  oaranioa^     I  had  aoaia  yrlTato 
Inatructioa  In  it»     Vm.  going  to  work  in  tba  ahoy  of  tho  Arteraft 
Stttdioa  doirntovn« 


Phyllia 
(indulgantly) 
ffhat^a  aata •«••••  To«  know^  in  faot,   it^a  torrlfle« 
pnblio  Hill  oat  it  uf  • 


Say,  tba 


Thay  «onH  knov« 


That»a  whAt  yon  thlnk. 


Ladnua 


Phyllla 


LadMiia 
The  atudioa  had  no  idaa  who  I  tm. 

Phyllla 
low  long  «o  you  thlnk  that  will  laaft  Say,  Larry,  thla  la 
tarrlflo«  Honareh  yroToa  ha*a  trua  man  of  tha  yaoflo^  Aa  a 
hnabla  workar,  ra turna  to  tha  anolant  oraft  of  hia  forlieara# 
I  toll  yoa,  ItUl  atart  a  trandl  A  naw  Orasa  for  tha  Oonon 


t-e 


.'"-'t     -t  '      El 


,-.  C\r\  Ä  ♦; 


#  V9 


n  !ns  I 


t  tvS 


"    T     irr  -^rf?!^ 


fhylli«  (eontU) 
Wl     It»a   thrilling#.**l«t  look^  w«»U  dlaeuss   It  all  later^ 

(She  pnU  on  h«p  hat   ähä  aoat)        ^       ^^  ^        *  *.*. 

Oh,  *J  th«  naj,   1  h«FP«n  ^o  ^▼^  •  ^"  '^'   ^^  °P"*  to-al«htt 

Iiadjatt« 
Sorpy#     I»m  aiiCM;«^  *1^1-«  •▼enliif  • 

Phjriiu 

(eP6«tfallan) 
Oh»»«*  Whjf   -  öh  -   thara'a  nothin^  down  on  tha  calendar» 

LadAua 
I  know»     I  tÖi  -   I'm  aealng  aomeona. 

Phjlll« 
Wallt   that*»  your  own  Hualnaaa,   If  öouraa« 


VoL  aealng  — •  öan« 


Ladfluaa 


Phyllla 


Oh. 

(pauaa) 
YoQ  knowf  Larry,   — '  of  eouraa,   it^a 
of  yon  to  lia  ao  nlea  tu  a  ••* 


awfully  awaet  and  demoeratlo 


Xiadaiua 


A  whatT 


•-\    » 


Phjrllla 

Ve  daddy^a  ateno»     lat  -  vall  «.  Oh,  don^t  mlauhdaratandJa«  mm. 
öanU  a  good  atenngrapher»     Iha   la  ~  mr  daddy  wouldnU  hava  her» 
Bat  •-•»  wall,   aha«a  not  aa  almpla  aa  aha  aaeiaa»     Oan^a  uh  —  you 
know  Pm  not  aatty,  loirry,  -  ¥nt  -  wall,  aha'a  a  aort  of  »eony 
wlth  tha  orahld  Iteh»     Strlatly  nlna  to  flva  liraading« 


-,r*'fT» 


Ladjma 


I  aaa» 


OÄ 


Phyllla 
Oh,  *y»  the  way,  -  I  alaoat  forgot  — 

(She  goaa  ovar  to  tha  ta1ila«*daak  and  ploka  up 

a  ahaat  of  draving  papaip) 
I  hava  aomathiog  for  yon»  I^wa  dona  yuu» 

(Sha  handa  him  the  drawing  and  raaalna  atanding 

alon^aida  hlm) 


:  7     X 


8-7 


.      :t 


r  ♦ 


•  » »  • 


■r      I 


^-^.  j.a^ 


->  - 


Vi 


f      *^.-*fc 


(looklng  at    the  drawlng)  ^,^.,      ^ 

My  eongratulötlon«. 

(1äFu1«1v#1j  taklzif  hÄ3p  ajm  tcT  «  moment) 
low  on  earth  could  foUf  wlthout  my  poilngt 

Phyllii 

Oh,   I  knoTT  you  -  liy  haert» 

(Is  reAOTa«  hla  hand  froH  her  a»| 

lAdJBUS 

I  aeet«»««  . 

(looklng  at  tha  drawins  afain) 

Xou^ra  paally  ao  glfted« 

Phylli» 
XK)ok,  Xiarry«     I  ahowad  It  tu  on«  af  the  aagasiiMa« 
to  uae   It  fop  thelr  naxt  ~ 


Xfaay'd  11k« 


liadiuua 
(flaplng  up) 
^        fio,  K>1     rve  toU  yott  that  X  ~l 

Phyllia 
(dellkap^taly  nlaeonatrtilng  fop  affeat) 
0«i:«»     Ton  thlnk  it*a  not  good  •nough« 

Ladsama 
It*a  Tary  good«.     I  aliiply  don't  want  --t     Oh,  Phyllia,  why  do  yoa 
alvaya  naka  It  ao  dlffloult  fer  mm  ta  aay  *no<    to  youT 

Phyllia 
I  wouldn^t  kno««     lx««pt,   parhapSf   t!hm%  ycn   raally  want  to  «ay 
*yea*««««*  Well,    I*va  got   to  ba  runnlng« 

(Thay  are  atandlng  naar  aach  othar) 


Ton  know,  Phyllia,   X  «- 


Ziadflaa 


-.      T 


Yaa,  Larryt 


Phyllia 


Ladaaa 
lall,  •  wa«U  dlaeuaa  It  l«tar# 


•^> 


Tou' ra  auch  a  funny  man» 


Phyllia 


I^dama 
I  waa   Juat  wondaplngt  whan  one'a  already  reaehad  tha  opchid  atafa. 


*-a 


•  »  •  ♦ 


f    *    •>    *    i 


Xiadmua   (Cont*4) 
whatU   leftT 

Phyllla 
luh  "  I  *on»t  kiiow#     «ore  and  Hlgger  orohlAa,   1  gue»«* 

Jifttetts 
(taklng  hmr  hajat) 
Oood-liya,  Phylll».     fhank  you# 


lihyf 


( leairlng) 
3da  yon  to-morrow» 

(Phjllla  azlta) 


PhylUi 


^  .  .  ..  ■»--.■  A 


.      ^ 


^  r 


4  f 


«    *    (    •    * 


{For  a  Äomant^  Laä»ua  atanAa  *y  tlw  door  In 
trouWad  tl^iD^ht*     «lan  ha  looka  ^t  tha  dpawlng 
agfitn,  ahakin«  hla  head  aadly.     tm  goaa   oTar 
to  tha  taUla)  puta  doifn  tha  drawliigl  Xoaka 
annoyedly  at  »afara   on  tha  ta*la|  axlta  to  tha 
adjolninf  roo». 

Thara   ia  a  allght  j^ausa«     Ihan  tt»    door-ball 
rlnga*     Xiadana  ra-antera,   avoaaaa  to  tha  antranca 
door  and  apana  It«     «SI  la  atanding  at  tha  door») 


(wanily) 
Eelloy   Gan« 


Ladxana 


•an 


Ia llo • 


(aojaavhat  raaaried  and  oncertaln) 


(Gas  ant^ra«     Sbe  ayaa  Ladmua  up  and  d»wr  sa 
though  Tiawing  a  calatolty  fop   tha  flrat  tima*) 


It^a  awaet  of  yau  to  aoma« 


Iiadiiioa 


<lan 


Oh,  wall,   It^a   —  lt»a  alrlght,    I  guaaa#     Though  I  want  you  to 
know  I  don*t  go   to  loön^i   apArtmanta,   avf»p#     Kxoopt  profeaal««allyf 
that  ia«     lut  a  king  ~  wall,   lt*a  «  it*a  aorta  unnanal« 

Ladttiua 
Oan,   thara^a   Juat  kecn  r.c   opiortunlty  to  raally  talk  to   you. 
Thßt^a  why  I  askad  yon  to  eojaa  wp  hava«     Whara  wa  oan  hara   aoMa 
paaoa  and  quiat«     Won^t  you  alt  downt     Kay  I  have  your  ooatt 


fr 


„..IIIIIIIWPHIMPiii    '•    " 


2^9 


Oen 


ff 


ffW 


-) 


•StT: 


i 


(a3  ha  belp«  Höp  out  of  hör  wmt  and  take«   It) 

(Sha  «Its  down) 

LadAua 
What  will  you  have  to  drlnkt 


(aautloualy) 


Oen 


lell  uh  --  Wellt   I  ^etta»  not   taka  nnything  right  now,   thank«^ 


Xiadraua 


Thaae  days  have  pas^od  ao  qtiiokly,  öan.      It^a  all  bcai  ao  haotlo^ 


Oan 


I«ll  ¥ett     Awftilly  thrillln£,    I  guasa. 


Thrilllngt     Exaaperatingl 


Lacmua 


(kmn 


ReaUyt     1  ahould  thlnk   lt*d  ^e   —  Oh,   wallf   aur«,   -••  ^^ä 
ycm«ra  ao  uaüd  to   thla  aort  of  tWng  -   1  gueaa   It   la   Juat  oU 
atuff,  huht 

Ladmua 
lt»a  agalnat  evapything  X  want  and  Halle va. 

Oen 
Well,  ^t  ••   I  don*t  qulte  M^e   — 

Ladxaua 
Gen,   I  --  Vm  aai-e  yjuWa  feit  hujft  by  my  not  talllng  you  on  tha 
boat  who  I  ao.  •* 

i 

Oan 

(taking  the  iMat  «dvantaga  of  LadÄua'a  apologetio 

attltuda) 
Wallt   it  aui-a  dldn*t  aa«a  wary  nloat  Tou  HaJ  —  üht  what  am  x 
auppoaed  to  call  you  nowt 

Ladaua 
Whyt  Larry«     lothing  haa  ehangadt   Qan« 

(^n 
Oh,  not     That»a  what  jou  thlnk. •..  Well,   anyway,   you  ruat  adalt 
that  waa  a  f[uear  aort  o?  trlck  to   null* 


It  waanH  a  tpick,   Qt^n^ 


Ladnua 


Qan 


On  tha  ¥oatt  you  aaamed  llka  auch  a  regulär  guy«  It  waa  fun* 


r 


t-io 


T  ^ 


eü 


r'n 


r  '■ 


Oen  (oont'4)  ^  ^       w  *.  - 

\-*  *v.n  t«  «0  a  thlng  lUt«  th^t.     IIa  Majeaty  »*kln«  *tlt*^ 

Jlk«  »0««  of'thoaa  old-tl«e  morles. 

Ziadimis 
€h,  ö#n  —  Q«n,  you  don»t  know  hoi»  terrltely  ml«taken  you  ar«. 

1  r.ay  not  be  ao  auah«     Int   «tili  -« 

Ladarua 
Ton're  Invely« 

'f  Oen  ^  , 

ba«  Je  nUySown,  so  rd  feal  at  hone  wlth  you  -  «eil,  ftrankly, 
»7  feellnga  wera  pretty  hurt. 


1 


Qen 


♦  •  •  • 


Ladnua 


•en 


V^  aorpy»    lut  thatU  how  it  !«• 

^lÄ  Ladmua 

1  dl*  try  to  teil  you  onoe«     lut  wa  wore  Inte^rufta*» 


Oen 


Sure,   aure» 


LadiBna  tu  ^ 

Basldea,  yow  «pde  It  rerj  clear   on  the  boat,  how  you»d  real 

about  aomaona  who^d  baan  a  king» 

Oan  . 

only  tha  laat  day,  aftar  weM  known  aach  other  fop  a  waalc^     xou  m 
had  plenty  of  tlma  ^fara   that   to  teil  »a« 


ZaidHaa 

lut  Oan,   ameaallnf  «y  paat  had  nothing  ta  do  wlth  youl 
yoa   aeat     It  waa  for  nyaelf .     Vm  atartlng  a  nan  Ufa  — 
piain  American  oitiaan« 


OanU 

aa  « 


Oan 


funny 


Ladniua 
It«3  tPfigla»     It*a  the  rerj  thing  I  trla*  to   avold# 
underatandt     Thls  may  am  ad  Inopedlbla,   Gen,  Ittt  1  - 
baen  trappad« 


Don't  you 
-  lall,  r 


t-11 


♦    ♦    »    # 


•rv 

r 


Lftdams 


ton 


for  alwaysf  »en# 

( uneonv  ineed) 

£  So  louM  t"K  «i  -Sy  Suly  -ay.  The  klng   1.  deadl     Long  11». 
the  coamonsrl 


Q%n 


r#ah 


I  sea* 


LadinUB 

Sona  may  aay  th«y  navay  dia,   Hut  «eraly  fada   away* 
king  I  waf*  —   1ä  dead. 


■ot  U    Tha 


den 


üh  huh,...  wall,  anyway.  l«f.  »klp  It  all  now.   i;^  j^J^^^^  •^* 
of  peraon  that  goa»  around  cnprylng  a  grudga.   I  unda«tana. 

So  that^fl  that« 


I  was  aupa  you  would,  Oan« 


Ladnua 


(V»n 


yh 


— .  Larry,  -  you  mlnd  my  aaklng  you  aaJMthingT 


Ladnua 


Why,  of  oouraa  not,  den«  Aak  anythlng  you  vant*  Plaaae  do. 


•an 


Well,    thera^a   aomathlr«   I  Juat  don't  gat.     You  have  to   admlt  thla 
1a  all  fretty  unuaual«     You  and  me,    I  raaan« 


Just  «hat  do  you 


f  1»A  ~  In  mat 


Ladnua 


The  anlj-lt  of  America,   Oan.     Why,   you^M  tha  Tery  f*^^^^^^*   -. 
of  lt.     It'a  rafleoted  in  your  merner,  jamr  attitude,   your  amxxe. 


your  whole  peraonallty* 


H^mmnm.**  You  look  at  na   and  aoe  atnri  and  atrloea,  ^^^^      ^"^"^ 
not   ^uat  a  name  TM?and  laHal,  Larry*      I  want   to  lia  llkad  for 
myaalf • 


'li '  •-  \.- 


«-1S 


r  ffls 


»     ♦     »     »     ♦ 


«     ♦     *     »     • 


•     •     «     • 


<     •      ■'  ••  '^ 


♦     ♦     « 


i. 

■ 


Met     frealit 

Ladmua 

watara  at  dawn»  ^ 

Oan 

You're  aure  an  aarly  rU^r. 

X«admu3 

V3J3a  of  Whitiaan« 


Whit  — ? 


Walt» 


Oh,  VIfalt* 


Gau 


I^adttua 


Oan 


1^       ^JT^Jrlda   of  tha  high  Slarraa   — 
It»a  all  part  of  you,  tten.   .  J^^^lf  ßSea»,  rußga*  — 

(öarlng  thla  daaorlptlon,  G«n  aupv^y» 
Than  Intarr^ptaO 


You  liean  out  Waat,   Larryt 


Oan 


1  knc«  It  all  in  ny  h«'*'*»     A*  ^  *^^^ 

v.*^\ot.i.  and  aeography  and  — » 
Thla  i*  aure  a  neu  approaeh.     Water  ■«*  •     *^     i^rry,  do  jou 
Waat  a  ¥ulld-upl      It'a  terrlflo.     ■«*  ***-^ 


«-13 


.   f   . 


.2     L 


—  iÖEi  m»1 


••n 


Oea  {eont»4) 


Lftinus 


9#a 


ono  of  tha  thlnga  you 


fteM  »hingt  -  1  ••!*  ^a  *»^  *^^*  -- 

•aid« 

da& 

Ü'iili;  i  iSi::  JSi'.St'^iurfln.  opportamtla.  he« 


Ikit  you 


Of  aouratf  Qt%n. 


liAdKaa 


Cl«n 


Taah,   «iat»a  what  I  thoufht. 

in  America,  a^eryona  ha.  'J^^^^^f^^ilUaa!''  ""'"'""^^ 
atloB*     fo  »aka  tha  Haat  of  hla  po tant lallt laa^ 


flau 


fh  hnh< 


DonU  yoa  auppoaa  -  you  ml*ht  laawi  to  ovarlook  «y  paa« 


Wall,  I  »h  — 


Oan 


Balal 


0hl 


(At  thla  polnt,   tha  antranaa-4o»  opana  and  lala 
antara«     b  lafcka  trouhlad  and  f«*!«»**;     *t!i^« 
Ladmua  and  ten,  ha  la  atartlad.     fhay,   looklng  up, 
ara  alao  atartlad«) 


Bala 
Pardon  ma,  Tour  Majaaty«     1—1  dldn't  knon  you^d  ba  — 


Iiadiua 
1  thought  you  wara  uh  -  vorklng« 

Bala 
I  hava  tha  avaning  off,  Tour  Kajaaty« 


1\ 


S-14 


-,■•*.  r 


•      •      •      4      «  .) 


^;*/ 


«   «   » 


.0 


I 


Lft4Bua 
AaA  your  posltlont     low  1«  Itt 

I  am  aj^asteA^  sir« 

Wbyt     J»  yo«'  «<>'*  *^*  ftHtaouat 

It««  not  tha  wopk,  alJ?.     It^a  —  »y  fata» 

Tour  fat«T 

Ohf  Z  donH  mean  to  oomylala»  slr«  Bat  «*  It^s  all  ae  •* 

ao  Alf f araAt  #  •  •  •  •  •  So  ▼•x>7t  vary  —  teaaanlnft  If  I  May  bolAly 

apaak  ny  thooght#  For  tlm   f  Irat  tlaa  In  ay  llf««  Tm  — *  a 

aarvant« 

(wiatfolly  raalnlaoant) 
Onaa  -•  otiea  I  llTaA  In  tha  licht  of  tba  throna«     Svan  ahaaq^oo- 
ing  had  Aignlty*     Wor  tha  head  I  aoapad  voi^a  thi    orovn«     But  «ho» 
mir,  «  who  aan  faal  annoHlad  In  oataring  to  a  —  a  o&nnar  of 
¥aanaT ••••••  Breiiatar*a  laana« 


LadjBua 
They  ax'o  far  nova  naafnl  than  a  aroimt  My  ftplanA« 
aaton« 


I  ahall  riB'feT  eat  thaa»  air  -—  noTo^t  navar««*. 
Mlaa,  for  apoaklng  ao  fvaaly  kafora  yoü«  But  I 
fultOf  aulta  unnarTad« 

(lala  axita  Into   tha  adjoining  roo«) 


Thay  eaa  ba 


Bxeuaa  mm, 
unnarvaA  «- 


Ladnna 
Poop  BalA»  Tha  royal  apotllght  has  fadad  tram  hla  aeana« 
navar  laarn  to  llva  In  tha  aunllght  ~ 


■••U 


of  BrawatavT 


San 


Tt^^iB^a 


«•acuHua 
Of  raality«    Ion  wopk  foy  Mr.  Bpawatar  too,  Oan«     But  how 

diffarant  and  «holaaoiia  ia  youp  attltuda«     Oh,  you'ra  ao  uttai>- 
ly  aoand  and  rlfht,  dan«     Yau^ra  ao  — 

(Tha  yhona  Plnga) 
Szouaa  na« 

(LadjBua  aroaaaa  to  anawap  tha  phona»     Into  tha 
yhona  t } 

Taa •••••?     Oh#     low  dld  you  gat  hoaba  ao  faatt«»»««*  PPom  wharaT 

•  ^^9  «  drug  ataM«     I  m^m......  1  aaa«.«..  But  loak,  Phylila, 

I«m  raally  not  Intaraa I  know,  *ut Oh,   that»a  Vary  trwa  * 


KU 


■^•i.9}*r'wf 


f^.rjrmr' 


t-15 


■r 
L 


i 


•  •  *  » 


<     ♦      »      »      1      » 


Xffitaus  (0oni*A) 

diaeiua  It  to-aoMow* Xour  whatt Oh,  your  klrthday 

nfiTtv.     Well.   I  uh »0,    IhadnU   foi^got tan.. •••.lest 

latu?day  a^anlng Wall,    Inh  -  yaa,   ril  ka  thaaja,  Phyll*.- 

«...Yas,    that'a  flna*.**»a»y  foo**     «lank  you#...  dooi^liya* 

(LadHia  hanga  «f}  than  yauaaa  a«  tba  fhonm  tov 
a  moment  in  trouHlad  thoughtfalnaaa»     Thani) 


Lappyt 


Tas»   9anT 


Wbit  about  —  hart 


San 


Ladona 


dan 


Xadmua 
JTuat  vhat  do  yoa  naan  -*  wbat  about  hart 

Clan 
Wall,  aha»a  baaatiful  -  glamouroua  -  rieh  «  aduoatad  and  -  othar 
thinga#     And  not  axaatly  IndlffaFent  to  you#     lantt  aha  llka 
thoaa  break  «atara  and  what^s  hia  naaie^a  poatry  tooT     Wpw  o&m 
you  havan^t  fallen  Tor  hart 

Thoaa  -  othar  thinga,   I  aufpoaa.     H'va  «orlda  apart« 

Oan 
Than  why  do  you  aaa  har  and  lat  har  do  thinga  for  youT     Aft ar 
all,  you  don*  t  haTa  to • 


Ladbttua 
Look,   Clan#     Sha  haa  nothing  «hatavar  to  do  «Ith  ua» 
talk  about  It,   -  plaaaa« 


Lat* 8  not 


0«i:#  I*«  aorry. 


(]i^n 


Le.daua 
(lally) 
Look,  Oan*  What  ahall  wa  do  aftar  dlnnart 


Any  good  auggaationsT 


flan 
Suggaationat  I^aHrnm.  Lat*a  aaa.....  «h«...  vall,  how  about 
tha  Stork  Club  —  ar  rnayba  Copaoabanat 

Ladnua 
Thay»ra  —  night  oluba,  aran»t  thayt 


hr-,. 


tnX6 


V 


4     •      »     ♦ 


tJi 


r 

i0 


,     ••'^W 


«         » 


9 


Sure.     That»«  rlght. 


1?ell  —  nh  - 


(l«a 


Üjidnna 


0«& 


Or  «ould  yoa  treter   tbs  Wedgewood  Roo«  at  the  Waldo^ft 

Oh.  I  don't  knon.  I  *«•?«*  *»^«y'"  •"  -  »"**y  ■*'^'''  ^"^ 

Oh,   thty're  alr-ooxidltlon«4t     tbey  ÄU«t  *•• 

LadKua 
Well     1  —  I  4i4n«t  «aan  tuit«  that«     Itsldta   ~ 

(olßhing  wlatfally)  «.v-.«^ 

we»4  pro^alily  *•   th«  eant«  of  all  •J^b  thera. 

Cl#& 
(Imfulalvely,  half  to  haM«lf) 
Ttah,   that»  8  what  I  had  In  «lud» 


low»  a  thatt 


Ladsma 


den 


Oh,  nothint.     I  -  I  «uaa.  you^re  right  alwmt  that  alrlght* 


Why  Aot  latU  do   a 


For  exanplet 


Ladma 
omethln«  —  raally  Amarloant 

flkin 


Ladmua 


lall,   I  paad  in  tha  yapar   that  thay^ra  havlng  squaro  danolng 
In  Cantral  Park  to-night« 


Oan 


Itthttt 


(vith  aarkad  absenca  of  anthuaiasm) 


Ladflua 

Or  how  aHout  taklng  a  run  out  to  Oonay   lalandT 

San 
Conay  lalandT     Who  goea  to  Conay  lalandt 


Mlllloi  a,   I  haar« 


X»a(lAua 


:  ^  Off 


:,»    -r    •: 


?.  . 


a-17 


riten    »Ith  «  toaeh  of  »alnad  raalgnatlon,  iltaa« 

IrJUTe  wlth  Utou.,  ••  h»  fattjhaa  hla  hat  «M 


den 


«oM  on,  Urrj.    Toa  »how  m  Amtrloa^ 


:  ) 


gBBt^III 


. «/ 


4 

I 


1--18 


^^ni»  Two 


^        a-^-^CH 


LlTlng-rooA  In  thit  Bravster  xaanaloa« 
In  thm  %a«k  wallt  n«ar  the  oenUi»,   ara 
dou1ila<*4oora  laadiiig  to  a  garten}  at 
upataga  laft  la  a  atalreaaa}  in  tba 
laft  wall  ara  a  f iraplaoa  and  a  doori 
in  tha  rlght  wall  ia  a  door«     Down- 
atagaf   to  tha  right  of  aantar,   ia  a 
aofa-aattaa« 

It  ia  aTaningf  aoaa  daya  latar«  At  the 
riaa  of  thi  eurtaint   tha  ataga  ia 
ai^ty»     f^oja  tha  gardan  eoma  vagua 
aounda  of  a  partys  muaio  and  obattar- 
ing  iroieaa«     After  a  Mojaent»  IBLA^ 
looklng  Hl  and  worrlad,  deaeanda  tha 
etaira  and  atarta  oroaaing  to  tha 
right«     QSMß   in  atraat  attlre  and  earrj« 
ii«  a  Iwfiaf  lieg,  entere  through  the 
deor  at  left« 


i 

1 


11,  B«la. 


Oood  •va&ins,  Hlaa» 


<toa 


»•Im 


tea 


■ewU  everythingf  •  •  • .  Ihat'a  wrongT     Ton  look  aorta  aiok. 

Bela 


It«s  ay  naaaea  agaln,  Miaa* 


Oh,   too  kad« 


San 


It  iat  Hlaa«     ItU  an  oAen« 


Bela 


A  vbatT 


Gen 


An  onen,  Mlaa» 


Bela 


a-19 


e 


I  don»  t  gat  you# 


Oan 


Bßla 


It»a  alunya  a  «ign   thut  thera'«  trouble  «head.      It  nevar   falla« 

Gan 
Yeahf     What  aort   of  troublet 

wk  Ba  la 

•    I  donU  fael  ^xxit%  free  to  ».qy,  Mlas# 

Oan 
Vallt   let»a  hope  thla  tJüae  your  oondltli  nia  juat  tram  aoatathlng 
yoQ  ate*     Iow*a  tba  lioaaT     BattarT 


Oh,   no;r   M5.afi.     Wo,    indaad« 


Bala 


9an 


But  ha  aant  word  I  ahould  ooma«     Wsmta   to  dletata« 


Bala 
Balleva  me,  Ia*a   in  no  eondltlon  to  werk»  Mlaa# 
quita  hyaterleal« 


laU  ^ulta» 


Whatt 


itmn 


Oh,  yaa»   indaad«     It*a  raally  qulta  alaming«     Why,  only  a  ahoapt 
whlla  ago,  whan  I  auggaatad  ha  mlght  ha^a  e.   llght  anaek,  do  you 
knov  what  ha  aakad  fort«...  BogaU     Ihlnk  of  It,  Mlsal     j|Dt  -  daatal 
And  then  ••  then  whan  I  diaaraatly  auggaatad  that  oaalna  diät  mlght 
Ha  a  Hit  on  tha  haavy  aida,   -  ha  yallad  out   *ao,   tall  it  to  tha  -" 
•^-  I  kaliava  it  vaa  aosa  kninch  of  tha  araiad  foreaa,  Miaa« 

( lau^hl ng) 
Tha  narinaal     Oh,  Bala,   you^ra  a  cardl 

Bala 
Oh,  bat  that'a  not  tha  worat   of  it,  Hiaa^     Bo,    indaed,     For  a 
Aomant,   I  •-»  I  haaitatad#     And  than  ^  than  ha  aoraasMd  at  ma: 
^«0  on,  nowl     Shaka  a  lagt»     Thlnk  of  it,  Xiaa«     Wall,    I  ~   I 
dld.     1  ahook  a  lag«     it  taa  tha  rlght  ona,    if  X  raBwaibap  rightly# 
Put,  aftap  all,  Xiaa#  !•«  not  fuita  aa  young  aa   I  uaad  to  ba. 
It  *PP"jntlir  äidn»t  aatiafy  Mm  —  mj  ahake»     So   than  -  then  at 
tne  halp^ht  of  angar,  he   -  he   plckad  up  a  «agaalna  and  --  ha  thpaw 
it  at  M^.....  It  waa  a  back  niuabar  of  tha  Saturday  Evaning  Poat. 

(Oan  Vreaka  into  faala  of  lÄUghtar) 


-»■■«?:?*^5?"   ^ 


«-«0 


Bola 
Truly,  Klas»    I  fall  to  see  hoif  anyone   can  extract  humop   out  of 
such  a  lad  «Ituatlon» 

(atlll  laughln«) 
I*m  Mrx»yt  lala*     Exttuae  me« 

•ala 
I6*a  paally  fulta  111,  Mlaa.     And  atlll  he  kapt  Inalatlag  ha 
muat  get  up  tor  tha  party* 

Oan 
Oh,   that^a  plght  ~  tha  farty  out  thara. 

Bdla 

•ut,   thfink  goodneas,  Mlca  Bravrater  Äanaged  to  Ounvlnca  hl«  that 
ha  ahould  rann  in  in  had. 

den 


I  aaa And  Larry,  —  ha  Vi  hapa,  of  oouraat 

lala 
Oh,  yea,  Mlaa*  Thay'ra  all  out  thera  In  tha  ßardan, 

atrsnga,  narvoua  faallng  that  — • 


And  I'¥a  a 


den 


Yeat 


lall  -  lat  It  paaa« 

(a  pausa) 


lala*«»* 


lea,  MlaaT 


Oan 


lala 


Qon 


Why  do  you  think  he  onaie   to -night? 

lala 
Ch,    I  oouldn't  say,  paally*     Sxcapt   that  —  tfell,  Hla  Majeaty 
WF)3  Invltad*     IIa  k5jigly  ohl^alry,   I  auapeat«     And  then  — 


Yast 


C^n 


lala 


Wall,  Mlaa  Ipawatar  ia  a  Tary  uh  — 


S-81 


»M 


«    •    •    »    » 


C-  r% 


4«f 


#    ♦    ♦    • 


Ter  y  frhÄtT 


Really,   iJ^  yo« 


Gen 


itola 


JUm-t  wlndt    I  i^refer  not  dlaouaalng  It*  UUa. 


QmA 


•#lat  4o  joii  thlnk  that  —  tliat  he'a  attractod  to  hart 


•#la 


I  fe«l  iure  h«  f««l«  aur«  tijat  he   la  not. 


Gen 


Yeah,  but  do  you  really  beliave   that  be  —? 

(loanda  of  offatage  ▼oicaa) 

lala 
Ih  —  aomaona  la  oomlng,  Mlaa« 


Gan 


Oh« 


(Oan  aaoenda  tha  atalra.     »ela  «oaaea  to  tha  Aomr  at 
riaht  and  axlta»     Tbare   la  a  telaf  pauaa.     Theu 
Fhyllia  and  ladaua  ante»  through  ^^«  <if^^l^/®^^« 
in  tlÄ  kack  wall»     thyllla  la  teaathtaklngly 
teaautlfal  In  a  low  c«t  aTanlng  govin.     They  ara 
oonyaxainf  aa  thay  antar.) 

fhylli«  ^  ... 

Oh.  ha  dld.  Larry*     üe  klcked  up  an  a^ful  fuas,   thla 

aftaraoon*     Xou  know  daddy«     Said  ha  hS^to   oo»   dowr..  But  v% 
finally  convinoed  hlm  he  ahuald  atay  Inböd  and  reat* 

Ladfltiaa 
Well,   then  —  jeiyhapa  you  ahouldnU  dlaturb  hla  ncfr# 


Oh»   I*m  not  going  up  no^n« 


Phyllla 


lut  you  told  your  gueata  — 


LadiBua 


7hat  T»aa  Juat  an  axeuae« 
Üam  for  a  11t  tla  whlla« 


Phyllla  ^ 

I  feit  you  wantad  »o  gat  away  rrcm 


Ladbiaa 
Ihy,   I  uh  —  lut  I  don»t  want  you  to  ~ 

Oh,   it»a  alplght,   Larry«     I  undaratand  farfeotly#     They  won»t 


r 


s-da 


»i 


0 


«      «      •      r      •      «      % 


Oan  (eont*d) 

(Ihey  «It  <lo*n  alongtlda  «ao^  oth«!«  on  th« 
aofa-a«tt««.     A  faaae.     lh«n») 

Llkd  my  trUoAtl 

Ladmeis 

(wlth  minimal  gallantpy) 
well,  I  —  yea»  ^  thlnk  thay'i««  — fary  nio«. 

Fhylll« 
Oh.  I  icnow  thay»re  not  your  kinA,  Lariy.     Hut  they  uee  *  «o®* 
»«t,  raally.     Soma  of  tham  ara  4olag  quite  IntereaTTAg  thln«. 


too« 


I  «••• 


La^as 


Gan 


They  thlnk  you*3Pe  toya« 


Por  ths  rola   I  flayad. 


Ladiiua 
For  ths  cpown  that  onoe   toppad  ma* 
Taklng  the  fart  for    tlia  feraon» 

Phyllla 
Oh,  youp  old  klng  complex  agaln»     Why  Icaay  undaraatlmatln«  xJHP- 
aalft     Say„   If  you  wara   a  aoal  alnar,  you»d  atlll  be  attractlva 


To   youp  frlendat 


Iiadaua 


Phylll« 
Aftap  all,  Larry,    If  youp  oaat  adda  glaÄOUP  to  youp  praaant, 
well,   thfit»8  only  aaturaX*     Tou  aan^l  aapajpata  tha  two» 


CanU   It 


Ladmua 


Phyllla 
Oh,  nall»»«,«  Lat'a  not  argua   it  now» 


&at*a  not. 


Ladmus 


(a  pausa) 


^      ,  Fhyllla 

Tou  know,  Larry,   thia   la  ona   of  tha  happlaat  liirthdaya   I»va  avar 

had« 


Ill 


S.3S 


*  4 


fiT 


i 


4   l 


'    •    » 


--   indl:?f#renca« 


Ladmuft 
Itm  glßd,  PhylU«- 

ItU  tifeet  of  jou  not    to  aak  wny«     xiia^  ^a«»  ^ 

Ladotut 

Poea  itt 

Phyllia 
;    it  bettar  h/^d.     «xa   on^    othaj.  reaaon  would  he 

I  liadmua 

I  Phylll« 

Lateua 
Why  l8  thl9  one  of  yctty  hap^lest  ^IrthdayaT 

Phyllia 
As  thangh  you  don't  kncm« 

Ladmua 
Then  nhy  do   I  aikf 

FlQfllUl 
Teasing« 

Ledmua 
Oh 

Phyllia 
loa  kQoa,  jca    have  th«  «o»t  nondarful  dead-pan. 

Ladmua 
That   Vm  in  no  poaltloa  ta  dl«»«t«# 


Of  eourae  you^re  not« 


PhyllU 


liadmua 
I  donH  know  what  tha  a:xfre«aioA  maana 
bit  aulitlot 


lan^t  this  all  a 


Too 


Larry 


Tas,   Phyllia t 


Phyllia 


LadAua 


¥^^ 


S-24 


r»  '  • 


Fhyllla 

lave  you  ever  notlo#d  In  jcAiraalf  - 
of  InltlfltlTsT 


-  a  eartaln  laolc  of  — 


Ladxaus 

T..  -J^JoJtiSuiy.     It  wa.  trom  «11  tho.,  futll.  y.ap.  I  »Mkt 
9ltting  -   on  0   throne» 


^vellt 


Well  whatt 


Phylli« 


L^dnu« 


PhyllU 
Teuere  not  «Ittlng  on  a  throna  —  any   longer» 

Lada US 
Trua*     And  now  I  «hall  hmre   Initiative  • 

Phyllla 
When  do   yo«  atartt 

already  Latoas 

Actaally,    rve/«tapted#     I  got  a  .1ob. 

Phyllla 
Umxk  daeanU  llire  ^  Hy  teead.clone» 


le  aan*t  llre  at  «11  wlthout   lt. 


Coramica 


Phyllle 
rirlng  dead  olay^.  What  about  Uving  olayt 


LadAua 


What  about  Itt 


Phyllla 
V^ma   It,  Uttj,   why  donU  you  teU  «•  how  I  look  to^alghtt 

Ho  one  oen  hope  to  »dTdl  the  exaotltude  of  a  mlrrop* 


Phyllls  ^  ^ 

That  only  tella  nhat  you  aee»  Onoe  In  a  iihlle,  you  wnnt  to  know 

what  yon  -  de« 


Ladmua 


Bo« 


Phyllla 
Tour  effeot.  On  a  human  «eohanlam,  you  knowt 


i-*5 


% 


•    s. 


,  <  ♦•  '-f^ 


•   •    4 


I  sed 


jCou  look  »eautlful.     ▼«??  beeutlfult 


PhflUti 
You  üh  -  yoii  feel  tbat,  öd  fout 

Ladbau« 

(uttarin«  a  «U^  «**  p«ll«f) 
mieii«#*»«  *hÄnk  you,  IiftPry. 

Ladmui 


gtr«nfith  alljnt  lt.     Ana  «™» J^     «„«»t  -  naÄ  th»  yeapa  of  ftpiw- 

infrimtlonal  '•P^e'ffi^'iri  SJJt  a]*03t  thlnk  -  yo«  *lto't 
didn't  ha^e  gooA  Intulwiona  -     x  i^  ^ 


oare  for  d»«» 


ladana 


Are  your  Intuition  -  goodt 

PhyllU  -a-«on  -  In  M  a  man»« 

worlA« 

Ä  manta  «orldt     Whon  dld  ha  taka  oTart 

a.r4,n  of  Ed.n.     That  r«arkabl*  p».     »oPgotfnt 

The  »ulhou.  rrt.  on.  *^«5*  r^.;V.t  re^'r^ed.     I  aay  «hat  I 

Of  ©ouraa  you  4o,  !;*"»•  ^^^  i«a*ua.ii.  ^^   11t  tl8  movement«,  - 

aort  of  «w«f«ratin«  ?r*  ,.   S  that'a  —  U^e  the  an*  of 
Really  thlnk  he  *oaan't  WiV.    An*  w»»  ■ 

the  «oPlA* 


2-26 


l,      *  ^    * 


♦    •    ♦ 


(troubled) 
Phyllli,   you  ~ 


Ladmua 


Riylll« 


La  dorn« 
well,    Vm  afralA  that  you  — 

Phylll« 
Don^t  worvjf  larry*      I  haven^t  any  doubta*     Kot  peally*     It*8  not 
only  what   I^va  oome   to  kno«  of  you  ^^  but,  wall  *-  I  don^t  want 
to  aaam  boaatful  -- >  but  ft  good  nany  »en  hava  fallen  in  lova  wlth 
me,  Larry«      I  know  tha  aynftoma«     And  I*m  terrlbly  touched  and 
thPllled,  beeauaa,   well  -  wlthout  a  wopd  from  you  —   I've  never 
In  my  Ufa  baan  ao  ardantly  wooed  -»—  or   ao  •ffeotlvely» 

Ladmu« 
lut  9hyllla,  donU  yca    s#d  that  I  ~T 

PhylUa 
I  knowy   I  knoir»     Seruplaa«     That  kingly  ocnaeienca«     Aboat  being 
a  piain  eltisan  and  llvlng  your  own  life  and  the  matter  of 
financea  and  all«««#    I  know  you  know  how  muoh  I  admire  your 
attltuda«     Way  down  deep,   lt*a  aine  too«     The  very  beat  part  of 
me.     Don*t  worry»   Larry«     Srerything*  11  be  takon  oare  of«     And 
than  you*  11  ba  raally  free  to  do  what  you  want«     To  be  a  great 
influenea#     To  writa  and  leetura  -~  to  develop  thla  new  trend» 

I*m  terrlbly  proud  of  you,  Larry ••• 

(Sha   ia  a  11t tla  oloaar  to  hlm  now) 
Isn*t   it  funny  — -  tha  gria  thoughta  that  flaah  through  one*a 
mlndt     I  waa  Juat  trylng  to   piotura  how  you'd  look  and  act   if 
you  dldnJt  eare  for  ma«     I  ean*t  a¥an  begin  to   imagina   —  It 
would  ba  80  utterly  differant  fron  the  way  you  are« 

LadiAua 
So  whatavar   I  aay  or  don*t  aay  ««*  wouldn*t  maka  any  differance, 
it  aeema« 

Phyllia 
(looklng  at  hin  oloaaly  with  a  meltlng  warmth) 
Bö  you  want   it  to,  LarryT 

(Ladmua   auocumba«     le  takaa  her  In  hla  arma« 
Thare   ia   a  long»   paaaionata  kiaa««««  Finally 
aha  dr awa  away  froa  hin  alightly  and  oareaaea 
hla  head«) 

1  gueaa  —   I'^e  promlaed  you  ~  aTerythlng  now« 

(Ladmua   Ia  far  too  bawildd#ed  to  aay  anythlng« 
Ia  auooumba  again«     There   ia  another  aqually 
long  and  paaaionate  kias*     And  thent) 


i 


/•' 


» 


i 

d 


«-27 


\ 


i 


»■'S 


^^^^^^^^^^^^^^1 

^■^H 

F     '       • 

4   ^^^^^H 

«. 

1  ^^1 

» 

iiÄ 

K  ^^^1 

.     1:1 

1^1 

na;I:t 

^^^^^^^1 

• 

3 


<»  ^ÄÄftÄ 


Phflll«  (eont«d) 

«lenO  ^        ..    ^         A.W    «hock  of  thalr  llveat 

Larry. ••  ihaH  ^«  «^^^  ^^^*  *^ 

(«tili  Ija  A  da«a) 

H^nBUBunrnt 

Ths  üuneh  o«t  tbar#t     «hall  we  aFrin*  It  on  tbamt 

(not  «r«-plnf  her  «e.nlng,  In  fact.  not  thera 

•t  all) 
I  —  I  «on't  know. 

Phylll« 

lyiiABC  *n*  takln«  hl«  Jwn*) 
com.,...  S? It.llbafun. 

(Ladau.  rlae.  .aehanloally.  ,«»^iri*;,?J^  °SLa. 

Sou«h  th.  *o«W-f »",  j;  JS  iSSdlS^  th. 
Aoor«  reaaln  of«n,  allowln«  «£»  ""^       q^^,  wlth 

he»  thinga  on  and  cawying  i»r  ^  j^ 

Phyllla 
Of»o»  affataga)  ^  j^       ^j^  annauneeaant 

to  lie  Barr  lad« 

«•       »  -*  «>i<iai>lnc  f»om  orowd  In  the  gBrden» 
(lurat  af  ohaaring  """       .  _*^,n     oood  luokl* 

.Confratulatlonal     »j; 'Jjjf  Sr  nalk  down  the 

<»•»  «!i^L  ♦lJailaea7and  atandathere, 

atalra)  goaa  ta  tha  rirafiao», 

looklng  Into  lt. 

Aftar  a  nonant.   tha  Tole.  of  PhyllU  1-  heard 

from  offstftgöw 


»iA^^:^ 


Wiylll« 
¥«•11  *#  rlght  liaidct     Ju«t  going  up  to  teil  daddyt 

(Phyllli  an*  Ladmua  pa-#ntep»     Sha  la  In  high 
aplrlta}  hat  atlU  ¥aiilldaraA#) 

Ptoyllla 
Larry  «aar,   I  thlnk,   —  «ayte  IM  battar  go  up  flrat  alona 
and  kraak  tha  nawa  ta  Aaddy«     And  tban  Vll  «all  70a«     0«X«T 

Ladona 

( al^a  ent  Ij^ 

1h  —  oh  yea« 

(Fhjfllia  roahaa  up  tha  atalra«     For  a  momant, 
LadBma  atanda  at  eantar,  faelng  rlght#     low 
that  Phyllla  haa  laft  hla,  hla  mlnd  lieglna  to 
fnnatlon  agaln«     S«dda&ly,  tha  anonalty  of 
«hat  haa  happanad  hlta  hls  wlth  povarfttl  Im- 
paot«     la  jaakaa  a  moTenant  of  Tlolant  angar} 
than  turna  around,   aa  thongh  to  laava«     Thla 
hrlnga  hlm  faaa  to  face  «Ith  dan») 

(tulatly,  wlth  hlttar  Irony) 
Congr a tula  t lona • • • • 


(aotrlng  toward  Oan) 
Oan« • • 


( aontaxop  ttioua  ly ) 
Youp   ~  lajeaty. 


Ladmua 


Oan 


^^ 


■JT  :S1 

»    .  ■*"■;.■ 
*>  •.■•! 


\M 


Ladmua 
Oan,   plaasa«     Lat  ssa  Cxplaln« 

Oan 
What'a   thara   to  axplalnt     It^a  olaar  as  eryatal«     lut 
don't   thlnk  I^m  half  aa  inad  at  you  aa   I  aa  at  ayaelf« 
I  ahoulda  known  you^ra  a  phonay« 

Ladjaua 
You^Ta  got  to   IIa  tan,  ^n. 

Oan 
What'a   thara  to  IIa  tan  tot     You  wäre  drugged  and  hyp- 

notlaad,   I  auppoaal 

Ladmua 
You* 11  newer  know  how  naarly  trua   that  la« 


■  -r 


2-29 


Undep  m  tranea  you  »PopoaedT 

^  -  Ladmus 

•ng^JirJo  Sr%,uf '"  »'°^°''-*»     a»  «ct.d  both  ,»art.l     Sh... 

^'?n^2^!*'*  **"•  '^'•''  helpleaa  vlotlal  Said  'no,  no,  no».  wlth 


Two 


LadHoa 
Dann  It,  I  tall  you,  1 1  «aa  tran»4.% 

San 


Ppanairtf  What  ara  yoat  An  atohlng  or  a  aanf 


Oh,  I  know,  I  know,..,  e«ii  it  what  you  want  — I 

Sm-a  I  Wim  1*11  ©all  It  — l 

Laclaua 
Waakneaa^  lack  of  aasePtlTenasa,  oonplla nee l . • • . 
I  want  you  to  Ma»y  irmt  ««»•••• 

leah?  What  fort  To  saTe  you  trom  he»T 


Cl«n,  den. 


Ztadjaua 

■o,   den*     lot  eyen  to  aave  na  froa  Myaelft     l  love  youl      I  mmnt 
youl     To  me  yo»  *re  «**  *  »^  /v.^*t      *  waui. 


den 


A  rellef  nap  of  Amor  loa  l     atre,   aupe 


I  Auat   talk  to  youl 


I  AonH  want  to  talkl 


LadjRus 


den 


Xrfidiaua 

(looKlng  up  the  atai^a) 
lefore   It'a  teo  lata« 

ln!oS  ?J!!*i^Jf  2''"'  apound  her  and  leada  her 
towara  tne  left  door) 

Quickly  nowt 

<Ladmua   and  den  exeunt.^.,..    After  a  momant. 


:i  I 


..  ■  +■    I  j 


.     1 


.V' 


2- so 


Dogfl 


B#lat   still  looklng  wUtful  and  111,  rnnterm  from 
the  rl4;ht,   oarrying  a  tray»     When  hm  reachaa  center 
he  yAVMs;  looka  at  tte    tray  dlataatefully;     shakea 
hla  head,   as  ha  pioka  up  a  #ali»  of  frankfurter« 

a  forkO 


on 


(diaguatddly) 


la 


(Sa  raplaeaa  tl©    frankfurtera  on  tha  tray  and 
raaujaea  hla  aroaaing  toward  tha  atalra«     Aa  he 
approachea   the  ataira,   thare   la  haard,   trom 
alJova,   tha  ▼olca  of  Phyllla  aalllng   »tarryU... 
Larryl I^rrytt* 

Thi  uttarancaa  of  Phyllla  are  aeooi^aAlad  by 
the  lowerlng  of  tha 

QJOaklM 


i\ 


i  ''■ « 


ras  REMARlOUiLB  RIB 


ACT  7IREE 


5-1 


AOT     THREE 


:.«  I 


r'Ji 


tlvlng-room  of  Ladnus^s  hotel- 
apartment  In  »ew  York  Cltyi   the 
aamft  aa  Soane  One  of  Aot  Two» 

It   ia   lata  aftsrnoon,    aome  daya  latep» 

The   scend  ia  preceded  by  a  brlef, 
Introductory  aplaode   In  a   televialon 
atudio*»*.««  Fron  the  darkneaa  ooma 
sotjnds  of  mualo«     Aa    tha  mualc  con- 
tlnuea^   thera   ia  the  fade-ln  of  a 
spot»    In  whlch  a  auoceaalon  of  algna 
appear*     The   flrat  reada    "OÜC  -  TT*j 
the   aecond,    •ART^-CRAPT  STUDIOS,   MAKERS 

OF  PIHE  CERAMICS,    PRKSTTT "j    the 

thlrd,    •TTPE3  OP  THE  TOWI*.     Removal 
of  the   algna  bringe   Into  vlew  an  H«C« 
aeated  at  a  table   in  front   of  a  ourtain« 
Alongaide  hin  aita  MRS.    JAMES  Mc 
CARTIET,  middle-aged,   fat,   ft^oway, 
bejewelledf   oYerdreaaed««.««  The  mualo 
etopa«     Thent) 


U.C. 
öood  af4;ernoont   fr  lande«     To-day»a  colorful  peraonallty, 
ppesented  by  '^Typea  of  the  TWn*,  will  bring  ua  oloaer  to  one 
of  the  moat  fasolnating  and  extraordEliiary  ronancea   in  the 
history  of  law  York«     I  fefer,   of  oourae,   to   that  true-llfe 
Clnderella  atory  ulth  whlch  you  are  already  familiär i—  the 
Story  of  a  pretty  »tenogro  :>her,   Mlaa  Oenewieve  Mc  Cartney,   who 
facea  a  llfe  of  glamour  and  high  diatlnction  In  her   forthooÄin| 
Biarriage  to  a  handsome  young  Äonaroh,   the   former  King  Laamua  of 
loanaTia«.**.«  Wnfortunately,  Öen  eannot  be  wlth  ua   thia  after- 
noon*     She   ia  taklng  dictation*     lut  aeated  at  my  aide  ia  her 
chnrming  »other  ~  Mra*  Jamea   Mc  Cartney  of  Creacent  Avenue, 

Brooklyn Mra«  Eo  Oartney,   It  waa  Tery  klnd  of  you  to  ooae 

down  to   the  atudio   to-day# 

Ibra«  Mc  Cartney 
(epeaklng  Brooklyneae) 
Oh,   that'a  «uite  0*I«.   1  am  awful  buay*     But  aa   I  say,  irtien  you're 

in  the  public  eye,   you  gotFa Say,  you  mlnd  if  I  take  off  my 

foxT 


>i 


Vi™^*i' 


C-2 


(helplng  her) 
Certalnly,   toa*  Mc  Cartney, 


H.f. 


It»3  kinda  hot    In  hare. 


!ir3*  Mc  Cartney 


M«  U« 


I  auppose   these  are  very  exolting  dsya  for  you,  Mrs^  Mc  iartneyt 

Mrs •  Mo  Cartney 
Ion  don«t  know  the  half  of  lt#     Wa  got  no  mdm  peace  at  all« 

M.C. 
lut  I*m  aupe  you  imist  *e  Tery  mnch  elnted  over   this  wonderful 
romancet 


Ee  *  uht 


^latedt     lappyt 


Mrs •  Mc  Cartney 


M.C 


Ups«  Mc  Oartnay 
Oh,  —  lat«d«     W«ll,   -  yea.     But  don»t  thlnk  w«  was  swept  off 

our  feet   or   anythii^.     The   Mc  Cartneya  are  vary  pertik'lM*     My 
huabrnd  —  Mr#  Janea   Mc  Cartney,    that   Is,    -  J»  checked  up  on 
the  poyal  famlly  of  loa  -  uh  -  uh  ~- 


M.C 


loznaTla» 


Mra.  Mc  Cartney 
Yeah,    that^a   wliat   I  sfild..*.  I^ell,   ha  looked   »ea  up   In  the 
llb»apy  and  all#     And  then  wa  gave  ou*  consent. 


M«C* 


I  aea.*..  And  the  ancageinant  —  did  It  c^me  aa  a  gpeat  aurpriaat 

Mra«  Mc  Captnay 

The  Mc  Cartneya   ainU   evar  aurpriaad«     Mow   take  when  ny  twln« 


M.O. 


I  aee »     Bnt  uh  *- 


Mra,   Mc  Cartney 
Wall,   «nvwpy,   aa   1  waa   aayln«,   -  wa  alwaya  had  high  ^opaa  for 
aenevl^Te   —  uh,   that^a  Prcnch  —  Mr.   Mc  Cartney,   he'a  wldely 
traveited,   y^know  -  ha  waa   In  Pranco  fop  ^f^rld  War   I.     Xaah, 
Oendwlitwa  waa  alwaya  the  «oat  populär  glrl  In  ^^«^^^«^^■J, JJ^l 
If  I  do  aay  ao.     Mp.  Mc  Cartney  -  He^a  alwaya   anid:   Of^e^J^^!^» 

Why,  That  glPl'a   fit   fop   a  klngl     Funny,   huht Yeah,    It  all 

aeema  ao  natural.     Sven  Mp.  Mc  Cartney» a  bualneaa. 


ütfüm 


n»    •■■■  -  "%vei 


3-3 


H.e. 


•    '    ■♦ 


ft)W   sot 


■ra»  Me  Cartnoy 
Why,   it*a  ealled  th«  Royal  Itelieatasaan« 

Ahf   yaat  of  ooupaa«     I  racall  that  non«».«*  And  tall  mm,  Mra« 
Mc  Cartney,   U  IIa  Majeaty  tOia  aort  of  peraon  you  had  pictupad 
for  youp  daughtapT 

(Duplng  tha  fopagoing  ayaaoh  jnd  auch  addltion- 
al  ad  IIb  quaationlng  aa  «ay/ilfulpad  to  fill 
tha  tlma,  thapa  la  a  papid  fada-out  of  the  ff 
atudlo  apot  and  a  fada-ln  of  Ladmus «a  llvlng- 
poom,  whepa  Ladnua  ia  watehlng  the  fV  ppogpaa 
In  ollTioua  angap*} 

Voie0  of  Mpa« 

Me  Captney 
(Tla  TT)  ^     ^ 

Ohf  aupe,   aupal     la^a  a  vepy  claan-aut  young  man»     And  he  haa 
a  fina   futupe,   too»     Yea,   ha^a  a  deap  hoy»     Calla  me  •mom*    ao 
natural  llka   Td  lipought  hlm  tip*     WaW*  taken  hl*  Plght   Ihto 
oup  heapta,  wa  haTa#     Why,  ha'a  llka  ona  of  tha  famlly  now* 


Ladsma 
(•npagad,   to  Tf  aati 
Bamnad  liaal     lavep  lald  ayaa  an  yout 

(X^adaua  atapta  paolng^  aa  ha  oontinuaa  to 

IIa  tan«) 

Toiea  af  M«C« 

(▼la  Tt)  ^     .       • 

lava  you  any  apaoial  plana  on  foot,  Mpa»  Mo  CartnayT 

Toloa  of  Mpa. 

Mo  Captney 
Planet  yil  aay  na  hava»  Wa'pe  holdlng  a  big  peceptlon  In 
the  haU*"o1^the  Saglaa  Lodge  In  Flatbuaht  Mp.  Mo  Captney  -  he'a 
a  paat  ppealdent,  JT'eee*  Xeah,  we»ll  have  pefpeahmenta  and  newa- 
peela  and  evapythii«.  «le  affaii*a  balng  aponaoped  hy  the  — 

Tolee  of  M«0« 

(Inteppupting)  ^,   ^   ,   ^ 

Uh  •  Vm  aoppy»  Mut  no  namaa  muat  ba  mentlonea,  pleaae» 

foiee  of  Mpa« 

Mo  Cartney 
Oh,    I  dldn't  Imew»     Well,    then,   the  wedding  —   lt»ll  be  a  oho  loh 
wedding,   of  eoupaa.     We»Pe  pentlng  a  apaoial  apaptment  fop  the 
ppesenta  — 


T 


mk% 


k« 


kT- 


S-4 


Tole«  of  M.C. 

(via  TYl 

Tes,   and  apeiilng  of  preaenta,  frlends,   -  a  word  now  from  oup 

aponaor» 

▼oie«  of  Announoar 

10  «IftrSo^lLatar  honor  to  both  glTap  and  recelver  than  th« 
dlatlnctlva  Jeramlca  of  A*t-Craft«  Studio.,  ^nd  •apeclally  now. 
Fo*  A»t-Craft  Studio«  have  the  honor  to  announoe  that  IIa  Rojal 
Slßlie«!  King  ladmua  of  lo.navia  ia  nm   a  regulär  »mber  of  thfc 
JlfS!  IIa  lUjeaty  «ill  greet  you  in  paraon  on  any  afternoon 
betneen  tha  houra  of  two  and  — - 

(I.admua,  «m-ßged,  tvufna  off  tha  TV  aet.  In   a 
burat  of  wpath  h«  piok«  up  a  w^tar  gl*"  »nd 
•maahaa  it.  Fop  a  «oiaant,  agitatedly,  h«  P«««« 
the  floop.  Than,  in  tha  aanner  of  on«  who  ha« 
raaehad  a  daaparsta  daolalon,  ha  puahea  to  the 
phone  and  diala  a  ntanbar.) 

X^dnu« 

(into   tha  phone)  .  ,   .  »      i,     «.i- 
Hy,  Rutnek»   pleaae......  BelaT.....  i«ook,  «eia, 

oan*Tou  oo«a  up  lata  to-night  after  you  '^"^«1^*°'" •:••••• 
wJll!  1  am  exoitedl     IWe  «i«fly  got  to  gat  out  of  thia  clty. 
T?»-  «ialStU....  Th«  «attaptt     V»  about  to  be  pounoed  on  by 
lallai  ^Ülatbu^h  BJgl««l     Art-Craff.  «Ploitin«  «•  «3  « 
balt  ?oP  buaineaal     AM  Ood  knowa  what  will  »^PP-^^J«**  Jg?? 

.IZt  >»««a1 Iharet     I  don»t  know  whep«l     AnywhepaJ     waati 

rS  grSJa'ir'cSoillnattl.   p.rha,.l      I  «l-^l^if '^  *^L?T' 

*     lo.  not  Cinattil     Cin-oinmattll     Tw  ainaU...  That  a 
imi  Alonat     Of  oouraä~notl     With  öenl....  Aa  «oon  aa 

Jfight AloneT     ui  oourao  »  ,  iBow  ah«  will.     Sha»ll  under- 

,e«ra  «l«!«*!?  f  "^•*;;ii:  °Sou{  flaJei?  ri  taking  Oan  out  for 
stand  perfectly»«»«»   »•J-Xf   »"^^^  ••^''^''"'      ...^  „.a.    ^„«t  «alt 
dlnner.     I»ll  tey  to  ba  *ack  Hy  than.      If  Vm  not,   Juat  wa« 

for  flie«  . 

Thare.i*;i'"l:Ü.'iS"t!a  Clan  no......  <»ood.     Pll  aaa  you  than. 

•  •••••  Thank  you,  lela» 

ir^A^^^m  y^anam  na.     Mm  üPoaaes  to  the  antpanae-door  and 
i^Sit.^mi  .!ta».     Sh.   ia  plainly  dreaaed,  Vary 
aober  and  aomewhat  ahame-faced«) 


i 


(takan  aliaek) 


Xiadaraa 


Oh< 


tquletly) 
lallo,  Larry« 


Phyllla 


3-5 


\ 


»    «    <    1 


}*    *    >   i 


•    »   ♦ 


■■I 


Ladmu« 
(wlth  kltter  «aYerlty) 
I  vaan^t  ezpecting  yott«     And  qulte  frankl;  •*« 

Phyllla 
You  Aon*t  mmat  to  talk  to  ms«     I  know*     Ancl  I  Aon*t  blame  you« 


(saroaatioally) 

Eow  tolerant» 


I  had  to   comet  LaTTj% 


LadiBua 


Fhyllla 


Ladnua 
(looklng  at  hla  wrlat  watch) 
I  happen  to  have   an  annolntment« 


1*11  only  atay  a  minuta. 


Phyllla 


I#adfiiua 
You  Aight  at  laaat  bave  phoned  firat* 

Phyllla 
I  waa  afipaid  ••  yo»  wonldn^t  Mm%  ma,   It  1  dld 
prefer  jay  oomlng  back  to-iaorrowt 


Would  yo!i 


Ladmua 
Mo,   I  don^t  ifant  jou  to-morrow«     I  don't  want  you  at  all« 

(aoftenlng  alightly) 
Wall^   you*ro  hara  now«     Make  tha  worat  of  It«»»«»  Sit  dovn« 

* 

(Thay  both  alt  down#     Thepa   la  a  pauaa«     Theni) 


I  faal  ao  aahamad,   Larry« 
playad  tha  other  night« 


Phyllla 

That  waa  auch  a  rotten  trlok  I 


LadiTtua 
(atlll  blttarly  aaroaatle) 
Ä  trlekT     low  oan  you  aay  auch  a  thlngt     Why^  you^d  nayer  In 
your   Ufa  h%Bn  ao  ardantly  wooad«     Propaaad  to  wlthout  a  word« 
•  «••••  «Pantojoljaa  • 


Phyllla 
Dm*tf   plaaaa«      It*a  hard  anough  to  taka»  aa   It   la 
auch  an  ongodly  fool  of  myaelf  — 


I  Biada 


Iiadn&ia 
And  of  mal     Wall^   no«     On  that  aeora,    I  oan  glTe  you  aoma  oom- 
fort«     I  axcallad  you«     I  mada  a  suoh  blgger  fool  of  nyaalf« 


■■MaaiMMMMMk'  «A^«. « 


3-6 


Phylll« 
yrhj  dld  you  let  Md  get  away  wlth  It,  Lazx^yT     Suoh  a  orude^ 
t7an«j^r#nt   11t tla  maiK^UTayf 

Ladiuus 
lava  you  eoma  here   to   teil  ms  what  an  asa   I  asT 

^  Phyllia 
Ro,  Larry,  *elleve  ae«     On  your  partt   it  waa  ~  well,    I  gueaa 
1-t  waa  Just  pure  gallantryt 

Ladmua 
Gallantryt   lonaenael      It  waa   —  I  lonft  know  what   In  hall  It 
waal     Look  her©,   If  you're   trying  to  get  oe  to  aay  I  aulMaltted 
out  of  uneonacioua  love  — - 

Phyllia 
Dcn*t  atart  glvlng  me   Ideaa,   Larry«     That  nmWQT  even  oocorred 
to  ae« 

Ladsua 
I  ahcultn^t   put   It  paat  you»     Wlth  that  colloaaal  vanlty  of 
youral 

Phyllia 
▼anltyt     If  I  wrer  had  any,   It'a  oertalnly  been  amaahdd»     I 
know  you  waren* t   In  love  wlth  me,  Larry* 


Hhat   5Lnslght« 


Ladmua 


Phyllia 
lut  I  Biuat  oonfeaa  that  —  well.  In  a  wfiy  I  waa  fooled  *y  your 
Indlfforanoe«  You  get  ao  -  ao  Intenae  abuu  t  your  Indlfferenoa 
that  I  gueas  I  miatook  It  Tor  aume  aort  of  realatanoe  to  your 
tmn   feeiing» 


I  1 


I 


Rldleulousl 


Ladmua 


Phyllia 
Oh,    I  kiow  that   now*     And   I  know,   too,   that    I  couldn't  hawe  been 
In  love  T^lth  you  —  or   I  wouldn't  have  aotad  aa   I  dld,     But  wliy 
In  heok  dldn^t  you  teil  «a  where   to   head  Int     Why  dldn*t  you  atop 
Bief 

Ladmua 
Stop  you?      la  my  name  Jehovaht     Can  1  atop  a  flood,   a  torrent, 
an  avalfinchet 


Oh,  I  know,  I  knüw 


Phyllia 
It  waa  awful 


And  thuae  klsaea«*« 


i 


mr^m^Y' 

■vi^ 

W^->^  '■''   \ 

3-7 


Rank^  naked  sexl 


It  iiaan*t   «*->  naked,  Larry« 


Don^t  be   crudd»  pldaa^« 


Tott  Said  It« 


t   !• 


Ladmus 


PhylUa 


Ladsua 


Phyllls 


Ladmua 
Vary  well,  I  ataxid  eorrectad«««  •  • 
Wliat  do  you  want  of  me  nowt 


SOf    that'a   aettled 


Phyllls 
Mo t hing,  Larry«     1  iiant  nothing  of  you»     lut   I  do  want  a  lot  of 
fflyaalf  -  that   IWe  nerar  had  before«     And  I*m  going  to  get   It« 

Ladfflus 
Of  courae  you  ara«     Daddytt  says  you  always  get  what  you  want» 

Phylll« 
Daddy  never   thought   ••  about   thls« 


»uh»    Wantlng  your   salft 
Peel  off  all  the   layers  - 


Ladnus 
Search  and  you*  11  find  a  huBian  onion« 
and  there^a  nothing  left« 


Phyllls 
Tou're  talklng  out  of  hurt«     If  you  really  belleved  that,  you 
wouldr.*t  *a   cruel  enough  to  sey    It« 

Ladsttts 
Plattering  inet «••«,••  Iah,   soolallte  aeeka  soull     Projeot 
abandored  after  seoond  Martlnll«*«  Well,    In  any  event,  good 
luok»     And  now,   if  there'   nothing  eise  — . 

Phyllls 
There   Is,  Larry ««•♦••  Tou^re  going  to  be  marrled«      I'm  aure 
we^ll  never   have  anything  mora    to  do  wlth  eßch  other   — 

Ladmus 
On  one  thing,   at  least,  we  eoncur« 

Phyllls 
So   I  een  hops  you  won*  t  mlstruat  my  motlvea«     I  ean*t   stand 
haTlng  you  go   on  thlnking  aa   low  of  ne  aa  you  do«     That^a  why 
Vm  here« 

Ladmus 
I  don^t  run  a  eonfeaalonal«     And  the   oostly  couch  lsn*t  part  of 


n 


5-8 


w 


«7  •quipmant# 


Ladmua   (eont*d) 


Phjllls 
I*jQ  not  eonfeasing«     I*m  Joat  atating  a  faet«     And  I  4on*t  nued 
the  Fraudian  eouoht     Z*m  ourad«     ftod  knamm$   If  I  huPt  you^   I 
mada  a  laughing  atoek  out  of  syaalf  •     AnA  Pa  aalfiah  enoQgh  to 
aay  that  for  my  own  good  Pm  glad  thla  happened«     It*a  toought 
ma  to  ffiy  aanaea«      I*m  tärough  with  na   -  aa   I  waa« 


Ladmua 
I*m  not   intaraatad  in  you  raform« 


Do   lat  ma   finiah»   plaaaa» 


Wallet •.•  go  on« 


Phyllla 


Ladmua 


Phyllla 
Thasa  laat  faw  daya  haTa  kaen  hall«      It   took  thla  awful  Jolt   to 
maka  ma   aae  what  a  apollt,  vllful  Infant   I*ve  baen« 


Ladmua 


BaanT 


Play  lila 
Qh^   I  know«     You  don^t  iMllava  I  can  avap  ohanga  ~ 

Ladnua 
Why^   all  tlia  Ailliona  of  BrawataiP  — 

Phyllla 
Can^t  koep  me  from  ohanglng*     I  nme   it  all  too  olaarly  now«     For 
maf    life  had  oorae   to  maan  nothing  Hut  -—  wall,    it  waa   lika  that 
old  aong  <*-  **!  want  what    I  want  whan  I  want   lt'#     AnA  ^wantlng* 
nas   aynonymoua  with  <liaving>«     Alwaya«     lo  obataolaa« 

Ladmua 
WhyT     Beeauaa  you  navai**  wantad  anything  that  daddy^a  monay  and 
poaiticn  couldn^t  buy^     Bzoapt  •*  a  orown« 

Phyllla 
And  a  ear aar«     Remambar   that«      I  Juat  didn^t  hava  tha  guta  to 
stand  IIP  to  Aaddy  and  ahaya  ay  own  lifa«     I*m  aura  ha  nevar 
raalisad  ha  waa   Juat  uaing  »a  to  faad  hia  alUy  prida« 

Ladmua 
Tou  nevar  raally  wantad  a  earaav  and  a  Ufa  of  your  own« 

Phyllla 
Why,   then,  do  you  think   I  thx^w  Myaelf  Into  all  that  opgy  of 
aaoapa  tha  way   I  didt     Glamour  and  gadgatat     Praatiga  borrowad 


■*''i'V" 


^1 


5-9 


Pliyllla   (oont^d) 
wlÄhout   Interastl     Rldlng  the  plush-fadded  »and-wagonl     Why  dld 
I  go  after   them  ao  paasloaataly  -  Iwt  to  kaep  ftpom  remeÄteerlng 
ifhatrd  loatt 

IiadiQUfl 
Tou  loTe   them,     They'ra  tltlllatlng  and  they're  eaay.     That'a 
the  polntt  eaay«     Fre-oooked  fulflllment  Hought  x»eady-to-ae»v# 
on  platlniim  platteral     And  ¥eoauae   It  waa  expanalve  — 

Phyllla 
I  thought   It  waa   tha  real  thing#     Oh,   how  rlght  you  are,  Larry» 

Laduiua 
Agreelng  wlth  mal     ManeuTaring  agalnl 

Phyllla 
You»re  agi^aaing  wlth  mJ     low  ean  you  half  agraelngT     To»  aaa 
how   I  waa  caught   In  a  awlrl  of  awank  -•  a  awlrl  ao  bllndlng   In 
Ita  a4tln  apead  —   1  dldnU  know   I  waa  going  In  oirolea  —     You 
Bee  how  I  -- 


I  aaa  nothing  of  tha  klndl 


liadmua 


Phyllla 
(by  now,  going  all-out   In  aalf-»dramatisatlon) 
Oh,  Larry,   yoa  Ao,   you  dol     You  aaa  how   I  hnntad  for  phaaaant, 
thinking   it   theTflua  lirll      And  xaaanuihlla  -  jnaanwhlle,    the   atUl, 
amall  voice  of  MB,    —  what   I  want,  what   I  oan  ^  and  JNö  —  drownad 
out  *y   the  loud  apeakera  of  Cafa  Society*     Oh,   Larry,   what  alliaa 
we  are  agalnat  maf     low  uttarly  we  agrea  ~ 

Ladiiiua 
On  all  but   ona   thingt     your   convlation#     You  may  thlnk  yo«  naan 
It»     I  know  dann  wall  you  4on»t«     Worda,  worda»     leen  readlng  a 
bookt 

Phyllla 
I  read  many  booka,  Larry  ~   In  collega#     But  thay  never  took  — 
untll  thla  happaned»     low  I  aaa   suddanly  how  rlght  my  aarly  draam 
\vaa«     I  aae    ttet  real  happlnaaa  comaa  from  Inalde   of  you,   -  from 
ualng  youp   native  reaourcaa*      I  aae  that   true  preatige   can»t  ba 
b«  ßht  like  a  party-draaa.     Paopla»a  regard  for  you,    If  lt»a 
any  Äood,   la   a  rafleatlon  of  tha  hard-aarned  reapaot  you  hava 
for  youraelf  •     And  mine  —  well,    It  Juat  rei^ohad  an  all-tlaa  low» 

Ladmua 
Phraaeal     Mi  fhr^aaal      If  you   thlnk  I»m  flattered  by  being 
gllbly  quoTed  — 

Phyllla 
Quotadt     Why,  Larry,  when  you  aald  auch  thlnga,   I  dldn»t  ^ven 


■iMbMifett» 


5-10 


Yo 


Phylli»   (oont'd) 
listen,      I  eonldn»t#     Ihla   ia   »traight  out   of  me» 

Lateua 
Out  of  you   la  i«lßht#     eonfeaaicn'a  made#     You  geel  oleanaed  and 
Tlghteoua*     low  pou  ean  raturn  to   the   aooustomad  patt©rn# 

Phyllla 
u   can  teelleve   what  you  IfLkel      I  dJn't  cara   wliat  you   thlnkl 

Ladmua 
Ko?     Then  why   are  you  talklng  to  niat 

Phyllla 
I»m  not«..#    I*m  thlnklng   out   loud» 

LaAiaaa 
May    I  ramlnd  you  that    Vm  not  a   taf«  pecoPderT 

Phyllla 

(flaplng  uf) 
AlPlßhtl      I'll  get  outl      Prontol     lut  Ist  mö   teil  you   tÄiat   I 
mean  what    I  aayl     And  what'a  »opet    I»ll  du    aomething  about  itl 
ISEIIe   yott»pe   fooling  a.Pound  wlth  a  Flatlwiah  Cindepella,  who'a 
waltlng  to  oaah  In  on  youp  name   and  title l     luhl     The   comaon 
manl      It'a  a   jokel 

Ladmua 
So   that»a  why  you'pe  hepel     The  gpeen-eyed  Äonsterl 


My  eyea  apen^  t  gpeent 


Phyllla 


Laömua 
Kyeat      It'a  vour  hea»tl      Envyl      Jealouayt      You»d  try   to  destroy 
fop   another  what  youWe   found  yuu   oan»t  have   fop  youraelfl 

Phyllla 
Whv,   of  all  the  oolloaal  eoncaitl  luhl     You  —  the  common  manl 
The   pldiculotts,    Impudent   oondeacenalon  of    itl     Plaving  down  to 
be    taken  upl      You  thlnk  Amarioa  will  fall  fop   thatt      I  ooiae   fpom 
common  Beoplel      My   fatheP   atapted  at    the   bottom  and  Wun  ^^^^7 
u»  by  hapd  workl     Why>    in»  youP  heaPt  üf  heapta  you'pe   nothing 
but  a   anob   In  peTeraal        Makln^  patronizlnß  geatureal      Vm  glad 
I»ve   found  you   outl     1111     Ladmua  of  öoÄnavlal 

Lailmua 
Ape   you  flniahedt      Vm  expaoting  a   oaller. 

Phyllla 
You  bet   I»m  flniahed.     And  I'll  make  damned  aupe   I  nevep  aee 

you  again* 

(She  gocii   to    tba    entPance-doop«) 


\ 


f 


i\ 


MMiia 


3*11 


Phyllla   (cont'd) 
Ju3t   one    thlng  mor«  ~  though  Ilisure  you're  toos  thiok-^headed 
to  undep stand»     Whlle   I  was  wentlng  you  for  tl»    klng  you'd  l^ezif 
I  feil   In  love  wlth  you  for   the  man  I  thought  you  wöre»     How, 
th.'^nk  Grodj   I^m  cured  of  both#     As  far  aa    Pä  oonoernödt   you  ean 

(Tho   door-liell  ylnga«     Ladiriua   opena  It»     Gen  entera» 
She    la  attlred  In  a  eoatly  dlnner  gown  under  a  für 
eoat«) 


*.t 


Hello ^  &en« 


Ohi 


(aaelng  Phyllia) 


Lrdmua 


Gen 


^•H-i. 


\ 


'^1 
.^1 


Phyllla 
(muaterlng  cala  and  a  maak  of  aordlallty) 
Congratulatlona^  (Jen«  I  haven't  had  a  ohance  to  «ee  you  alnee 
the  big  event« 


(duliloua) 

Ihanka*««. 


den 


Phyllla 
(aa  ahe  laavaa) 
■y  the  way,  Oen,   —  you  ought  to  ba  aaklng  daddy  frr  a  rala«  Tmw. 


Yeaht  Whyt 


(ien 


Bhyllla 

Oh,  you'll  xi»ed   It,  Gen»  »he  coat  of  keeflng  a  jobleas  klr.g 
In  the  manner  he'a  accustomed  to«»«»  Well,  ao  lung» 
(Phyllla  axlta) 


What^a  ahe  up  tot 


den 


Ladmua 
Oh,   nothing»     Don't  glve    It  a  thought,   Oan» 

tfen 
What  dlA  ahe  mean  by  that   oraokt 

Ladmua 
She   ao  mlsjudgea  you,    ahe  hoped  ahe  mlght  polaAn  your  mind 
agalnat  me» 

Oen 
lut  what  dld  ahe  want   of  yout     What  waa  ahe  dolng  heret 


I 


K 


mmmm  mt  w  i 


s-xs 


A tönernen t 


Andt 


Ladinus 
A  reformad  woman« 

Gren 


i 


Ladmus 
What  do  you  man  —  andt      I  wasi   evan  franker   to  her   face   than  !•▼• 
been  bahind  her  back/    God,  what  a   fllghtful  aoeneU.«   I  aAppoae 
one   oan  hardly  blana  her  for  balng  antagonlatlo^     I  was  jpretty 
brutal,    I»m  afraldt 


Afraidt 


Omn 


»'1 


Ladmua 
Well,  ahe  ia  human,  aftar  all* 


Qen 


Is  ahdt 


Ladmua 
lut  you  knowt   «  really,   •  I  do   think  aomething'a  Happaned  te  bar« 

öen 
It   aur«  haa*     She^a   jiltadt     Or  —   la  ahaT     Larry,   you  ara  through 
wlth  har,   aren't  youf  "*"" 


^hrough  with  hart 
ionll 


Ladmua 
Oood  Oodl  low  oan  you  aven  aak  auch  a  queat 


(There  la  a  momant  of  allant,  troubled  thoughtfOlneaa. 
Yhant) 

öan 
That  gal  can  aure  gat  undar  you  akin,  thüugh» 

Ladiaua 
She  haa  nothing  to  do  with  it,  aan» 

Oan 

What   ia   it,    thant     ^Äfhat^s  wrong,  Larry?     You   aeaai  ao   upaet  and 
aort   o!  diatant* 

Ladnua 
DlatantT     üonaanaa* 

(Ka  kiaaea  her,  but  not   too   enthualaatloally» 
Then,    aa  ha  halpa  hör  off  with  her   ooatf) 
I  have  been  diaturbad,    though»     Vary  much  ao,    in  fact/ 


WIb  t   aboutT 


Gen 


iMfe 


8-13 


f. 

1 
f  ■ 


Ladmus 
(aa  hö  hanga  up  her   coat) 
Ohf   the  way  thlng«  hava  baen  haopenlng«     X^ira  got  to  talk  to 
yAu^   Gen« 

(really  noticixig  her  awank  attl3?a  for  tho   firat 
timo) 
Öay,    you  look  daxÄlingt 

Oan 
<rotatlng  to  glra  hl»  a  füll  vlavr) 
Like    Itt 


\irhy,    It's  — 


Ladmua 


:^,i:^,.;r^' 


^  K 


Fit  for  a  kingt 


tian 


Pleaaa.   (San« 


Just   teaaing* 


Ladmua 


Oen 


Ladnua 
You»  11  have  me   thlnklng  youWe  got   that  quaian  bee   In  your 
bonnat^   too« 

den 

(wlth  a  aly,  half  amlla) 

Would  that  raa lly  ba  ao  awfulT 


I 


(wlth  flnallty) 


Ladmua 


It  would« 


Oan 


(alttljig  down) 
Well,    anyway,    I  Aldn^t  buy   thla«      1  borrowed  tlia  whole   outflt 
from  ay  frlend«^  Sally«     She   aInga   In  night  oluba« 


(abaantly) 
I  aea •#•••••  Look  §en, 
wlth  you«««»  A  plan« 


Wh  huht 


Ladmua 


—   there'a  aomethlng  I  want  to  dlaoaaa 


Oan 


Ladmua 
Vm   aupe  you«  11  ba  pleaaed«  At  laaat  I  hope  ao « 


Omn 


Shoot« 


MMMMlMliy 


S<.X4 


¥ 


Lacüaua 
I  want   ua   to  be  marriecl  verj  soon«      In  a  dey  or   two»     Äxid  In 
atpict  privaoy« 

öön 
Well,   but  

Ladmua 
Walt»«»«   And  then  -  ifro^ll  go  away» 

Oen 
A  honeymoont     Ohf    that'a   thrllling,   Larryl     Whara  toT 

Ladraua 
It  won^t  ba  «   Jaat   that,   Gan« 

Qan 
Oh««..« 

Ladmua 
Wa*ll  go   aomawhard  -*  Clnoixinattl,   I  thlnk  «-  to   atart   our 
Ufa   togathav* 

Gan 
To  atart   oxxr  --T     Xou  —  you  maan  ta  -  to  live   tharet 

Ladmua 
To   aattla  down«     Ezaotly« 

Gan 
I  aeo« ••••••  Ziat  ma  get   thia   atraight,   Larry»     You  maen  — •  wa*d 

aotually  go   to   Olnelnnattl  --  to  atayf     To   live   tharet 

Ijadiuua 
Thet'a   right«      lan' t  that  an  ejcclting  prospadtT 

(wlth  jaarlced  absanaa  of  anthttaiaam  and  no  littla 
bewildarÄBnt) 
üh  huh««««.««   What  on  e^inth  ahould  wa  do   a  thlng  llke   that  fort 

Ladmus 
por    our  happlne33f    Gen« 

Gan 
You  got  aoxiaa  big  daal  on  out   tliarot 

Ladmua 
I  have  nothing  on,   Gan,   --   tbare  or  anywhara  elaa« 

1  aee»**««»  So  what» a  tha  matter  with  Uaw  Ytfrkt     Aftor  all. 


k  ' 


t 


% 


•^^misimfg/g^^ 


•  ^«■•.^»-iuyMi-^. 


■r!?-*f-  T-s«.     .'iMFi 


^SIP»'^ 


5-lS 


I  know«     Tha 


Gen  (cont»d) 
this    ±s   a   City  where   eight  mlllion  peopl©   •— 

Ladmus 
Live   In  peace   and  er.joy  the  benerits  of  democracy* 
radio»     But  we.  oanH  do  «ither  here» 

Gen 
Why  nott      1  hava  all  my  Ufa* 

Ladmua 
X  oan't,   den.     It*8   thia  oonfounded  king  l^uaineaa# 

Doea  Hev/  York  peraeouto  kingat     Why^  we  even  got  lawa  agalnat 
dlaofljalnatlon  hera* 

Ladmua 
Thoy  don*t   apply  to  ax-klngst 


And  whü  keapa  you  frum  baln;  democratlcT 
got  with  Art-Creftl 


Look  at   tliat  Job  you 


Yes,    look  at    itl 
that  IIa  Majaaty 


Ladmua 
^Art-Crfaft  Studloa  have   tha  honor   to  announoa 
— "t     ¥alng  my   tltla  tu  booat   thalr  aalaal 

den 


Sure»     What  dld  you  expaott 

Ladmua 
The   Chance    to   follovr  an  honest   craft« 

Gen 
Oh#   Larry»      la   that   al   that*3   grioing  yout 

Ladmua 
Ian*t   that  enought     Bat   IVs  not  alll     What  abnu  t   tlaat  Clnder- 
ella  f'^blat     Blazoned  on  the  front  page   of  avary  paper    In  townt 

Gen 
I  told  you,   Larry,    I  had  nothing  to  do  with  tliat» 

Ladmua 
Z  knoKs  that«     Z^m  not  blaming  you,   Gan« 


Gen 


It  waa  my  mother» 


Ladmua 
luh  «--  your  Mothax«  Z  aaw  her« 


jixl   I   IM— ■!<■ 


S-16 


! 


Gen. 


Whntt     Was   she  höret 


Ladmufl 
Ye3,    Indeedt     Via   toloTlslon* 


'len 


Oh 


•     TÄat  pro^pam«     low  i»aa    Itt 


Ladmus 
RöVoltlriÄ.     You  knnw,   Gen,  hovr  bltterly  I  r^aent  all  thl«*     Mow 
öon  we   ef  Ir  live   In  Jeaca  h^ret     Wlth  everyone   trylng  to  «ploit 
?S   *     1.     nlfi  icii-iit     Ho«  oan   I  eva*  hona   to  have  lay  own  lifet 

caU  that  onjoylng  th«  benaf  Its  of  AemoeraoyT 


', 


3en 


Oh    Larry,  y««  ««>*  *<>  ß«*  o'«'  ^•^"«  ""  blanad  sensitive. 
Sia^SAtic  sfuff  aHout  *elns     a  »lain  oomone,. 


All 


(ahockad) 


Ladiaua 


-Chan..*  •  • 


Gen 


Tt«  .nri-v     Larpv.     Bat  It»8  tlme  you  learn  the  faots  of  llfe. 
Jilalsa'toJä  World,     lelng  staJry-ey«!  don't  get  yo«  anywhere. 
Su  got   to  Lfe  vour  feat  on  the  «round.     Make   the  best  of  yoor 
opportunltles»     '•«t  «hea4. 

Ladmus 
That's    ju3t   It^     That»a  preolaely  why  rve  got   to  leave  bare* 

Gen 
Meaning  whatt 

To  gat  ahaad.     Aa   I  told  jou   tha  othar  •^•".^^fj;, J^l?'   •'  "JJ;  ""L 

to   get   out# 

Oen 

«,«n«.i;'''!f  I^see!      I  dldnU  Icnow   It  nas   ü^t  bad.      I  just 
?Är;;    did^'t  have  ^ch  .  oomparel  to  what  you  uaad  to  hare. 


Ho,   Chan. 


Yeah( 


Ladmua 


O^n 


I  aaa  AM« 


•<■»■ 


f  • 


mmmk 


\ 


5-17 


1  was  aura  yoo  «ould,  Oen.     And  her«  In  JewYflrk.you  .••.-! 
JJÜ       Jt  iLM  M^     -SJJy,   tli?»  *«t  «ith  your  l.a<Ägrmnd,  we 

JeapoMlila  one«  -  »•H,   I  J««*  *««'*  ^'«  *^   tralning. 

And  irtiat  >ak«.  yo«  thlnk  It  would  k.  any  dlffarant  -  In  Clnolnnattlt 

Iiacünus 
r*  «tart  from  aerateh  tlwre  —  wlthout  fcalng  known* 

flten 
■o«  long  *o  yoo  thlnk  that  «ould  laatt 

Ladunaa 
Onea   I'«  really  launohad,   It  wouldnU  «aka  ao  auch  differenoa, 

Soll 
Ttia  all  oraiy.  Larry •     Why,   youWe  had  4o»ana  of  offara*     lau 
Sil  ia   .0  "J»^/  To  Sj«r  on  radlo  and  JaleTlalon^     To 
nubllah  your  Mamoira.     To  andoraa  producta*     To  wrlta  and  lacture 
?nd  --  OhHota  of  othar  thlngal     Ihy,  you  aan  elaan  upl 


It^e   told  you,   den  that  I 
peat« 


Ladmua  ^     ^ 

almply  won't  maka  a  rackat  out  of  my 


Gan 


vroxi 

You  tion't  naad  to.     Thay»ll  do  It  for  you.     laaldea,  what'a  ao 
Sonl  abou?  Jacketat     Eiaryfcodyta  got   ona  -  or  lookin«  for  ona. 
5  you  need  tba  money,  why  not  do   It,   for  heamanta  aakat 

Ladmua 
The  nhole   ld«a»a  repugnant   to  mal 


You« 11  make  your 


(}an 
So  you»  11  forget  youp  faallngi  for  a  irhllo# 
pila,  to  do  what  you  want. 

Ladnua 
ril  do  what  I  nant  to  make  miy  plla.  A  modaat  one,  perhapa, 
but  oura*  aometH  ng  we  oan  lie  proud  of* 


Saeing 


Oan 
Pd  be  plenty  proud  of  what   you'd  do   on  TY  and  radlo. 
your  name   In  aubwaya  and  buaea  and  ne wapaper sl 

Ladmua 
Oen     rm  amaaad  at  you.     You  Can«t  mam    what  you»re  aaylng. 
lava  you  never  haard  of  Intagrltyt 


S-18 


9«n 
Integrltyt     Sure  Vre  h«ard  of  lt.     It'a  one  of  thoae  alxty 
¥uck  words   that  teil  what  the   other  guy  haanU  got. 

Thatta  not  you  talklng,  (ton  -  that  glll»  eynloj«"«  J^*  *J?*  J 
want  for  ua'-  la  the  Building  of  *  l^'«  *«««*^'  "  »^„^'i*"^ 
llfe  —  «tartlng  from  tha  botto«  and  working  up  ataf  by  atap  — 

Ctan 

Teaht     tUtan,  larry.     IWa  ¥aan  workln«  «Inoa  ^'^  •^J";;*   . 
And  the  kottom  Aon't  look  romantio  to  me.     I  want  to  live  nowi 

Xfadmua 
But  W6  will  live,   Oen.     Slmply,  Ferhapa,  *ut  Joyoualy*  JJ«'!! 
have  eacFTTther*     Onr  love*.*  Omr  ftttuM.     It  will  *e  our  great 
adventura  togethar#     Can«t  you  aaa  tlm  t  wa  — T 

Walt  a  mlntita****  Lat^s  not  atai»t  gatting  poatlc  agaln#     Pirat 
thlriÄ.  you»  11  ba  luggln«    In  bubbling  toooka  and  «ountalna  and 
then  everything^ll  get  mlxad  up*     Lat»a  atlok  to   the  facta*  Thla 
la   Important,  Larry» 


TarrlUly  Important« 


Ladmua 


Clan 


0.1^ Than  lat«a  kaap  to  what«a  honaat-to-goah  In  your  mlnd, 

bahlnd  all  tha  fanay  faalinga«     low  What  you  baan  aaylAg  --  how 
auoh  of  It  4o  you  raally  and  truly  Meant 


All  of  It,   öan* 


Tou  mean  all  of  It» 


Wlth  my  whola  haart« 


Ztadnua 


Oan 


Ladmua 


Lea¥a  your  haart  out   of  lt. 


Gan 


Ladnma 


low  ean  I,   OanT 


0*K«»  So  what  aliQUt  your  haadt 

Ladmua 
That'a   In  It,   too»     All  of  me   la.»     And  I» 


m  aura  whan  you  thlnk  it 


] 


t 


IWNMr- 


*****^-r  ■.^■ji(.l-' 


riMI 


5-19 


through»  you*ll  a£F«d» 


Iiadmus  (eont»d) 


den 


O.K.     So  you  mean  lt.     And  you^ra  «urii  that  »^^«^"^'/^^  "^- 
ona   aays,   thera»a  no  chanoa  of  your  ©hÄnglng  your  alnd. 

low  ean  thara  bat     I»m  glad,  Gan,   to  aaa  you  taatlng  My  ateangth 
of  pwpoaa»     I  know  you  wouldnU  want  ma  to  — 

San 
Juat  a  alnuta,  Lar»y«#..«  loti«»a  aonTlnoa*  ~  you«pa  alMiolataly 
eonvincad  wa^va  Jot  to  move  out  of  law  Yopkt 

Ladmua 
A*aolutaly#     It^a  for  our  happinaaa» 

0.K:««.#  Iou  alao  faal  Joat  aa  aupa  yo«  gotta  kaap  your  paat  In 
tha  dark»     RlghtT 


llght* 


Ladaua 


(Hin 


Tou  Juat  eann  poaalbly  thlnk  of  täftlng  any  of  thoaa  offara  to 
naka  Aonay« 


lOp   Gan« 


Ladsma 


Oan 


Tou  gotta  go  on  Juat  tha  aana  llka  you^d  navar  bad  ona  blaaad 
thlng  to  do  wlth  royalty« 

Ladfliua 
Corraat,   Oan.     And  Vm  ao  glad  you^ra  Coming  to  aoa  how  wltal 
it  &d  for  ua  to  — 


Larry 


Tas,  daart 


Thla  latU  aa  out* 


I  —  I  bag  pardont 


•an 


Ladmua 


San 


Ladxaua 


h 


*«^ 


I 


2U80 


r 


Gdn 
1  aay  ~  tlxla   let's  sie   owt# 

LadBius 
Outt   Ctent      I  donU  underatand*     Out   of  whatt 

Gen  WAt^tÄ 

I  thought  you  nere  learning  AmerlOÄn*     It  meana  —  u«*     wo  re 

thpough«     FinlaiiÄd« 

IiaAftua 
»ut,   Oenl     den  -  you  -  you  donU  mean  thatl     «hy,  you  SSBII 

maan  Itt 

San 

(jttooklxxg  hlm) 
I  mean  It  —  wlth  all  my  hoart» 


Ladioaa 


mut   I  —  why>    I  thought   you  underatood»     You  aald  you  dld# 
aaid  you  ahared  my  attltuda  whnlehaaptedly» 


You 


«.  our 


Qan 
I  thouÄht  you»*  gat  over   thla  craay  atuff  •     That  dumb  11t tla 
«iamlS  jJn  and*all.     1  fAgurad  you  wa«  Juat  klddlng  Jouraalf 
"J  a  whila*     OT  tl^t  maybe   it  waa  aorta   -  what  ^   y^^^2S^iaiII;ad 
atratagy,   ao  you»d  Ha  mora  populär  or  aociathlx«.     I  nBrmr  HaliaTad 
you*d  laem    It  for  kaapat 

Ladxaua 

(daflatad)  ^      ,  . 

Oh.  Gen....  Oan And  what  of  oup  draama  and  plana  and  - 

loTdt     You  Icnow  how  muoh  you  mean  tcmfm  mm,  Oen# 

Clan 

n^e  and  »11  the  reit.     Thaf  a  all  I  ««n  to  you.     If  you  loy«d 
X  yoS**  takeS^hafa  teelng  offerad  to  you.     On  n  .llTer  platteAl 

Ladmua 
If  you  loved  me^  Oan,   you  wouldn't  want  me  to» 

den 
O.K..     So   I  don't  love  you»     Thera.   I  llkad  you.     low  ö«ld  It 
Ve  lovet     fhat'a  bunk.     it^ra  ocaana  apart.     Tha  ^^le  thtog 
loesntt  make  aenaa.     I  fot  awaft  off  «J^^«"»  Aar  Royal  llb.l 
Poaltionl     Moneyl     FamaT     Tha  grand,   aflaahy  dreaml  And  than  -- 
pSJl      I  wakk  upl     And  whara  am  It     DoSag  atuara  dancaa   in 
Cincinnattil 


Thla   la  a   terrlble   a 


Ladmua 
hook  to  mOf   Qexim 


n 


mm 


tttJL 


3-tl 


I 


Öen 
Sure    it's  a  ahock*      »Causa   you  nevar   took  the   trouble   to   find  Ott 
what   Vm  really   like#     You  donU  give   a  h^ing  about  me.     Jou  got  a 
pictupo  poatcard   in  your  head*     The   ßiiigh«m  girl  of  America  or   the 
Pioneer  Vornan  or   aomethingi  And  you   Juat  toofc:   It  for  granted  Vm 
it*     Supa    it»a   a  ahockl     And  now  I»  U  giva  you  another   shock»     Me 
and  my   folka  -  we*rö   the  aame  aa   the  Browatera   -  excopt   for   the 
•aah*     My  ma  weara   fake   fox  and  pearla    »cauae   aha  can't  buy  real 
ones.      She»3   a  big  shot   in   the  Flatbuah  Ladiea»    Club*     My  Pa'a  a 
ppominant  Eagle   and  he'a  gut  an  eledtAio  razorl     V.I.P.»a   they  are# 
And  Itm  their   daughter.      I  got  finiahad  at  a  Pifth  Avenue  Charm 
Sohool*     We»i?a   anoba  too   -   Juat   like   the  Bre\vjtaral      Giva   ua  the 
ahekela   and  we«ll  ahlne   the    aame  aa   them»     Sure  we  want   to  be  on 
top  -   like  evepybody  elae   that'a  not   a  dopel     What^a  wrong  about 
titlea   and  ff^ne?     What^s    ao  bad  about  Cinderella'    atopieat 
AmerAoa«a  füll  of  »em*      If  you  ^o^   «ny  bpaina   you  don't   turn 
down  anything  that  co/nea   your  viay« 

Ladmua 
And  all  thia  fpom  the  girl  who  talked  aa   ahe   did  on   the  boall« 
It'a    incredible« 

Sure    I  talked  that  way#     On  tba  boat    it  waa   aour  grapea»      I  never 
dpeamed  anything   ao  goofy  oould  happen.     And  then  when  I  found  out| 
I  played  down  to   you  nutty   Ideaa   «cauae   I  thought  you'd  forget   »emo 
But  now    I  aee  you'pe  going  through  vrith  ^em.     You  really  mean  »em» 
That'a  why  you   turned  down  La  Brewater*     She   ainU   unimportant 
enough*     Sure*     Now  I  aee  whi^t  ahe  meant  by  the   crack  about  aak- 
inß  for  a  raiae.     The  whole   thlng'a  olear  aa   the  noae  on»  your  «aee* 
Tou  kn^w  what»a  wrung  with  yout     1*11  teil  you:   you*re  aaladJualiedi 
That^a  what  you  arel     Sure«      I  kne)W  paychology»      I  read  an 
article   In  the  ReaderU  Digeat*     You  ainU  normal*     You  got  a 
third-olaaa  plpe-dream.     A  cold-water   flat   in  a  oloud*     And  I 
ainU    aharing   it* 

Ladmua 
(looking   aickly  diailluaioned  and  apeaking  with  bitter  aaroaam) 
Your  iBotl»r   ia  going  to   take   thia   awfully  hard*     And  your   frienda 
in  the  Flatbuah  aet* 

den 
Don«t  worry  about  ua*     We»ll   teil  tha  World*     V/e   oan  get  a  preaa 
conferenoe   too«     You  juat   ain^t  normal*     You're   a  phoney*    I 
ahculda  known  from  the   atart*     And  to   think   I  turned  down  Prodi 
It^s   a   laugh*     Mayb©  he'a    only  an   inaurance   a?leanan,   but  he  makea 
good  dough  and  he'a  nuta   about  me  * 

(removing  a  ring  from  her   flnger) 
Here'a   your  royal  heirlodm. 

(She  heaitatea) 
No*     Why  ahüuld  I?     You  got  nu  uae  for  rojr|JL  atuff  anymore*     I'll 

keep  thia  —  aa  a  aouvenlr* 

(She  puta   the  ring  back  on  her   finger) 


^»m^t^-^ 


3-2« 


<3mn   (oont'd) 


I  earned  It* 


(aha  walks  to  the   «nti-ano^-door  and  opena  It) 
So  long,  —  Tour  Majasty. 

Lsitena 
(In  «  «iokly  «ad  ton«) 
•  ...*  Gtood-toya,  Oon* 
(dan  axlta) 

(Ladmua,   aomewhat  atunnad  and  •*»»«■*«*•  "Uj* 
Into  a  «hair.     Afta»  a  mo«ant  of  troubled  thlnk- 
In«,  he  »Isaa  and  «tarta  paelng  tha  flof»«,      . 
Soddanly  h«  atopa.     Than  ha  puahea  axoltadly  to 
to   the  phonai     hsuprladly  loolca  up  a  nu»lMr  In 
tha  phone  liooki  than  dlala  tha  nnmfeav.) 

(Into  tha  Phona)  .     , 
lallo.     Aaarloan  Alrwayat,....  I««»«»   **^*  *■  .^ 

Laarenea  Morton,   St.  Ja»as  Motel  AP«<^"*»!-:;-  *?^5  J  '^f^!* 
1  want  a  alngla  pasarratlon  on  a  plana  *»  3^Q«^**l_f^  J°: 
MoJSiu...  A  Wä^ttt     Who   in  hall  ««»»'«J*  *•••;"  JlT!  £* 
to  aet  out  of  üSräl..*  Iou*r*  8o»»yf     Ihat  a*a»  t  met  Thla  X« 
jLfntl     I  aanlt  waltt  HFTiEt,    I'll  go   aomawhare  alaal...  Oh, 
I  ton"  knowPXnywharal      I'll  go   to  -  lat  na  thlnk  now.... 
Isn??  the»e  soma  clty   In  tha  Mld«at  ,ith  a  «eo   In  Itt...*  I 
know  a  lot  of  oltlaa  have  .oo.l   I«m  »«H'i««  «*»!??*  «»„Ä¥|'iJ^ 
TTS^n   In  Itl....  Taa,   that'a  Itl     X«lama»ool     I'll  go  tharal 

t£  aft«  io-lairowt     la«.  yau  nothing  aarllar  anywharat 
****  will!  aSlght.   then.     Thatta  daflnlMt..».  What  hou>t... 
•««I  *«;*4  f^ar...i  Bmoi  It,   tha  waatha»»«  äo*  to  be  goodA 
V^:.  iinrüi;  i;  ip^!Sh  .'««     »au  hlm  I  feu  .ta,  her. 
any  longart     rva  ^et  ta  lat  outl 


eiRfAIX 


l^ 


ififcrfcv<iww^—i p"i'| "      '    *' 


M        i 


^■-•^■•^ mmJ^ 


# 
3-35 


Ni 


%. 


86#n«  Tiro 


apavtmnt   In  M«w  York  «Ity;    the 
«ame  aa   the  prevluüa  acena« 

Opan  tpunka  and  auiteaaea  ara 
aeattared  abuut   tha  room^    aa  wall 
aa  mfiny  Itafta  of  famlnina  ap[?arel« 
An  aaaal,   a  palnt  l»oz  and  aavaral 
Arawing  pada  are  alao   In  aTldanea« 

It   la  lata  aftarnoon,   twp  daya  latar* 

At  tha  rlaa  of  thB  ourtaln^   tha  ataga 
la  ampty«     After  a  moment,    tha  phnna 
ringa#     Phyllla,  we^rlng  an  apron 
and  oarrylng  a  aouple  of  dreaaaa  ovep 
ona  arsf   antors  from  the  adjoinlng 
room  and  anawera   tha  phona* 


Phyllla 
(into   tha  phona) 

Hallo««««*  That'a  rlght« Mo,   lia  Majesty  doajnU  live  hera 

eny  Idnger«««*   I  paelly  don't  Icnnw»     I  think  he  motred  out   thla 
norning«*«««  Look,   I«m  not  hla  kaapax'«     I'm  told  ha»s   leaTlng 
town««««««    1  4on*t  knowl     And  what»a  aoi»a,    I  dou*t  glva  a  hangt 

(Phyllla  hanga  up#     Sha  then  plcka  up  a  faw 
draasea  out  of  a  trunk,   and  with  them,  ra- 
turna  to   the  adjoining  room«     For  a  faw 
aeconda,    tba  atage   is  ampty«     Then  there 
la  tha   aoond  of  a  kay  In  the   lateh  of  tha 
antranea-daor;   tha   door  opana  and  Ladmua, 
in  a  paniOf   rushea   In  and  atarta  looklng 
around  axoitedly  for  aomathing«) 

Phyllla 
(from  tha  adjolr^ng  rooa) 
YaaT 

Ladaua 
(from  bahind  a  piaoa  of  furnltura) 
Oh,   excuse  ma«     I'm  looking  for  my  lirlafcaaa« 

(Durlng  theaa  last  worda,   Phyllla  ra-antars«) 


3«.84 


^ 


Am  aba  doea  ao,  Ladmua  looka  up.     fhay  fßce  aach 
othep  «Ith  «quäl  ahocics  of  aufrlaa.j 

Phyllls 

(•evaraly)  .    ,     ^       o 

How  on  earth  did  lou  get   In  heret 


You  didn't  aea  aiy 


Ladmua 
(frantloally  rea»»iJag  hia   saMch) 
That  axtra  kej.     I  forgot  to   turn  it  In* 
brlefcaae,   dld  youT 

Phyllla 

I  didn»t, 

Ladinua 

in  all^"lL'J\rshri'^^t  know  what  on  .arth  I  dld  wlth  lt. 
^f «a'lL'ioln*  he..t....  Oh.  hjng  It,   -  and  IWa   -o  llttle 
tlme  to  get  «y  plan«l     Miffba   the  mald  —I 

Yoa    mlßht   at   least  hava   tha  mannera  to   apologlze   for  atormlng 
Into  ai  apartmant  and  upaatting  my  luggngal 

Ladmua 

(atlll  aaßrchlng)  .. 

Itm  frlghtfully  aorry*      ril  ouly  ü^  a  mumantU.. 
devll  could  I  hava   ~l 

(auddenly  ollckliig) 
Your  Äpartaientt 

Riyllia 
That'a  rlght*     Any  objactlon? 

Ladmua 
wall,  no.     lo,    it»a  iiuita  all  right. 


'Sovi  whare   tba 


Thanka 


Phyllia 
lela  aald  you  wera   laavlng# 


So  I  pantad  It  pronto« 


Ladmua 
^a  mu33ua  of  shatterad  hopeaT 

Phyllla  ^  . 

Don't  flatter  youraelf.     Äpartmanta  happan  to  ba  acarca,   in 
caaa  you  donU  knaw.     I  llva  hara  nam. 

Ladmua 
(atlll  aaarchlng) 

^^""^  uiLfnirJ^lx^in«  ^i-  brlafoaaa  undar  an  arm-oiyar) 


s-e5 


-*    'k'' 


\ 


Ladxnufl   (oont^d) 
Oh,h«r6   It  U,   thank  goodn«a»l 

»hyllla 
Will  you  plaaae  get  out  nowt 

Ladbnua 

I  oartalnly  will! 

(looklng  at  hla  «Ist  natoh)  ,      ,     ^^   .    ^t^ 

My  olanal     vmy,    If  you  thlnk  for   ona  «Inuta   that   IM 


— l 


phylU« 


Oot 


Ladmua 
»cnv  look  haral      !•»  at   t33«  dooa*  alraadyl 


Qae   itt 


Phyllia 


I«admua 


Keep   Inaiatlng  and  TU  thlnk  you  donU  ma^n  Itt 

Phfrllla 
I  dm  «t  eare  wliat  you  thlnkl 

Iiadmua 
Why   are  you  llv'ng  heret      Vm,  ourloua. 

Phyllia 
Cupiouat      I  thougjit   that  waa  a  female   tralt# 

Ladxrtua 
Oht    atop  hedfilngl 

Phyllia  ^ 

Look,   don^t  you  underatand  Sagllaht      I  tol4  you  laat   tl»a   I 
naVöP  Twant   to  aaa  you  agaln. 

LadiBLua 
Youtve  tha  whola  raat  of  youp  Ufa  far  that.     Whf  ara  you  llT9 

lag  ha  rat 

Phyllia 
n^t  nona  of  you?  buainaaat 

Ladsfua 
Evarythla«  !•  eTepybody'«  ^ualnes«.     larenU  you  hwrdt     First 
prlnolple  of  a  fre«  prea«« 

Phylll« 
0.  K.,   If  you  maat  k*oi»»  —  When  I  make  up  my»  »lad  to   aoMthlng, 


rnrnffr. 


-^h:»*!f*'^ 


5-86 


\ 


Fhylll«  (oaat'd) 
1  4o   lt.      I  Aon't  run  awa?   11k«  a  coward.     I  stiele  tey  «?*»•• 

mSea  any  dlffeJanoe.     I  flght  It  through  rlght  heref 

L^dmus 
n^mm....  So   thia    Is   joxxv  private   oitadel  egelnst   the  world  ~ 

Phy  111s 
Where    1*11  live  alona   and  llke   lt. 

Laamus 
A  woinb  of  one»a   ono,   ©ht     Ten  ainutes   by  car  froxa  tl^a  plushy 

haTen  of  homa« 

Phyllia 
It«a  twenty-five   yeeps  aw^y*     Thla   la  hAm«  now. 

X«adDius 
I  aea*     And  daddlyt 

Phyllia 
Mad  as  hallt     la'll  come   around* 


Ladmua 


Thö   friendat 


Phyllia 
Don't   knon  whara   I  am.     Vm  llvlng  here   iixcognlto. 

Ladaufl 
Whnttt     That»a   abaupdl     Rankaat  klnd  of  play-actlngl 
hundrod  yasra  ean  you  e?fir   atop  balng  youraelfl 


Hot  In  a 


Stoft   IWa  Juat  ataptad« 


Phyllia 


Ladmua 
On  a  waekly  ramlttanca  fpom  dadt 

Phyllia 
WPong  agaln«  V^e   got  a  Joli. 

Ladmua 
Youtt  Mahl  A  dlamond-daokad  Plretei»,  I  «uppoaat 

Phyllia 
•Thsit'a  corny»  Fop  youp  klnd  of  aalloa,  one  naeda  talant. 
do  bettep  myaelf • 


I  eoftld 


What  aopt  of  JoH   la   Itt 


Lad]:T]ua 


,....-ir.f..,r»«rairr»nf 


I 


3-87 


l 


Phyllia 
Look,   will  you  go  noi,t     You'll  mlaa  youP  plane. 

Ladmus 
I've  no   Intention  of  mlaslng   lt. 

Tüink  of  POOP   11t tle   ClndePena^JJanclng  neirroualy  at  the   alpport. 
ISi  thoae'gSaa   -llppaps   so  hard  on  the  feet  too. 

Ladmua 

(aharply) 
DonU  mentlon  her,    please. 

WhyT     Too   aacredt      I  thoughnJii'honor  waa  reser^d  for   Ood. 
That  girl'a  getting  placea* 


We^re   finlahed» 

Oh •   Dlsllluslonmantt 


Yes« 


Ladmua 


Phyllia 


Ladmus 


Phyllia 


WhoseT 

Ladmua 
Look  hepel     Ape  you  tpylng  to  «ake  ma  mlaa   that  plane? 

Phyllia 
Whatll     TOiy»   of  all  tha  egotUtlcal  — l 

Ladmua 
Then  stop  hedglngl     V»hat  kind  of  Jobt 

Phyllia 
What  eapthly  dlfference  doea   It  make   to  yout 

Ladmua 
I  haTen't   tlme  to  explaln  nov». 

Phyllia  .      ..        ^^t^ 

fhi  ^^Äiioffi^:^^"srip;srg^?s  Se^ci^i  aJriiJi^^Ä 

.«it«  to  ie  ahed  aa  aoon  as  ahe  finda  almple  atudlo  downtown. 
So  tSaJ'a  tha?!  Antl-climax,  Ihht  And  klnd  of  pathetlc  that  I 


I 


3^28 


Phyllia  (conttd) 
can  get  auch  a  lian.  out  «J  doi^  by  oholoe  jhat  «llllons  have^^ 
^ot  to  dot  Well,  I  know  It'a  Importanca  ror  ma.  iu«* 
vi   ooncerned,  thaf  a  all  that  oounta. 

A  aort  of  ona-glrl  revolutlon.  eht  And  what  do  you  plan  It  ^111 
lead  tot 


It'a 


Phyllia 

^^  r^f^m       T>*«t  wopld  was  so  damned  fllmsy 

Ladmus 
And  youp  —  love  llfet 

PhyUls 

That«a   already   taken  care   of,   thank  you. 

Ladmua 
You'pe  lylng. 

Phyllia  ,  . 

V/hy,   of  all  tha   -U     The   lengtha   a  man  can  go   to  pump  up  his 

egol 

Ladmua 
YouWe  still  not  denled  you're  lying« 

Phyllia  ^,,  n      w^ 

rm  not   in  the  hablt  of  danylng  inaulta.^.  ^r!^i'n!i  Lr^hlS 
Jleaael      IWe   an8v,ered  your  queatlma.     Oo  and  gloat  no«,   whlle 

you're   taklng  fllght» 

de  looka  at  her  problngly  for  a  moment.     And 
thent ) 

Ladmua 
You»  know,    --  unlaaa   I'm  grantly  miataken  — 


Phyllia 


Tou   ape« 


f¥,Jw^' ' '  ' ' 


3-29 


\ 


Why,    It'a    —   it'a 


I«m  not.     Tou^ra  dlfferent.      I  awear,  you»ve   changed.     Really 
and  truly» 

Phyllia 

an  3«t  tSother  llttla  ga»«..     Play-actl.^.     Ona   last  desperate 
attempt   to  tiln  you« 

Ladmua 
I  hQVen't   one  damned  thing   to   do  nith   lt. 

Phyllia 
Your   Penetration  la  almoat   —   alarmlng»  ^ 

(Ladmua  walka    thoughtfully  acroaa   the  room* 
IIa   eyea  happen  on  a  drawlng  pad#     Half  ab- 
aently  he   opena   lt.     le   la  atartled  by  what 
he   aeea*     le   pioks  up   the   päd  and  looka   cloae- 
ly  at   the  drfiwlng») 

Ladmua 
(wlth  qulet,    aobep  admlratlon) 
Thla    la   really».««  qulte   a ome thing ••• . 

really  you« 

(Iftoklng  at  her) 
The  Tery  «aaenae   of  you,    Phyllia« 

Phyllia 
There'a  no  gpeat   trick  to  dolng  a   likaneaa.     Cameraa  h«V6  ao 

talent« 

Ladmua 
Thla  la  more  than  a  aupface  llkeneaa* 

(looking  at  the  drawing  agaln) 
Far  more«   It'a  a  Tery  aenaltlve  and  reveallng  aelf-atudy..«. 
honeat touching •  and  ao  beautiful* 

Phyllia 
Self-flattary,  I  auppoae. 

Ladmua 
Konsense,  Thla  h«a  oon»lotlon.  The  quallty  of  Inner  truth. 

Phylll«  ,,  , 

Tou  aound  llke  a  Sundny  art  column,  The  boya  who  make  a  llvln« 
out  of  phrpsea. 

Ladmua 
If  mv  phraaea  can' t  ImDrove  the  portmlt,  youra  oan»t  detract 
fpora  lt.  The  eTldence  la  piain.  Look  here  — 


I 

i 


I 


^m. 


\ 


r 


5-50 


\ 


i\ 


(le  goes    toward  her   and  wlth  hla   flnger  polhta 
to   the  parta   of  the  drainring  he   nentlonal) 

Ladmua   (o<n  t*d) 
The  way  you'va    treated  the   ayaa   here  • 

(She   looka   at   the  drawlng  wlth  hlm.) 
Thev're   ao  allve   —  ao   eagerly  allva,    and  yet  wlth  a  touoh, 
aomehoS/of  knowing  aadnata....  And  the  mouth...^   the   auggeatlon 
;?  a  young,   half  amlla,   but   atlll  wlth  a  certaln  flrmnesa,   a 
gamtle,   aober  atrength When  dld  you  do   thlat 

Laat  night....  Till  almoat  breakfaat   tlme.      It^a  really  far  tvom 
finUhed  though.     Thera«a   atill  Iota  more   to   do. 

Ladmua 
Xea,    —  more   to   do.     There   alvaya    la,    ianU   theret 

(aa  ke   looka   at   the   drawing  agaln) 
lut   youWe  made   a  gpand  atart. 

(le  tupna   to   face   her  directly)  ^,        ^   ^,  4 

You  know,   Phyllia,   -   it'a   -  wall,    It'a  aa   though  I'm  "elng 
YOU   -   for   the   flrat   time   -  thpough  what  youWe  dme»..*.  Phylllg, 
I  -..   Itm  aorry,   daeply  aorry  for  all  the   oruel   things    I'ye   sÄld. 

Where    I  ahould  haTe  known  and  helped I  only  hurt.      I»ve  been 

ao   terribly  obtuaa. 


Inve   yout 


Phyllia 


Ladmua 
So   obtuae  that   lt»a   true   —   Vm  really  aeelng  Jo«^-  £or   the  flrat 
tlme.     And  lt»a   —  youWe   Juat  got    to  belleve  mej  Phyllia,   — 
lt«a   love  at  flrat   aight. 
(le   takea  her  hand) 

Phyllia 

{drawing  away)  ^  .  . 

Pleaae,   Larry,   go.     Thla  muoh  IUI  teil  youi  howerer   you'd 

meant    It,  by  hurtlng  me   you  helped.     And  for  that   I'«  «^^J^^|jJ; 

I  really  am.     lut   it'a   ower  now.     Ccmpletely  over.     I»m  througn. 
There'a   juat  not  going  to  be   any  more   drama.      Vm  hap  )y  now. 

Ladmua 
I  don«t  belleve   you  really  oan  be   ~  wlbhout  loe. 

Phyllia 
Then  Vn  certalnly  doomed.     Becauae    I  dm  U  ?rant  you  and  I  won't 
have   you......  You*re   too   damned  maladjuated. 

(Ladmua  wincea   at    tlfi  t  vrord) 

Ladmua 
••••.••   So  you   take   the  Readar'a  Digest   too.,.. 


■p"  Jii.' 


fm 


^a 


mar 


3-31 


Xow^a   thatf 


Ohf   nothing. ••• 


Phyllis 


Z»admu8 


Phjllla  ^^  ^ 

Look,   T^rry  —  for   the  tanth  and  last  time,  —  you'll  mlas   that 

plane • 

LadBius 
That'a   juat   It,   Phyllis*     There'a  so   llttle  tlme.     My  plane  goea 

(locklng  at  hla  wrlat  watch)  «  ^  ^   ^  -r 

In  twenty  mlnutea*     I  auat  leare  Hew  Yj^rk  now     But  before   I  go, 
It^e  got   to  know   that  you  -—  ( 

(The  door-liell  Pinga) 
Daenn« 

Phyllis 

(Jumplng  up  to  tk^n   the  doop) 
Who  on  ea»th  oan  that  bat  * 

(She  cpoaaea  to  the  entpancs-doop  and  opens  lt. 

PLAINCLOTHES  MAH  standa  there#  le  holda  a 

place  of  note  p^pap  In  hla  hand.) 
Teat  r 


PlÄlncliothaa  Man 


V 


Is   thare  a  Mp.  Horton  heret 

(looklng  at   the  note   papep) 
Laupence  Hoptonf 


\ 


Ladimia 


Vm  Mp.  Morton« 


Plalnolothes  Man 

(enteplng) 
I  aee**««  You  plannlng  to   leava  liy  plane  fop  Kalamasoo   thla 

aftepnoont 

Ladmus 

That 's  Plght. 

(looklng  at  hla  wplat  wßtch) 
In  leaa   than  twenty  minutea»     Who   ape  you,    alPT 

Plalnclothea  Man 
(ahoiflng  a  police  badge  undsr  hla  coat) 
Fpom  Hefidquaptepa.     City  Police« 


I 


\a 


Ladniua 


WhatTT 


X 


S-52 


Plalnclothea  Man 
You  got  any   Identification  faperat 

Iiadmus 

lliat'a   thla   all  aboutt 

Plaindothea  Man 
lo  use  gettin»    exolted*     Let'a   aee  your   papera. 

La<3^ua 
Whafa   the  meaning  of   thiat     Ion  dld  you  know   Vm  heraT 

Plainoliothea  Man 

We  got  waya» 

(extanding  hls  hand) 

The  papapa» 

Ladmua 
(aa  he  geta  hls  briefcaae  and  takea  out  aome 

documenta) 
Why.  1  navep  heard  of  %nything  ao  — l 

(Ladmua  handa  the  papera  to  the  Plainolothea 

man) 

lere» 

(Plainolothea  Man  takea  the  papera  and  looka 
them  over»  Than:) 

Plainolothea  Man 
What'a  theae  got  to  do  with  yout 

Ladmua 
You  aaked  fop  ay  papepa,  dldn't  youT 


Yeah,  tout  -- 


There  they  are. 


Plainolothea  Man 


Ladmua 


Plainolothea  Man 


Theae  aay  — 

(peading) 
IIa  Royal  Highneaa  -  Ladmua  the  Pifth  of  »oz 
theae  got  to  do  with  youT 

Ladmua 
I  am  Ladmua  the  Plf  th  of  loanaTia« 

Plainolothea  Man 
YeahT  And  who  ia  liaurance  Horton? 


-  navla«  What'a 


"(.'. 

\ 


A. 


'% 

*? 


3-5  3 


1 


I  am« 


Yeaht 


Ladmus 


Plalnclothea  Man 


Ladmua 
Thet'a   the  name   IWa  lieen  ualngt 

Plalnolothea  Man  ^ 

It   la,  huht     Vmmm,    I  «ee.     An  allaa«.-.  Bad  kuaineaa,  mlater. 

Ladmua 
How  look  herel     Will  you  pleaae   teil  »e   —T 


Sure  ni  teil  you« 
ing  on  tlut  plMnm  — 


Whattt 


Plainclothaa  Man 
ThereU  ordera   out   to  keep  you  Tvom  lear- 

I*admua 


Plainclothaa  Man 


I«m  alok 


Plalndothea  Man 

Irio^oü^T/Jo«  get  out  qulcj.     fcund.<l  pr.tt,  susplolou.. 
What^s   your  reaaon  fop   leavingT 

Ladmua 
It*a  purely  peraonal« 

Oh,    lt»a  polaonalp  huht 

Ladmua 
I  vant  to   live  mj  own  llfe.     U  that  too  muoh  to   aakt 
and  tlred  of  lielng  known  as  King  Ladmua  • 

Plalndothea  Man 
Oh,    ao  you  alnU  King  Ladmua l 

Ladmua  .    . 

I  am  Fing  Ladmual     lut   I  don' t  want   to  bei     Dm  »t  you  undeÄ- 

at&ndt 

Plalndothea  Man 
^nderstandt     Say,  •ellevue'a  outa  ay   lina,  mlater 

(«upveylng  Ladmua) 
H'mmm,   a  real  royal  highnesa,  huhT 

(to  Phyllla) 
You  aure  he'a  alrlght,  Miaat 


AlPlghtt     Why,   -  why,   yea. 


Phyllla 


^Wlf^- 


\ 


3-54 


Plulnolothea  Man 
I  mean  —  There  aln't  anythütig  bothepin«   hlmt 

Ladmus 
There«  3  plenty  bothe*Aiig  m»\     I'»«  »«*  •*  — * 

Plainclothea  Man 

Ä?  J'ou'Sk  «^i»e  lüfSolt^'i:^  I..     T0„  «Ott.  .d.«  .h.t 
•ounds  ppetty  queer» 

LadsLUft 
How,   look  here  -l 

Plainclothea  Man 
Oh,    I  ainU  •ayln«   you  aln»t  0#K.   and  all. 

Phylll« 
I  can  taatlfy  to  IIa  Majesty's   Identltyt 

Plalnoiothaa  Man 
Let«8   see,  Mlas,   —  your  nama   la  -? 

Phyllia 
XJh  -  »regster •     Phyllia  Irawater« 

Plainclothea  Man 
(looklng  at  hla  nota  papcp  agaln) 
■•«mwilt-  Brewatar,  höht     Dünnatalra  they  aaid  your  nama  la 

IroTin« 


Phyllia 
-  yea#     That'a  the  nama   Vm  ualng  here 


— •  profeaaiun- 


Wellf  uh  - 
ally« 

Plainclothea  Man 

Papfeaalonally,   huht I'amm,   »^o^^«Viv^ii4.\ 

(looklng  aucceaalvel;^   at  Ladnua  and  Phyiiia; 
You  two  got  bualneaa  —  or   aomethJhi*t 

Phylli« 

What   are   you  drlfing  att 

Plainclothea  Man 
Nuthln».   Miaa.      I  ainU   drlvln»    at  nuthln«    --  yet*     Mut   two 
B^oDla  iaetln«    together  -•  both  ualn^    aliaaea  -  wall,  we'll 
!;Sk   ln?o   t'nat  latar.     Mow  you  aay  he'a  King  Ladmua  .- 

(to  Ladmua)  ,         4.      4..  ^ 

Thay  ever  give  you  a  parnd«  down  Plfth  Avenue   or  a  key  to   the 

•Ityt 


^  ■ 


!-     '. 


"f« 


\ 


3-S5 


Ladmwa 
ThßtU   all  they   dlduU   glT-  mel 

Plainolothös  Man 
«^-.       Uo  kay.     Pi'ankly,    It  ton't  look  good^ 

Ladmua 
Tou'Te  s*    «y  pap«ra  tharel     rn«t  «ora  do  you  «antt 

Plalnclothaa  M^n 
Oh...  Oh,   yeah,    the  papers. 

Dapera*  ^   nn    \ 

(thoughtfully;  4^„«.«        <ifiv     Ha  ftln't   the   one  — t 

Ladmua  of  Bo»navla*     Walt  a  mlnute.     Say,  He  am 
Yö&hf    1  think   I  re^d  about  Yi\JBfi. 

U  ,ou  h»,.n..,   jou.r.   tn.  '"»^J.r.on  o(  ,our  »Ind  In  ...  Vor,.. 

Plalnclothea  Man 
I  dann  know.      I  gueaa  you'«  O.K.   alrlÄht.  «ayba,   thlat   la. 

* 

Iiadmus 
Thank  honvensl   So  now  I  can  —  l 

Plalnclothea  Man  n4«c«« 

,ut  of  couraa,  we  oan't  take  «ny  ohance-.  Thasa  two  allasa. 
and  all.  We»ll  hare  to  «»eok  on  It  all  .Irst. 

Ladmus 
<ShatTt  But  tl»  tim« — l 

(A*  Plalnclothea  Man  looka  oloaaly  at  I-aJ"""?. 
the  trac*  of  an  aämlring  amlle  ate«la  o«w  hl. 

ffloe.) 

Plalnclothea  Man 

A  klns,  huht....  lft«inmm I  navai«  mat  one  bafoPe. 

Ladmua 

^°        (glancea  at  hla  wrlat  watoh)  «io„«i 

ItȀ  got   Just  fouptaen  mlnutea   to  make   that  plana i 

Plalnclothea  Man 
Oh,   I  woildn't  eount   on  mäkln«    that  one   anymore. 

I<admu8 
Qraot  leavensl     lut  my  paaer»atlon  and  — l 

Plalnclothea  Man  ««„>,♦• 

Thla   takea   tlme,   y'lno*.     lut   1' 11  do  «hat   I  can.     I'U  go  Plght 


V 


3-   36 


v 


Plalnolothea  Man  (oont»d) 
down  now  and  phona  the  offlce. 

Ladmus 
You  ean  call  trom.  herel 

Plalnolothea  Man  ».,4.„v,—     - 

»ope.     Sorry.     0°*   ^'^  *°   ^*   ^  S^J'^iraY  rSht  here.     And  I' 11 
w«ll     »••11  aee  «hat  happana.     You  atay  Pign^i  «o 

atep  orit.     What'a   tha  number  haret 

Phyllla 
Lackawanna  2-1684» 

Plalnolothea  Maa 
(not mg  numbar   on  tha  place   of  paper) 
Laokawanna  2-1684.     Thanka,   lady. 

(aa  he  lö^'^fj^^^-tT  -  If  that'a  who   you  ape  -  you  uh  - 
Toi  roui^-r^h^pp:' ?;^h:iJ  an^lutog^aohed  Photo   to   apare,  would 

youT 

W 1^  t  fort     The  pogue'a  galÄeryt 

Plalnclothat  Man  

Xo«  get  me  on  that  plane   and  I'll  -and  you  an  art  gallery.     lut 
dShSpry  not.,   pleaaa,  for  he^ven'a  aakel 

Plalnolothea  Man 

O.K.,  Tou  Majl   Thank.  a  lo«   TU  call  back  aa 
(Plalnolothea  Man  axlta) 

(Ladmua  pacea  tha  floor  narvoualy  for  a  moment. 
Then : )  ^  ^ 

wellt  Do  you  aee  nov  what  It  meana  to  go  InoognltoT 

Phyllla  .^ 

aelf  • 

Ladmua 
Phyllla,  don^t  fool  youraelf  —  about  me. 


»uon  aa  I  can 


Phyllla 


I  non't» 


A 


3-»  7 


(Ha  ßoea  to  her  and  trlaa  to  embrace  her) 
°  Ladmua 

Phyllia. 

Phylll« 
Please,  lArry.  It'a  too  lata. 


Latet   It'a  Juat  atarted. 
Vm   dlfferent  now* 
That^a  Just  the  polnt* 


Indifferent. 


Ladmua 


Phyllia 


Ladxaua 


Phyllia 


Thatts  a  gpoas  and  palpable  flSehood.  And  you  know  lt. 

Phyllia 
Lle  detactorl  Thare^a  a  oareer  for  you# 

(la  takea  her  flrmly  In  hla  arma) 

Ladmua 
Klaa  me,  damn  you. 

Phyllia 
IIa  Ma^jeaty'a  ao  oommandlng. 

Ladmua 
tor  the  flPat  tlme  In  hla  llfe. 

Phyllia 
What  aopt  of  monarohy  la  thiat  Limited  op  abaolutet 


Abaolutel   Deapotlol 


Ladmua 


Phyllia 


Then  a  pooP,  helpleaa  aubjeot  haa  no  ohoioe  —  Hut  tO  obeyT 

I«admua 
Hone  9  none. 

(Thepe  la  a  ppotracted,  paaal  nate  klaa.  Then;) 

Phyllia 
(wlth  a  amlle,  aa  aha  eraepgaa) 
Juat  paw,  naked  aex? 


3-38 


\ 


Ladmua 
I  love  you,   love  youl 

Phyllia 
Sure    lt'3  not   Juat   —  my  common  callco  faondet 

.a°   I  fighting  .11  th.t  .tood  in  our  ..y. 

(atroking  hla  hfll*  tenderly}  ^n^r^«! 

What   a  magnlfloent  menaca  youWe  Heen,  Larry  darlingl 

(There   la  another  auatalnad  klaa,  d^'^^iVi? 
thfi  door-llell  ringa.     Por  an  Ina tant,    Phyllia 
ind  liiiu.  turn  thelr  haäda  abaently   to^ard  the 
SStraSoJ-Soor  -  and  than  reaume   thelr  klaalng. 
Sw!   ll  tSa    aound  of  a  kay   In  tha  antrance- 
door,  whitth  la  tkan  opanad^     ■•i*  •^*"^'   ^„ 
heavily  ladan  with  hat  lioJtea.     Undar  hla  arm 
iJl  mLa.lna.     Sealng  Ladmua   and  Phyllia   In 
eibraoe,  he  dropa   the  hat  boxea  In  amamementt 
They  look  up#) 


Bela 
Oh*...  uh....  axcuae  ma.     Why,    I  - 
waa  gone. 

Ladmua 
(oareaaing  Phyllia) 
I  am  -  gona,   lela. 
—     (The  klaa   la  reaumed) 

lela 

(after  a  moment  of  emtearrnaaed  Twaltlng) 
Ijli  —  pardon  me,  Mlaa,  for  Intrudina. 

(aa  he  plcka  up  the  hat  boxea) 
But  these  hnt  boxea  you  aaked  me  to  bring  — 
In  the  bed-roomT 


-  I  thought  Your  Majeaty 


Shall  I  put  them 


Phyllia 


The  bed 


(wlth  an  ardour   not   Inaplred  by  hat-boxea)  n^^^w 

d!roomT     Oh  yea Yea,    the  bed-room  would  -  be   lovely 


(WhUe  Bela   oroaaea   and  exlta   to   the  adjolnlng 


i 


Sf>S9 


1   i 


room  wlth  the  hat  boxea:) 

Ladmus 
Darling,  oome  away  wlth  me  now  to  Kalamazool 

Phyllla 
(■tili  In  a  trance,  fondling  hlav 
Oh,  yea,  darllng,  yea,.... 

(then  a  *o"JJ«-**J?i^  ^«„j   jow  can  I  go  away  nowt  My 
KAlamaiootTt  Larry,  you  re  «'«^J*   *"  ,,   »„JJflv.  «hat  fortt 
Jobl  Thfi  apartmentl  Art  «ehool  and  ~ll  Anyway,  wnai;  lopn 

Ladraua 
(aa  lala  re-entera  and  atarta  to  oroaa) 
For  ua.  For  our  oe«ce  and  prlvacy  -  o"',f'««*°^-  *l"*tJj 
a  Lrilf«  together  -  where  we  oould  really  remaln  Incognlto. 

■ela 
(holdlng  the  aagnulne  In  hla  hand  now)        ,  t**«  4.,-«- 
ForglTe^  lntrualon,*^alr,  -  but  thla  lateat  laaue  of  Life  Juat 
arrived.  I  had  planned  to  foward  It  to  you. 

* 

Ladmua 

The   hell  wlth  Itl 

(to  Phyllla) 
Listen,   darlln^l 

(to  lela)  ^^  , 

At   a  Bioment   llka   thla   to   talk  about  Lifel 

(to  Phyllla) 
Look,   Phyllla,   dearl 

lala 
T?-ri<uae  me.  Your  Majeaty*      It  hurta  me   to  have   to  be  ao   inaiatent* 
£rtL?e   U  a  feSiore^ln  thla  number  of  LJfa  whlch  la  qulte, 
qulte   partlnent   to  youp   plana. 


Whatjt 


Ladmua 


lela 


(openlng  the  magazlne  and  handlng  it   to  Ladmua) 
Pour  whoXe   pagea  about   you,    air.     A  varled  aaa  .rtment   of 
photograiha   and  a  detalled  atory.      If  I  may  venture  an  opinlon, 
3lP,   you  ahall  not  be   able   to  remaln  incognlto  anywhere  on  the 
oontln^nt«     lot  even  —   In  Kalamaaoo. 

Ladmua 
(rapldly  tupnlng  the   pagea   of  the  magazlne) 
timmML  Damnl 

Phyllla 
Dohtt  be   angpy,   Larry  dear.      Itts   -   It'a  my  ^^«"!.   ?jj^^  ^^^ 
I  Saa   acting  aa   your   —  aecratary.     That  orazy  beilnnlng. 


'mm 


■    --.--w  ..f.. 


<l 


3-40 


(Ladmua  takea  her  hand  reaaauPlngly.  Th»Be  la 
a  hrUt   thoughtful  pause.  Then  he  turna  to 
look  at  her) 

LadiAU« 
So  what  do  we  do  nowT 

Phyllla 
Stay  put,  dßPlln«.  Äa  I  planned  to. 

Be  of  good  cheer,  Tour  Majesty!   In  a  humble  aplrlt  of  devotlon, 
I  hpva  thought  the  matter  thpough» 


Oh^  you  havsf  have  yout 


I«admu8 


lala 


YesM  Indeed.    alr.     It  occurred  to  na  auddenly,  whlle   aipplng  a 
Mt*of  doS^atlo  aauterne   at   lunchaon.     The  ^^^^/^^^    "   ^  ^^Jei ^^Jt 
80,    excallent.     Quito   äqual  to  many  vlntngea   from  abroad.     And  yet, 
80    rm  told,    It   la  not  eapecially  eateemed. 

Laditiua 
And  «hat   on  easth  has   that   to  do  wlth  my  problemt 

Bela 

It  aolvea  it,  alr.  What  exoltea  the  o?"^«'^«''*?  «"'^^"^^y  ^"J^_ 
«nPlal  ambltion.  ao  It  aeema,  ia  the  «trang«,  the  rare,  the  aya- 
^erioi..  plouliJ  trait.  »ut  there  it  1..  Por  your  purpoae,  then, 
If  I  ^y  ppeaume  to  aay  ao,  Xour  Majaaty  muat  become,  aa  it  we^. 
"  loZltlc.     And  the  Lthod  la  qulte  clear.  ^«^Jef  J»  ^^J?* 
regal  atP.tua  fully  and  opanly.  Per  thua  alone  will  »^J^^Ji^«"^ 
ielome  familiär  and  -  what  la  to  me,  of  oourae,  «  »°f  "S^J^.„. 
Idea  -  commonplfioe.  Than,  alaa,  you  will  oeaae  belng  aought  after. 
And  bef ope  long,  -  oh,  how  I  ahrlnk  from  the  very  thought  of  It  - 
Wore  10^  YoS;  Majaaty  will  be  quite,  qulte  foPgotten. 

Phyllla 
I'm  afrald  he'a  got  aomething  thare,  Larry  dear. 

Ladmua 

HftBmii!m,''80*that'3  Itl  To  beo^me  a  commnner  I  muat  ramaln  a  Iclngl 
Slnce  when  ara  you  going  In  for  paradoxeaT 

lela 
I  ha»e  learnt  the  hard  way.alr.  Bach  of  ua,  alaa,  muat  bear 
hla  croaa!   I  am  a  oommoner  who  waa  deatined  to  aerve  a  It^"«« 
Su?  Sa??ny,  not  unllke  the  ladiea,  haa  a  moat  dlahaartanlng  way 
of  oS".lJiJ  Ita  mlnd.  3o  now  -  I  aerve  the  houaehold  of  a 
comSoner   And  yet,  I  am  not  entlrely  unfalthful  to  our  tradltlon. 


iMi 


i 


■<\' 


3-.41 


'V, 


Bela   (cont'd)  . 

Thraugh  m  humble  »;"',?!'reiar^^eP.     Cook  la   alo^lp  learn- 

J^flS:  ?Sl"t  -  :S^U  'Jon  .0  «arried. 


Ladmus  and  Phyllia 


1fbatt?t 


lela 


he  oartook  of  ohlcken  a  *a  Kxng, 

(Phyllia  l«"#"%„^^"%dded  iopdt     Belng  of  amoroua 
And  noi,^y  I  *«  8!J^*f  dar.  !^  oh.    In  a  moöest  v;cy,   to  be  aure, 
dlspoaltlon  myaalf  these   daya  *,-^i  permlt  me  to  aay  »o»   - 

I  oould  not  help  d«*««*^«;,'      i^^^Sat  uh  -  aculptupal  poae  you 

Sie  Sat'hJartfelt   fellcit.tlonat 

Ladmua  and  Phyllia 

(overlapping)  . 

Thank  you,  BelaV     The   aa»»   to  youl 

In  vlev,  of  the  occaalon,   mar^f«*«*^  champaguet 

.     .hM.       And  brtofcook  too.     We   ahall  make   It  a 
Yes,   Bela,   de    that.     Ana  ormfe,  «u 

douH  e   oelebratlon, 

.      ^,       Vit  daailv  touohed  by  youp  graclous 
I  am  -"yij"-,?^^rflär,^:ulf  do'Jiolence  to   o«r   t.adition. 

r^hru'return'afo;  --  .Ith  the   Champagne. 
(Bela  exlts) 

Phyllia 
What  a  lo^rable  rellc     &nack  out   of  the  mlddle  agea. 

«e  »a»  »orn  mia41...g.d.  »'11  na.«  ohnng..  Hop.1.". 

Murray« 


(There  la  a  thoughtful  pause.  Then:) 


Ladmua 


And  whot  of  U3  now? 


1 


■^' 


s 


I 


3-4  2 


Ladmua   (oont'd) 

^^tJ*£lra'I'?ironf  Jr'oi  the  opera  and  hold  court   In  Central 
Are  ^e   to  hlpa   a   ^**^""^,/ .   ^^^     Änmin^   to    1oln  us    in  a  aquare 

S^''%  '5nd''a'''in'"a  Slnd^   f  oofa^'^rip  llLe,  doffing  cur 

will  luS^i«"-  ua.  And  aa  truly  and  rlohly 
HO,  I^-y  — ;:.nne*iLa'e^graot  slft^that  ^a-ra  free  to  do  thjt 
«nv:he?a  ^itJin  htr  SoSnd^rtea.  It  does  taka  aoma  cour«ga  -  the 
JSTnevir  äd  bafore.     But  nothing  more. 

And  .hat   of'my  axnarlancet     Huhl      "Art-Craft   Studios  hnva   the 
honor    to  annoLce   that  Hla  Royal  Hlshnasa"   - 

O.K.,   dar  lins,     'olks  may    -tSt'wantlag  your^c^^^ 

you.'   They.ll  «"J^^J  ^f.f  ^2°^!?^:.     B^t^rry,   -  a  paople 
knowa,   we  hava   cur   fo^-ö-^^f » J^^r'ft:-  -all-aplitter  v»ho  teeoama 
,rho3a  mo3t  balovad  hero    l3   ^^^^^  *5^°  '^"  u?Jane33  and  trua 
President   -  J^^«^  '«J^^f  3:^^70^  L'   fCtSrklng  you^ve  baan. 
aocompllahmant.      If  '^1^«?^«®«^  l°J^  "  „  -,g,     witnaaa   — 
«oon  thoy'll  lova   you  for   the  man  you  ara. 

(polntlng  to  haraelf) 
Exh^blt  A. 

(He   takes  her    in  hla   ama  agaln The  phone 

r Inga . ) 

-,      .A,.       Th«  ^nvad^'nf  World.     3hall  we  hava   the 
Thare   It  goea   alraady.     une   invaa^ife, 

courage  not   to  anawert 

Phyllia 

Wb»11  hßve  tha  courage  to  ana.ver. 

(Sha  goea  to  the  pEona  and  anawera.) 
Yeat '/ea.  Juat  a  ainuta,  pleaaa.  % 

(to  Ladmua) 
Larry  —  for  you. 

Larry 

^^'•'••(He  goea   to   tha   phone   and  takaa    "•     'f  J];J« 
atanda  behlnd  hlm  wlth  her  arm«  arojnd  hla 

««llo      "^°"yea":l..  WhoT....  Tha  pollcet What'a   O.K.t 

!!'^.:*TrJla;i;oot«ho   the  davll  wanta   to  go  *«  f  i^Sa  great 
•  ....  Of  courae  not.      I'm  ataylng  hera  -  ^«^«^J^J  ^^'Jj^«'^^^ 

;Ü;  Chare  elght  mllllon  peopla   live   in  peaoe  and  enjoy  the 


i 


■cr~ 


T 


'■•'•■:•  i'^  ^ .  ^  '^■:,!^- '    ■  -'^*V.  .■ 


'■f  :.^fiWÄ..  ',.im  't 


V 

3-43 


Ladmua   (oont'd>  . 

My  ppomiset     *^*  P'^^^J^'^r  ^i'*   «  «hat   to  do »   eoma  up  to-aoppow 

''"'^   ^""(iS^LESs  hold  of  Phyllla'a   arm;  d'^^'»  1^«^. 
iroimd  to  a  poaltlon  vfhere  he  faces  her  and 

puta  hla   «7  «^°'*'*?,^":\he  trappHiga  -  but  tha  man. 
Tlhat  oounta,  my  f«"*-«»«^»,^"  "°h    ^*  trapp x.iga 

(l&oling  itarmly  ac  Pl^l^J-^        .  wlfe  too.      I  was 

And  the  woman Whatt lo,   not  your  wii« 

.ef erring  *°^g^;;-phyiii,.     Thara   1-,%J;^-«  "^»^ 
Maanwhile   tha   caokllng  auunda  "^J^^^^^^j^* 
tlB    other  end  of  the  line  are  heard  rrom  the 
phono  recalvar,  «hlch  Ladmua,   otharwlaa 
?ocupled,   no  longer  holda   in  hla  hand.) 


CURTAIH 


•-^ 


0o*JA-'ß 


Cu£^ 


HÄft* 


DOUBLE-BASS 


An  Original  Motion  Picture  Story 


-by. 


JEROME  BAYER* 


V 


t 


a    T  ■■ 


It  Is  a  Strange  aight»  Orotdsquely  stränge,  though  not 
unfamlliar*  The  huge,  clumsy  bulk  moylng  slowly,  laborlously, 
among  hordes  of  pedestrians  in  the  busy  streets  of  the  city« 
Seen  from  behind,  it  looks  like  a  flattened,  fat  woman  with  long, 
slender  neck  and  diminutive  head,  all  done  up  in  aleeveless  rain- 
coat  and  hood  and  plodding  along  in  shoes  incongruously  male» 
Children  exposed  to  this  view  chuckle  with  amused  curiosity  as  they 
point  at  the  monstrous  object  and  demand  an  explanation  from  their 
mothers»  Prom  the  front,  however,  the  spectator  beholds  the 
strained  figure  of  a  little  man  with  a  worried  look  on  his  be- 
spectacled  face,  and  on  his  back  a  giaat  fiddle  protected  now 
by  a  Cover ing  of  brown  canvas« 

Still  bearing  the  bürden  of  his  muse,  the  little  man 
finally  reaches  his  hotel«   "The  Majestic"»   It  is  one  of  those 
reluctatitly  modest  hoteis  with  a  past  and  a  smell  of  food  in  the 
halls,  distinguished  from  the  ordinary  boarding-  house  only  by  the 
presence  of  an  elevator  and  a  typewritten  menu  at  dinner»  The 
guests  consist,  for  the  largest  part,  of  decrepit  widows,  school- 
teaching  spinsters  and  underpaid  Clerks,  most  of  whom  gather 
nightly  in  th4  gally  be-mlrrored  and  gilded  lobby  to  exchange 
Views  and  reports  on  life  in  general  and  absent  guests  in  particular* 
All  the  old  ladies  ät  JÜBC  "The  Majestic"  are  well-disposed  toward 
the  little  man»  A  numlier  of  them  profess  to  be  seriously  concetned 
over  the  possible  effect  on  his  heSlth  of  the  great  and  unwieldy 
load  which  he  is  in  the  habit  of  carrying  around  on  his  back»   "He 

-1- 


I 


^. 


:t 


1 

* 


lo 


x%*  ^ 


is  always  so  polite,  so  klnd,  so  serious-minded".  That  is  what 
they  say  of  hün.   "Not  a  finer  young  man  anywhere  than  Micah 
Matthewsl  A  fine  catch  he'll  be  for  a)  me  nice  girl".  And  the 
llstenlng  school-teachers  stlfle  their  wistful  slghs, 

The  double-bass  and  Micah  enter  the  lobby.  Mrs.  Spencer 
is  the  very  first  to  trumpet  a  greetlng.  "Well,  well,  good 
evening,  Mr.  Matthewsl"  Mrs.  Spencer  looka  like  a  couple  of 
luxuriant  old  lodge  banners  of  the  "Eastern  Star,'  sewed  together 
and  filled  with  footballs.  And  her  voice  soundrt  like  the  hlghest 
reglster  ofi  4l|^clarinet  on  leave  from  music. 

»Oood  evening,  Mrs.  Spencer."  Miceh  replles  as  though  it 
,ould  be  disrespectfull»  to  «ound  like  anything  but  a  feeble  echo 
of  her  lusty  greetlng.. ..H4  notices  a  familiat  old  maid.  "How  are 
you  to-n^ght,  Miss  Pritchardt" 

"No  better  than  usual"» 

"Oh,  I'm  sorry.  Maybe  it'a  —  the  weather". 
"Nothing's  wrong  with  the  weather  # 

«No  .-  I  guess  — *•  She  haa  him  there*  Micah  goes  to  the 
desk*  The  Hawa^an  clerk  hands  hlm  his  room  key^ 

'•Any  mall?'' 
"Ho,  Mr«  Matthews." 
There  is  never  any  mail.  But  somehov^^  it  always  makes  Micah  feel 
Important  to  ask.  With  the  usual  expenditure  of  energy  and  skill 
he  succeeds  in  getting  both  dpuble-bass  and  hünself  into  the  small 
car  of  the  elevator.  The  rickety  old  conveyance  is  apparently  not 
yet  accustomed  to  the  huge  fiddle  plus  a  passenger.  Por  as  it  ascends 
It  seems  to  creak  and  rattle  and  tremble  even  more  than  ordinarily. 

-2- 


) 


But  finally  it  reaches  the  fourth  floor.  And  Mictah  hastena  to  hla 

room« 

It  is  a  reveallng  llttle  room.  In  the  center  of  the  floor 

and  directly  under  an  old-faahloned  chandeller  la  a  music-stand, 

weighed  down  by  numerous  albums  of  sheet-music«  ^n  one  cornerqp  lä 

a  amall  radlo,  on  top  of  whlch  reata  a  long,  wooden  knittlng-needle. 

On  a  little  table  next  to  a  braaa  bed  are  nvuneroua  booka  on  the  art 

of  conducting  together  with  many  miniature  acorea  of  aymphoniea. 

To  the  walla  are  pinned  picturea,cut  out  of  newapapera  and  magazinea, 

of  auch  celebrated  dlrectora  aa  Toacanini  md  Stokowakl,  aome  ahow- 

ing  them  in  action  at  rehearaals,  othera  revealaing  them  in  command 

ofitheir  orchestraa  at  brilliant  concerta  before  vaat  audiencea* 

Micah  reata  the  double-baaa  in  a  corner;  takea  off  hia 

coati  washea  up  quickly  and  then  picka  up  a  newapaper  and  turna  to 

the  m»k^^  radlo  programa.  He  flnda  liated  the  broadcaat  of  a 

aymphony  concert.  He  looka  at  hia  wriat-watch,  ruahea  over  to  the 

radio  and  tunea  in.  'fhe  announcer  informa  hlm  that  the  firat  number 

on  the  program  will  be  the  Pifth  Symphony  of  Beethoven.  "Pate 

knocking  at  the  door"!  All  the  uaual  aymphonic  blurb.  Micah  hastena 

to  b&e  mittle  table  by  hla  bed;  finda  the  acore  of  the  Be*thoven 

Pifth:  puahea  back  to  the  muaic-atand  wl  th  it;  takea  the  knittlng 

Imperioualy 

needle  from  off  the  top  nf  the  radio,  and  raiaing^it/above  hia  head, 

is  r^ady  to  give  the  firat  beat  of  the  mighty  work.  The  muslc  beglns 

And  Micah  —  conducta.  Hia  eyea  are  zbIxb  rivetted  to  the  acore. 

But  now  and  again  he  haa  a  fleeting  viaion  of  the  whole  great 

orcheatra  completely  dedicated  to  one  exalted,  compoalte  taak.  He 

aeea  thouaanda  of  auditora  galvanized  by  the  titanlc  aurge  of  the 

-3- 


il 


,auslc.  And  he  sees,  towering  above  all,  the  god-llke  figure  of  the 
conductor,  wbo,  «ith  disciplined  energy  and  flne  economy  of  move- 
.ent,  makes  the  Players  obedient  to  the  will  of  Beethoven,-  command- 
ins  their  attacks,  beckoning  for  their  entrances,  setting  and 
.aintainmg'^pl,  caressing  them  into  shadl^gs,  «rging  them  through 
Crescendi  and  dionton^di,  guiding  them  through  the  labyrinths  of 
orchestral  tapestry,  driving  them  to  the  regüaented  thunder  of  over- 
oowerin«  climaxes.  All  this  he  aees  with  his  inner  eye  ««/he  hears 
the  music.  All  t^is  —  and  more.  Por  as  the  Performance  progresses, 
and  he  is  intensely  occupied  with^^e  enactment  of  its  direction,  theee 
develop  wlthin  hlm  clear  visions  of  himself  actually  standing  on  the 
podium  in  lieu  of  the  celebrated  conductor,  dominating  the  K»«to±*»i 
brilliant  ensemble  and  electrifying  the  crowd  with  the  clean,  sure 
drive  of  his  movements  and  the  maßic  of  the  music  they  evoke. 

Micah  Matthews  is  not  ordinar'ily  an  impressive-looking 
peraon.  He  is  short  and  slender  of  stature.  He  has  a  timidly 
drawn-in  posture.  His  face  is  the  wistfully  unsettled  face  of  one 
,ho  has  dreamt  ofa  alluring  goals  and  occupied  himself  with  protracted 
preparations  out  of  fear  of  decisive  action.  He  is  not  old.  He  is 
not  even  middle-aged.  But  he  looks  far  older  than  his  thirty-four 
years.  This  is  the  picture  whlch  Micah  usually  presents.  But  when, 
in  the  privacy  of  his  room,  he  fully  indulges  his  fantasy  under  the 
spell  of  great  music,  he  appears  tall,  confidently  erect,  commanding, 

youthfult 

It  is  now  late  --  at  least  accordllng  to  tidy  schedules 

of  neigh»oring  widows  and  spinsters.  Suddenly,  while  Micah  is 
revelling  most  intensely  in  his  illusions  of  gra^deur  and  conducting 

-4- 


t 


■  ■   • 


1 1 


Utt  hand  »=  thouÄh  the  toocklng  «r,  nothing  mor,   than  .  ^^A^"' 
,„„o  «e^ber  of  the  orchestra.     A  «o»ent  latar,  «loa  TlatJ.n^her 


„„,t  ,ehe„ently  th,  orchastr.  to  .hlch  hia  .cco«,datlng  f.ncj  has 

t„n.pa...d  him  -  there  la   .  pet.lant  .noc.lng  at  th,  door.      It 

lan.t  Pate,  The  perouaalng  Protestant   la  Mla,  Tletjen,   a  pathetlc 

„aldan  ot  f it  t,  odd  a.tu»na,  ,ho  remlnda.one  of  those  elender,  graj, 

„Id.taahloned  penholder,  that   stand  arectl,  -altlng   In  ..tal  holders 

on  the  desk,  ot  rural  post-oftlcas.     She  fed  alld  out   Into  tte  hall 

m  her  Ulmono,  reglatered  her  annoyance  and  rnshed  back   Into   her 

.00»  to   a,old  taclng  Mloah  In  the  event  *  at  he   *ould  *pen  tlB    door. 

B«t  Klcah,   .tili  oonductlng.  «erel,  beclcons   to.ard  the  door  .Ith  hls 

mlSatak©  c^ 

A 
Protest,  somewhat  more  loudly  and  aavagely  than  before/.  A  f lood 
of  fear  and  conscience  shoots  thr«  gh  Micah.  T^e  orchestra  .uicVcly 
fades  froxa  hls  Vision,  replaced  by  the  drab  walls  of  his  roo«.  He 
pauses;  loo.s  at  his  wri»t-watch,  turns  the  radio  low,  undresses 
CuiCly  and  gets  into  bed.  ^ying  there  .uietly.  he  follows  the  r.« 
far.a,ay  music  fro.  the  score.  The  last  pages  of  the  sy^phony,  with 
their  violent  exulfc.tion,  their  tempestuous  accents  of  heroic  final* 
ity,are  played.  T^e^^SÄ  is  over.  Micah  t*rns  out  the  light. 
And  with  the  ohallenging  strains  of  the  music  now  silently  alive 
in  hia  consciousness,  he  falls  aaleep, 

Next  morning,  as  usual,  Micah  is  busy  at  his  >b.  The 
fi™  of  Shli^er  and  ^hine  is  a  famous  Wholesale  drug  house  which 
has  bullt  up  and  still  maintains  a  very  large  Business  in  spite  of 
the  Stubborn  refusal  of  its  founders  to  instal  phys.cal  i.prove.e.t3 
and  to  adopt  modern  methods.  Here  Micah  is  employed  as  a  book- 
iceeper  —  a  very  old  fashioned  klnd  of  bookkeeper  .  He  wears  a 

-5- 


I 

9 


1 


i 


I 


green  eye-shade  and  al  ts  on  a  high  atool  uA  at  a  long,  high  deak  . 

'  He  13  utterly  Innocent  of  the  oomplexitiea  of  advanced  accounting. 

*  Hls  employers  conilderately  pay  him  a  aalary  modeat  enough  to  «lieve 
him  of  thß  nece^ty  of  filing  an  Income  tax  return.  Mr.  8hlimmer, 
now  an  cid  man,  is  «ithdrawlng  from  active  control  ofthe  ^u^ineaa. 
Hia  aon.  Berthold,  who  haa  juat  graduated  with  hon.ra  froin/Harvard 
School  of  Busineas  Aditiiniatratfton,  la  ateoping  into  hia  ahoea. 
Berthold  complalna  that  the  whle  Inatitutlon  has  the  look  and  amell 

eO^  TT    4     *   *. 

of  a  large-acale  veraion  of  J  mediaeval  apothecary  ahop.  He  inaiats 
that  draatic  changes  muat  be  made.  i^e  haa  already  Inaugurated  certadn 
reforma  in  the  aalea  department,  and,  as  a  result  ofH  hia  Inaiatence, 
.  redecoration  of  the  retail  aection  ia  now  in  progro^a.  He  ia  alao 
dlrectlng  a  critlcal  eye  at  the  ünporta  dividion,  the  bookkeeping 
department  and  the  Publicity  staff.  Many  employees  of  long  atanding 
are  trembling  with  fear  of  loaing  their  joba.  Over  the  lunbh  table, 
at  a  nearby  Cafeteria, they  diacuaa  their  apprehenaiona.  Micah  aita 
with  them.  He  profeaaea  not  to  ahare  their  worries.   "When  a  raan'a 
worked  hard  and  f al  thf ully  Bor  yeara",  he  aRya,"Why  he  juat  — 

"Geta  kicked  out  on  hia  behlnd  without  even  a  week'a  aotice", 
interrupta  dried-out  Dean  öf  the  hypodermlc  department,  with  wrath&l 
cyniclam,   "What  faiiy  talea  you  been  readin',  Mike"?  1 

"I  auppoae"?  adda  Kraft,  of  the  tooth  oaate  department, 
whoae  head  looks  like  a  honey-dew  melon  with  apeca  and  a  pipe^  and  who 
heightena  the  rhythm  of  hia  verbal  flow  by  maaaaging  hia  pot-belly 
with»  an  Elka  emblem»  "I  auppoae  you  expect  that  young  upatart  to 
come  to  you  aome  mirning  and  alap  you  friendly  on  the  back  and  offer 
to  double  your  aalary  to  reorganize  the  office,  huh?  What  are  jon 

-6- 

/ 


•»' 


"TJ^T 


gonna  do  when  he  slips  you  your  Walking  papers  some  f  ine  afternoon? 
Play  him  a  plea  on  your  overgrown  fiddle?  Wadda  you  gonna  do  ?** 

•^Yeah",  adds  another,  "What  are  you  going  to  do?" 
Micah  nervously  breaks  his  angel-food  cake  into  little  pieces« 

"Well  —  I  --  I  suppose  I'd  --  uh  -  I'd  just  have  to  look 

for  ant^her  Job"« 

"SUREl  All  the  big  firms  in  town«  11  be  bruadcasting  calla 
for  your  Services"»  They  all  laugh  at  Micah»  3  helplessness  in  the 
face  of  this  cynical  brilliance«  He  returns  to  work  worried  and 
with  that  hesvy-sick  feeling  born  of  hia  inability  to  cope  with  these 


expressirna  of  aggressive  cruelty*  But  he 


finds  some  relief  in 


the  anticipation  of  ±Ja±  an  orchestra  rehearsal  in  the  evening» 

a 
While  Micah  is  at  work  in  the  Office,  Priedl,  tta/cliamber- 

maid  at  "The  Majestic",  makes  up  his  room#  As  she  Sweeos  and  makes 

his  bed  she  hums  familiär  tunes  of  Schubert  and  Mozart*   She  has  been 

working  at  the  h^itel  for  weveral  days,  but  has  Äever  seen  Micah«  For 

he  leaves  for  work  long  before  she  reaches  his  room#  She  is  a  rather 

xmall  and  shapely  girl  in  her  middle  twenties,  with  a  face  of  tender 

beauty  and  not  without  traces  of  real  distinction«  ^he  iä   greotly 

intrigued  by  the  numerous  objects  of  musical  interest  in  Micah» s 

room,  and  while  cleaning,  handles  them  with  deferential  care«  One 

object  in  particuläir  arouses  her  curiosity  —  the  long,  wooden  ic±»±t 

knltting-needle  reposlng  on  the  radio»*.**  She  wonders/^«»*  •  • 

Micah  oftenx  remains  at  work  long  af ter  the  official 

closing  time»  But  this  evening  he  leaves  promptly  at  five-thirty» 

For  it  is  orchestra  night  and  he  must  m.ake  ready  for  rer  earsal» 

»7- 


V  V- 


Tho  orchostra  U   an  a-at.ur  „rsanl^atlon  of  about  thlrty-flve  joung 
fello..,.!»  meat  t.lca  a  .aeU  ualer  the  ardent  dlrectlon  ot  Slgnor 
aulasapa  Padra.W.  Lader  of  tha  Park  BaM.  Usually  the  oroheatra 


beauty  a3 


Plays   auch  distinguished  examples  offiifficult 

«The  wedding  of  The  Wind3%»Light  Cavalry"   and   "Poet  and  Peasant" • 


t^rnS  as  double-bass  player  of  this  ambitlous 


The  role  . 

enserable  13  hardly  a  glamourous  ona.  Por  It  con3ist3,largely,  of 

extractmg  from  hi3  elephantlne  fiddle  those  periodic  dark  grunts, 
the  low,  alternating  te  bvooms  and  bvomes  that  provide  the  rhythmlc 
foundation  of  the  muslc.  But  Micah  »Is  satisf led.  for  the  present, 
to  occuPy  this  lowly  place  in  the  hierarchy  of  the  o-hestra^^^He^had 
not  been  «i  thout  hia  troubles  when  he  firat  joined  the/««h«i«. 
There  is,  it  must  be  conceded,  aomething  unavoidably  funny  in  the 
sight  of  a  nervously  solenux  little  man  grappling  sweatily,  valiantly, 

*.  -  ,inn>,ifl-haaa.  ^nd  the  comic  picture  which 
with  the  enomity  of  a  double-oaaa.  ^yj- 

Micah  unintentionally  P-sented  inapired  a  light-minded  minority  of 
the  memberahlp  to  play  pranka  upon  hl«.  On.  one  occaalon,  while 
MS  back  .as  turned  during  a  pause  In  the  rehearsal,  they  went  so  far 
as  to  amear  the  strlnga  of  his  Instrument  with  glue,  so  that  when 
he  attempted  to  pUy  he  provoked  a  riet  of  laughter.  But  the 

j  t-\.^  r,ffanr\(>,va.   And  for  some  montha  now 
dlrector  severely  censured  the  offenaera.  ähu 

Micah  haa  been  relatively  free  from  annoyance, 

To-night  the  rehearaal  begins  with  a  momentoua  annc^unce- 
.ent.  "Boya",  aaya  Professor  Pedraz.ini,  «I  havva  beeg  newa  forra 

1.1.     ™„4-  irnn  Unk?  --  dee  acore  of  dee  Ceaar 
you  to-night.  I  gotta  —  wat  you  tiniff 

Pranck  aymphonyV  Nexta  week  we  begeen." 

well  —  no  one  who  hasn- t  played  do  ble-baas  in  an 

-8- 


i  * 


I 


amateur  orchestra  can  possibly  realize  what  thia  announcement  means- 
to  Micah.  Por  montha  his  participatlon  in  Ubk  orchestral  perform- 
^ance  has  been  limited  almost  entirely  to  serving  aa  a  kind  of 
^heavy-footed  metronome.  And  now  —  NOW  —  he  will  at  last  have  a 
Chance  to  do   aomething.  For  the  gravely  beautiful  opening-melody 
of  the  aymphonj,  repeated  now  and  agaln  through  the  work,  ia  acored 
for  double-baaaea  and  'celll.  Micah  is  elated And  now  the  or- 
chestra playa  a  Hungarian  Dance  of  Brahma That  being  over,  there 

ia  a  pause  for  reat.  One  of  the  prank-loving  boya  invi^es  Micah 
into  the  hallway  for  a  amoke.  DuÜng  their  abaence,  colleaguea  in 
humoB^uickly  pour  a  big  bag  füll  of  amall  nuts  into  the  dark  cavern 
^  of  the  double-baaa,  and  with  them  entice  aeveral  tiny  chipmunka  into 

i 


f 


the  belly  of  the  Instrument*   The  liudussmBitt  rehearsal  is  resumed. 

When  Micah  starts  to  play,  t^nunxtiL   a  veritable  ri^t  of  scratching, 

pecking  and  click-clacking  is  heard  from  the  huge  fiddle*  The  play- 

ing  of  the  orchestra  stoos*  But  the  noise  persists*   The  general 

laughter  is  so  great  that  it  threatens  to  break  up  the  whole 

rehearsal.   The  director  calls  for  order*   His  call  is  ignored* 

There  is  a  generrl  upheaval*  When  Micah  fully  realizes  the  cause 

of  the  trouble,  ^ejimmijrthe   sadly  sour  smile  of  ill-concealed 

A  home 

humiliation*   At  the  end  of  the  rehearsal  he  walks/as  usual  -- 

aJ.one»  On  the  way;he  wonders  wistfully  why  he  alone  is  made  the 
victim  of  these  brilliantly  inventive  pranks.  What  is  wrong  with 
hlm?  Why  do  they  hurt  him?   Isn't  his  instrument  essential  to  the 
orchestra?  Doesn't  he  do  his  part  adequately?   He  attempts  to 
console  himsälf  wtth  the  anticipation  of  playing  the  Cesar  Pranck 
symphony»  He  will  show  them*  He  will  command  their  admiration* 
When  he  raaches  his  room,  he  turns  on  tho  radio  as  usual;  takes  up 

-9- 


\   !' 


'»1» 


4 


his  baton  and  starts  to  conduct#   But  soon  he  Is  invaded  once 
again  by  the  aickening  sense  ofk  having  been  made  a  fool  of« 
Hi3  ams  drop  to  his  iides»  He  has  a  momentary  Vision  of  the 
pranksters  looking  in  on  his  acting  the  role  of  conductor#  He 
hears  the  echo  of  their  scornful  laughter»  Limply  he  turns  away 
from  the  music-stand*   Perhaps  they  are  right*  Perhaps  he  is  no 
more  than  a  helpless  little  fool«««  ••  •  • •• 

Sleep  heals  many  wounds»  The  next  morning  finds  Micah 
in  much  better  spirits«  \Vhen  he  wakes  up,  he  turns  on  the  radio# 
While  dressing,  he  hears  fragments  of  an  early  morning  radio  talk 
by  the'voice  of  Mental  Health^---  Dr.  Frank  T.  Bainbridge« 

"What,  my  friends,  is  the  secret  of  success?   It  is  fatthl 
Faith  in  yourselfl  Faith  in  ^our  abilityl   Faith  in  your  power  over 
menl  Nobody  will  ever  thirda  more  of  you  than  you  think  of  yourself • 
Hemember  thatl  Ind  that  self-conf idence  is  conftagious«  People  feel 
it  in  the  directness  of  your  glance,  in  the  strength  of  your  hand- 
shake,  in  the  erectness  of  your  carriage,  in  the  steadiness  and 
authority  of  your  voice«  And  sensing  the  faith  you  have  in  yourself^ 
jüütdüi  they  likewise  come  to  have  fä.  th  in  you«  All  of  us,  my  friends, 
have  latent  powers,  uritapped  resourees,  vast  reservoirs  of  creative 
force  that  lie  waiting  to  answer  the  call  oj^he  ego«  We  must  learn 
the  vital  secret  of  how  to  unleash  these  floods  of  God-given  energy« 
Faith,  as  I  have  said,  is  essential«  But  faith  alone  is  not  enough* 

There  must  also  be  courage courage,  will  power  and  cmcentration 

of  purpose«  We  must  live  to-day  as  though  there  were  no  to-morrow# 

The  best  insurance  for  the  future  is  the  eventfulness  of  the  presentt 

-10- 


J 


tä^mi..mm: 


.   .ar  il 


lIs  baton  and  starts  to  conduct.   But  soon  he  is  invaded  once 
'again  by  the  aickening  sense  ofJa  having  been  made  a  fool  of# 
^is  arms  drop  to  bis  «des*  He  has  a  momentary  Vision  of  the 
pranksters  looking  in  on  his  acting  the-  role  of  conductor*  He 
hears  the  echo  of  their  scornful  laughter»  Limply  he  turna  away 

ffrom  the  music- stand.   Perhaps  they  are  right*  Perhaps  he  is  no 

I 

^more  than  a  helpleas  little  fool»«« •••• •• 

Sleep  heals  many  wounds«  The  next  morning  finds  Micah 

in  much  better  spirits«  \Vhen  he  wakes  up,  he  turns  on  the  radio* 

While  dressing,  he  hears  fragments  of  an  early  morning  radio  talk 

by  theVoice  of  Mental  Health^-—  Dr.  Frank  T*  Bainbrldge« 

»•What,  my  friends,  is  the  secret  of  success?   It  is  falthl 

Paith  in  yourselfl   Paith  in  :..our  abilityl   Paith  in  your  power  over 

menl  Nobody  will  ever  think  more  of  you  than  you  think  of  yourself • 

Remember  thatl  Ind  that  self-conf idence  is  conftagious«  People  feel 

it  in  the  directness  of  your  glance,  in  the  strength  of  your  band- 

shake,  in  the  erectness  of  your  carriage,  in  the  steadiness  and 

authority  of  your  voice«  And  sensing  the  f ai  th  you  have  in  yourself^ 

IxUüi  they  likewise  come  to  have  frf.  th  in  you«  All  of  us,  my  friends j 

have  latent  powers,  uritapped  resourees,  vast  reservoirs  of  creative 

force  that  lie  waiting  to  answer  the  call  o^he  ego#  We  must  learn 

I  the  vital  secret  of  how  to  unleash  these  floods  of  God-given  energy« 

Faith,  as  I  have  said,  is  essential«  But  faith  alone  is  not  enough* 

There  must  also  be  courage  courage,  will  power  and  concentretion 

of  purpose«  We  must  live  to-day  as  though  there  were  no  to-morrowt 

The  best  insurance  for  the  future  is  the  eventfulneas  of  the  present» 

-10- 


i 
i 


i 


4 


l 


tmmttw^mm^!' 


him-'i 


Make   every  minute  countl     Rise  from  you  r   slumberm^my  friends^  Rise  up, 

IrISE  UP   —  AND  —   LIVEUr 

Micah  takes   a  deep  breath  and  wlth  a  quickened  step   leaves 


etr   work# 


m 


That  evenlng,  on  his  way  to  the  claas  in  orchestral 
conductlng,  he  atops  at  the  libBary  to  procure  the  score  of  the 


Pranck  symphony*  For  he  is  determined  to  learn  his  part  perfectly 

'   in  advance  of  the  next  reheaasal« 

il  Strange 

^*  The  class  in  conducting  presents  a  rather/«XKt±B  picture« 

Sixteen  persons  intensely  busy  conducting  at  the  same  tlme  the  same 

absent  orchestra  in  a  Performance  that  occured  many  months  befcre 

and  heard  now  by  means  66   phonographic  recordation«  They  look,  at 

one  minute,  llke  a  galaxy  of  rival  magicians  wielding  their  wends, 

at  the  next,  like  a  troupe  of  precislon  dancers  doing  an  eccentric 

number  on  the  subject  of  band  leaders#  Micah  is  the  smallest  member 

of  the  claas and  the  most  energetic#  He  looks  radiant*  For  he  is 

learning  the  craft  of  the  distinguished  profession  to  which  he  aspirss* 

Next  morning,  while  shaving,  Micah  listens  to  part  of 

another  success  lecture  by  Dr»  Bainbridge«   "Will-power,  my  ^rielids, 

Is  the  Toscanlni  of  the  Human  Personality,  integrating  and  unifying 

many  diverse  forces  and  Impulses,  directing  their  courses  and  driv- 

ing  them  to  effective  action#  "  Micah  silently  nods  approval  — 

and  leaves  for  work#  At  the  Office  he  hears  rumors  ±ksjk  tojfcthe  eff®t 

that  Shlimmer  kkA   Jr,  intands  to  reorganij.e  the  bookkeeping  depart- 

mentx  along  modern  lines#  ^ut  fear  has  often  kept  Micah  from  really 

hearing  and  readbdtlng  to  alarming  talk#  He  betrays  but  small  concern 

over  the  rumors  which,  if  true,  would  mean  the  loss  of  his  means  of 

-11- 


I 


( 


'¥ 


"V, 


4 


symphony. 


the 


llvellhood« 

tn  due  course,  the  evenlng  of  the  next  ordhestra  rehearsal 

srrlvea.  All  week  Micah  has  practiced  faithfully  for  wlmt  he  expecta 
to  be  a  memorable  event.  And  now  he  has  hia  halr  cut  and  puts  on  a 
•new  Shirt  for  the  occaaion.  He  reachea  the  meeting-place  earlier 
'*than  U3ual  and  spenda  some  minutea  in  cr-refully  tuning  hla  Instrument 
for  the  important  part  which  it  ia  to  have  in  the  playing  of  the 

qihe  boys  arrive«  The  rehearsal  is  about  to  start» 

While  M^cah  ia  receiving  a  few  prellminary  inatructiona  from  the 

dlrector,  one  of  the  prankstera  steals  up  behind  Mm  and  turna 

pega  0«  |he  double-baaa,  so  that  all  the  strings  are  loosened  and  the 

inatrument  ia  woefully  out  of  tune The  big  moment  is  here, 

The  playing  of  the  Cesar  Pranck  symphony  begins.  Mlcah  enters  with   ^ 
the  «celll  on  the  first  down  beat.  What  he  produces  is  utterly        / 
unrecognizable.  The  conductor  stops  the  orchestra  and  reprlmands 
hlm  severely.  MicÄ  tries  to  explain.  What  the  conductor  wants  ia 
not  explanation  but  mual».   The  doable-bass  is«.  retuned  and  the 
rehearsal  proceeds  aatiafactorily.  But  Micah' a  heart  is  no*x±iix±l 
longer  in  the  proceedings.  He  feels  crushed.  And  when  the  rehearsal 
is  over,  he  teils  the  boys  thft  he  will  not  play  in  the  orchestra  any 


i 


% 


!iiore» 


They  asaure  Ulm  that  no  härm  was  intended;  that  It  waa  all 


3u3t  a  bit  of  fun?.  They  promlae  that  no  further  pranks  will  be  played 
on  hün.  ApoloGles  are  offered  and  flnally  accepted.  Micah  agreea  to 

be  present  at  the  next  rehearsal» 

Sunday  morning  he  spends,  as  usual,  in  his  room  alfUhe 
Majestic".  WhUe  he  is  practicing  his  part  in  the  symphony,  there 

is  a  knock  on  the  door.  "Come  lixl"  The  door  opens.  Priedl  enters 

-12- 


i 


*   1*   *«   »   «   M 


l* 


I 


With  broom,  cleanins  rags  and  freah  linen.  She  speaks  with  an 
Ingratiatlng  Viennese  accent.   "Can  I  make  the  room  now,  please, 

or  shall  I  come  later?" 

Micah  is  fluatered.   "Well  —  I  —  I  gueaa  later'll  be 
l)etter.  You  aee  -  I  -  "  She  atarta  to  ieave.   "No,  wait  --  I  -- 
^ou(d  better  do  it  now*   I  may  not  be  home  after  —  I  mean  —  . 

^Bhe  smiles» 

"Well,  I  have,  you  know,  a  pass  key*2  Micah  takes  up  hi3 

iow  and  double-bass  and  tries  to  steady  himaelf • 

"Oh,  that'3  all  right",  he  assures  her;  "you  can  use  it 
now/'   He  resumes  practice.   And  Fr ie dl  starts  making  the  bed*  He 
glances  at  her  out  of  the  corner  of  hia  eye*   She  has  a  kind  of 
tenderly  caressing  way  of  smoothing  out  the  folda  in  the  bedding  u 
w-  th  her  dainty  hands  as  she  puts  the  final  touches  on  the  bed*  He 
must  say  aomethirig.   "Doea  my  -  uh  -  my  practicing  diaturb  you?" 

"Ach,  no,  air,  —  the  oppoalte*   I  love  Franck'a  muaic*" 
He  ia  atartled  by  her  re Cognition  of  the  aymphony* 

"You  —  do?" 

"Yah."   He  ia  excited*   He  playa  faater  and  faster •  She 
ia  ar ranging  the  freah  towela  on  the  rack*   She  catchea  hia  eye* 
"lan't  4t  a  ~  a  little  quftck  aa  you  play  it?" 

"Oh  -•  "öh  ~  I  gueaa  it  ia*  Are  you  a  muaician?" 

"No*   My  father  ia*" 

"Here?" 

"No." 
"Oh,  I  aee"* 

"In  Vienna". 

"]h  Vianna??"    .13- 


"Yah.   He  plays  aecond  violin  a  long  time  in  the  Philharmonie? 

»»Oh say,  that's  wonderfulll" 

«Yah.   Not  30  wonderful.   They  are  very  poor#" 

"It  must  be  a  marvelous  place,  Vienna?" 

'•Yah,  it  is.   Por  tourists  with  Americ'.n  dollars"« 

"Oh,  I  --  see*\ 

"For  U3  It's  very  sad"»  She  looks  delicioualy  wistful« 

first 

"And  so  ifc*  (he  looka  at  her  directly  for  the/time  •  And  ahe 

is  touchingly  beautifuD^And  so  —  that's  why  you»re  here»^. 

"I  muat  go  now  --  excuse  me  please  for  aa^'ing  something"« 

He  is  transported*  "Oh  aurely"* 

"Good  morning"» 

"G  od  morning".   She  leaves»   Micto  feels  lighter  than  air. 
Impulaively  he  aeizea  the  double-bass  as  though  he  were  embracing  a 
girl*   It  is  heavy,  heir  d,  cold*  He  recovers»  He  reaumea  practice 
of  his  part  in  the  symphony» 

Priedl  is  not  without  her  little  trobles«  Halph,  the 
dapper  elevator  boy  of  "The  Majestic"  tliea  now  and  again  to  make 
up  to  her.   She  turns  him  away.   He  is  resentful.  He  has  the  impress- 
ion  that  hhe  believes  hersilf  t-o  good  for  him.  And  he  is  right. 

On  Tuesday  morning,  Micah  sneezes*   In  the  afternoon^he 

has  Chilis  and  many  aches  in  his  back  and  legs.  By  Wednesday 

morning  he  is  down  with  a  heavy  dose  of  flu.  He  is  obl.iged  to 

remain  5n  bed  for  several  days.  Pr5edl  brings  him  his  meals  and 

waits  on  him  generally»  The  spinstera  on  Micah' s  floor  eye  her 

entrances  and  exits  with  uneasiness.  Patient  and  chamber-maid 

-14- 


«if.inwOT"    '  - 


I 

1 


#< 

« 


I    J 


i 


come  to  know  more  about  each  other.  He  learna  that  ahe  ia  one  of 
the  countless  victims  of  the  tragedy  of  post-war  Vlenna  and  migrated 
to  thii  country  about  a  year  agoo  He  learns  that  she  has  had  a  very 
difficult  time  in  America*  He  learns,  moveover,  that  she  has  some 
richness  of  background  and  is  passionately  fond  of  music«  And  she  is 
made  aware  of  Micah's  solitude,  of  hls  druggery  at  ^e  firm  of  Shllmmer 
and  Shlne   and  his  great  aiibition  to  become  an  orchestral  conductor« 
He  is  deeply  drawn  to  her*  But  he  is  nearly  paralyzed  by  shyness. 
And  she  --  feels  a  sweet,  warm  friendliness  toward  him»  But  she 
maintains  an  approprlately  strict  reserve«  Her  intuitive  strategy 
dictates  it#  Her  Job  at  the  hotel  demands  it» 

Micah  recovers  from  the  flu  suff iciently  to  attend  the  next 
refiea  sal  of  the  orcheatra,  but  hä   is  still  somewhat  weak«  Maestro 
Pedrazzini  is  ill«   He  cannot  fee  present  to  conduct#   ^ne  of  the  boys 
rises  to  make  an  announcement  to  this  effect  and  asks  whether  any 
'member  of  ther  ordhestra  has  had  any  experience  in  directing#   Several 
.of  .the  boys  raise  their  hands,  Micah  timidly  among  them#  The  pranksters 
notice  his  offer»  They  insist,  as  though  to  dem  ns träte  their  refrrmed 
attitude  toward  hi»,  that  he  be  given  a  chance#  Micah,  recalling 
their  apology  and  proiAses,  is  ready  to  believe  that  they  now  mean 
well±  by  him#  The  serious  members  are  3om«iik4it  shocked  at  the  thought 
of  the  double-bass  player,  the  proverbial  low-brow  of  the  orchestra, 
conducting»  But  knowing  how  111  Micah  has  fared  at  the  hands  of  the 
llght-minded  odntingent^ey  consent»  Well  —  the  rehearsal  Starts^ 
with  Micah  at  the  direct^'s  desk»  For  the  first  few  minutes  all  goes 
well»  But  gradually  the  lurking  anobbishxwtt  resentment  of  the 
serious  players  conspires  with  the  irrepressible  maliciousness  of  the 

-15- 


u.-^.,.. 


I 


)ranksters#   Micah  gives  a  powerful  down-beat:— nothing  happens# 

The  boys  enter  on  the  following  count#  He  Indicates  with  great 

energy  a  powerful  fortisslmo: they  respond  with  a  piandsaimo 

that  is  little  more  than  a  collective  whiaper*   Tittering  ariaea 

throügh  the  orchestra»  He  calla  for  a  delicate  pianiasimo: they 

ans  wer  with  a  ahattering  bang#  '^he  whole  enaemble  bwrata  into 

laughter»  He  directa  a  grand  pause  : they  continue  to  play  with 

noisy  guato*  Helpleasly  Micfah  laya  down  the  baton*  At   once  mortified 

and  indignant,  he  goea  over  to  hia  double-baaa,  covera  it,  and 

putting  it  on  hia  back  --  leavea*  Thla  time  never  to  return«  He 

goes  home  with  a  z1s)cxx±iqsxji  devouring  aenae  of  defeat#  He  decidea, 

then  and  there^  that  something  aerioua  muat  tee  wrogg  with  him»  He 

recalla  the  radio  apeechea  of  Dr»  Bainbridge»  He  decidea  to  cohault 

that  very  wiae  and  atimulating  gentleman»  Next  morning  he  phonea  for 

an  appo in tment •  ün  the  evening  of  the  aaxne  day  he  comea  face  to  ik  ce 

with  the  Yoice  of  Kantal  Health  at  hia  office# 

\^K/)       --^T.   Bainbridge  ia  a  tall  and  he  vy-aet  man  of  about  forty- 

five«   Silken  gray  hair,  parted  in  the  middle,  aoftena  the  awejomenesa 

of  a  broad,  high  forehead«   His  voice,  naturally  deep^haa  been  highly 

poliahed  by  special  couraea  in  public  apeaking#   '^'he  glibneas  of  hia 

addresa  ia  deliberately  punctuated  by  charged  pauaea  to  lend  the 

cliche''s  which  he  employa  the  quality  of  deep  and  living  thought« 

He  greeta  hia  patienta  with  a  calculated  pierce  of  the  eye  and  a 

powerfully  tonic  handahake«   He  haa  aupplemented  a  aound  medical 

trainhg  with  innumerable  tricks  of  the  charlatan^  Hia  officea  are 

the  final  word  in  pretentioualy  moderniatic  aimpliclty«  Soothng 

softneas  of  color  and  light  and  a  cautioua  avoidance  of  anything 

-16- 


"^1 


ii-fcxl 


«uggestlng  the  clinical. 
^J^'O      /'^t  the  appointed  hour,  Micah  tlmidly  entera  the  aanctum 
of  3ucce33.  The  doctor  greeta  him  by  name  and  sets  hiia  at  ease. 

V 

"Sit  dov;n,  Mr.  Matthews,   (handlng  him  a  package  of 

Luckies)  Do  you  use  these? 

"Ohv  no,  thank  you.  "  (The  doctor  does  and  lights  one 
as  though  tu  enhance  the  ntaauoi  oomfortingly  infomal  quality 

™of  the  atraosphere») 

M  "Mr.  Matthews,  you  have,  if  I  may  say  so,  the  look  and 

bearing  of  a  worried  man.   \Vhat  can  I  do  for  y«u?" 

"well,  doctor,  you  see  -  I  -  uh  -  I  don't  know  just  how  - 

j   I  -  uh  •  I  don't  aeem  to  -  tfli  — 

"Yes,  I  think  I  undar stand  quite  perfectly,  Mr.  Matthews, 
You  are  a  victlm  of  frustmation.  That  is  the  troaUlel  Somwwhere  in 
youp  psychic  history  there  have  been  set  up  certaln  blocks  -  blocks 
against  the  outflow  of  energy,  blocks  against  affective  action.  Isn't 


that  so?*Ä 


Micah  looks  at  him  humbly  with  amazed  admiration.     "Yes, 


doctor,    that' 3   so." 

4-',-.;/  "Thafs   just  what   I  thought.     Now  teil  me,   Mr.  MAtthews, 

T  what  is  your  occupation?'' 


n 


V  « 


I l«m  a  bookkeeper» 


''Ah  30 1   That's  interesting*  lery  interestJngl   Very 


algnificant  indeedl" 

"la  it,  doctor?" 

«Yes,  Indeed»  Youji  see,  my  friend,  you 

-17- 


--  you  deal  in 


*'!, 


\.,^ 


^A 


v.V 


d 


marriedt 

«NO,   doctor.     I  -  l'^  -^o^^«"  . 

«Preciselyl     But  .-  you'd  ll.e  to  be,     Isn- 1   that    so. 

«well  -  I  -  «h  -  yes,  I  suess  so .  But  -  uh  -  ho«  -  uh  - 

\YQ^N  did  you  know,  doctor? 

I,u,t  ,aa.,  or  axparianoa,  .,  S»»*  r.l.nd.     Knte,i^  deepl. 

into  t^  Uvea  ot  thouaanda  of  paople.     Thaf  3  all." 


41 


"Oh  I  aee"» 


V  rrnu   tMs  J  Do  you  have  any  avocation?  Any 
"How  let  me  aak  you  tnia.  i^   j 

real  Intereat  outaide  your  werkt 

"Oh,  yesl     Muslcl" 

^.      *.-.,^i   winAl     What   Instrument  do  you 
"well  --   indeedV     That's  finel  Plnel     waaTi 


play?" 


j    „«.^v.   «      (fhere  ia   an  ominous 
«I  play  -  the  double-bass,   doctor.        Uhere 


sllence«) 

"The  doub le  BASS???     Reallyn?ft 

"YThy  -  uh  -  yes." 

v.^»     TVila   Is  extremely  important, 
"WHELLl      That   ia  a  discoveryl      Thls   is  ex 

.  .  iin«     ExtremelyU  New  weTe  really  getting  down  to   things. 


doctor?" 


«IS  -  uh  .  is  there   anything  bad  about  the  double-bass, 

«Ko  -  that  is,  not  about  the  double-bass  itself.     Bu^  - 

it  -  that  is  of   tremendoua   ImportanceU" 


your   Involvement  with 

"But  I  —  I  oniy  ""■■■  '" 

«Dont  you  see,  Micah,  «hat  yo 

-18- 


utve  been  doing  all  this  time. 


9« 


•...-«Ui 


\.4;r^ 


i 


"Why,   you've  been  using  that    Instrument  as  a  defense 
apparatua*     Youve  been  hiding  behind  the  bigness   of  the  double- 
bass»     That 's  what  youWe  been  doing"» 

'»Oh,   nol    --  No^   doctor,    I  haveNSt  ever  hld  behind  it# 

No,   really  doctor»** 

"Oh,   not   llterally  of  course.  But  psycho Idgically  you  havel 
YouE  see,   what  you've  been  doiig,  my  boy,    is   to   take  on  to    your- 
self  the  bigness,    the   impressiveness,    the   importance  of   the    inst»iuiieiit, 
so   that    you  too   could  feel  big  and  impressive  and   importaat* 

»»But  --  the  double-bass  —   It'a   —   it's  not  really  so  very 

Impor'tant»      It's   just   — ** 

•»That's  very  true,   Mlcah*  But  you  act  as   thougji  it  v^ere,    so 

that  you  might  feel   ijnportant   too«" 

"Oh,  no,   doctor   —  no,   really,    —   I  ^  ^Yhy,    I  wouldn't  do  a 


/ 


thftg  llke   that". 

"Well  —  not  conacloualy  of  courae.  It's  your  aubconacioua 

that'a  been  dojng  it"» 
"My  —  uh  — ?" 
"Subconsclousl   üh,  it'a  nothjng  to  worry  about,  I  aaaure  you» 

WE'll  come  back  to  that  in  a  moment," 

"Well,  I  know,  thoi;gh,  —  but  If  -- 

"Now  what    I  want   to    ask  next   Is    tli  s,   Mlcah, Do   you 

dream?      Do   you  engage   in  day-dreaming?    " 

Micah  is   obvi  usly  embarrassed*      "Well 

"Oh,    there's  nothing  to  be   ashamed  of» 
What   do   you  dream  about,    Micah? 


-   I   -   uh  -" 
We  all  do    itl 


"Oh  -  v:ell   -   I   -   uh  -     " 

-19- 


"PERhaps   I  can  help  you.  Do   you  dream  of   things   yuu  want   to 

want 
have?      Do  you  dream  df  thJngs  you/to  BE??" 

Micah  brightens.      ^'Oh,   yes    --  jesU"       /' 
"And  do   you  have   sorae  big,    glpwing  aapiration?!^ 
SYes»      I  --   I  wai  t   to   be   an  orchestra  leaderl 

"Ah,    indeedl  Well  now,    that's   aplendidl      Jazz  or--" 
(Micah  visibly  shAtnks  at   the   Suggestion)    "or  symphony?"      (Micah  nods 
"Ah,   yes,    — symphonyt  That's  what   I   imagined«     Well,   Micah,    this    is 
all  very,   very  helpful^     Extremely  illuminatinglU 

"Illuminating?" 
"Why,   yes,  my  boyl      The  wh:>  le   picture   is   quite   clear   nöw» 

And  precisely  as   ^  anticipatedl 

"Really???" 

"Exactly...#  Look  nowll     You* want  to  be   a  great  musician» 
That's  the  major  dream  of  yoa  r   life#     But  you  donot  merely  want   to  be 
a  musician  — -  you  w^nt   to  be   a  great  leader   of  men  in  musica   Isn't 
that   so,   Micah?" 


) 


'Yes,   yesl 


tt 


"And  what  have  you  been  dojng?     Youve  been  keeping  about  as 
far  away  from  th*     as  poasible.     You've    just  beon  thlnking  about   it— 
preparinp,  for   it   —    in  other  wo  rda,  playing  safell   Thinkh  g  and 
preparing  doi  '  t   take   any  couragel     They  doa»  t   iivolve  any  riakso 

And  meanwhile  you've  been  hiding   like   a  frightened  boy  behh  d  the 

Or 

wooden  skirts  of  to^^"  double-bass«     «fe^staiding  next   to    it^to   let   it 

/ 

act  bife  fop  you#     Isn' t  thfit    ao?" 

"Well  --   I  --"  / 

"Certainly   it   is^/Now/what  youve  got  to   do   now   is    to  head 


1 


„-^ 


ltx>r-,jlMi 


^r^w^"n.*^''«'"«  "  *w^ 


V 


straight  for  your  goal«   Stralghts  you  underatandV   Straight  and 

unafraidl   YoU  can't  falll   There  is  no  such  word  as  fall#   It  is 

employed 
only  a  nonsense  syllable  JbaaudoBft/by  spineless  people«  There  is  only 

the  word  LJPK»  And  L^fe  is  not  only  a  word;  it  is  a  throbttng  reality» 

Life 
Life  is  synonymous  wL  th  Success»  itflS  Successl"  (Micah  is  blossoming 

---and  perspiring«  Tftedoctor  pauses  for  a  moment  and  then  resumesj) 

"There  must  be  no  compromise,  Micah«  No  half  meaauresl  No  concessions 

to  fearl  The  double-bass  is  the  biggest  compromiseo  Thd  'Cello 

would  be  next  biggest«  And  Ar  you,  my  friend,  even  the  glrricus 

violin  itself  would  be  a  compromise»  YouJ  Micah,  must  head  straight 

for  the  slender,  strong,  vibrant  glory  of  the  Batonl  "  (Micah  rises 

your 
out  of  his  seat).  You  must  seize  hold  of  it«  Yqu  must  make  it  tia/ 

obedient  slave«  You  must  wield  it  as  a  sceptre  and  a  swordlll  A 

sceptre  to  rule  the  orchestra,  and  a  sword  to  ccn  quer  the  heatotis 

of  the  millions  who  love  and  need  and  want  great  musicl"  (The  doctor 

stops  for  braeath  and  mops  his  brow»  Micah  is  pacing  the  floor  with 

excitement.)   "And  the  double-bass I  would  not  advise  you  to 

abandon  it«  No,  Indeedl  That  would  be  rank  escape«  You  must  sit  on 

top  of  it  just  as  you  must  sit  on  top  of  the  rest  of  the  world«  I 

h&r  e   not  been  readihg  your  sonlÄ  for  nothingÄx,  Micah"« 

L"Oh,  no,  nol   Certainly  not,  doctor l"  (Micah  reaches 


for  his  check  book#  He  has  misunderstood«) 

"I  know  your  soul,  Micah«  I  know  it«  You  have  gr®  t 

latent  power  in  you,  my  boy.   Power  —  Jöa*  and  Imagination  and  ecstacy 

--all  just  waiting  to  do  your  bidding«  You  must  centralize  your 

energies«  You  must  concentrate  all  of  your  time,  your  thought,  your 

ßreat 

your  geeling,  your  strength  upon  ONS  THING  : Becoming  alS/Orches^Jral 

-21- 


.^^A 


'^■.  ■  V;^-^.- 


if  ifiWiiiiiiriniBiiiwur^    •■  •  • 


Conducton  Nothins  eise  is  Imoortant.  Nothing  must  be  allo.ed  to 
mterfereV  You  must  become  a  seething,  compact, ,indivi3ible  unit 
of  dominant,  driving  WILL  to  POJ^IU  "  (Micah  seea  aymphony 
orcestras  sprouting  all  over  the  place.  Sees  in  presto  succession 
a-bundred  Views  of  himself  cond.cting.  He  «eela  on  top  of  his  double, 
.ass,  on  top  of  himself,  on  top  .f  the  doctor,  on  top  of  Shlimmer  «.d 

Shlne,  on  top  of  the  WORLD.^ 

'  ^i^KnA   now,  Mlcah,  that  is  all  for  the  present.  Come  to  see 

me  again  next  week.S 

«Oh,  doctor  -  I  «  I  -  I  can't  say  anything  -I  **  Please 

doctor,  how  much  do  I  owe  you  for  all  this? 

"Don«t  worry  about  that  now,  my  boy.  My  secretary  will 


« And  she  will Micah  leaves 

He  is  also  think- 


send  you  a  bill  in  due  course. 

in  a  buoyant  mood.  He  is  thinking  of  ^is  future 

ing  of  Priedl  as  part  of  that  future, 

Sunday  a**lves.  Micah  is  still  in  high  spirits.  The 

mornmg^e  spende  as  usual  in  his  room.  But  instead  of  practicing 

on  his  double-bass,  he  is  putting  the  huge  initrument  to  romantically 
symbolic  use.  He  affectionately  drapes  his  silk  scarf  around  its 
neck  and  over  its  Shoulder..  And  then  he  leans  toward  it  with 
tenderly  ainorous  gestures.  While  he  is  abs.-rped  in  tH  s  lovi  ng 
Pantomime,  there  is  a  knock  on  the  door.  Absently  he  answers  "Come«. 
But  when  the  door  opens  and  Friedl,  entering  with  broom  and  llnens, 
discovers  him  in  this  dumb-show  of  the  heart,  he  is  greatly  embarrasse^ 
Priedl  aMost  sings  her  greeting  for  purpose  of  Insinuation.  "Good 


morning,   Mr.   Matthews''« 

»•Oh,    -  uh  -  uh 


-  good  mornng,   Friedl.   I  was   just-- 
-22- 


« 


^  ä 


«        "Would  ybu  like  that  I  should  come  back  later? 

«Oh,  no,  nol"   I  waan't  practicing,  realll.  No,  I  wasn't 

practicing." 

"Not  —  laualc«" 

«^•mat  —  uh  -  no,  tha-  that's  what  I  mean." 
JtPrlddl  eyes  the  draped  double-baas  amlllngly.   "la  -  is  she  nicer 

than  she  looks?" 

"Who?  Oh  -  huh  huh-  oh  yes.  Yeal  Huh  huh  huh  huh  -" 
«Huh  hüh  huh  huh  huhUl"  (  Thsy  huh  huh  huh  together). 
Priedl  ventures  another  queatlon:   She  -  She'a  a  llttle  Venua  de  Milo?" 

"How  lÄ  that?" 
"No  arma  at  all". 

"öh  -  huh  huh  huh  »-"  He  la  beginnlng  to  enter  the  apirlt 
of  it.  »Yes  -Ha  ha  ha  -  yes  -  Wie,  she'a  worae.   She'a  only  got 
one  leg  too".  "And  It'a  not  much  of  one  either".  (He's  commencing 
to  be  qulte  proud  of  hia  ahow  of  wit.) 

"Well  .-  what  I  don't  like  of  her  -  ia  her  voice.   It's 

too  deep.  Kot  feminine,  you  know. 

"And  -  and  -  ahe'a  very  ahy,  you  know.  Her  bowls  ttie  only 

one  cen  nake  her^  apesk  • 

"Did  -  did  ahe  Itke  what  you  were  ipeaking  to  her?"  (Priedl 

aweeps  aa  ahe  talka.) 

"Oh,    I  wasM't   aaying  much.     No.      I  waa    juat   —   juat 
inviting  her   to  go   to    a  concert  with  me   to-night,  you  aee.     I  - 

I  know  ahe  likea  muaio." 

"Did  abe'accept?"  (Priedl  atarta  making  the  bed.) 

-23- 


^_.,.,v- 


m 


4 


f 


ji        '*Would  ybu  like  that  I  ahould  come  back  later?" 

»♦Oh,  no,  nol"   I  wasn't  practicing,  really>   Noi  I  wasn't 

practicing." 

"Not  —  luuaic»" 

*^\Vhat   --  uh  -  no,    tha-   that's  what    I  mean." 
XPriädl  eyes   the  draped  double-baas   smilingly.      "la   -   is    she   nicer 

than  she   looks?** 

"Who?   Oh  -  huh  huh-  oh  yes.  Yeal   Huh  huh  huh  huh  --" 

»♦Huh  huh  huh  huh  huhUl"  (  Thay  huh  huh  huh  together). 
Priedl  ventures  another  question:   She  -  She's  a  little  Venus  de  Milo?'* 

"How  IIa  that?" 

"No  arms  at  all"» 

"öh  --  huh  huh  huh  ^^^   He  Is  beginning  to  enter  the  spirit 
of  it»  "Yes  --Ha  ha  ha  -  yes  —  hhe,   she's  worse«   She's  only  got 
one  leg  too"#  "And  It's  not  much  of  one  either"«  (He 's  commencing 
to  be  quite  proud^  of  his  show  of  wit.) 

"\Yell  ^—  what  I  don't  like  of  her  --  is  her  voice«   It's 
too  deep.  Not  feminine,  you  know«" 

"And  -  and  -  she's  very  shy,  you  know.  Her  bowss  the  only 

one  cen  make  herv.3pe9k"» 

"Did  -  did  she  like  what  you  were  lipeaklng  to  her?"  (Priedl 

sweeps  as  she  talks») 

"Oh,    I  wasÄ't   saying  much»     No#      I  was   just   —   just 
inviting  her   to   go    to    a   concert  with  me   to-night^  you   see*      I  - 
1  know  she   likes  music»'* 

"Did  she  accept?"   (Priedl   starts  making  the  bed.) 

-23- 


\ ^.- 


:)    - 


"Mo    —   she   couldH't". 

"But  why"? 

"Well  —  you  see   -   it's   a  proraenade   concert    in  the  Park  - 

and  -  and  she's   only  got   one   leg  and  ifs  wooden  at   that."   (Micah 
glancea  v»lth  shy  tenderness   at  Priedl's  ahapely  lega.)      "Would  - 

would  XOE  -^^^®  ^°   S^'" 

"Well  —  I  don't  llke  being  the  aecond  cholce". 

i.    -«oiiiri  wn'--  Sav/  didn' t  I  know  she 
"Oh»  youre  not,  -  reallyv  wo. —  öay»  uj-vui 

has  only  a  little  stump  of  a  leg?T   I  -  I  Just  did  it  as  a  courtesy." 

«But  maybe  you  do  the  same  with  me."  (He  drops  all 

Ha  looks  at  her  for  a  m  ment  with  almost  pathetic 
facetiouaneas.  üe  J-oottb  at  uo^ 

longing.  He  walka  toward  her  and  takea  her  hand.) 

"I  forgot  the  plllow  casea".  She  runa  out.  But  aa  she 
cloaea  the  door  behlnd  her:   "But  I'll  go  to  ttie  concert." 

Mich  leaps  for  joy.  He  takea  up  his  knittlng-needle; 
turna  on  the  radlo  to  aome  very  romantic  muaic  and  starta  conducting 
with  amoroualy  persuasive  geaturea  -  all  in  a  pitch  of  high  paaaionl 

And  nov,  it  la  Sunday  night.  Micbh  and  Priedl  go  to  the 
Promenade  Concert  in  the  Park.  The  warmth  of  the  clear  night  la 
quickened  by  a  gentle  breeze.  The  gardena  of  the  Park  are  lumin«  a, 
magically  luminoua  with  ihe  silver  aoft  light  of  an  opal  moon.   It  is 
a  scene  that  murmftra  of  love.  And  it  is  corroborated  earneatly^  If 
leaden-hoofedly,  by  the  music  of  the  band.  Micah  and  Friedl  are 
aittlng  quietly  on  the  graaa  under  a  benign  and  grandfatherly  oak 
tree.  Tw«  lonely  little  persona^  finding  aurceaae  of  lonelineaa 
i  through  an  awakening  aense  of  each  othe^  under  the  careasing  beauty 
!  of  a  moon  that  mlght  be  expected  to  be  far  more.blase^  over  her 

f.) 

-24- 


V, 


....-^ 


consistent  effect   on  mortals  of  the   earth.     Priedl  welc  mes  the 
nostalgia  awakened  b,  the  Vlennese  music  performed.     For  now  there 
,.  ao^aone  near   to  answer   tanderly,    though  shyly  and  inartioulately. 


the 


the  cry  of  her  heart.  And  Micah,  for  all  his  newly  to«-  found 
assurance,  is  a  very  model  of  retioence,  no.  th*  Friedl  is  close 
to  hün  in  the  public  privacy  of  their  evening  together. 

Bernard  Shaw  was  right.  Woman  proposes.  Man  thlnks  he  does. 
Priedl,lyins  softly  on  the  grass/ooks  up  at  Micah  with  that  irresist- 
ably  deep,  warm,  silent  call  that  sixty  centuries  of  female  strategy 
Mve  moulded.  He  gropes  towax.!  the  assurance  that  will  safe.uard  hls 
.ale  ego  from  a  sense  of  blind  obedi  nee.  As  he  leans  over  her,  a 
strange,lyric  gracd  in^orxns  his  otherwise  gauche  body.  He  f^h. 
soft  warmth  of  her  red  mouth  —  and  klsses  her.  Hls  haüd^^ÄT- 
warm,  live  satin  rondure  of  her  breast.  Micah- 3  whole  world  is 
aflame.  He  lays  his  face  hungrily  on  her  ehest  below  the  finely 
curved  ^oulder.  Many  mirjtes  he  lies  there  silently,  and  sh.  strokes 
his  head.  Once  again  there  has  been  a  disoo  very  of  3ove  that  is  as 
cid  a.  life  and  as  young  perenially  as  the  first  furtive  colors  of 

Spr  ing • 

Later,   as  Mlcah  and  Friedl,   band   in  hand,   are  Walking  thpough 

the  Park,   theyare  seen  by   the  Misses  Pritchard  and  Tietjen,    spinster 
guests  of-fhe  MajesticS     Class  consciouness  and  female   jealous»y 
conspire   in  theM.     They  are   ä.  ocked  and  indignant.     A  vi  rulent 
cattishness   is   the  result.     '^'hey  reach*tlB    hotel  long  before   the 

objects  of  their  wrath. 

"Whell-   I  must   say^-The  Majestic"  was   certainly  well 

represented  at   the  Prom  to-nxght.      Miss  i:'riLcnara 

-25- 


V. 


m      «ITT  rtAar«      Just   qulte  i^üiJ  ^ 

««ot  so  «eil.  ^  ^^^^  ^,3   ,w.er 

,      o*       Mlceh  Matthews  band  in  nana  w 

„idlj.     The  er.118ht.ned  6"""  -»  'i«"* 

„„  choice  mor=.l  of  do»e,tic  dlrt.  ^^^^  ^^^  ^^ 

„l»eh  «d  Frledl  tlnaUj  re.oh  the  to 

lt.  th,  hase»,nt.     A,  the,  et»>d  there  chattlng 
the  door  other  roo«  ih  "»e  hae  a,termlned 

X.     R-.^r.v^     iHho,    consumed  with  envy  ^i^ 
eoftX,,   the,  a,e  aeen  hy  '''^'»"  *^  ^^  ^^,  p.op.leto.  to 

t„  „...  trouhle,    ln.e.t,   eo.e  pr.text  1»  ^^^^ 

80  d»™  to  the  haeement  at  onc.  P'  ^^ 

the  part  of  the  hallway  where  the  two 

.r,ri  kiaainR  each  other  good-n'ght, 
loclced  in  embrace  and  klssing  proprietor's  offioe. 

»e.t  morn^ng,   Priedl  is  called  to    the  Prop 

Sh.   .   toXd  that  »   13   3t.Utl,  asa^-  f     ^l,^.,^.,  ..h 

— ■  -  ""^";;°        rr»   ee.pU  0.  sueeta  -Itneaeed  .hat 
,„e.t3  .  the  °-   -       -J^;^„^  ,^„   _,.,,„,    .hat  he  hl«self 

— *  ""  "^**  "           Jin  »  the  hauwa,  oS  the  h.„«e,»  and 
e„  .hat  happened  '»"^  ^J^  "^^   ^^^  ^^^_,.„.„  he  ha3   no 
.„  sheced  he^ond  ,c.d„  that  und.  ^^^^^  ^^  ^^^ 

Choic.  hut  to  dlepenee  .Ith  her   eervloe,...  ^^ 

..,.       h.lf.amlle  ot  mature  underetandlns.     "" 
presecutor  .Ith  .  half-smll.  ^^_     ^^^ 

etter  a  Single  .ord  In  r.ply.     3he  lmo,a   It  .ould 

^4      v..^o  box*      She  movea    into   Tine 
leaves   -  with  a  note  for  Micah  In  hls  box. 

,    ,        ,,rls   -  THE  EVANGELINE.     ^len  Micah 
Salvation  Amy  hotel  for   girls 

-26- 


,j^:J--^^ 


-'W 


*  « 


TT 
I 


eturns  home   from  work   that   evening,   he   learns  what   has   transpired* 
He  i3   incensedt      He  packs  his  belongings   at   oncet  pays   bis  bilj  and 

moveif  to  another   llttle  hotel  nearby*     Later,   he  goes    to   see  Friedig 

as 
They  take  a  walk  together*     And/they  walk,    they  talk*  The   lingering 

effects  of  Dr«   Balnbrldge'a   treatment  coupled  with  the   excitement 
produced  by  recdnt  events   now  give  a  directness,    a  force,   a  conciseness 
to  Micah's  utterance  never  manifested  before* 

<;/^Priedl,  we're  getli  ng  married,   you  and  meo     Right  away« 
That   is,    In  a  couple  of  days*      It   takes   two   days   for   Notice  of 
Intention,    you  know." 

"ßut  Micah  —  •• 

"Now  Priedl,    there's  no   use   in  making  thinga   difficult  with 
argumenta*     We   love  each  other#     ^ou  do   love  me,   don't  you? 

Friedl  answor  s    in  a  soberly  quiet   tone«   "Yah  -   I  -   I  thlnk 

I  de,   Micah"* 

»«Well and   I'm  crazy  about  you*   So   all  that    is   left   ia   to 

get  ci   licdnse  and  a  room  for   two#" 

"But  Micah  -  we   -  we  hardly  know  each  other"»  /\ 


"And   I  guesa  you  think  we'll  get  better  acquainted  ataying 


apart"* 


"Nah  -   that   Isn't   it  --  You  have  you  r   career    in  frott  of 


you  -  and  nothing  muat  be    in  the  way*     You  don't  make   ao  much,    and 

1  have  no   job  now  and  --" 

"And  who'a«   to  blame  for   that?     Mel   Micah  Matthewal"   There 


// 


is  aelf-reproach  tinged  with  pride*  The  man  who  lovea  a  glorioua 
girl  straight  out  of  her  jobl  Strdight  out  of  itll  And  —  about 
the  money  --  where   there' a  a  will  there 'a  a  way*     You're   ao   unprac- 

-27- 


,^.5af. 


-tical,  Friedl  —  Just  a  regulär  one  of  tYv  se  Vlenneae  dreamers  llke 
Schubert '•• 

Yah,  Yah,  liebchen,  —  you  —  you  want  to  maryy  from  duty^ 
That's  not  good,  Micah.   It's  never  good  —  never«" 

"Who's  talking  about  duty?  Not  mel  I  love  you,  Prledl» 
(with  an  agreeably  herolc  vlew  of  seif)  And  when  the  woman  I  love  Is 
without  a  Job  #♦»»  (Priedl  bursts  Into  an  affectlonately  delighted 
laugh) • 

"Ach,  Gott  --  Mlcah-  you  are  such  a  dear,  funny,  noble  boy^ 
Hls  chests  swells  with  pride  as  his  heart  melts  with  tender  longing. 

»♦You  like  me  a  little,  Priedl?"  (She  answers  with  the  crisp. 
ness  of  coquetry)t 

"Yah  --  a  littlel"   (He  envelopes  her  in  a  passi-nate 
embrace And  the  world  dlacreetly  dlaappears,)" 


•»«%*«*« 


When  Mttcah  arrlves  at  the  office  next  morning,  he  finds  on 
his  desk  a  note  asklng  hlm  to  come  at  once  to  the  office  of  Shlimmer 
Jr.,  the  precocloua,  Harvarded  aon  of  the  old  drug  merchant,  Micah 
complles  at  once«  ^oung  Shlimmer  greeta  him  with  a  tone  of  condeacedd. 
inglytaat  hearty  graciousnöaa« 

■i 

"Oh  yes,  yes.  Come  in,  Matthews,  iome  in,  Sit  down,  pleaseH 
Micah  deacenda  with  timed  alow-motion  into  a  large,  leatherMl-covered 
am-chair;  facing  Shlimmer,  who  sita  in  an  even  larger  chair  behind 
an  impreaaive,  glaas-covered,  flat-top  j^mitgti  desk, 

"  New  Matthews,  what  I  wanted  to  Jraak  to  you  about  is  this-1' 

(he  pauaea  to  preaa  the  tobacco  more  tightly  into  the  bowl  of  hia 

Dunh.ill.  Mlcah,  in  this  scene  of  official  auaterity,  aeema  io    have 

-28- 


reverted  to  the  shy,  shrunken,  worried  llttle  man  of  earlier  day3# 

"You  have  been  with  us  now  for  --  let's  see  --  How  long  is 


it?" 


"I  guess  it's  -  about  seven  years  now,  Mr.  Shlimmer". 


"Seven  —  yes,  that's  about  what.I  thought.  That's  quite 
a  tlme,  Isn't  itT^CMicah  graciously  agreea»)  "Now  what  I  wanted  to 
aay,  Matthews,  is  tÄs :  you  see,  no  business  can  stand  still. *• 


still". 


"Oh,  no,  Mr#  Shlimmer,  «hat's  right.  It  -  it  can't  stand 

"If  it  doesn't  go  forward,  it  goes  backward".  (Micah 
pauses  thoughtfully....  He  is  somewhat  pleased  fdr  the  moment  with 
this  sharing  of  a  profound  generalization  with  him.) 

"Yes  —  I  --  I  see.  It  just  couldn't  go  from  -  uh  -  side  to 
side,  could  it?" 

"And  with  this  piain  truth  in  mind,  we  are  f  inding  it 
necessary  to  make  quite  a  number  of  drastic  changes  in  our  business". 

"Oh,  sure  --surely,  I  can  see  that". 

"We've  already  inaugurated  several  reforms  in  our  sääes 
division  and  in  the  retail  department". 

"Yes,  -  you  know  I  thought  I  noticed  something  was 
different,  Mr.  Shlimmer." 


"And  now,  Matthews,  now  we  are  about  to  reorganize  the 


Office." 


"Oh,  -  I  -  I  see." 


"Yes,  reorganize  it  thoroughly  and  completely.  I 
suppose  you  realize  what  that  means?" 

"Well  -  I  -  uh  -" 


-  I 


tt 


-29- 


i*^. 


"It  means,  Matthews,  the  hiring  of  C.P.A.'a  throughout  the 
Office •  And   that  means  that  from  now  on  we  shall  be  obllged  to  dispeaae 
with  your  Services •" 

••To  -  uh  --" 

"Dispense  with  your  Services,  Matthews,  —  to  let  you  gol" 
Micah  aeems  dazed«   "Would  you  --  would  you  please  say  it 
again,  Mr.  ghlimmer." 

"I  say,  we  are  constra'ned  to  let  you  out  —  to  --  uh  - 
discharge  you**«... 

"You  -  you  mean  —  discharge???" 

"Yes,  I»m  af»aid  I  do,  Matthews •   I'm  sorry,  old  man* 
You've  been  with  us  a  long  time  now.  But  growing  competition  demands 
that  we  — " 

"Mr.  Shlimmer,  you  -  you  mean  that  I'm  —  ISm  discharged? 
Ym  »re  not  Just  fooling  me  or  anything?" 

Shllmmer  is  perplexed.  "Of  course  not.  Why  shoa  Id  I  fool 
you?  You^re  released-with  one  month's  pay  and  a  letter  of  recommen- 
dation  to  whom  it  may  concern." 

"Then  —  It's  true  —  It's  really  -  trueJU" 
"Yes,  of  course,  of  coursel  And  it  takes  effect  -  at  once." 

"  At  XBMM   -  At  oncellU"  (He  looks  dazedly  at  Shlimmer  ~ 
and  then,  with  growing  excitement  of  dawning  illumination:)  "NOWll 
NOWUU  HOORAYIU  (He  Jumps  high  with  glee)  HOORAYUU  (He  runs 
over  to  the  amazed  Shlimmer  and  kisses  him  on  both  cheeks).  PREEU 
I'M  FREEUU  PREEim   At  last,  at  last,  I»m  PREEIUU" 

Shlimmer  stares  at  Micah  with  bewilderment  not  untouched 

by  hurt  pride.   "Well  —  Matthews,  if  that's  the  way  youtve  feit, 

-30- 


-  JinmjiWlP* 


^•..».v-^-^-.  ^£    . 


you  might  have  deprived  us  of  your  aervlcea  a  long  time  ago  • 
Nobody's  compelled  Jou  to  stay"» 

"Oh,  you  wouldn't  underatadd.*  You  oou  Idft't  understandlll 
(ecstatically)  A  man  must  wait  for  the  call  of  the  egol   He  must 
learn  to  --  to  unleash  the  floods  of  god-given  energyU   He  -  he 
must  have  faith  — -faith  andjLouragel  1 1  U  He  must  have  singlenesa 
ofpurpose  and  -—  and  — ".   (Shlimmer  is  appalled) 

"wail,  well  -  thä;  »s  quite  an  outburst.  If  youd've  put  so  me 
of  that  vital  spirit  into  the  drug  busineaa  you  might  have  goftten 
a  lot  further,  Matthews. '^ 

"Drug  busineaall  DRUG  bualnesaUl  That's  what  it  has  beenl 
Drugsed  with  drudgeryll  Drugged  with  fearll  Hiding  behind  a 
double-baaal  ^hat'a  what  I've  been  dolmgl  A  bookkeeper'a  ^encil 
inatead  of  a  BATONIU  But  nowl   NCWllll   I«m  freel  The  world  ia 
open-  Wide  openVU  The  road  ia  ha-'d  and  perlloua  —But  I'm  FREE  ««« 
FREEiUU 

Micah  leavea  the  Offices  of  Shlimmer  and  Sh5ne.  He  ruahea 
to  Priedl  to  teil  her  the  great  newa» 

"Priedl,  I'm  freel  PREEl  Do  you  hear???  PREElll 
»•Yah,  Yahl   Bu^hat  ia  it  then?   What  1^   It  ??? 

Well  —  (with  exultant  facetiousneaa)  ISM  —  HEREU 

And  my  job'a THEREl i l  WÄ're  dlvorcedUl 

"You  --  you  mean  —  you  --  you  gave  up  your  job????" 
"Well  —that  «3  the  effect  of  lt.  But  actually,  Fate  scored 
the  mualoal  worda  for  Shlimmer l" 

"fou  mean  —  you  mean you're  flred????" 

Mloah  haa  a  freah  burat^ranzled  diacovery,   "Tlat'a  itlil 

-31- 


iiMii        niiwi- 


Plredl     Piredllll      I  never  knew  what   the  word  meant  beforell      I*m 
firedUl     Plred  with  faith,   with  cou  rage,  with  freedomlU" 

^Aber.Micali  darling  —  are  yoü  crazy???     How  will  you  get 
along?     How  will  you  live???     And  -   and-  t)  -morrow  we   ahould  get 
marriedlU" 

••Yes,   yes,    Iknow,    I  —    (comiig  to)   Married????      (now  with 
tender  but  Impatient  finality)     Nol      No,   no,   Priedl«      Ifi'a   —   It'a 
different  nowl   Entirely  different,   Priedll     A  great   career  demanda 
great  aingleneaa  of  purpose,    tremendoua  concäntratlonl      It  requirea, 
Priedl,   complete  freedom  for  the  flow  of  vital  energiea,   you  aee«   It 
meana   the   aolitude,   the  vaat   lonelineaa  of   th9   creative   apirit«  No, 
Priedl,   we  muan't   thlnk  of  marriage  nowV     We  muan'  \»\\^ 

Priedl  haa  had  much  experience   in  the  mature   art  of  meeting 
jabaaabt±|:lll-fate  and  diaappointment«     A  aad  amile  creepa  over  her 
face«     Por  a  moment   ahe    ia   thoughtfully  ailent»     And  when  ahe   apeaka, 
it    ia   aa   though  ahe  heraelf  were   initiating  the   aentiment  expreased 
by  Micah#      "Yah,   Micah,  we  muan't»     We  muan't   think  at   all  of  marriage 

now«     We   ~  muatn't*      (She  pauaea   again)«     And how  wilj  YOU  live?" 

••Where  there^a   life   there'a  hope*     And  where   the   e^a  a  will 


the»  e*  3   a  way» 


tt 


"Yah,   Micah,    —  but  the  gDocer   —  he   knowa   theae  wiadoma 
already  too   —  •  Por  them  he  doean»  t  give  you  food»" 

''And  I  atill  have   a  couple  of  hundred  dollara    in  the  toank« 

And  thia thia   check  I  got   to-day  from  Shlimmer   —   thia   ia   for 

you,    to   tide  you  over,   Priedl. »• 

«No,   no,   Micahl    I   couldn't.  You'll  need  it.     All  of   it/ 

Micah  growa   imperloua   in  hia   newly-fonnd  effectiveneaa» 

-32- 


llBDIWi"-'"'""  •■  -  '■■■-*^— '  '-  ■- 


••Didn't  I  3ay  It's  for  youjj?  Priedl?"   (Then  he  becomea  guieter  as  he 
endorae^he  check»)   "Take  It,  glAase*"  She  does  so,  relishlng  his 
requirement  of  obedience#  And  as  ahe  fingers  the  check  thoughtfully, 
he  speaks  to  her  in  a  tone  of  mastered  tenderadss  and  cllnical  assur- 
ance*  "You  too  will  find  your  way,  Priedl»  You  must  be  brave  and 
hopeful«  The  world  awaita  you,  if  you  only  reach  out  and  make  it 
youra«  ^ 

"Yah but  I  don't  want  the  World*   It'a  a  Job  that  I  need*** 

"But  iaÄ't  the  greater  Included  in  the  leaaer?   Juat  have 
faith  in  youraelf,  Friedl.   Have  faith  in  both  of  ua.   You  can't  fail* 
V/hy  fail  isn't  ev,n   a  word  —  it's  juat  a  —  a  nonaenae  symbol.   Juat 
believe  in  ua,  Priedl.  And  --  when  I  havd  arrived,   when  I'm  donductor 


of  an  orcheatra,  you' 11  hear  from  me 
together"» 


And  üien  we'll  be  happy 


Priedl  reaponds  with  a  wiatfuljy  brave  reaignation.  "you 
will  do  very  good,  Micah.   I  know  it*  And  now  --  now  I  muat  go"* 
Micah  takes  her  hand«   There  is  in  hia  manner  a  atrange  quality  of 
tender  aloofneaa» 

»•Good-bye,  Micah". 

"öood-bye,  Priedl". 

Priedl  apenda  many  long,  weary  daya  in  job-hunting« 
Eventually  ahe  finda  employment  at  the  Prater,  a  Vienneae  reataurant, 
where  she  ia  valuable  both  aa  waitress  and  as  atmoaphere. 

Micah,  oblivioa a  of  practical  demands,  oblivioua,  in  fact, 

of  everyti  ing  but  hia  great  ambition,  apenda  daya  and  nighta  in  the 

atudy  of  orcheatral  acorea  and  in  the  practice  of  the  technlque  of 

-33- 


had 
conducting.  He  haa/photographs  made  of  hlmaelf  in  the  act  of  lead- 

Ing  an  orcheatra»  And  theae  replace  the  picturea  of  Toacanini  and 

Stokov/akl  on  the  wallfj  of  hia  Toom.     With  naive  aelf-conf Idence,  he 

offera  hia  aervicea  aa  orcheatral  director  to  varioua  achools  and 

Clubs«  All  the  offera  are  rejected.« . . • •  Micah  haa  momenta  of 


uncertainty  • 


-Jtifr-K-J^-Jc'J^'J^ 


Among  the  regulär  patrona   of  the  Prater  Restaurant  la 
Dr.  Stephen  Scott •   The  doctor  ia  a  highly  aucceaaful  internlat, 

gifted,  young,  handaome#  He  apent  aeveral  yeara  at  ti  e  medical 

school  of  the  üniveraity  of  Vlenna  and  is  intenaely  Vienna-hearted 
In  numeroua  directionat  To-day,  Friedl  waita  on  him  for  the  first 
tlme.   The  doctor' a  attention  ia  not  cdntered  primarily  either  on 
food  or  on  the  medical  Journal  which  liea  open  before  him  on  the 
table»   Friedl,  needless  to  af|^,  maintains  a  atrict  formality^ 
which  doea  lade  little  to  diminUüi  her  charm»  With  päd  in  hand. 


she  Cornea  to  the  doctor' a  table  to  take  hia  order« 

"Have  you  decided,  air?" 
•  •     "Yea,  I  think  I'll  have  lentil  aoup  and  a  Holatein 

achnitzel  on  the  regulär  luncheon*  You  are  Vienneae  aren't  you? 

•^Yea,  I  am*  And  what  vegetablea,  pleaae?" 
^Oh,  uh  -  beeta  and  peaa»,  I  think#  And  a  glasa  of 

Pilaner  too,  pleaae»  A  large  glaaa*  Have  you  been  away  from 

Vienna  long?" 

"About  eight  montha,  air.X  You  know  Vienna  too?" 
"Oh,  yea,  indeed#   ^  apent  nearly  ttiree  yeara  there  -- 


at  the  medical  achool." 


-34- 


iJ 


"Ach,  so."   (She  goes  Into  the  kitchen.  A  moment  later 

,   1    4-vo  iftntll  30UD  before  hlm,  he  gpzes 
she  returna.  And  as  she  laya  the  lentli  aoup 

at  her  with  ill-concealed  reliah.) 

«DO  you  like  it  here  In  America,  Fraulein?" 

"Yea,  —  and  no." 
"well  that,  I  ahould  say,  calla  for  an  explanation." 
"Yah,  but  there  ia  no  time,  alr.   I  am  aorry."   (She  goes 
back  into  the  kitchen.   In  a  few  minutes,  after  waiting  on  other 
patrona,  ahe  br.nga  in  the  Doct.r's  schnifel  and  lays  it  before  him. 

••You  are  charmin^,  fraulein*  • 

Priedl  ana^ers  «ith  a  trace  of  annoyance:  »you  diagnose 
faat,  Herr  Doctor.  Maybe  you  kno.  a  eure?"   (She  walka  a.ay). 
In  a  Short  while  MJo»  she  returna  to  hia  table. 

"For  dessert  you  will  have  pancake  or  Strudel,  pleaaet" 
«I  was  just  wondering  whether  by  any  Chance  I  knew  your 
family  in  Vienna.  May  I  aak  your  name,  Fraulein?" 

"My  family  didn- t  go  to  the  free  clinic,  Herr  Doctor". 
«Ko,  you  miaunderstand.   I  thought  that  perhaps  --" 
"Will  you  have  pancake  or  strudel,  please. 
"No  -  I  -  I  meant  --  your  name» 

"Thafs  not  on  the  menu,  Herr  Doctor.»   (He  laughs  dellghted. 
1  ).     "well  -  If  I  decide  on  Strudel,  may  I  know  your  name?" 

"Nuh  -  I'm  ao  eager  that  you  ahould  like  our  Strudel  that 

my  name  is  Frledl  Brückner." 

"That 's  a  cherming  name.  I'H  have  a  panctte,  Friedl." 
"That'a  not  fair".   "I  ahould  have  my  nan e  baWB. 
«I'm  afraid  ifs  too  late.   Ifs  part  of  my  mind  now." 

-35- 


"Nuh  -  I  guess  thet's  OJK." 

"Is  It?" 
"Yah  -  I  think  even  a  learned  doctor  can  afford  to  improve 

hls  mind  a  little."   (She  walks  away.  And  when  ahe  brli.ga  Ulm  the 

pancake,  she  diaappears  before  he  has  a  Chance  to  talk  to  her  agaln.) 

Mlcah  l3  still  withott  a  Job.  He  suddenly  realizes  that 
his  savings  have  dwindled  .ppreciably.  He  decides  th*  hls  chances 
for  employment  vvlll  be  better  If  he  joins  the  Musicians'  Union.  He 
takes  the  examin.tlon  given  by  the  Union  and  passes  it.   Payment  of 
the  admittance  fee  further  decreases  his  savings.  Many  days  pass. 
He  still  has  no  jbb.  He  becomes  seriously  worried. 

The  next  time  Dr.  Scott  comes  to  the  Prater  for  lunch, 
Friedl  is  obliged  to  wait  on  him  again.  He  feela  somewhat  emberrassed 
over  ./hat  transplred  at  their  previous  meetlng  and  is  eager  to 

conclliate  her. 

"Fräulein,  I'm  afrald  I  hurt  your  feelings  the  last  time 

I  was  here.  I  didn' t  mean  to.  I'm  sorry," 

"Oh,  no  —  it  doesn't  matter,  Herr  Doctor." 

"But  it  doesl   I'm  verj  sorry,  Fraulein,  »eallyl  I  didn't 

mean  any  härm. 

>'0f  course  not.  You  only  talked  so  free  -  because  I'm  a 

waltre33  here.  That's  all« 

»»Your  quite  wrong,  Fräulein.  Your  being  a  waitresa  had 

nothAg  whatever  to  do  with  lt." 

-36- 


jtPriedl  responds  with  quiet  sarcaam»  ^You  are  very 

democratic,  Herr  Doctor." 

''Now  you*re  being  unkind»   'Vhat  I  said  the  other  day  was 
just  my  clumsy  way  of  trying  to  be  funny*   I  —  l'should  really  very 
much  like  to  make  your  acquaintarice,  Fraulein« 

"What  for,  Herr  i^ocliljp?   You  are  a  physicians  And  I  -  I'Ä 
just  a  waitress  here*  You  would  like  maybe  to  see  a  little  more  how 
the  lower  classes  live?   Or  perhaps  to  see  how  the  Immigrant  makes  — 
how  do  you  call  it?  --adjustment  to  American  life?  *• 

''One 's  occupation  doesn't  mean  anything"» 

"Ach,  30 1   It's  only  the  good  heart  that  counts.'* 

"You're  an  unusually  lovely  pa'son,  Fräulein*   That's  evid- 
ent enoughs" 

"You  don't  know  me  at  all"* 

"^  should  terribly  much  like  to.X  I'd  be  so  happy  if  you'd 
take  dinner  with  me  on  «jp  your  next  free  evening*" 

"No,  -  I  can'tl   Thank  you,  Herr  Doctor#" 

"You  mean  —  you  won' tl 

"I  —  I  -" 

"I»m  really  not  in  the  habit  of  doing  this,  ycu  know*" 

"Nuhl  •-  Are  you  on  Wednesday  evening  free?" 

"Wednesday?  Yes*" 

» 

"Then  I  come"» 
"  That's  fine*" 

Micah  finally  gets  a  ptk   Union  Job»  He  is  engaged  to  play 

double-bass  in  the  dinner  orchestra  at  Huberman's  —  one  of  those 

-37- 


large  and  long-establlahed  fsiully  restaurants  where  aoup  is^abaorbed 
to  the  s>pain3  of  the  "BLUE  DANUBE"  and  potato  dumpllngs  fAnd  Iheip 
way  innardward  to  the  accompanlment  of  "Kammenol  Ostrow".  Needless 
to  say,  Micah  finde  thls  ocoupation  far  beneath  Ms  recently  inflated 
dignity.  And  it  must  be  conceded  that  playing  the  double-bass  in 
comr^onplace  pro.rams  of  dinner  music  ««ainst  the  hubbub  of  con^ersat- 
i.n  and  clatter  of  dlahes  is  hardly  calculated  to  insplre  one^almlng 
to  be«)me  a  director  of  sym^onic  orchestraa.  Still, Micah  ^^  grate- 
ful  for  the  Chance,  at  leaat,  of  eariing  the  minlmum  necessary  for 


subslstence« 


j^Ji^^^^^^ 


On  Wednesday  na  agreed,  Friedl  haa  dinner  with  Dr.  Scott. 
They  dine  excellently  at  a  amall  Prench  restaurant.  Later  they  take 
an  auto  ride  into  the  country.  The  doctor,  guided  by  Friedl« a 


spontaneous  friendliness 


She  is  at  ease©  ^hey 


Chat.*«*  long  and  agreeably  about  Vienna.  They  reca  11  happy  atrolla 
in  the  Wienerwald;  htghta  of  ne«  wine  and  old  aong  at  Heurigen; 
Breughela  at  the  Muaeum;  rare  drawinga  of  Duerer  and  Leor.ardo  at  the 
Albertina.  They  exchange  recollectiona  of  muaic  heard  and  plays 
Seen  (he,  however,  hav ing  seen  far  more  than  she).  They  recall 
all  the  bitter  tragd*yoof  latter-dey  Vienna:  ahe,  aa  ahe  experlenced 
It  in  the  circle  of  her  family  and  frienda;  he^ aa  he  witneaaed  it 
in  the  hoapitals  of  the  city.   It  ia  an  evening  de»**ed  to  re-livdng 
the  paat.  They  imagine  themselves  seeing,  hearlng,  dolng  many  thU  ga 
together  in  the  aadly  beautiful  old  city  that  ia  dying  alowly, 

p-racefully,  with  a  decqdent  reaignation. 

-38- 


.■\\A 


...^^ 


(  •     / 


«icsh  1,   troublad.     Sorely  f  oubled.     But  thls   ttae  h,  h., 
t..  dou.tf„l  =on,ol.tlon  of  not  .eins  alon.   In  hi,  dlfflcult,. 
Hund^eds  0.  othe.  »uslci.n,  ar,  in  th.  ,^.  Situation.  Th.ir  co^on 
en,»y   Is   a  ne.ly  organ..ad  eo.poratlon  .no«>  a,  Tala«.s.,   Ltd..     To 
.U  ^„t.la  and  raat.urant,  thl.  co:,,n7  offara   a  novel^.ar,  1« . 
oonalat.   In  tha  r.gular   trana.la,ion,   Wtalapho„lc/*«±±to-. 
„f  »pp.onrlata  progra»,  of  phonosraphlcUji-ecorded  .male,     n« 
recelvlns   aet,   Inatallad  by   tha  co„panj  ara  of  „naurpaasabla  ,.uallty, 

-   ««ri  oioritv  of  orchestral  aound,   and 
insuring  perfect  naturalnesa   and  clarity 

providins  ad^ustable  .eans  of  a.plif  ication.    t^t    can  .eet   the  de.ands 
or  the  largest  auditoriu.  and  respect   the  ll^itations  .t  the   stallest. 
The  recordinss  used  are   the  very  |,est  ohtainable.     The   induce.ent,   the. 
13    «PAR  BETTEL  MUSIC   AT  AK   EN0H1.0US   S.V  ...G  OP  MONE.".    Proprletors    of 
scores  of  hotels  and  restaurants  contraot  for   the   service,   disoharging 
their   orchestras   in  favor   oi/the  .echanical  scai.   -^o^   these  progresa- 


ive   matitutions   is   —  Huberman's. 


Once   again  Mlcah  is 


jobless 


««^HHHM» 


To -night 


Rriedl  had  been  out   several  times  with  the  doctor.  She 
.as  so  happy  in  the  gentle  growth  of  an  easy  friendliness  with  hM, 
that  she  icept  fro.  her  .ind  any  recognition  of  the  problem  which 

that  friendliness  would  eventually  compel  her   to   face -"  -' 

they  drive   to   the   top  of  a  high  hill  that  overlooks   the  city.     Se.ted 
there   at  the  foot  of  a  great,    shaggy  eucalyptus   tree,   they  Sazej^^ 
the  vast   tapestry  of   lights   forraed  by  the  city  .t  night  and  ft.  e  w^teBS, 
that  half   fran«   the   city.     Their  mood   is   somewhat  more   sombra   than 
usual.      He   tolles   at    length  of  his  .ork   and  of   the    ironic   loneliness, 

-39- 


among  host,  of  people,of  the  physician  who  is  really  devoted  to  hls 
work,  The  womanly  earnestnesa  of  her  soft  dark  eyes  follow  the  Images 
kirxdled  by  his  wordsj  follow  them  wlth  that  wordleas  und«,  atanding 
that  haa  the  power,*«  so  often,  to  tranaform  the  worlda  of  men.  He 

takea  her  hand  wlth  tender  atrength.   "Friedl,  I  wa.it  you 

I  love  you,  Friedl."   She  turns  her  face  away  from  hüji  . 

"Ho,  »0  —  you  mustn't,  Steve  —  you  muatn't." 
He  paHsea.   "Is  there  aomeone  elae,  Friedl?" 
"I  have  -  I  have  a  friend,  Steve.  Someone  who  ia  dear  to  ae 

•-^very  dear« 

"Do  you  love  hlm? 

"I  .-  I  don't  know,  Steve Love  —  Vßxat  Is  it,  love? 

Sometimes  I  feel  like  hia  mother,  like  hia  Uster.   I  feel  he  needs 
me.  Not  now  —  but  later.  And  then,  you  aee,  sometimea  I  feel  I 
belong  to  hiin  — very  deeply  —  to  love  and  to  be  loved.  Do  you 

u  'Clerstand? 

»•Are  you  bound  to  him,  Friddl? 

"I  hardly  know It  i^  so  stränge  —  he'a  auch  a 

strenge  boy In  some  ways,  so  shy  -  so  helplesa.  And  atill, 

he  haa  force,  great  force  and  ambition." 

«Well,  i3  he  here?  Do  you  —  do  you  aee  him  at  all?" 

"It'a  a  long  time  since  I  see  him ^oxi   see,  — 

hia  ambition  is  to  be  a  great  orcheatra  leader.  And  he  wants  - 
that  we  ahould  not  meet  again  until  he  -  he  reeches  his  goal." 

(She  pauaes).  It  may  be  — -  many  months." 

"And  it  may  take  —  years.  Many  years,  Friedl." 

-40- 


«vv 


♦.5^ 


"Yah,    —    I  ^now.      TMt   Is   true.'' 

^       *.     A^cr^  Qn   Short   and  so   uncertain« 

«And  life    is   so   ^ort,    dear    --   so   snon> 

A„d  jouth  U  such  a   tl„,  fr.ctlo.  o«  »If..   I3  U  fair,   Frl.ai.   I 

10,0  ycu.     Yo»  ..e   th,  dearest  person  I  have  .var  lmo,m.     If  »e  can 

^ue  each  otter  happy,  then  trul,  -  ..  balong  to  eaoh  other.     *ou  - 

ear„.stne„  .f>aep  yeaml^  mould,d  *y  «.t»r.  ra,ar«.     Her   e,os  ar,    ^ 

„lled  »Ith  t..r..     He  t.R.s  he.   in  hl,.  .™,."Prledl Frledl.... 

She  melt,  -Ithln  the  anveloplng  atrength  of  hla  body.     H.  ^Is-»  th. 
t/Sh  of  h.r  half-open  mo   th The   restleaa  night  of 


the  olty  balo«  le  ..r,  far   a,ay.     The   llehted  hoat.  that  »o,e  wlth 
s„ooth  allenc^n  the  lu.,lnous  bay  a.e  U..  feature,  of  so»e  d.llolous 


fantiisy  In  the  minda  of   louera  on  the  hlll. 


4H^-W-^-:c4HV 


The  musiclana  who  Save  lost  their  Jobs  as  a  reault  <f 
Tele^use  declde,  under«*-  union  auspices,  to  pic.et  the  instttutioaa 
.nich  have  dispensed  .ith  their  Services.  *  local  ordinance  prohi^ts 
piokets  from  expressing  any  sentl^ent  er  conveying  any  Information 
^y  Word  of  mouth.  It  also  fdrbids  them  to  stand  in  one  place.   So 
the  usual  form  of  their  activity  consists  in  Walking  up  and  do.n 
«ith  fittingly  worded  placards.   But  the  musicians  decide  <n  an 
inn.vation.  They  will  form  little  bands  of  Players.  And  the 
:nembers  of  e.ch  band,  with  placards  on  their  backs,  will  march  up 
and  down  in  fron»  ofAn  offending  establishment,  and  ^  th  their  muaic 
l^elshten  the  appeal  of  thel,  cause  and  att«apt  to  Iure  prospective 
customers  away  ö«  from  the  Telemused  institution.  Micah  enters 
tnto  this  project  with  great  zeal.  He  is  ass5«ned  to  the  group  that 
will  parade  in  frunt  of  Huberman's. 


•x-'v-f-^ 


The  novel  form  of  picketing  begina#  Special  police  officera 
are  stationed  in  front  of  Huberman'a  to  prevent  disorder«  The 
pickets  play«  A  crowd  gathers.  The  police  attempt  to  scare  away  the 
pickets  by  threatening  to  arrest  them  on  the  ground  that  they  are 
commlt^ing  a  nuisance*  But  the  th  eat  is  an  empty  one  and  no  effort  is 
made  to  carry  it  out.  For  no  word  is  uttered  by  any  picket.  And 
there  is  no  law  in  effect  against  picketing  with  music  or  agaiaat 


itinersoit  musicians. 


The  musicians  keep  on  the  rnove-- 


that  is,  all  of  them  except  Micah,  who  finds  it  impossible  to  walk 
while  playing  the  double-bass  or  to  play  the  double-bass  while  Walk- 
ing. He  stays  put  (the  Union  should  not  have  overlooked  this  weak 
point,  but  they  did)"and  here  the  police  find  their  opening.  An 
off icer  Orders  Micah  to  move  on.  He  refuses.  The  officer  lifts  his 
Club.  Micah  gets  excited  and  raises  his  tew.  The  officer  seizes  the 
belly  of  Uto  the  double-bass.  Micah  loses  controj.  of  his  temper 
completely.  Other  musicians  ancj^olice  rush  forward  to  intercede. 

But  bef  ore  they  har  e  a  Chance  to  do  anything,  MicMi,  with  the  abnormal 

that  .  , 

strength  jöBJüüi/anger  often  produces,  givea  the  officer  a  powerful 

blow  on  the  head  with  the  heavy,  hard  neck  of  the  doible-bass.  The 
officer  staggers  and  falls  to  the  grownd.  There  is  wild  excitement 
in  the  crowd.  Micah  Matthews  is  arrested  by  other  officers  on  the 
scene.  He  is  taken  to  jail. 

Dr.  Scott  peral  sts  in  his  ardent  courtkip  of  Priedl. 
And  Friedl,  well  ---  she  tMnks  and  hesitates  and  worries.   She 
has  had  no  word  from  Micah.   She  has  no  knowledge  of  wba  t  has 

-42- 


^_;k--ww  ^. 


.1^  Jf 


-r--  ^ 


v\ 


happened  to  hlm.  She  Is  strongly  attracted  to  the  doctor  and  feela 
deeply  the  need  of  his  companionahip.  And  the  doctor  manlfesta  an 
unerringly  sensitive  undersl^ding  of  her  predicament.  Pinally  they 
marry.   With  simplicity  and  grace  and  quiet  joj  Friedl  finds  her 
place  as  the  wife  of  the  busy  and  affluent  doctor. 

Micah's  offense  is  a  grave  one«  He  has  committed  asaaalt 
and  battery  on  an  officer  of  the  law  in  the  course  of  perforraing  hls 
official  duty.  In  addition,  he  is  accused  of  having  incited  a  crowd 
to  riot  and  several  other  felonies  and  misdemeanora  that  grace  the 
pages  of  the  Penal  Code.  The  Muaiciana»  Union,  althm  gh  indignant 
over  Micah's  ahow  of  irreaponsibility  and  lack  of  control,  provides 
a  lawyer  for  his  defense,  Micah  ia  indlcted  by  the  Grand  Jury. 
Opon  the  advlce  of  HÄs  Ir^wyer,  he  pleads  guilty.  He  is  sentenced 
to  a  feerm  in  the  State  penitentiary. 

And  now  Micah  is  brought  to  his  new  residenceJ  the  State« s 
great  inslltution  of  Higher  Correction,  with  its  high,  grey,  stone 


wallS)  its  ponde  1*0 US,  black 


entrance-doors  aet  In  a  low  arch; 


ita  incongruously  beaatiful  gaadens;   its  baseball  fieldj  its  death- 
house;  its  vast  and  araelly  dining  hallj  its  noisy,  stinking  jute- 
mill;  its  sombre  library  of  dateless  and  dated  booksj  its  wlde  enter- 
tainment  hall  with  massive  beams  acrosa  a  low  ceiling  and  a  drably 
festive  proscenium-arch  at  onKe  end,  Micah  is  ae^rched,  stripped, 
welghed,  examined,  f  nger-printed,  photogra  hed.  His  head  is  shavedj 
he  is  ^ut  into  a  blue-grey  uniform;  ia  given  a  number  in  place  of  hls 
name*  i3  assignei  to  aK  stone-walled,  Iron-barre*  cell.  He  is  not  sdd. 
He  is  not  even  frlghtened»  He  feels  nothing.  He  thinks  nothing. 


-43- 


4-  onrf  It  was  denled.  He  had  asked  for  leave 
He  had  made  one  requeat  and  it  was  aen_ 

,1.,-  n-4_   n,^^■   Vift  wft3  told  that  aince  the 
to  bring  h^s  double-bass  with  him.   But  he  was 

MS  fiddle  was  involved  in  his  cri.e,  it  was  considered  a  dangerous 
.eapon  and  evidence  in  the  case  and  would  have  to  be  retained  by  tbe 
Police  department  as  long  as  he  remained  in  prison. 

Micah  is  first  set  to  work  in  the  jute-mill.  The  stench 

V.10  Rnt  he  aoon  becomes  adjusted  to  them. 
and  noiae  are  not  agreeable.  But  he  soon  ue 

.„er  aever«!  »ontha,  ha  la  tra„af,.rad  to  tha  bc,o.-,ea.ing  dapart- 
„,„t,  ».  a.e  MS  talant  .n./.Pe.lenca  c.„  b.  „tiU.ad  to  tha  inatltut- 
,,„-a  advahtasa.  »  ia  U.a  ha^-^s  baaK  at  tha  offioa,  or  .hl^ar  a». 
Shi,a,  .xa.pt  that  h.r.  t;,.  ll«ht  .nd  ,or.l,«  faoUltlea  ara  h.tt... 

0„.  da,.  *11.  at  «ork.  Mich  h.ara  th.  sound  of  «uslc.  H. 
learn,  that  th.r.  la  a  prlaon  orch.stra.  Ha  ra^uaat,  par^laalon  to 
Pia,  m  lt.  But  h.  IS*  told  that  th.  orohaatra  alraad,  ha.s  t.o 
douhla-haas  play.r,  (H.  «nd.ra  .h.thar  the,  hav.  bean  hldlng  too) 
and  doesn't  need  another^ 


4i'^4t^/c'Jl"iHV 


I 


Thanksgivlng  Day  is  always  celebrated  in  the  prison.  A 
l,ig  p.ogr^  is  presented  in  the  entertaimnent  hall.   One  of  the 
features  of  the  prograri  is|t.he  rendition  of  several  numbers  by  the 
prison  orchestra.  This  year  a  special  announcement  is  made.  ^he 
occasi  .n  mar.s  the  last  appearance  with  the  orchestra  of  its  estee.ed 
director,  Professor  Lombardl,  who  has  been  serving  an  extended  tato 
for  manalaughter,  but  hes/bl"e^^^\rdoned  and  will  leave  his  collaaguss 
for  the  1.  Zer   «orld  next  week.  This  news  is  far  more  grateful  .nusic 
to  the  ear  of  Mlcah  than  the  e.uivocal  efforts  of  Professor  Lombardi'S 

hie   At  the  first  opportunitp,  Mic^  goes  to  the  Warden- s  office. 
ensemble.  at^  «-^         »-  ^«„  ia  unresoonsive. 

He  asks  for  Professor  Lombardi-s  3ob.  The  warden  is 


JH^Sy>^. 


'    / 


V.  fr.«!  experlence,  of  the  couraes  in  cohduct- 
Micah  teils  of  Ma  orchestral  experien  ,,     ^ 

.  .  „  of  his  intense  interest  in  musical  direction,  of 
^n£f   he  has  ta^en,  of  nis  ini.oix 

.Oion   The  warden  smiles  with  skeptical  indulsence. 
his  consumlng  anhition.   ihe  war 

.^.n  finally  conaenta  to  gl'e  hlm  a  trial. 
Mic8h  pleada.   The  warden  finauy 

,      ir,  thft  nriveoY  of  his  cell,  he  le^er 
^  ,      ^loi-eri   After  lock-up,  in  the  privaoj  o  ^^^ 

Micah  is  elated.  Alter 

,3hly  atudies  scores  and  practices  the  techr.i.ue  of  the  atic.  / 
3everal  da.s  he  .a.ea  hia  firat  appearance  at  a  rehearaal  o  he 
.cheatra.  .0.  it  .at  he  ad^itted  that  aha.,  head  .  P       - 


c^Cr- 


^;,,  „e  .e„p.e.  to   3.ne  .t  .^.  B..  ,.s.  t.aXl,  t..,  a.^. 

^     "^  j  v,4-.       wrir  hadn't  he  knocked 

^   -ppvnrably  d^  sposed  toward  hlm.     For  naan  x, 
Micah  and  are   favoraöiy  Q-  P 

i.oemanT     He  ia   aomething  og  a  hero   in  1h  eir  eyea.  They  /. 

out  a  police^ant  ^^^^^^  ^^^  ^^  ^^^^ 

V.4      f^inineaa  of  Cooperation,      oer^aini^ 
th,  prlson  orcheatr.  Is  oompo.od  U  h.r«y 

T  ,.  „im.     But  Mich  feeda  upon  the  reapo,  al.en.s,  of  th.  men. 

::::ia. .  »o^^ta ....  ...u.^.  -  -";7;:;r 

„,  ,,,,  ,e.lou,„oaa  and  aouna  „ualolanahlp .  B„t  da,  h,  .  a. 

Js.lna  m  at..n.th.  In  autho.lt.  In  oo„t..l...a  an.hualaa«. 
1  mltla.  induleence  of  tha  pla^e.a  .Iv.a  ,a,  ..rat  to  .eapaot, 
„entuan,  to  ,hole.h,»te.  aa.l.atlon.  The  offlolala  of  the 

^1«  Rill-  even  they  can  recognize 
.  .r,  «re  notxacute  3«äges  of  muaic.  But  even  ^n   j, 
prison  are  noi-»  „,^„H'a  direction.  And 

.V.  vast  improvement  of  the  orcheatra  under  Micah  a 
the  vast  imp  enaemble  they  are 

.^en  distinguiahed  v  aitors  to  t  he  priaon 

.   aed  at  the  excellence  of  ita  Performance.  Bvery  day  Micah 
.e=o.es  .o.e  deepl.  l-e.sed  In  hla  »orK.  eve.,  da,  --'"'"; 
af  eetlve  aa  a  pa.aonaXlt,.  He  haco»e,  ohXl.loua  oftha  h„.dena 

,    i^f.   H.  Uvea  uttarls  m  Wäl«  «"* 
and  conatrlotlona  of  priaon  llfe.  H. 

-45- 


Mr^:   J 


for  lt3  prcductlon*  For  the  first  ti  me  in  his  life,  he  enjoys  a 
deep,  sustained  sense  of  inner  freedom,  an  exhilarating  feel  of 
realization.  Pact  now  tallies  with  fantaay.  He  works  as  one 

posaessed« 

Micah  keeps  his  word.  He  writes  to  Friedl*  The  letter  is 

forwarded  from  place  to  place  to  place*  Pinally,  af ter  weeks  of 
wandering,  it  reaöhes  her.  The  envedope  is  addressed  in  typewrittig 
and  not  to  Mrs.  Stephen  Scott  hut  to  Miss  Priedl  Brückner^  And  the 
return  address,  likewise  tyoed,  readst  No.  17,  652,  State  Penitentiayy* 
Curiosity  battles  with  dread  in  the  mind  of  Priedl*   Tense  with 
thoughtfulness,  she  fingers  the  envelope  for  several  seconds.  And 
then  —  she  ooens  it  and  reads  the  contents.  ""   ^^Hfr*it^^4^-)^4t-r-;^^^  Yes, 
Priedl  dear,  my  dream  has  come  true.  My  goal  is  reached.   I  am 
leading  an  orcheatra.   The  players  are  respai  sive;  the  audiences 
enthusiastic;  the  administration  gratified*  Place  and  circumstances 
are  of  no  importance.   I  am  living  music  and  music  alcae.  ^^^^^^^^ 

With  my  dear  love,  MICAH" 

Letter  in  hand,  Priedl  sits  for  a  long  tt  me  in  a  corner  of 
her  living  room,  alone  and  quietly  weeping.  When  the  doctor  Oomes 
home  for  dinner  that  evening  he  notices  the  r  edness  of  her  eyes  and 

the  worried  expression  of  her  face*   "Darling,  what's  wrongf"   (She 

tenderly  and 
holds  his  hand  in  her  hands/as  though  to  draw  strength  from  him*) 

"Nothing,  Steve  • —  nothjng  at  all"* 

"Come  dear,  somethingfes  wrjng#  V/hat  is  it?"  (Por  a  few 

seconds  she  reamins  silent)* 

"Steve,  I  --  I  received  a  letter  to-day*" 

"Yes?  Prom  whom?"   (She  picks  ^p  the  letter  and  hands  it 

-46- 


'^::  fi.^ 


\\  ' 


to  hiiiit   He  reads  itx  throa  gh»   For  a  moment  he  remains  thoughtfully 
Immobile  and  silent^  And  then  he  apeaks  wlth  a  tender,  quiet  gravity. 

"I»m  sorry,  Priedl.«...*  Terribly  sorry,  dear«#..#*  I 
wonder  what  happened»  He  doesn't  saj.^      (Priedl  can't  hold  back  her 
tears  any  longer*) 

"I  --  I  can*t  imagine.  He  wouldn't  hurt  a  fly»" 

"You  know,  darling,  Fred  Miller  is  an  old  patlent  of  mine«'* 

"Who   Is  he,    Steve? *• 

"He 's   the 


chairman  of  the  Board  of  Pardons   and  Paroles« 
I'll  get  hold  of  hlm  first    thing  in   the  morning»" 
"Oh,    I  wish  you  would,   dear«* 

••Weil,    of  couBsef  — -  and  now,   darling,    come   --   (he   takes  her 
in  his   arms)   --  brace  up»     We'll  do   everything  we   can«'' 

Early  next  norntog   the  doctor   phones  Miller  ©     They  make  an 
appointment  for  noon  of  that  day»     They  have   lunch  together«  They  dis- 
cuss  Micah's   case«     Miller  givesthe  doctor  all  detälls«     The  doctor 
asks  ^^^^»»"g     him  what  Chance   there   is  for  a  pardon«     Miller   says   that 
he   doesn't  know  but  promises   to   look  into   the  matter«     That   eveniig 
the  doctor   gives  Priedl  a  füll  report  of  his  meeting  with  Miller* 
Priedl  expresses   the  ded  re   to   Visit  Micah  at  the  prison«     The 
doctor   regards   it  with  disfavor* 

••But  what  good  can  it  do,    dear?     And   It'll  be   such  an 

» 

awful  strain  on  you«   It'll  be  so  much  better  to  leave  well  enoj  gh 

alonet  You  can  write  hlm,  and  then,  if  we  c  n  get  him  a  pardon, 

we'll  be  in  a  position  to  really  do  something  for  him*   I*ve  done  a 

lot  for  Miller  and  I  know  He«  11  do  his  very  best*" 

"No,  no,  Steve*   I  should  go  now*  Really  —  I  --  I  must 

^47- 


.,   nre33  his  ppposition.  They  learn  that 
go%   (The  doctor  does  not  preaa  ms  ppp 

.   ,.,itlnR  day  at  the  prlson  will  be  Thuraday  of  the 
the  next  regulär  visitlng  aay  a 

.„  „ft  then Meanwhlle  Miller 

Coming  week.  Priedl  decides  to  go  then.... 

.  of  the  next  regulär  Tueaday  meeting  of  the 
brings  up  Micah'a  case  at  the  nexT>  r  ö 

Boaad  of  Pardons  and  Parolea. 

Mich  13  ble,.  f.„.  da,3  .Ith  the  naive  bllndne,,  of  . 
.„„p.ete  .heo,ptlon  In  hl,  a.t.  .o  hl»  the  .0..  he  l3  .oln.  13  not 
„..ex,  pa..  o.  .  --.auve  and  .laclpHnlns  acU^t,.  ..XaUvel. 
l„3l.niric.nt,  in  .he  ,a..  and  ^  ccpllcated  prosra«  of  P>-l3en 
lire.   It  U  artlatle  «..  ot  3upre»e  iMPO.tance  Ter  Itself  alone 

^   4.  ,,f  nfhf^r  cüniiderationa.  to  him  the 
and  mtirely  independent  of  other 

V  ..laonera.  They  exiat  for  hüa  aolely  as  performera 
Inmatea  are  not  priaonera.   n  ;,  ^«„„«at. 

.■.-«.»  4-n  fViP  War  den  to  make  a  requeat. 
and  liatenera.  One  morning  Micsh  goes  to  the  War  den 


»..cf,   lg  areatly  in  need  of  more  and  better 
The  orchestra,  he  protesta,  ia  greatiy  ^^  ,     ^,  „ 


I 


,„,lcl»n3.   The  l..l..non.  o.  .he  p.eeen.  pe.30„n  X  *  .e     .   1^ 
.ne  prosre.3  of   .he  ense^hle.     ^e  .a.den  sMlee   IndulaenUy     •.!  . 

1  the.e  are  .   let  ot  flr3t.ola3S  «uslclane  o,  er   the.e   In  the 

Matthews,    there   are   w  ,         .    x.^ 

n      ^     V.*.    if   •hhf'v  CO   Id  be   incluced  to 
City,    you  knowo     But   i  aeriousi.^  ^ 

.„ter  the  penltentlar,  for    «>e  e.p.eas  purpeee  of  ohllsln^  us. 
„,e.h  sh.u.s  hl3  3h0„Me.s  and  .etu.ns   to   ,o...     ^0  .ende,   the  „o.M 
1,    anoh  .  «33  -  -hen  people  are   30   Inaifterent  to  art. 

■  Next  -^WädBcy  afternoon,  Friedl  goes  to  the  oriaon  to 
.,3it  Micah.  She  ia  ushered  into  a  drably  grey  little  reo.  ad- 
joining  the   grim  entrance  of  the  penitentiary.  She  wälta   

.        t.ra        'Vhen  ahe   aeea  his   al^ved  head  and  prlson  uniform 
Micah  enter 3.      '»^«"  ^^^^ 


V  1 


i ' ,' 


3he  lAocked.  But  she  triea  to  conceal  her  reactlon.  Micäh  is 
keenly  happy  to  aee  her.  He  had  Balf  forgotten  how  lovely  bhe  is. 
But  senalng  her  aomewhat  troubled  seserve,  he  inatinctively  adjusta 
hi3  conduct  accordingly.  He  speaks  with  glowlng  enthuslaam  of  hla 
wo»k.  He  betraya  in  marked  degree  that  focua  upon  aelf  ao  character- 
latlc  of  the  artlat  peaaeaaed  by  hia  art.  Er  aaka  her  but  llttle  about 

heraelf • 

"Yea,   I'm  proud  to   aay,   Priedl,    the  orcheatra'a  making  fine 

progreaa,     Of  courae,    the  woodwinda  are  a  bit  weak.     But  I'm  working 

very  hard  tA  th  them.  And  last  month  we  got   an  exoellent   '«elllat. 

He  uaed  to  have  flrst  deak  with  one  of  the  big  orcheatraa.     And  the 

fine   thlig   ia  we  can  really  count  on  hlm  for   quite  a  long  whlle. 

He '3  dotog   ttme  -  you  aee  -  for  killing  hla  wife".      (Priedl  ahr Inka 

at  the  nonchalance  with  *ilch  Micah  related  thia>.      "And  can  you 

imaglne,   Friedl,   next  week  we   atart  on  the  Pifth  of  Beethoven.  Oh, 

It'll  be  hard  --  particularly  the   last  movement—  but  we'll  do    It* 

(Priedl  forcea   an   expression  of  enthuslaam.)      ''That's  fine,   Micah, 

•-  very  fine"» 

"Yes,  I  really  feel,  Friedl,  thcb  my  dream  is  raa  lized» 

live  got  my  work  all  laid  cu  t  now  —  and  the  men  are  really  so 

cooperative  and  — 

"Yah,  yah,  Micah,  It'a  —  it'a  all  very  good.  But  you 


mu 


3t  not  get  too  optlmlatic,  you  know.   It  won« t  be  ao  eaay  on  the 


outside» 

"Outside?" 

ttyg^^^ I  mean  soon  maybe  you  get  oardoned  or  so  and  then 

then  It's  r-  ^^^  ovev'\   ^^^^ 


"Oh,  no,   you  don' t  understand,  Prledl*  No,  you  don't  get  it  at  all# 

You  see,  what  I'm  dolng  here  ia  very  important«  No- —  they  can't 

get  along  wlthout  me«  And  so  when  my  termB  up  or  ^  get  pardoned- 

they*  11  just  find  a  place  out  there  for  you  and  me  —  you  know,  out 

there  in  the  village  where  the  guards  and  families  live;  and  then 

I  can  be  right  near  my  work»  And  It'll  be  much  better,  you  see.   1*11 

have  a  lot  more  tlrae  to  study  scores  and  -  well-  better  working 

facilitles  and  all  --^ 

"But  Micah^  how  do  you  know  all  this?  Iho'se  told  you?" 

"Well  — •  it  just  staids  to  reason,  doesn't  It?  No  doubt 

about  it  at  all»"   (PRledl  is  silent  for  a  moment)» 

I 
"Yah,  I  -Jfsee«   I  under stand,  Micah«" 

A  guard  enters  the  visitors'X  room;   "Sorry,  Miss,  you  r  time's  up." 

Mlcah  and  Priedl  rlse,  ahake  hands  and  look  at  each  other  tenderly 

for  a  moment«  Priedl  leaves»  Micah  goes  back  to  work« 

On   her  way  home,  P4±edl's  feelings  are  confusedo   She  is 
at  once  sad  and  gratified  over  the  ironilc  picture  of  Micah' s  ©  ntent- 
ment«  And  she  is  troubled,  sorely  troubled«   She  had  intended  to 
teil  ^icah  Qf  her  marriage#  But  when  the  tLme  came,  she  f  cu  nd  hersftlf 
unable  to  do  it««««»««  When  the  doctor  reached  home  that  even±ig  he 
was  eager  for  details  of  the  Visit« 

"You  know,  Steve,  --  I'm  sure  you»  11  think  It's  vo?  y  silly 
of  me  --  but  I  --  I  almost  tH  nk  it's  a  shame  to  get  him  out  of  the 
pria  m  now 


"What  ? " 

"Nuh  —  you  see,  Steve,  he»a  so  contaated  there  with  hjb 

music«   He  hasnit  any  money  worriea«  And  he  feels  so  important 

-50- 


^ÜM 


.s  a  dlrector   .nd  all.     He  mako,   ccpletely  hla  o«>  world  there  ,lth 
MS  «u,lo.     And  n«  -  Kit»  all  thaf  s  t-appon.d  -  .hen  ha- s  fr.„ 

-.-^   o^o^n       Kever.    Steve»   I  know   it.     Hall 
he «11  never  be  adjusted  so  good  agaln.     Hever,   ü 

co.e   out  «.yway  in  time.     And  -  mayte  even  that-s  too   soon." 

«Priedl,  why  you  -  you  amaze  mell     Thafs  a  hell  of  a  way 
to   tal..  There   the  poor   detl-s   l.c^ed  up   in  a  stone  cell  every  night, 
has   to   eat   that  vile  prison  grub,   and  hasn't  a  soul  to   taBc  to  hut 
«urderers   and  gangsters  and  d^enerates.     And  ^ou  -  his  mendl 
say  he  äxould  staj  ti^ereV     Whaf  Rotten  into   you,   dear?     Are  -  are 

you  afraid  of  anytkiiig? 

"No,  of  course  not«         * 

"Why  the  boy  was  just  too  proud  to  let  you  know  the  true 
racts.  He  put  up  a  good*  front  and  you  feil  for  it  -Thafs  all. 
What  you  say  is  Just  sentimental  nonsense.  You've  never  been  th»«gh 
a  prison^,  Friedl.  And  what's  more.  we  could  probably  do  a  lot  to 
help  him  get  adjusted,  once  he's  out." 

"No  --  he'd  never  accept  it,  Steve. 

"Why  not?" 

"He  doesn't  even  know  we're  married. 

"But  don't  you  tWnk  you  ought   to   teil  hlm,   Äear?" 

^  -TT    iiiqt  dldn't  have  the  heart. 

"Yes,    of  course«      I  --   l   JUSl  aa-uji 

"Well  —  anyway,   he' 11  be  a  lot  better   out." 
"You  don't  know  him,   Steve.  He'a   such  a  stränge  boy.  Why 
he  even  thinks  he's  going   to  keep  on  being  director   there  after  he 


geta   out» 


11 


"well,   for  all  «a  kn«,  maytje  he  «Hl«!  -  thoxxüffi  I  don't 


,ee  ho..  Anjho..    If,  Juat  ahout  aattled.     I  h.d  a  call  from  MlUer 


1     4  1 


J-r^ ;-. 


*     *"isa 


■^  ^  ,1 ;  / 


«     ,«ld  they'd  had  a  long,    tough  argument  about   the 
thia   afternoon.     He  said  they  a  ,  ^     „« 

..    -     Rnt   thev  finally  all  agreed  to   re- 
case   at  Tueaday's  Board  meeting.  But   they  Tina     y 

A»,ri   in  fl  case  like   thia  there   l3 
A^^  tr,   tvie  Governor.     And  in  a  case  »j-». 
commend  a  pardon  to   tne  >j^jv" 
comraoiwi       i-  *.„nn«inff   their  reoonunend* 

j      *«   *-i^o  frovernor  not   rollowxng   wioxx 
very  little   likellhood  of  the  governor 

.  ^thin  a  week  or  so,  I  suess.ft 

A  pardon(-—  P^iedl  sits  alone  for  a  long  time  after 

A   fv,«ncrht 9ne  day,  toward  the 

dinner,  sllent  In  her  tortured  thought 

V  tn«  «ecretary  of  the  Board  of  Pardons  and 
end  of  the  following  week,  the  secretary 

«nf    "Read  it  tbrough.   And  if  you  want 
Paroleshands.Mlcahadocument.   Read  It      ^  ,,   ,.   ^^ 

..  ,^nn     3i«i  on  the  llne  marked  X  and  leove  it  at  tbe 
to  make  the  appUcatlon,  sign  on 

r   .he  Board."  The  document  is  entitled-'Application  to 
Office  of  the  Boara.   a" 

A      Ai-      '^'ian^   lt.   Delivers  it»  ine 
«  i'n..  Pardon"«  Micah  reads  lt.  Signs  it;. 
Governor  for  raruuu  • 


f..P,  Prledl  vlvldly  to  his  KtMl  consciousness. 
thought  of  pardon  restcres  Frledl  vivi  y  .etMnks 

,       ^A     hTflck  aolitude  of  his  cell,  he  thLn^^a 
La£e  that  night.  In  the  cramped,  black  solltu 

„„Ho  T?>.1«^dl'3  redent  Visit.  Perhq?  s 
long  and  laborlously.  He  recalls  Priedl 

1,0  has  sensed  .ore  tha+e  knows.  And  perhaps  .hat  he  sensed  now 
..etat  es  the  .uestlons  .hich  rise  in  his  .Ind.  Is  it  fair  to  ask  one 
30  young  and  beautiful,  with  so  many  sad  .e^ories  of  youth  in  Vienna 
,.d  so  much  healthy  love  of  life,  to  live  in  the  shadow  of  prison 
wallsf  With  hlmself  it  entirely  different.  His  career  is  here, 
MS  life  is  here.  That  he  might  live  else.here  doesnU  even  occur 


to  hlm. 


The  next  day  he  writes  to  Friedl. 
«*»***^**..*^  I  love  you,  Priedl.   I  will  always  love  you. 

^A-yA   4r,  viAnnn.  You  deserve  a  beauti- 
I  toxow  how  you  suffered  as  a  child  in  Vienna. 

f  1  life.  You  muat  have  it.   It  must  be  wretched  for  you  to  Visit 
1   here.  I  cannot  ask  you^to  feel  .ound  to  live  with  .e  in  the  sight 


.  i  .  -V  W  ijSjJh'i^l^  '.  t  ■ 


i  <  /■ 


of  prlson  wallsj  to  hear  and  think  about  the  life  of  the  pvUon. 
You  must  do  whatever  is  best  for  you,  Friedl,and  without  any  thought 
of  me.  Whatever  you  decide  to  jpui  do,  I  will  accept  without  any 
ill-feeling.  You  must  belMve  that,  dear*   I  shall  always  remain 
grateful,  so  deeply  grateful  for  the  dear  love  you  gave  me* 

MICAH." 
The  foll0Wing  morning  Friedl  receives  the  letter.   A 
vague  sadness  pervades  her«   And  there  are  occasional  flashes  of 

a  woman's  hurt  pride  in  being  offered  release  though  release, 

it  is  true,  from  an  Obligation  which  she  is  no  longer  free  to 
respect*   But  above  all,  she  is  filled  wilihÄ  a  gnawing  sense  of 
self-reproach.  She  should  have  told  him  long  before«   Now  she  must 
rite  him  the  whole  truth But  day  after  day  passes,  each 


w 


f inding  her  still  unequal  to  the  task* 


•J4"M'-*-JHt"JHt 


One  day,  about  two 


weeks  after  the  signing  öf  the 


application  for  pardon,  Micah  is  called  to  the  Warden's  office» 
The  warden  appears  to  be  in  a  friendly  mood» 

"Matthews,  I've  got  good  news  for  youl" 

"Oh,  did  you.  get  it?** 

"Get  it?  Get  what?»* 

"The  score." 

"Score?  VfHat  kind  of  score?" 

"You  know,  V/ff  den,  the  Beethoven  symphony*   The  one  1  asked 
you  about*   Number  Pive." 

"Oh,  no  --  it's  something  much  better  than  thatl" 

"Better  than  that???" 

-53- 


I '  / 


"Yda,  indeed.  Fax  bettörl  I  want  to  conÄratulate  you, 
Matthews.  You'Te  been  pardoned  by  the  Governor.  Eax  «re  an  free 
man".      (Micah  aeems  noncluilantly  pleased.i  He   ahowa  no  glgns  of 

partlcular  elation») 

"Well  —  thit'a  good.     Now  what   I'd  lüce   to   ask  Jou, 
Warden,    ia   thia :   for  my  qua«  tera   in  the  village,   do  you  auppoae 
I  could  get  a  faiily  good-sized  room  wlth  plenty  of  light?     You 
aee,    I'd  like   to  do  a  good'deal  of  work  In  the  room  —   you  knov/, 
—   copying  parta  and  the   like,   and  my  eyea  aren't  — " 

"quartera  in  the  village???     What   guartera??      I  —  I 

don'tknow  what   you  meanl 

"Well  —  the  qua:  tera  -  o^^talde   there.     Like   the   quarda 

have,   you  know,   and  the  other  officera  of  the  Pen. 

"Yea.    I  understand  that.     But  what'a   thä     got   to  do  ni  th 

youl" 

"Well  —  I'd  juat  thought i  now  what'a   the  uae  of  my  taklng 

that   long*ıp  trip  from  tte    city  and  back  four   timea   a  week.     I've 
always  believed  a  man  ahould  live  cloae   to  hla  work. 

"But  you  don't  underatand,   Matthewa.     You're   pardonedl 
Diacharged^  Youfre  a  free  man  nowl  Why  i*  Hell  aho  ad  you  have   to  maMe 

thoae   tripa?" 

"That' 3   Juat  what   I'm  aaylng,  Warden.  And  in  carryh  g  on 

my  work  with  the  orchestra,   that    makes  me  like  an  official  of  the   - 

"Oh,   now  I  seel     Hol     Y«     can't  do   that  now,   Matthewa, 

No,   that'a  outa*  of  the  queation." 

"You  mean  thete'a   Juat  no   place  at  all  in  the  vilJage?? 

The  Warden  begina   to  grow   Impatient.      "No,    I  mean  that  you  won't  be 

-54- 


ti 


leadlng  the  orchestra  any  more." 

»Warden,  do  you  thlrüc  I'm  the  kind  of  man  wHo'd  juat 
auddenly  turn  his  back  on  aomething  he 's  put  hia  «hole  llfe-blood 


into?" 


"That<s  not  itl  You  canU  lead  any  morell 


Micah  Stands  there  silently  for  a  moment.   In  lünp  bewilderment, 

he  looks  helplessly  at  the  v/arden» 

lead 
"I  -  I  ean't/the  orchestra  —  any  more? 

»»Why,  no,  of  course  notl"   (Micah  repeats  the  anavrer 
feebly,  mechanicallyl)  "No,  —  of  course  -  not."   It  seems  as 

* 

though  he  were  more  than  half  tattking  to  hlmaelf , 

"But  --  it's  not  poasible.   It'a  juat  not  poasible. 
My  work  Is  ünnortant,  Verl  imnortantl  Why  -  they're  maklng  auch 
wonder&l  progress.  They  need  me,  the  to  ya  do  .  They  need  me  badljl 
You  should  hear  hov»  that  aecond  movement  of  the  Mozart  goea  now. 
Yai  wouldn't  believe  it,  warden.  And  we  can'fr  just  stop  In  the 
mlddle.  Why  —  ^  —  I«»ve  given  everything  I  have  to  it.  Everytliggl 
I.ve  worked  iike  a  dog.  Night  after  night  in  my  cell  I  a*ayed  awake 
thlnking  about  it,  planning  for  it,  worrjing  abait  it.  It's  my  work, 

warden.  My  lifeja  wo£Kl 

"I'm  sorry,  Matthews.  The  rulea  of  the  prison  strictly 


prohibit  anyone  but  ixmctBät   inmates  —  duly  _qur  lif  ied  inmatea— 
from  taking  part  in  any  of  the  educational  activities.  And  that 
means  in  any  and  every  cspacity.  The  .nly  exceotion  is  in  the  case 
of  the  Jute  mills.  And  that'a  because  they  yield  a  financial  return. 
So  they  have  a  paid  direätor.  But  that's  the  only  case.  We  can't 


•55- 


IIttJIJ  1  ^"^^»^ 


Pen.  and  which  few,  if  any,  clothiers  have  seen  fit  to  copy  l^or  the 

return  of  hair  to  his  shaved  head  he  must  wait  for  natural  procesa. 

Prison  benevolence  does  not  extend  that  far. 

At  nine-thlrty,  the  Social  Service  Department  furniahes 

Micahwith  a  liat  of  positions  available  to  outgoing  prisoners. 

There  is  a  Job  of  janitor  in  a  lodging  house;  a  Job  of  elevator  boy 
in  a  factory;  a  Job  of  fruit-.icker  (temporary^  in  a  peach  orchard. 

A  ten  o'clock,  the  great  iron  doora  of  the  penitentiary 
close  behidd  Micah  with  darkenlng  smile.  Through  the  little  wlndow 
of  the  official  bua,  which  generously  transporta  him  to  the  ferry 
boat,  he  looka  back  on  the  great  atone  walls  that  hold  the  fragile 

memory  of  his  brief  glory. 

And  now  he  ia  rlding  actoas  the  bay.  The  chlll  veatneaa 
of  the  green  -grey  water  reawakena  in«  him  a  ainking,  aickening 
lonelineas.  Beya.d  is  the  city  to  which  he  is  headed.  The  bold  reahh 
of  Steel  bridges,  the  ar«,gant  ascent  of  akyscrapers,  the  crescendo 
of  urban  noises  —  all  these  frighten  him,  restore  a  painful  sense 
of  the  ruthless  lixdifferencö,  and  devourlng  slavery  of  the  free  world. 

H  e  arrives  in  the  city.  Who,  he  thinka,  does  not  know 
,here  he  has  been  -  and  what,  At  the  waterpfront  he  aees  atrücing 
longshoremen  in  a  picket-line.  ThejK  are  all  huge,  powetful,  fellows. 

Hone  of  them,  Micah  notes,  wields  a  double-bass He  goes  to 

the  main  off ice  of  the  Police  Department  and  there  recovers  his 
double-bass.  He  trudges  along  the  atreets  of  the  city.  He  passes 
Green' 3  Old  Chop  House.   In  front  Stands  a  gaunt,  grey-halred 
violiniat  playing  with  melancholy  fine33e|the  slow  movemett  of  the 
Tschaikowsky  concerto.  The  Violinist  beers  no  placard.  Nor  does  he 


l<J«»W^v 


.  ^  n   »t  hia  foot  lies  an  old  feit  hat,  ready  to 
walk  up  and  down«  *t  nia  i^u 

>v„   Kfl  nlava  very  well,  Micah  thinks. 
recelve  coina  from  paaaersby.  He  playa  v  y 

the  Violin, too.  Not  merely  a. douDle-basa.  And 


Micah 


probably  he  was  never   in  jail.     And  yet t?    

.V,     V,     c^nnarters  of   the  Muaicians«   Union.     Embarraased, 
approachea   the  headquartera  oi  ^      ,.   „ 

th«  atreet.     But  he  notices   aeveral  acorea  of  men  standm,, 
he   Grosses   tne  streeii* 

3.0.^,   con,e.s^  in  -XI  s-oups   i.  r.ont  of  t.,  Ta^Ui«.  od 
.uildi,«.     He  wondors  how  man,  h.ndrods  .o.e  are   inalde  -  ..It.n.. 

tu-       l^«fnr.   to  basal     From  Baton,   probably, 
v>^,i4.  viimqplf«     From  baton  >o   oassv 
He  wanders   about  himsexi« 

...   to  nothtastn     Horatlo  Alger  revereed.     Hl.*h  ,.Uee  a  ale.ly 

SBile   at  hla  o«n  Ironj. 

»leht  fall «th  double-baa.  o.  back,  H.  parau.s  hls 

a,„leea  courae   throue..  the  clt,  etreeta.     Hundreda  of  anon^ou, 
.,„,0.,  «cal.  radiood  pe.for^eoa  of  ,:n.P-niea  --  .ualc  in  ,.oae 
^.^  Mioa.  ..a  no  part.     T.e  .lllion,  of  dl,er,e  thln.a  *lch  .a.e 
•le  lld  aoe.  .nUed  .0.   in  a  e^apirac,  of  .rittle,   ra,   indiffe,anee. 

,,  ineaa  doepena   into  deaolate  helpleaaneaa.     And  deaolation   atif^ona 

Wistfulness  aeepena   ^ 


into    the   constrtctlng  ache   of  fear 


On  a  Street  alive  with  a 


«r.rj   4-An  thousand  people  pouring  out  of   the 
neon  signs   and  ten  Lnuuamiu.  i^     i'       x- 


thousand  — ^     -y  ^a 

uffi^   ftirl*   nrogressively   schooled 
exits   of  movie   theaters,—   a  llttle   girl,   prog 

'y^         *.    4.v^^    oiriA  of  hsr  modem 
to  the  higheat  form  of  aeU-aasertion,   ..l^a   at   the   aide 

,.„       The  «other,  ,lth  .  Patience   auat.lned  h,  delighted  prlde  and 

'"'^  .  ^     r.f   tviA   rHtld's  relenlleas 

a  aense  of  maternal  duty,  meeta  the   demanda  of   the  child 

,      ,,,     .,  cur ioaity  half  bona  fide,   half  feigned  to  Win  attantion. 
curiosity  — ^  cu  j  ^.,,        ^  aiwAaitt?»' 

..Mother,   what^s   thatT     And  Thatl    .^at's    that,  .other,   OOVU   and  THA, 
Finally,    the  athletic  .a.e  of   the  little  girl  ia  f ixed  on  a  atrange, 
ÄBMiW»«««K8X  and  aDmewhat   female-ahaped  bulk  ahead  of   them, 

-58- 


/ji'uf- 


%         R"'   '  -^ 


/ 


,r   of  male   shoes.      "OOUl  MotheriU      LOOKlU 
lumberlng  along   in  a  pair   of  ma 

LOOKVUU     Wl^at   is   lUn?"  ^^^ 

^^^ ^        v,o4-    13  called  a  double-öaas. 

"That,   deer,    is  what    is  caxj- 

4.    ^Y\    tVie  orcli6  3t.r8.» 
Xa.gest   strlnged  instrament  ^     ^^^^^  ^^^^  ^^^^^ 

Butt.atisonlyhairanans.er.  ^,   ,^,   ,,,.er 

Xied  .y  a  jo.less  musician  playing  for  pennies  at 
be  supplied  by  a  30  ^^^^^^^^  ^^^^  ^^^,,  ^e 

....  ..ey  are  app.oac..S.     -  -  ^^^^^^  _  ^^^^^^^  ,,^ 

—    can  see   ..e   -^      ^ J  ^^^^   ^^,,,,,  ,..„    3.ipped 

bürden  on  bis  back.  And  on  the   face, 

V     f   one  not  yet  fully  attuned  to  defeat. 
look  of   one  noii  y  »everal  streets  — 

o   mpetinR  noint   oi    seveiaj- 
tt   the  Corner  —  ^  meeiiuö  . 

,    .  dense     vibrant  mass.     Micah- s   incumbrance 

tbe  crowd  thickens   into   a  dense,  eventually 

.        .t  difficult  for  W-  to   Press  bis  .ay  into    it.     Bu 
makes   it  diffic  fabric.     Even  the  great 

4-  «-p   »-be  vast  and  restless   TaDric. 
he  becomes  part  of   tbe  ^^         ^^^^ 

„„1,.  of   th.  do»bl.-»..s   U  lost  to  ,,^1  „oudlj  .r.c 


^/>ir     <»till  oroudly  erect 
but  a  long  and  slender  neck,    still  . 


to  mark   it  out  ««  ,  ,v,  the  head  of  a  policeman. 

in  spite  of   its  notorious  contact  with  the 


-59- 


>m-mr  .x»7r.'« 


(p 


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f         'M^-..  ,  ,.4pt. 


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/7.  •*• 


/ 


/ 


/ 


NO   TIME  Für   COMMENT 


■^ 


/: 


/■' 


a  travesty 

JEROME   BAYER 


-ti — 


•-f.  .^-'  > 


/ 


f-    I 


.•.•»'%'rtih'v«.--,--  *»'%'^t'* 


r*. 


<:*'*'0 


../ 


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■/* 


-y/-^ 


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.  «^»r  :«NMMMn)*>vM><«>««H>l 


/ 


h||a,»«>^.«^«r>'    T«      •^-' 


4*«' 


d 


^ 


/ 


TIME:    present 

PLAGE TNev;  York  City/ 


V 


/ 


/ 


EGISTERED 

PASADENA  liDMMUNITY  PLAYHOUSE  ASSOCIATION 


DATE  .„„. 
BY 


5>PECiAl,.__^ /  REGULÄR 


r^ 


»■— iiiii^wa 


— »•MWMMUM^aMMHMMMfeMfMM 


>«M 


c^\ 


t<^' 


f 


.^0*-* 


.-j*«"' 


to 


S.N.    BEIIRMAN 
without   apology 


y  . 


«^ 


* 


-^# 


,t- 


A",..---" 


OHARA CTERS: 


BRIGHT  Y/ESTERCREKK : 


LOUELLA  WESTERCREEK : 


E.    PHINEAS  WALL: 


OLGA  WALL: 


JONQÜIL: 


STA GEHAND: 


a   successful  playwright,    familiär ly  known 
as    "BRIGHT". 

Bis  v/if©«      A   "smart"    actresa  with  a   stun- 
ning  neck-line,    she    is   easily   on©   of   the 
first   ladies  of   nur    tböntr®.      Intimetcs 
call  her   "IA)U", 

a  pompou3,   wealthy   st^'ckbrxker    in  bis    eaijy 
fifties.      He    Is   a  red-faced,    tympani-bellied 
man,  with  a  voice   as  big  as  bis   abdonen  and  a 
shattering,    self-consciuus    laugh« 

bis  wife.  A  mousey  yearner.      She   is   thirty- 
seven  and  Sublimates« 

WESTERCR'^'^XS'    colored  maid,      She    speaks    the 
tynicnl   negro   dialect   of   the   vrhite-man»  s 
commercial  thertre«    Stooped  with  indolence, 
she  v/alks  with  a   l-^zy  drav/1«      In  her  middle 
thirties» 

A  grey-hal*ed,    unshaven,    al5ghtly   stooped  man 
of   sixty,    still   streng  and   alert   at   bis    Job. 
His   manner    is   grugf,   crotdiety,   dryly  cynical. 
Ho  weaBS   overalls,   blue  work:^*ng   Shirt   and  a  pipe 
Thirty-five   yenrs  back-stago   and  a   fullness   of 
great   thentro  memories  h'^ve  made   him  a  rutMess, 
snobbish  critic   of  contemporary  theatro   faro» 


il 


iha 


im    .3 


:TvTAW   Af>jo 


jL 


n  f  ''-p 


-^^^ 


PROLOGUE 


The  pmloßue    l3  nlayed  on  a   foresta^©   or   extendod 
aprnn  and  surrounding   apac««      This   representa    the 
View  of  a   set   as   seen  through  an  ooening    in  the  back 
v/all   of   the    stnge,   with  back-strge   arens   visible   to 
the   rl^ht  and   the   left.      The   front   of  the    curtain 
(one  wh'ch  parts   at   center)  must  be   accepted  as   the 
back  of  the    curtain.      To    either    side   of   this   fore- 
st age   are   seen  roiagh  back-views   of   scenic   flats   and 
flood-light    Standards« 


In  total  darkness,   v/e   ?iaar   the    scund  of   loud  apnlause» 
(Use   a  sound-effect  recordj      Then,    as    the   apnlause 
continues,    fade-in  on   the   fnrestage   reveala   STAGEHAHD, 
to    tbe    left   of   center,   holdinß  back   t>ie    left    side   of 
the    curtain •      Through  the   onening    thus  made   we  behold 
the   glare   of  a  row  of  footlights    at   the   other   side    of 
the   curtain,    and  a  back  viaw  of  LOü,    elegantly  attired 
and  bowi::ig  graciously   to   the    imagined  aucüence  beyond 
the   footlights*      ün  the    forestage,    a   short   distance 
to    the   left   of   STAGEHAND,    Stands    BKIGIT,    obviuusly   in 
high  spirits   and  straining  to    see    tbrough  the   opening 
in  the   curtain©  y  /  *      /     V,  //.^^^' 


7 


/  /^^^^ 


•>•  *  t  i 


As   LOÜ  continues    to   acknowledge    the   anplause: 


^""mrnmmmtmrmn 


BRIGHT 

(bAlghtly,    to    STAGEHAND) 
Lively  opening,   Johnl 

STAGEHAND 


^6^ 


U'imnm 


(grudgingly) 
Seen  v/orse    in  my  time» 

(LOU  enters    the    fbrestage,   rpciirnt   with  the    flush  of 
conqueat.      STAGEHAND   c los 33    the   curtains   behind  her, 
as    she   and  BRIGHT  approach  each  other   excitedly  and 
embrace») 


mm-> 


rji 


rr 


fP. 


UJ: 


.TVr.r 


Prologu©   -  2o 


BRIG-IIT 


9  ^^J'/ 


/ 


(caress^ng  her  with  affectinnato   pride) 
Great,    doarl      You  v/ero    stunning. 

liüU 

(v/ith  touching  mookneas) 
Really,  dnrling? 

BRICr^^T 
Never  bett«r.  Simply  anperbl 

STA GEHAND 


Uh  - 


(to  LOU,  ^"ita  a  tone  of  bonevolent  authority) 
-  not  such  a  bad  Performance,  Mrs.  Westercreek. 


LOU 


Oh,  thank  you,  John#  Prom  you  that  ±3   a  tribnte. 

(The  applauae  continuea  unabated) 

STA G' HAND 

Yep   —  not   so  bad.     Of   courae,    that    last   scene,    if   it  had  been 
played  by  lUiiiili^rKrtrfl    "  '<lTt^.  /^j\.n.^^pK,.r^j 

BRIGHT 

(to  STAGEHAND) 
The  hell  with  Minnie.Jialu 

(to  Lor) 

Better  gp  out   again,    darling«     They   clamorU 


4  /^^ ,  /^  ^->  ^J  r  t  v>  t  l 


LOU 

(itching   to   go)  n  n        ■,        ^a. 

Oh,    theyWe  had  enough#      I«ve   taken  ten  calls   alreadjo 


STA GEHAND 


Uh  uh 


(dryly) 


LOU 


How'3   th^t,   John? 


3TAGT]HA1]D 


Only  3 ix» 


i[ 


HMi^^aMMIMmMk 


:/  j ) 


Prologue    -  3t 


LOÜ 


Oh,    is    that   all? 


BRIGKT 


Go   on^    dear« 


t^%^rßo.V 


•ir^  ^■t6C/    T.  vf^lf 


-'.    N 


jlrnrf:^    ^  wn 


/  'vr, ,  ^••^ 


.rQ 


"fr/   rCj 


■"i  ';yn^f 


■r:IaO 


LOU 


(with  a  posö  of  nonchalance)  ^ 

Oh,   w©ll^-:  alright._   ^__^^^        ^/2r    >.^^   4/>^7^^^^ 


/ylSshe  proens  horsolf) 

BRIOtHT 


,^i,  »viffmimif-i 


(to    STAGEIIÄND) 
Okay,  ^J°^;       ^^^.jj^^i^jjj,,,,.^;^.  wrv*#*~«nä  drars  back  the 
'^-^^tTcurta^n.     LOU  goes   thro  -Gh  to   footlighta   amid 
iipt^i    increaa^d  applau3«,   and  whlle   she  bowa   aßain  and 
^-dTil^K^^    again  and  again;) 

V«  ^^  ^  BRIGIiT 

(to  STAGEHAND) 
Rather  lonks  lik©  a  hit,  John,  eh? 


STAGKHAND 


Yuh  never  can  teil« 


^e 


Y5©r 


BRIGLnr 


Huh  -  optimlatl 


STA GEHAND 


i2, 


'-^',nj^.*^'*^  '^''^-•■'•n-'^».^  .■>-*■*»<!•  ^  '■•tf-*^-'    ■'y^*t*. i...  j.       -n^ 


But   your  plays    -   they  kinda  do    seem  to    dick.     Yep,   nearly  alv/ays. 


BRIGHT 

(with  professional  modesty) 
Ju3t    luck,    JohJi. 

STAGhliAND 
llope.      'Taint   luck. 

BRIGHT 
Oh,    thanks,   old  man# 

STAGl'iHAND 
(musinr-ly^.         ß^-^i 


r 


/^..k^ 


K^(tUA.>^ZfAJlJ 


■'C>Ä' 


'^     Bl      ^dO 


tyr  ■    es  r 


^      t-^0     Ox) 


^dO 


rv 


-     t  ^5/0 


'xa; 


\c    'lev^r*   rik(Y 


ijqo    -   .rf^j'ti 


,1 


I  f  rFT 


t'*oüj:    :tpjifG 


•  e)'M:)5f 


>'>'f      ^  r-f: 


r 


^ 


Proloßu©   -  4» 


STApEHAIID 

(BRIGHT   gulp3.      STAGEHAKD 

vnnr*  w^ f^ « q   f^ettlii'    a  fall*   hand.«  ^„  ,  , 

Your  wire   J^ß^J^^^^^  ^^^^^^    ^^^^^  ^^   »^Author,    authort"   are  he.rd. 

LOU  r©-enter3    foreatag©*) 


oits  •  ) 


LOU 
(oxtendiiig  her   band  to    BRIG-^^) 
Com«,    Bri^lht. 

BRIGHT  7    .   ^/  /X 

(shaking  his   he  ad)         y  l,Lj^  ^  ^(c^jl^    ^^^     - '^  *"-*^  J 


Ub-uh. 


LOU 


(ploadingly) 
Please,  darling«      ( '<4' 


BRIGHT 


-A 


\ 


t      (H©   t^Cs   her  hand.     i^ogatl^r    they  -o    through  the 
^^^^ourtaina    to    take    Joint  bows   amld  a  new  round  or 
^     '  tbunderoua   applauae.     Meanwbile,    from  an   e^^t   at    the 

K  öP  •  .        ri^St    side   of   auditorium,      PHTOEAS   ^>n^  OLGA  WALL  enter 
>?r^>^,^\and  advance    to    stairs   at   the   ri -ht   of  the   for^^st^ge. 

/JL ..,..3bRIGTTT  and   LDI>  now  return  ^^om  their   ovationy    ihe^    y^ 

f^^.^  ^'^A.-curtains    oLose.      STAGEHA.IID  wolks    to    the   r.^t   and  g^s 
W.^^-'v^    to  work,  while   the   appl«  use  dies   and  music   i?^^f^^^^^^®;^*_,.^    x 
""Zl^C^^^t   the   sane    time,   EHIKl^S  and  OLGA  ^o    up   to   U)U   and  BRIGHT.) 

^'2^^^kl!M  PH  INE  AS  and  OLGA 

^'%J^rJ    ^gg   ^j.,^   |.^,^Q  couples   shakß   handa) 

Well,   v/ellU      Bravol  Congratulationsl  l    It  was  grandl 
Congratulati'^nal 

•  -  BKIGT'T   and  LOU 

Ob,    tbank  you.  How  nice.  Thank  you  so  mucb# 

lOU 
How  charming  of  you   to   come  backstage# 

PHINEAS 
You  were   limnense,   Mrs.  Walll      Sinply  linmensell 

OLGA 
(far  more   reaervcd) 
Ob,   yesi    ruite  uh  -  divarting. 


'' 


i 


LOU 


All  thanlcs    to   Bright« 
them  I'd  be   nothing • 


It  was    just  bis   radiant   lines.     Wlthout 


Prologuo   -  5# 


.#^?*,>.rv 


BRIGHT 

(to   LOU)  ^        ^      ^ 

!ome,    com©,    doar,     Your  modesty's    almost   obsceno* 


i 


•  *  •  •  • 


PHINEAS 
la,  hÄ,  hall   Obacenel   Ha,  ha,  hall   Say,  which  of  your  plays  i3 
'  -Itw   inoY  fthat  llneVfrom? 


t   :qO 


-  ^a 


,n.O 


yhisfi:^    ^dO 


woH 


.?:  ^i^w  0oY 


,riö 


lnBd:f   IIA 


BRIGHT 


My  --  next» 


(gonoJCJEl  laughter) 


mimmammaummmtmK»9l 


LOU 
(enjoylnß   thia  orgy  of   salf-effncoment ) 
Ho,   but  really,    it'3   true.      I'm  just   the   creoture   of  a  modern 


V/" 


7 


w 


Ha,   ha,   hal      Plg  v/hat?? 


(nortifiod) 


PHINEAS 


OLGA 


...  malion«  ^,.^,„ 

PHINEAS 

OHl      Oh,    of  cours©,    of  course,     iviallon.     Of   course* 

that    Malion.   I'v©   always   aaid  so.  Thank  you,   Olga. 


Talent©d  follow. 


OLGA 
But   tili  3  play'3   really  -- 

PHIIIFAS 

(to   BRIGiT)  .^41 

Grandl      Sinply  grand,   old  manl     A  gilt-©dged  mast©rpiecol 

BRIGHT 
You^r©    too  kir.d,   Mr.  Y/all« 

phii]p:as  ^  t-Zi^o 

Kind  nothingl     Why,    I  t©ll  you,    this   play  -   it^s   S^eat.   wond©rful,l 
\Yhy,    it's.-   it»s   «  v/att  a  minut©   -   löt  m©   thjjik i^^h,    yes,    I  v© 

got  it.  Why,  it<3  - 

(in  th©  mann©r  of  quoting  a  favorlt©; 

It^s  as  vital  as  cold  veall 

(Otbers  freez©)  n   *.   <   i  ♦•  n-4.9 

That «3  it.  R©mciabBP?  From  your  play  bcfor©  th©  last,  ian  t  itr 

BRIGHT 

(sourly)  ^      ^ 

Y©3,    -    in  a  uh  -   slightly  differ©nt   contexto 

PHIHBAS  ^  V.      4.    4  4-9 

Ha.   ha,   haVm      Slightly  diff©ront   cont©xtl      Gan  you  b©at   Itr 
Ha     iS,    hal II      Say,   your©    just  marvelousl     Differ©nt   contextl 
?ill  hav©    to   spriä   that   on©   at  my   club   to-morrov;ll     Ha,   ha,   halU 
..;;..   But  you  know,   Mr.  W©3t©rcre©k,    I  don't   think  you  half  appr©c 
iot©d  that   compliment   of  min©.      I  just    lov©   v©alU 


^  ««.'"' f  VI        ^ 


i  '  ■ 


f"^  n'~ 


Prologu©   -  6# 


LOU 


-  '1 


:)!j-d 


,01' 


i  ■ '        t  B.il 


•  ■'  ''  Lbia 


1 


-r'  n   .V^i     ifrfT 


i      i  £  l€ 


-i  :f    ä*i':jcY 


nl    -    ^eöY 


vpd  i.r»i 


W«^re  happy  youWa   ©njoyed  yourself,   to  .  Walll 

PHINEAS  ^  ,     ,^. 

Oh,    it  v/asnU  myself   1  ©njoyea«     inü      xl   v    o  ^ — , 
Ha,  ha,   ball 
Remamb«r   tu?  on«?''*Prom  the   first   of  your  plays    I  «ver   sa,. 

BRICrFT 
Your  m©mory   is   quite   -  alarming* 

PHINEAS 

sä^fäl     ?«ar  that/oiga?  Alarningtl   Ha,   ha,   hall 

Ha#  na,   ^a  j^odulatins   to  a  wiatful  key) 

But  still,   t?!Si,iht  -   I  must  actoit   I  feit  handicapp«d. 
terribly  handicappod» 

LüU 
How    30,   Mr.  Wall? 

PHINEAS 

Piän.t  i^-v«3^1^^g\jf  2§t}  look  at   «ach  oth«r,   amazcd  at 

hls  brashness) 


Ye3, 


That's  hi3   stonosranhoro 


OLGA 


BRICtHT   and  LOU 


Oh 


PHINEAS 

-  •  liJ^^Jf  aSStorlui'and  app.o.ch.d_th.  fc,r«3t-.s..     No,  3h, 
Interrupts  © ) 


JONQUIL 


"^»f..^.»,.  r*rft- 


'Scuso  me.  Mix  Lou  -- 


LOU 


Yös,    Jonquil? 

(to   the  othors) 

Pardon  me« 


Jonquil 


D«re«3   a   long  lin«   o-    doz«   f^ns   outside.     All  waitin-    fo-    auto^raohs. 


1 


Prologu©   -  V» 


'  \ 


LOU 
Yqaß(^:   oi'oVl  (feicning  a  blase   attitude) 

i,   those  borea   agalnl 

+  ir,p-.»,   4f      .,,-m  J6NQUIL 

.";        ;;_i   ;      |h  toi'    'em  you  weren't   so   keen   «bout   sisnln' 

jlaco. 

ih.  And  how  did  th«y  take  that? 
luh  -  doy  didn'  bollevo  a  word  of  it,  ^^oney. 


yo'  name  all  ovcr  dee 


) 


\ 
v 


LOU 


I  se©» 


t    '        TTOH 


JONQUIL  ,^ 

(sbre^vdly,  as   she  st.rts   J°  S°>   ^,'^'"/  ' 
mess   ah  —  ah  jes  better   shpo    ' en  off,  huh? 


R 


I 

"t.i:... 


)h,    noll 


(alarmed) 


LOU 


'Ji        c 


i  n   s  f  -^  Rrf T 


r-^lc;   %^'   ''''**      (then  recovering  her   c^^) 

Uh  -   that   is,    .  no,   Jonquil.      I'd  better   see   them. 

(to    tho   othera)  y      >f -''''       i 

totoAio  ftci   m   nff^-j  'then  stops   ar^Ö.  turns   to  PHIN^'^Ab; 
Mr.  Wall,    I  nane   you  my  body^suard*  ^ 


lExcuse  mo 


no 


fwhatt     MEt     well,    -ha,   h^rjal    ^^^^^^g^^f}  ^^J"^  ^^ 


i 


(aTthJy  stnrt  waiki., JowaM  tje^exitf^^ A^^ 


IT    ■^T'' 


rvt ) 


I 


^t>X  v^^t^^^M'vX^ 


istake« 


eet/oS ' 


Ax;!paf»I, 


noY 


eni  riomß<i" 


.0    e^'^^Yt^Q 


But  mind  you,   now,    I'm  not  promlsinß   I  w 
myself,    —  ha,   ha,   hal 

(callirig  after   I^U) 
Be   sure  jou  don't   aL  gn  any  blank   checks  by  m 

PHINEAS 
Just   leave   th*     to  me,   Mr.  Y/estercreekl     Hft,   ha,   haVl 

/fimi  find  FHINKAS  disappear   through  the  exit   at  right, 

•(i^libbi^  as   they  go/'jOF^UIL  ^^«"^^r"??,^ forest 'L, 
in   the  bpckground  on   the   right   side   of   ^^'^e   forest ^ge, 
altirnrtely  wntchlng   BRIGI^T  and  OLGA  uncoiri-ortnbly 
^d   lansinl   into   troubled  thoghtfqlnea3,..ymilej2, 

Your  husband  seems   in  high  spirits   to-night. 


DBorfi    ^dO 


...  ,  dk 


i  bCiA     ..f{0 


'   VÄ.b   -   rTfiH 


.  ')oa   I    -      T 


-    CIQ     BB  f^uO 


U    -    ,^fO 


^fiiU    - 

ifü- 

•  f^m  ociJox3 

^X/äW 

•  « 

;\^^M      » i 

/^,rfVV 

bnxm 

:f  ■ 

'^  *■■ . 

iBUL 


1;.'^ 


Prologuo    -  8/ 


OLGA 


(with  a  Tvlstfulness   not    untouchöd  by  bitterness) 
YeSf    it's   really  -  acute« 

BRIGJ^ 
H'mmm  -  how   aad«     Does   ha  get   these   attacks   often? 


Only  at  your   plays« 


I     -   I  see 


OLGA 


BHIGIIT 


OLGA 
But   tho   apell   laats    for  months   afterwards»      It's   a   aort  of 
delusion  of   aonhistication«     Why,    this    ia   actually   th©   firat 
tlme  we^ve  beon  out    togother    ainc©   your    l^-at  openirig«     He   clains 
that  being  with  me    --    ian»  t  modern«  ••••   Ho   quotes    your    -^lays 
as   authurity» 

RRIG^^T 
You  almoat   convince  me   that  I  ahouldn^  t  v/rite    --- 

OLGA 
Smpj^t    comediea?     Oh,    I*m  so   happy,    -   ao   proud,-   so   dev-^ply  honoredl 


BRIGIiT 
How's   that?       Oh,    30   you  don' t    like    this   nevj  play  of  mine, 

OLGA 
Oh,    in  a  way,    I   --    I  liked  it,    yes   -- 


-   is    that    it? 


But   --? 


Well,    franlily  — 


Yea    --? 


BKIGHT 


OLGA 


BRIG-IT 


OLGA 
You  do  vmnt  me    to  be   frnnk,   don't   you? 


BRIGI-IT 


Oh,    utterly..,.. 


OLGA 
V/311,    really,    theae   --   theae   frothy  plays  don»t   asem  v;ortliy  of  you« 
I'm  30    convinced  you  were  moant  for   deep  and  tragic   themes« 

BRIGirr 
(pleased   in  spite   of  himaelf ) 
Oh,    come'  now   --  not  really? 


:.€' 


t  r   OY 


-'    rririft  f  U 


ii-J 


^, 

orf."f 

jija 

,\te.al©f) 

c>V 

•  ev; 

dmii 

f^Cf 

r» 

x^    r;oY 


8 


» .'foH 


B   nr    trfO 


•?--    iuQ 


L^^- 


,[       UJJ      JJl./^ 


'iu   ,  ■ 


-'    t 


Prologue   -  9» 

^^^^  .o  auch  de OP,    sinoulderirig   Ares, 

You  have    such  vast,    lateui. 
youtre    30    -    so   unta^p^^l 

BRIGHT 
(a  ^it   salf-consciously)^^^^  ^^  talent. 

Vesuvius  on  ^acatiun,    ehr      xo  ^^^^    aariously) 


Oh,    I'n^  30    3ure   you  dot 


OLGA 


/^ 


Yes,   but  aftgr  all     —  ^^        notices   JOITOUIL) 

What'3  wronß,   my  ravan?      Sick? 

^T-'^S      I   1.3  b«en  thinkin',    -  dat3   all. 


Don'tl      It'3  badl 


BRICri'T 


)^..  -''^7/***'^ 


Dafs   äes  v;hat  I'3be«n  thinlcin' . 


What? 


It' 3  bad« 


BRIGIiT 


JONQUIL 


BRICtHü! 


/\a^^  A  A' 


'       Uh  -  what'  3   Dao-J  ^-^     ^  . 

Jonquil 


Jonquil  gtuffed-shirt  audicnco  beer. 

^Yell     -  Kjea^oan't  fisfe«r   out  .)?hat  dat  atuitea 
lof^J^rii    ibout  all  evenin' •  no,ir.-hnncf    nnd  resume  Walking» 

laffin'      ^°J*  J,,^   ^^a  OLGA  ^«^^^^^^^i^'^S^^iJ  atops,   turns   to  sive 

But  after  a  fev/   ^tops  BRIG^T   3Ud^«J^7      y^  oi/}A  j,«    conplete3 
JWIQUIL  a  mean  and  dxrty  1°°^' -T^J^^g^uga  her  Shoulders? 
exit,   chatting  v;ith  her.     fO^:^^"^       sT-AfM«M;i^*tap» -hia 
thin'lazily  followsthjm^ut^l^;^^^^^^^^^ 


TT  Ctl  ^f^"^"^'  ÖCf' 


-yr 


'R     (^V-ML 

uoY 

■    ü  R    9"^: 

';;oY 

ü    feijjy» 

!•■   cv 

c 

t 

JD^Y 

■  .    ' 

^iW 

f   ,   r 


i    u 


* 


'all"    1 


<% 


w^:-^  ^^ii^t^rt<r^A7fe 


/o 


.■^xitt^' 


..■c.-'I^Q.r.-^ 


t,-'- 


C_ 


(/ 


STAaEHAND 


Prolo^ue    -   10, 


*«li  ik«B<r*- 


■\tt00lhtr 


'.      ) 


,He  spits)  -  Lots  >^^PP-e^-ince  tV.y^  .ent  out  nroucn 

still  a in •  t  3 e 1 1 1« d. .  ^»»»«'   ^a  s t» ic^t Ay--b*4^f^»-«a^c:=-S-«^.»--B*^^^*^~*^ 

it   out   to    th«  Ritter   «nd.h«3pitr^ejxn7'm^t^  .^  ^,^  ^^^^^^ 

guod  for    '«m,    they'll  do   all  their   f     htln      in  I      ^^^^  ^^^^^  ^^  ,  ^ 

if   I'll  3t:'cterour^^  here   all  nißht   cnan^ -n  ^^^^j^^n'    I  don«  t   know 

pay  overtimeC/'A'^/.VOh,    and  ^?^^«;^^5^»^^°^   ^  lov/ager)    "Huh,    ten  m^nthsl 

what   yuh  aayin'    °"^^   "'*^"',/i^P*'it1Jav"ft  be  more'n  t«n  seconda   sine« 
-;Vhy,   Af;at>m,    the  man' 3  madU   .-^7   It^^^^^^^  ^^^^   ^3    .   ^^i  ^ 

th*y   l«ft   through  that   «i^^j^^*::  Ten  months .        And  tbe   thiss   that  mnkes 
both.     Yep,   ^"^^V/*^J'°?^^  the-^tro.      (he   snits)   Now  dm  't  get   any 
that  happen  "  ^«Jl'^^^,?  S*h  fo    be   ^nid  f or^  the   theatre.      i  knovr. 

B..n  her«   thliJty.four   y^-^s-      It  ^:^'-J^f  ^Z,!^^^ 


. 


»s    one  11  ■'^■-nc   ab  out 


the    thontre    --   and   It 


öonr'.reas   no\ 

^ell,  any^vay,  thete.«  un.  u^^^.o  ^  ^^^^   ^^^ 

?L'"  av^^r  ?'an  all  J^m  nSf-fangled  gadgats  they  ^J-rtise 
itlusralysien  secunds  is  ten  months  and  thnt  settles  xt. 


no  use 
a  better 
on  ^"he  alro 
And  you^re 


i 


S^mned-lucky  ty..frr^   There  atnri-|o.th.-n.  In  Ufa  -jth  waiting 
ten  mnnths  for.  Now  take  th^  next  scene  " J  ?J"^    ^  ^^^ch 

^thvmitM-  even  ten  ||Cog3  for....  So  I  ^^l^f^.^,    ^^^J^,  ^3 

lon-er.     All   I  '"»n^«^^^^^'    Vt^^-^L^t   '*v>lW      it's    cLosed.  Yep.   B^' 

'^.,.S!fS;er?^1^?^-ber      he- s    thnt   plar-ight   ^-jj^--;  -    ^' 
"-since   you    last   seen  ^^^i-;^^^  J^^^rS^K'aSs^erth^t  .'^fais  better'if   I 
^ans^rrt  m  siy!^\r/oS?s  "^   .et    the    st,-.«.     /a.d   I^-  .do.ei   x    . 
"r-    ,0   now  fr  m  "the  Ixfe   of   the   st.ngö"   to    tne   uh  -   J^,-®   "^   But   Ihia 
Th.t   l?n«  Zn^t  any  good.     And  >^«    ^^a^el^^nd  v,oulda   said   it.     But   ihia 

■is   a  worlcshop   -  they   J-f ,.,^  ^-^,-/,i;.^3^ J^Ä  api-'t/p.nt.     Ain't    ^y 
^ri^^^T^^  ^^p^P^     U'dr^^pefrd'JurntKJ;  1^ 

Guess   that's    all  now«  _    _         ,  ^^    ^^^   ^^   4-v.r.   on-p^nnn)   tZ-r  r 


move 


toward  the  right  end  of  the  curtain)  f-y^^ 


The  curtain  opena  on  Scene  One«) 


'*  I     /    ■''.  (*-:it7>*' 


k    I 


A 


•'%    r*. 


Y> 


^■3  ■  "J 


I.  ■  .1. 


fi 


HC  TIMB  PCR  COML^ITT 


SCEl^   1 


(Living-room  in  tlie  Westercroek's  penthoiise  apartnient 
on  tli©   fortleth  floor  of  a  faslilcnable  Kow  York  hotel« 
At  DL  is  an  over-stuffed  settee,   placed  dlagonally, 
and  be  lind  it,   a  table,   bearin^;  telephone,  books,   etc.; 
at  DR,  diagonally  placed,   is  an  cver-stufred  arm-chair; 
in  baok-drop,  at  C,   an  openingj   tc   U^e  R  of  opening^ 
against  back-drop,  a  eniall  table  for  mail;   to  the 
L  of  openlng,   a  cbair  and  a  lon^;  cord,   to  ring  fcr 
the  maid*      In  riglit  wall,  Q,  ^^Jrut^ 

Ten  montlis  hav©  elapsed  since  tl:jO   proloGue 


, 


At  the  rise  of  tiie  curtain,   Jonquil  ia   atanding  at 
the  table  behlnd  the  aettee.  with  phone   in  one  band, 
and  in   the   other  a  play-script,  w  ich  ahe    is  reading  with 
an  expression  of  troubled  tboiightfulnesa.     Shodials 
a  mmber,   tben  reada  and  slmkea  her  head  sadly  wblle 
awalting  an  anawer  to  her  call«) 

JONQUIL 
(into  phone) 
Iiello»      Dick  and  Farry's  bar?..«.»    la   Ilr«   Y/estercreek  dere?.... 
Mr.    Bri£:;>it   Meatercreek,  dee  famous  playwrigiit....   Oh,  i^   ain't, 
huh?     vvell.   soon  aa  he  comea^  aak  hlm  to  call  his  apartnent. 
ii        fik  II s      v3he  liangs  up,  and  aa  she  acratohea  Dick  and 
4/ ^^^t-/"^'^^       j^aKT^  off   foie   Hat;) 
\^here   can  dat  eliisive  man  bei 

LOÜ 
(from  off-atage  L,   as  Jonquil  is  looking  up  the 
next  number  on  üae    llatt) 
Find  hlm  yot,    Jonquil? 

JONQUIL 

(aa  ehe  diala  noxt  number  on  the    list) 
Not  yet,  /mIs«  Lou.   And  ah 's  callod  sebben  numbers  on  dee  list 
already. 

(into  phone) 
Hello.  Brevoort?     Gimmoe  dee  bar,    or  ?±iatebber  doy  calle   it  in 

(•liile  waiting  she  reads   the   script)     OK,...  Vtry^/ltr^  6*^^/ 

1\< o  —  Mr.   Westeroreek  dere?/    You  eure  he  ain't  hid  amcyn^  doze 

potted  Planta  outslde? Well,   soon'a  he   comes,   jes   toll  dat 

prodigal  honey  to  call  Susquehana  2-'8101. ..  >< 


y 


Uh  huh. 
Don»   get 


'(Lou  enters,   looking  worried,   distraught) 
An»   case  ho  aaka  -  dat»s  his  home . 

(Jonquil  hangs  up.     Lou  is  pacing  nervoualy)  4^  ^^ 
80  iipset.  honey  Chile.  ' 

(Jonquil  resumos  readiflig) 


HV, 


r^n 


1-2 

LOU      (>— -^^) 
muß.  -  upaet  is  pufcting  It  wlldlyl     It^s  noarly  tan  montha  -  and 
he  liaan^t  produoad  a   üiingl  i  Hla  llfe's  juat  cne  long  river 

of  Haig  and  lialgl  S^A-^t  /^e*<^-v^  <Xa^  t^i^^^.--^  *.V  £  . 

(ahe  aoba) 
PincVi  bottleJ     Hia  Innarda  miat  look  like  a  Highland  klltl 

(soba  again.  than  looka  at  Jonguil,  who  is   stlU 
readlng)    -t^^tr/<h  ^  ^  V  ^^yi^^^. 
Gcod  ^'eavans,  wiiat  cn  earth  ara  you  »adlng  at  a  time  like  t  is?? 

JONQTJIL 
Hia  laa'   play«     Tan  montha  -  and  ah   still  canH  figgar  out  what 
doza  atuff-aiiirts  found  ao  fiinny* 

LOÜ 
Tha  davil  with  hia   last  playl     Vm  worried  sick  about  the  naxt 
onal     Not  a  linal     Hot  avan  an  axiti     I'm  daaparataJ     What'Ti^ 
going  to  iiappan  to  rmll  ^^La-^^^MC^.^^ 

JOHQUIL 
Ah  don^  know,  honey  Chile»   But  jea  now.  you^se  a  bit  hystarioua» 
What  ah  raootrsnanda  ia  a  nioa^   iraz^m  batn« 

Don*t  talk  roti   Wliat  I  nead  iai^i  T  water  -  It's  llnesi   A  naw  playJ 
Hia  playl     I»a  in  dangar I 

(Jonquil  looka  aiiockad) 
Can*t  you  aaa??     In  tarribla  dangarl 

JONQUIL  Oi^^ÄÄ^/Ur-i^C. 

Dangar^  honay??     Oh  •  oh  •  goodnassl     Vühat  ia  it?     Kidnapara^ 
Graoioua.  vait  tili  ah  bolta  duh  doori 


^j 


( 


-  -/ 


,  no,   no,  NOlli/1   Bolta  lion^t  halpl  VIfhat   I'xa 


No,  ..^.    .*w,  /. ^^^    w 

worsa  trian  kidnapplngl  It*a  — • 

( aoba ) 
it'a  Ravaraionl 
.     (aoba) 


in  dangar  cf  ia 


(bawilderad) 
Huh?     Ra  -  ra  -  whatT 


jrONqCJIL 


LOTJ 


«  f 


(iraaoibly) 

Oh,  can»t  you  gat  anything  into  that  thick  he  ad  of  youral 

(aoba) 
it'a  ravaraionl  Ravarsionl 


It's  - 


'■i; 


JONQUIL 
Ah'm  sorry.  honey  Chile •  Ah*a  known  lots  o'   dam  "ree"  words  in 
xaah  tiznai  but  diss   one*a  aho*  a  hundingar«#«  Ra  •  Virzin«»«» 

(with  troublad  thoughtfulneaa) 
Ra-vi£ßln* . . .  Why,  dat  ain'  a  dangar,  honey I     Dat's  jea  what  yuh 
Ia  -  or  yuh  alnVt» 


1-3 


LOU 


I  '^- 


<J 


Cti^  will  you  ahut  up  and  ll«t«nl 

JOSQUIL 
yeah,  hon«y,  ah'»  llatenln'  - 


I 


But  OlOltlll 


So  olos«,  hcney  -  «h*« 
Well  -  lait  Tuoaday  - 


Uh  huh  - 


LOÜ 


JOHQÜIL 
■uf f ocatln • . 

LOÜ 


joiquiL 


LOÜ 


At  Elaa  Maxwell'«  cooktall  party  • 


Dcze  hi^balla  bad  agaln? 


JON(^II. 


LOÜ 


Highball«  b«  hangedl     Thare  wa«  a  ooluHinist  there  - 

JOHQDIL 
Only  onat 

LOQ 
Arid  ba  gave  hl»  raralon  of  that  Cllve  vordar  oaae. 

JOHQUIL 
Oh    dat  pitohfork  ga«!     Yeah  -  say,  dat  «ho»  aa«  klnd«  raw  - 
dat  onal 

LOÜ 
And  at  ona  point  in  tha  revolWnfci^'^ory  -  «uddenly,  !!["^°^*  ''JJ„.» 
forewarning,  I  blurtad  out  x  "Pub  ball  yuh  aayl     Dub  hall  yuh  say» 


Ha,  iitif  hai 


JOMQUIL 


LOU 


0^ 


^ 


^ 


'■> 


Lu-j^ 


wall,  there  »ere  aoma  wry  amllea,  and  thfe  f  ellow  irent  on  ^J^i  tha 
atory;  but  tuen,  ahen  he   finally  told  h6w  Cllve  took  the Jpltchfork, 
crept  up  bahind  his  devoted  brother  and'  stabbed  hlm  In  tho  back  - 
I  loapt  froin  ny  chalr   «md  yellad:/01b   «Im  duh  woltol     Gib   »im 
dubwoik«»7^^       ^^      -.  \_yt^-* 

IIa,  .Ji,  ha,  liai  Dat  »ho»  waa  goodi     A  puhfeot  "iaitatlon.  Ml»  LouJ 


(•obbiug) 

t  th»y  thoughtl 


LOU 


1 

i 


1-4 


Yo«h  -  ha. 


:l     .*.! 


a  - 


r 


»■■•^-r- 


JONQTTIL 

'  .  -vi 


mAt's  the  frii 


TrMnniinl     Don't  von  see??     'Phey  were  wrongl 
Bat  t>ey  *ere  wron£.   ^^^JS^^^t  j       Ti  ^ou  ^ 


\                                                     JOHQUIL          '  ^^      ,     t«. 

X           .      «     —   4«.  «oiin««"  «uoh  a  "not   inltation.   Dat  ain't 
Okay,  hon«yl     Spose  it  irahn  t  «uon  a  no^c ^ati,^,UJ..ly^, 

yo'    Ime  nohow.  ^  (^D^pÜ^^^^^^^^^^ 

«ut  tho  f  rribla  tru«a  Is  tJft  It^asn^t  an  IMtatio^^^ 

I  waan't  aotlm^J     Can't  ^^^Ji^^J^,^^  vL\  tc  revertl     Going 

TU'ldl^od^  jyj^tSr"!^  Jc>nqull.  Going  bac.  tc  - 


tc  H»ll'i  Kitten i  jkJLUJoI      \ 


tries   to  iiigii- 


An'   some  pe^le   in  diss  her©  vicinlty  -  dey 

hat  -  liarlem. 

faftbbinc     and  oblivioua  of   Jonquil'a  ccnicient; 
«ow  you  cai  aoe  Sf  iS  »c  de.perately  In  need  cf  bis  doing  a 
new  play» 

JCHQÜIL 


hnney  --  now  don'   you  ko  worry^'^ 


-«•p-*^ 


(m-iile  Km  is  still  submerged  in  crief .  the  ^hcno  / 
rin£8.   As  Jonquil  to©»  ^<^  answor  it:; 


lOÜ 


If  täxat's  for  me^   I'll  apeak  tc  no  one. 

JCHiiUIL 
(into  phone  drcmaily) 
Y#ah W[0?? Ha,  ha,  hal... 

Oh.     Ha,  haTj^*        , 

(hanga  up) 

VVhat  a  namal 


On  his  way  up,  yuli  say?.**. 


Vßio  la  itt 


A  Mr#  --  ha,  ha,  ha,  hal 


Jonquill  1 


(severely) 


lOU 


JONQUIL 

Mr#  E.   Phlneaa 
LOÜ 


-  ha,  im,  ha,  hal 


ti^-:i» 


1^ 

JONQÜIL 

Wall!     Dat*8  bis  las'   nams«     Said  he   couldn^t  waitl     UrgentI 


What  on  earth  can  he  want? 


LOÜ 


t    •    «    I 


^.»h)hC 


■'>    •.»• 


.  fMIt 


A 


JONQÜ IL 

Does  ah  11»  -  or  doe«  ah  lot  hlm  in? 


/ 


Öh,   I»d  botter  se©  hlm«  l)i  lir  ai^^^ju^;  ^tcti^ ^  ' 

(lifolla  ahe  »tralghtana  iip  things  cn  table  bahlnd 
th©  aattee^ ,      \^       ilc^j^:^] 

Huh  -  E.   Phinea«  Wall«...  Gooa  gracioue.   if  he»e  wlllln'  tc  uae 
E^lnea» ,  whatebbar  oan  dat^#  etand  fori 

um 


By  tbe  way^  hava  you  phoned  Saardi^s  y©t?jjj 


■  <iuwmi»w  »'If  I 


ji_ijTij:<>i'ii'''^f^*'^'"*-''^''*'*'*'''^*'^*^ 


üh  huh# 


(Door*b0ll  ringe) 

JCNQtJIL 

(aa  ahe  ox*osaaa  to  üC  axit) 
Uuaber  flve  on  de©  liatJ     No  luck  dere,  honeyl 

(Lou  looka  very  worrled  for  a  moment,   then  resmaea 
prlmplng  Khile  Jonqull  ©xita  UC  to  anawer  bell) 

(A  moment    later^   Jonqull  retuma,^  ahowing   in  Piilneaa- 
irtio  la  now  a  ohanged  man.     Gone  ^ar©  tl:«  lau^hter 
•    and  t^iaty,  raplaoad  by  a  worpiad,  diatrau^^t  and 
dajeetad  inann©r#     With  handkorchief  a©   ia  mopping 
hi»  florid  brow) 

(in  her  baat  manner  and  oxtAndinr  her  Irnnd)       ^^ 
How  do  you  do^  Mr.   vvalll 


PHIÄEAS  <XID 


y 


(tarribly  preoccupied,   atarts  speaking  with out 
even  looklng  at  n©r) 
Ära.  Weatorcreek.      I  -  uh  - 

(tlian  he  eeea  her  hand) 
Oh,  how  do  you  do,  Mra.  Y/eaterorookl 

(they  ahake  handa.     .Tr^»^|4^  tty^^ji  \}^_y 
I»»  aorry,  extramaly  aorry  to  burat   in  on  you     ike  thla  - 

-  LOÜ 

Pleaaa  don*t  apologiaa.     I»ia  channod  to   se©  you.  Won't  you  sit 

(ringa  for  Jonqull) 

PHINEAS 
Mo,   thank  you.      m  my  pwaent  condition  I  Just  can»t  alt. 


J-6 


'.  ffsl? 


♦  i. 


ih. 


{» t>^ 


LCÜ 
(alttlng  down) 
Äh^  jovlWb  been  in  tha  horse-ahowT 

PHIHEAS 
Vfliatl     Do  I  look  like  a  hcrfl#T 


I  sieant  ~ 


MW 
(polnts  to  arxn-chalr   near  hin) 


(to  Jonqull) 
TJh  -  Jonquill     Pardon  ma,  Mr.  Wall  — 

(to  Jonqull  agaln)  ^ 
Battar  try  tha  Rita*     Ha  mlgh%^  by  chanoa,  ba  thare. 


(going  to  phona) 
Yaa^  Ml2  Waataroraak« 


JOHQÜIL 


LOT 


(to  F}:iinaaa) 
Wa'ra  havlng  qulta  a  tlma   locatlng  my  huaband# 

PIIINEAS 
Indaadi  lüll^  no  uaa  calUng  tba  Rita. 


How  ao^  Mr«  WUllT 
Ha*s  not  thara^  alaa« 


Ch,  raallyT 


LOT 


FHINEAS 


LOT 


PHINEAS 
No,  alaa,  haU  not  Uiera  at  all* 


I  **  I  aea« 


LOÜ 


PHIHEAS 

Qh  ^   axeuaa  im  •     Vc,  not  ti^ra  • 

(polntlng  to  hla  ^ad)     /     .     y-  #-«     ^  t, 
Hara,  my  daar  lady«  Kervaa,  narvaal  (Q^xiiuiX^ 

LOU         '  \ 

Oh,  Vm  ao  aorry-  f/J^^^^^  y,   ,p^  aJT^f^lk  /^M^^^  cA^n^j 


w 


How  could  ha  ba  thara  ? 


PHINEAS 


1-7 


LOU 

w»ll,  1  «lon't  qult«  •••  »hy  b«  «oulto't. 

PHISEAS 
That'a  just  »hat  I«ve  toaen  trylng  to  tall  you,  dear  lady. 

LOO 
Oh,  azeuaa  ina.     I  dldn't  know. 

VÜIWSJS 


i 


H« ♦ »  scmemhere  e Ise • 


lOT 


PHIlfKAS 


Ihy,  of  ccur««  you  »ayl 
w^ll,  I  aa  -^ 


LOU 


PHIBEiS 


j^  i.  *;>       o»  .:*.'-,  • 


asklfigl 


Aaklng  i*iatt 


Whera  ha   !•  - 


Whara  #ic  l«t 


LOU 


PHIHEAS 


um 


FHIHEAS 


101; 


\ 


My  huflband.     Tou  know  •  tha  ona  who'a  not  at  the  Rlt^. 

(to  Jonquil)  i 

Pa'll  nead  drlnkst  ^ 

WjonqtUl  öoda,  tban  wclta  raluctantly  at  VC  ^xit^u^^r^C^^ 

PlinriAS 
Cti,  Vm  «lad  you  broujilit  tl»t  up^  Mr«.   Waatarcraeka     Ya«,  that»« 
axaotly  my  x^aöson  Ter  Coming  hara# 


LOU 


h 


w 


ill,  whaia  ia  ho,  Mr.  Wallf 


\ 


PIIMEAS  ' 

Whera?    Ah,  daar  lady,  that'a  tti«  sad,  tha  fiorrlble,  traßlc  pört 
of  it. 


\ 


WO 


Whatn     You  -  ycu  »an  -  f «  Mr.  wall,  It  -  It  lan't  -  that  morgueT 


/ 


54uK.  yt-vui^jj  \ 


V, 


1-8 


X@^' 


PRimSAS 

fbm  morgttt??         GraeloiaB  a»,  «hat  on  earthwould  he  bt  dolng  at 
tha  morguat     No,  daar  lady  -  thia,  alaa,   is  much  woraa«  A  thousand 
tiioea  woraa  1  Tb»  faot  1b,  Mra*  Waatar  -  uh  * 


Creak  ~  yea^  yaa?? 


Löü 


PHIHEAS 
Not  brook?     Yaa^  oreak^  of  ooursa*     Tak^  tak  •  my  zalnd^   thaaa 
daya  - 

Navar  mlnd  your  mlnd*     Co  onl 

PHiroiAS 
üüha  fact  la,  that  your  huaband  — - 


Yes,  yea,  ye«  •  T 


LOÜ 


FEIHBAS 
Your  huaband  •  Oh^  hoa  can  I  arar  bring  mysalf  to  say  itl 

LOtr 
Gome  cnlForoa  arary  fibrel         ' 

PHIHEAS 
Your  huaband  la  -•  ha  'a  In  •  in  m;  apartrnant  J 

Oh,  tbank  OodI  Ibank  Oo^l  (mcJ^p^^  ^^^/^  (iJ^JL   j 

PHINEAS 
For  #iatT 


» \. 


r  •  ♦ 


Tbat  ha^a  aafai 


SafaT? 


liOU 


PHINEAS 


im 

(wlth  a  look  of  frl^t) 
Mr.  Wall^  Bricht  »a  not  -  not  burtT 

PHINEAS 

Ko,  no,  daar  lady  -  far  woraa  I 


^atlll     Ea«a  •  daadT? 


No  •  he'a  T  ha*8  with  0 


LOU 


PHINEAS 


Blonda 


Olga 

>ack  - 


^J-#^    0-<-'*J*^     i 


li 


I 


1-9 


Löü 
Oii,  I*m  ao  happyl  So  grat#fuli*  So  terribly  relievodlil 


What l  Happyl  Relievedl I 


PH  INE  AS 


LOÜ 


(eostatically) 

Yes,  yes,  I  could  laugh  and  dance  and  oirj   and  aing  all  at  oncel 


Bat  wait,  madam.  pleaaal 
raalizeJ  It'a  terrlbla  i 
haard  a  tenth  of  it  yeti 

montba   nowl 


PHINEAS  ■^'""■" 

Graat  Heavana   -  all  at  oncal     You  don't 
You  don't  undarstandi  üöiy.   you  havan't 
ThayWe  been  meeting  raguiarly  for 


LOÜ 
(still  ravalling  in  aoataay) 
Oh,  wall,  suppoaa  thay  haval  Ky.«  »What??     Himnm  -   stranga  Bright 
nevar  laantionad  itJ  ^-^^"Ht  %/u 

PHINEAS 
What 's  sfcranga  about  itl      I  tall  you  you  know  nothing  yati 

LOÜ 
Oh,  what' 8  tha  diffarancall     Ha'a  baoki 


(looklng  around) 
Back  nheraT 


PHINEAS 


LOÜ 
Prom  deathl     Ha»s  back  from  daath,  my  Bright l     He 's  alival 
Alive i  I 

PHINEAS 
Madam,   thera  ara  things  norsa  than  daathJ      i»in  ju3t  basida  raysalf  J 
I'va  navar  baan  so  misarabla  in  my  lifal      It's  awfull    X,   /    ./^ct 

Ara  you  trying   to   say,   Mr.   Wall,   that   thay're  hnving  an  -  an  uh  • 

PHINEAS 
Good  haavans,  do  yoi   think  that  would  upset  maT     Havan't  I  aean 
all  youp  husband'a  playa?     Don't  I  balong  to  tha   modarn  school? 
I'm  aophlsticatad,   Mrs.   Waatarbrookl 


Craak«««« 


LOÜ 


I 


«  1 


PHINEAS 
Creekl  üh  -  sura  it's  not  brook? 


CartainI 


LOÜ 


PHINEAS 
What  all  this  is  doing  to  my  mindl 


I 


1-10 


£.;.^ 


•    »1 


CV  ' 


I  .«ry  yoor  .oj^hlatloation.  Kr.  vJaU.     Bat  fraukly.  1  anaer.tand 
irlo  ie»6  than  t.foro  »Hy  yau'r«  so  «paot. 

a^».«««  lt»a  OT  ■ojhistiotttion  tbnt's  In  oarutar .     i*,  "'»s"' •  *^** 
306  ma«  It  a  oy  ivl«       TUia  Ie  awfulJ     ItU  rrightfall      !*•• 

to  ra«J  -   the  faot  ia  - 

Tos  -  T 

?hit  oar  »lv«B  -  I  ra«Ari.  yoar  «ife  and  ny  hasl»  -  I     Oh.  bau«  it. 
I  mean  -  «eil.  aay  »^  -  J23SS.'  **"*  SiS«  --.'¥ 


".*■•*■«*- -^"-■''^" 


(Jon^ull  Äpp^ar«  In  ÜC  opöala«,  wlth  a  teay  of 
llqaora»  tto« } 

^  (tray  Andrtly  trtmWLeö  in  JonquilU  handa) 

(Jonqall  ourritj«  tray  totalis  t^^ck  of  sattto  arA  ««t« 

it    dOWi) 

(ra«<iT#|in£  ht^r  pirof««»lonal  polat) 


Splendid 


?r 


PHlHSAä 


i^U 


>r  oouratJ Oh,  It'a  u  Ut  stränge  Bright  hadn't  aoütioned 

t.     But  ßtilli.  !•»  -  ▼wy  nappyJ 


PHlNäAS 


ibuiiprir^d] 
\«ry  happyl 


LOtf 


bhy,  o«rtalnly##*»If  another  wman  aan  ahalce  Britjht  jat  ol^  hia 
loldroM,  «ha  »11  earn  i.^  und/in«  thaalta*  Your  «IIa  a  «laa^yary 
iharairie  aud  incelllf^ant  • 


(painad) 

*hi  dan't  aay  thatt  daar  la4y#     Plauao  don^t^ 
Tiad  to  h«r. 


Tau  ^vera  naTar 


"1-11 


^^^^  1 


I 


'I    ^    «üY 


»•\    « 


T^^y 


»i 


i^rtf' 


lUfiUti 


^^ 


•  jI 


^-v.- 


H^ltlMJr  Is  Bri^Ht«     Utel«aB  Ihn  A#air  1k>7^8 


b<i«iii  going  Infojf  a  Mi 
Thert'll  bd  a  plojrl 


iJi»  bat  irtiat  a  plujri 


H^Tt  jToa  ae«n  Itf 


i'Kn!    wS 


U)XI 


Ifo«»««I  Jast  Icaow  Qlm.         aha*si  not  liko  m«  *  Ught-hoarttd» 
fiiodarn»  aoptiliTIoataa»     Shm^m  «  «bau  oloaly*     Sba^s  got  «hat 
yoojp  baabaxA  onaa  aaUeA  all  «  oht  you  know  -  «thloal  h^ortbornj 
That's  It»  •  Idaalal    rbat^a  whüt  ahaU  goti     übo  jrearnai  .aid  m 

IM  SffiST"' 


^=« 


|ba 


Vm  not  warrl«di  Mr«  Wall«     What  aast  «In  Intha  and  in  Brlght*« 

!«*V)4t»U  ba  laiiMir  Wora  jiha  gata  Aoaa«  I  tali  joa.  «Iia'i; 
raln  hia«  liaaJt  ^liat  aha  Aid  to  asal  Mada  me  give  ap  golfl  Said 
It  ms  onfalir  to   th«  graaaj;  äUiaHIThava  hlia  da  problaa  playai 

Thttt  woald  ba  a  blt  dlatraaaixig«  Still,  Kr.     Itoll.  ahararar 

aright^a  talant  taJtea  hla,   th«ra  «ust  1  go  Xqo. 


Ck>  tooj     ^ithoat  a  part? 


PHüTKaS 


JU.V 


|a9\?  do  yoa  oican  thatt  Kr»  '^all? 

IT  draam  1«  datta  Oa^la«  Can  ygg  anaar?     Can  yoc^  J^  agrbld? 

LOÜ 

If  thlß  icaapa  ap,   IUI  ba  a  nataral  for  i\. 


"-'  ♦ 


PROrsiAS 

ih,  lt»i  aaajr  £ar  raa  to  talk*     All  yoa»va  got  at  atalco   lo  a 
taraar«  Bat  »£?     How  aboat  mT     i^hat  ahall  I  doT  »/hat  will  baaoiaa 

»IV  I  •  Why  1*1  doa^t  kaow.     1  doa»t  ondaratf^nd*     Wh%^  ara  yoai 
io  oonoarntd?  #     -— • 

(In  an  oatbarat  of  rlghtojua  Indignation)  '     / 

t  you  oan  aTan  ajk  ai*h  a  qalMition»  daar  Udyl     Wh/t  «hy  f o» 
*a  nai»  -  for  yara  1  foUowad  all  «f  yoor  haßbond's  piaya* 

I'va  baaa  so  aoaaalantloua  aboat  It  tpo.       And   thyaa  playa  • 
VWa  topt  M  young  -  y«at  youag  and  mod  orn  and  gay«     niaaa 


\ 


i-lJJ 


^ 


«  *  ♦  . . 


fSA-^ 


e  l 


fi 


'  .f> 


ras 


mA 


^'-W*-.:-J^ 


■.t  r>r 


7 '  '>ix     •  '■' 


PHIHEAS    (Oont.) 

Ili  AM  ftt  BF  «Sl     Ä%  Ä  a««!     Vlhat'8  going  to  l*pp«a»      ^.ü-*..,,,. 

'U.     Thaf.  «hatUl  happ«n   W  »«• , J**^^^^*-    .i^^,;-f  Üt~P^* 
'•|iL!  Slai  laS.     DO  yoa  ondM.taad  -  pria».     I  wonU  sajr   thankl 

«e  40  baT«  «o.>«thing  ia  ooMon.     Bat  still,  »•  miaUx  ■  io«»  w»a». 
I«  aa«t  bo  toraTOt  wl««»  »»*  gallaat, 

PHISSAS 
!hl8  iE  no  ti«»  fop  «allimtey.       What  wo  nood  noii  1«  -  ««tionl 


spot  of  brandy  flrst? 


LOU 


Brandy t     So,  thank«.       A«  a  wattor  of  f>vO*.    1  rauut  «ot  ^»»«^Jo  ^ 

LOU 

tili 


oft.  Bot  eM»t  wo  BMOt  lator  tuia  «Tonla«? 
(ha  glaoo  to  ae) 

iE  «TonlngT    Perhap».     Uajr  I  oall  you  lator  on  that?  ^A  ^ -;t^  *»«- JT 

PHIUffiAS  ^^t/j 

'At  ay  offi««,  plaas«« 

I4]r  nimberU  on  thls  mtA»  Amt  lad/« 


r 


( 

2.    /U#-»  H.  x^- 


"f^^ 


ary  0ood,  Kr*  Wall« 
no«  I  maat  l>o  gfting» 


phmfas 


LOU 


Tv^^ 


,nk  you  so  auch  far  oociing* 

;-HiMf.AS  rüi^^-^    '■•Vi 

^oU,  gaedty«,  goodliyo,     I  hopa  to  aoo  you  onon.     Oouo^o.  (^T^^   /^^ .  > 

hjodlyo,  Mr.  WalU      ( fjt^  ,'a.  i^^T  ]&  /?  j»  J^*^ -r  n <H;2.  ^"^""/^jL',    /r--   A 


I.att..|MM»lMC  witk  tgauMad.  thdiMthtfulnoiJi) 


i-13. 


* '' 


JON'jaiL 
(wStJi  soiiB  amusement   reading  the    card  that  Phineas  /y 
has  handed  her)  M^t   i^ti^f%^^t<^ 

,?ali  -  Wall  -  Prent iss  -  V/ail   and  'Jail Huh   -  dat'Prentiss  man  - 

ah  guess  he  ^s   dee  roof  I  "^ 

(nervously  preoocupied  and  irritable;  ^^    *  ''-^'-'^'  - 

Oh,    shut  upl      This    is   no  tijne  for  wisecraokSo      if/ith   this   av^fal  mess 
we^re  int     As  usuai,    of   ccurse,   you  nianaged  to  hear   everything? 

JON4IJIL 
Uh  huh  -   Oh,    ah    tries  awful   hard  no  t  1 0  listen,   honey,    but   it 
nebber  seems   to  get  üb  very  far.     Ah   jes^    nat^lly  hears,    I   guess. 

LOU 

Huhl     A  Problem  playl     Heaven  help  usl 

jon:;uil 

Don'   worry,  honey    Chile.  Duh  seriouser  he  gets  ,duh  funnier   it^s 
gonna  be»      Sure,   dat's  fact.     Don»    you  go   worry  in'   now, 

LOU 
(sha's   now  accepted    the    challenge) 
Mb  worried?     I^m  not  worriedl     ■I'm  deteminedl 


i 


i^a     »J^*':«© 


lÄÄ'fb 


,r«»^*t1'.' 


i| 


Uh  huh.**» 


J-ONQJJIL 

(she   walks    to   table    and   as  she  picks   up    the  tray 
of    liquors) 


Well,    I   guess  ah»  11   show    *em  out  now. 


Show  who  out? 


LOU 


•ONQ.UIL 


^    f  (■■cro  fla>ft^.>to  UC   exit )/ 

Messrs.   Haig,  Hai  g,   Haig,  Halfan'    p^^ig. 
ebenin',,..    /'  Al/A-»-..^   '■^■i^  '■^  !%a^  -  ^'^ /j^  .-^ 

(she   stqps  a'iid  tums   to  Loul) 
What  yo'   all    so  d  etermina  ted   'bout,   honey? 


No  business  here   diss 


LOU 

1^11  teil  whatl^m  determined  about.      That  boss   of  yours  — 


Yeah  -   vvliat  a   rasnl 


JONQUIL 


n    i'K» 


LOU 

(with  vindictive  force) 
The    great   Bri^t  Weste rcreek  -  he's  going  to  have  a   -  aplay  -  with 
with  mel 

JON'iüIL 

Uh  huh  - 

(she  moves  a    caiple  of  steps   further  tov^rd  UG  e:^it  and 

the  n: ) 
Does    it    ^tta    be   -  a   play ,  honey? 


\  -  ..iü\. 

■ 

■     '3US    ^^             \ 

^^^H 

■ 

1 

^,1     9l'iiV;' 

I       Y6S» 

:d  xiU 

■      Tea. 

en 

1 

..     :  iijH 


LTOvf   'ncQ 

.3Cf 

snnos 

« 

-  jvr  älü 

k  «  « 

ilsjr:  HlJ 

TEAI2 


Oh  - 


(Off  stGge   sound  of  door   closing)      ^      <!^vtrU-4#'C   - 

(Lou  hxirriedly  sits  down  and  starts  reading,      Jonquil 
reeches  ITC   exit  in  tin^e   to   bump   sc^uarely  into  Bright) 

Oht...«o  Uh   -  drink,  fcoss? 

A 

BRICHT 
(iooking  nervoas,   depressed) 

•. 
(Jonquil    starts  returning   to  table  behind    settee) 

( ite — di'upa   M'"Q  "h4-t  axxd ,tu^ij>^<>€^-%--^li:tlK>**^'ftjf^a4#v--#>^"^i^ef^t-'^ '^o^**««^ 

i;K;^---e«*%"'^ö^4i-ti3jen  peruses   mail   on  little   table  to  tlie 
ri^.t    of  TIC   exit)  ^ 

(she   sliakes   hea?   head,   then  exitslt^-^f "C 

(Bright   is  still  pDCupled  with  mail) 

LÖU 
(Iooking  up  from  her   book) 
how  nice,   darlingl 


Y 


BRIOET 


What   ifi» 


T     ,JJ.B»' 


LOU 


You. 


ci""/;  wofiS 


BRIOIT 


Oh... 


LOU 
(her  best   starry  manner) 
Sober   at   six»».*Home    before    ten..»«vrhat   a  treat! 


For  whom? 


BRICHT 


IloiJ-   II 'I 


.clw    -  döoY 


^^  -  gallantl»**   Ci^rette? 


Ko,  thank  you. 


Beeq/vorking? 


Nol 


LOU 


BRICHT 


LOU 


BRICHT 


\\\ 


Sure? 


LOU 


o  1      ü  i>»wi  U. 


BRICHT 
Whet   the  devil  would   I  be   working  on? 


1-15 


•      •      •      ^i  C  I    w    X 


.7^j.i  -   riO 


Vfci    itoxi- 


.JJOY 


, .  . .  iO 


r,   jö  icoco 


;ir.Gd\i  ^0% 


■-<j 


wifl 


i:lio^/)>(..s9ri 


loM 


^t^'-iSJ^ 


(half   to  heräelf    ) 
That^s  what    I*d  like  to   know* 


LOU 


BRICHT 
I^m  allwashed  up  ,   I  teil  you.     DrÄ6d  out   -  emptyl 

LOU 
Same   oM  story»      Brain-house  dark  betweaa  plays 
dramati  ze  you rs elf» 


(\^    A>  ^.A.-4.^,    e...^^^        i      ^A.-A'^^-If-:-^     ^^'t%^ 


So   -   you 


Can*t   you  see  this   is  different? 


BRI GHT 


It  always  seems    so,  darling» 
-  that  *s   all* 


The  world's   a  stinkiiig  mess» 


O^uet 


LOU 
This   tirne    it*s    just  a    bit  longer 


BRICHT 


LOU 


tn 


BRI  CHT 

And  what   have   I   been    doing?     Cater  ing  smugly  to  Park  Avenuetop iasl 


(appreciat  ively) 
Good   line,  dear« 


LOU 


BRIOHT 
A  bonwit   teller  of  empty  tales  -  that^s  what   I  aml 


LOU 


Even  better,   Brightl 


BRIGKT 
T^^a^busy  wi  th  wit   to  evo^r- be  wisel      A  snide   little    god  of   hi^- 
toned   gags,      That^s  rae» 

LOU 
Brillianfc,  darllng« 

(quite   soberly) 
Really,  Bri^t,    you  must   feel   terribly   sure  of  yourself   - 

BRIGSiT 
Or  I  coijidnU  afford  this  luxury   of  self-disparagement?     Is  that 
the   line?     Huh ,    I  can*t  everireinembdr  which  piay    it^s   frcm, 

LOU 
"Close    of  Sprmg,^  darling*     Act  Two, 


-r   u 


1-16  • 


' +5ilT 


i^y  V      0     j.  i  lii  *J 


'S  .j  ii.  ö 


m 


-Jiov;    ö:!"! 


I  BV'fi 


i    j-^-(w  £>nA 


• 

a.      DOCt) 

.t.    • 

....od   A 

a    nav3 

rjO  .t.tT^ 

DSJlOü 


) 


1^0  nil   ö"i^ 


..    csoIO'^ 


BRiaHT 
V/bat^s   the  difference?     They  »re  all  alike!      Hundreds   I  com 
for  every   new  piece»  •  i  ^  \ 

Lou  K^L-f^^''^^ 

You^re  so   sup^arior   to   yourself,    lay  funny/boy. 

BRIGKT 
Tliere   goes  anothar.     I^a  s  ick    of    them.      Cliiffon  pies  for  verbal 
slapstick.      Oh,    God,    I  feel   lil^    a  Mack  Sennett  of   the  m mal 


(smiling) 
There   go    several   nore,    dear. 


LOU 

ue  really  shoiild   note   them  do\m 


BRICHT 
What   for"?     For  you  to   illumine   \'7ith  charm? 


LOU 

The  World  needs  yoir    cav.edy,  Bri^t.     Ileeds   it   tarrlbly  nowo     Your 
themes  are    oivilized,  geyl     And  your  lixies  liava  sucn  pitii  ana 
brilliance  • 

Sure.      Lite   neon   signs   suspended  iii^ir   -  and  poii^ing  tne  vjaya 
tc   escapel 


LOU 


Del  ic  iou  sl 


BRIGKT 
(weakening  for  an   instant) 

H^iTJü  -  not  bad!  ^^  .    .         ,  ,. 

(then  proinptly  resuming  his    righteous   intens  ity) 
-  can't  you  see   I  feel   thwarted  and  -  a  ni  unrealizedl 


My  Gk)d 


That   vaguely  suggests  — 


What? 


LOU 


iiJR  IGHT 


LOU 
(passing  it   o  ff ) 
Oh   -   oh,   nothing.      Teil  me  ,  derling 
just  plaming  to   surprise  nie? 


-    ycu  aren^t,   by   any Chance, 


With  \VhLat? 


A  nev/  play,   perhaps? 


Ridiculousl 


BRIGäT 


LOU 


BRICHT 


i 


1-17. 


3  1 » .ucT 


3S0:S     7^3  LiT 


LOU 


•^&:1T 


i  'ICil     J:jav 


3oa  ei:  'T  .^lo 


-^'    od" 


: .  WL  oi  iöU 


-  LcC  xÄ 


:>;;3öv    cförlT 


?d"e-.V. 


ITot  even   8  -  a  serlous  one? 


BRIGilT 
Don*t  "be  an   ass»«.    ?h3t?»o^»   Well,   suppose   I  should   do  8   serious 
piecel      You^d  object,  iiuli?     You^re  ,<jjt<r^   oosy   in  your   little  tov;er 
of  steinless   steel  - 


LOU 

»i'itli   a  pBtitliouse  view   of  the  world? 
on  occesion,   you  know« 


Not  quite   fair.      I   do    go  out 


To  tlie  theater,    yes.   And  wiiat  do  you  play  there?     Vogue   -  v^^ith  a 
sound   track.      You'^re  the  D-ArRrling   of  a    stage   for   snobs,      To   you 
life's   nothigg  bat  a    ccmedy   of  manners    -  and  they^re  all  bad* 

LOU 

Keen,   dear.      But  it  doesn^t   fit* 

BHEH5T 
Uae   it  elsewhere*     Do  ^bk  what  you  ßsa^  damn  please  with  all 
my  sode   pop  pletitudes.      I^m  t^irouga.    To  me  k±tsx   this   is   no 

time   — 

LOU  ' 

For  iianners?     Stunning  ourtain,   dear» 

(Jonquil   enters  with  playsoript  in  one  hand  and  tea 
tliings    in  the  other.      She  JDi:lrics   brings  t  he  tea  things 
to    the   table,  and  pretending  to  be  reading,    she  li^tens 
intently  as   s'oe   pours) 


BRIGHT 


Cir/i^) 


Good  God,  can^t  you  ever  sound  like  anything  but   soenes   from 

my  plays? 

LOU 
I  did  lapse  once  -   but  it  wasn^t  such  a   hit.     You  see  ,  darling,  ^y 
devotion  to   ycxir  Lines   -  well  -   it^s  a   sort   of  modern  way  of  being 
an  old-fa  shioned  wife* 


.:    lUC    -    rlO 

^n  rJq   d"2x;': 

riel'i  wen  A        Jl 

.'     ^0jlJ0hfd9i          M 

II 


BRIOiT 
Go   on   -  go  on//  Prod   me   long   enougi  and   you^ll  have  a   pert   new 
play   to  sparkle    in. 

LOU 
7/hy,  v/hat  a  keen   idea   \     Come,   darling,   let^s  try!      Now  you  just         ^v 

keep  on,  talking  and    IUI   —  (y pf^.j^4^  Y p -\\^  flJ-^    fr     ^X^^W  J 


« 


Don^t  be  fatuous  -  please« 


f 


BRICHT 


LOU 


You^ve   so  many  fine   Lines  alreq^dy* 


«X!*  M^V^        ■ 


,.**^. 


u 


1-18 


V3    JC. 

r-^ 

-'  O'noa 

Ol 

s    .::^-:r 

-  o 

aooo  HO 

.  r.i. 

3'icr   oT 

'4- 

j"    Soiree 

-  ■  ,-f 

z'^'lll 

<.-OdX 


u    ^. 

3£Ü 

1.    ^ÜOB    ^.mTI 

— 

8uxj:c^ 

j::n  ^ii 

'XO'? 

•■3l   iu.5   I 

-lOlC    IIB 


.  •"  c 


s-i  '^^^ns^Q 


l\Otl 


(Jonquil  J: 


^ 


<*-.~-'t'^- 


BRIGKT 


(to  Jonquil) 
Vfhat  the  devil^s    this? 


BRIGKT 


JONQU  IL 


Tea» 


BR IGHT  ^ 


Are   you  niad? 


Sorry,  boss, 

A 


JONqUIL 


(7 


t'^' 


{ 


) 


ry,  boss.  .    ^ 

yovr      (exitingja.^f*'  C  • 
Jes'   a  mistake»       7  /? 


rf^?^«r-V^ 


LOU 


Let^s    see   -- 

(as  she  writes   on  a   päd) 
Snide   iittie  god  of  gags   -   that^s   grandl 

(to   Bright)  ^     ^ 

You  did  »^ShoiiJ  Minute*^   this  way   -  all   three   acts.      Remember?   • 

BRICHT       ^     ^.-r^y  ■:^ 
(exasperat^d  -  ^ut   is   he  weakening?) 
Will  you  please  —    l ' 

—^      /  (Jonquil*  s  offstage  laughter  is  heard) 

LOU 

(wiiting) 

Seven-up  platitudes   — 


Xi#^  0 


Soda  popl 


BRICSiT 
(his  pride   of  a  utlxirship   offended) 


LOU 


(correoting   her  not  es) 
Of   course   -  soda  pop» 

(and  now  writing  furiously) 
And  "Hack  Sennett  of  the    mind"  -  and   — 


(in   spite  of  himself) 
Bonwit  t eller  of  tales* 

(half  to  himself) 
You  know,  that  is   keen» 


BRIGHT 


1-19 


T   t    Y/ 


..) 


)J  ) 


•  .:3T 


-0 


t    x. 


..^"'J 


l'IUt* 


^I 


'    vJ  C-  i„  V4         V    '  ki 


J.J7IJ.   a>:iac. 


''      x^  .-oY 


L'O 


J.^i\^ 


V 


j-yöVsB 


f   ) 


iqoq   sf)Oc 


srxx/oo   10 


;^:f  ü.: 


a 


X  ' 


i   acY 


(then  recoverinft) 
My  God,  won^t  yoa   —      l 


BRICHT  (Coiitinued) 


LOU 


(writing) 
I  Bonwit  tel  -  stunning,  Briglitl 

(Jonquil»s  offstage  laaghter   is   leard  again) 


BRiaHT 


!   Äiat    in  helles  t]:B  t   bablDOonlau^ng  ^"2^^^  Avffß 
(IcV^!^  f  or  JonguiU 

Teil  me,  Lou  -  you  red.ly  think  I  ougtit  to  d9l;his    oomedy? 

A 

LOU 
You^ve   already   started,   darlingr  Don^ t  let  yourself  downl 

(pained  but  helpless)  -,    ^       ,  » 

Donn  forget"verbal   slapstiak»^  -   and  "vogue   with  a   soand-traok" 
and  -  and  -  and---j8äy,    it»s   gping  good,   you  know» 

LOU 

It  certainly  is  >   dear.     We  work  tiirougli  tcnlght ,  eb? 

BRIGHT 
Of  course,   rigbt   througb  -—  Ob,   I  -  uh   --  I  forgot  --   I  - 

uh well,    IUI   canoel  that  otner   data,   tliat's   all*      The    nexl 

with  itl  #  Now  let^s  see   -  wbere  were   we? 

/^^^^(jonquii  reenters,^still  laughing)  i-^TX^^  ^^^^A>c  J 
What*s  so  funny,  Jonquil? 


\4a*^^ 


De  boss^s  las*   play« 


Whatt 


JON^UIL 


BRICHT 


LOU 


(to  Bright)  ^       ^        ^.        ^,^ 

You  see,  dear,   your  plays  do.  have  the   ooinmon  toucb,  after  all* 

JON(iUIL 
Yeah,   is   all  äüfflS-      Tö^  montbs  Ab»s   been  on   the  wrong  track 
jes^  now>  lak  dät   - 

(anaps  her  f  mgers) 
Ah^s   cliokedl     Dat   play  sure    is   a  riot,   boss* 


-  but 


LOU 


(intrigued) 

ow  so ,  Jonquil? 


1-20 


JONQUIL 
Ohi  you  know,  honey  —  doe  wpy  h©  mnkos  dat  silly  t.^lk  snund 

s  ü    smaht l 

(LOU   and  BiarrlT  winc©) 
How  ebber   does   you  do    it,   boss?     Yeah,    r.nd  dee  v/ay  you  klds   us,    tool 
jes'    ke-p  US  waitin'    an«    waitin«    anfi  v/aitin^    fo'    aonothln»    to   happen 
But   yo»    3ho»    fools  us,   bo^s   --  you    sho«    doesl      Dp   to   dee   very   last, 
dey's   all  so   busy  talkin»,   dey's   absoTutely  no   time   fo'    actionl 

BRIGHT 
(Jumps   out   of  bis   chair) 
Oh  my  Godl      Let  me  out   of  herell 

(hs  MnabB  hJ-j  UaL-  miß.  'CPrrt'-gfj^-'lTh^y^t^gt^  '  /    ^| 

Y^^ulBre  f Iredll 

JONQUIL    C^^t^  c/^^^'^J 

Sbo»    ah»s   fired,  bossl      Ah»3   fired  wid  ambitionl 

(LOU  buries   her   face    in  her   hands  •      Jonquil  walks    tov/ard 
phone   on    the    table«) 
Jes'   wait   an»    aee,   Bri£;ht  boyl  ( 


f.L-f  t^vv^l' 


4^   4>^i  ti^yj^ 


7 


l 


LOU 
(to   JONQUIL,    in  a   rag 
Why,  you   --  you   —  you   --lll 

(JONQUIL  dials   the   phone   to    the    tune   of:) 

JONQUIL 
Wall  -  \7all  -  Prentiss    -  V/all   -   and  Wall 

C/  A    •  (Ij^^pi^^   0^^^    ^^®    settee,  \7ith  clenched  fists    Ina 
menacing  movement)  ^    ^  ^^•->v^^.^^^  .vl^<f  ■  ^^-^^ 

If  this  v/erenH   t-^»^-J;^*Bgf!igJi<>  e^  ■»  'ChmM^jt    I'd  rev^^rf^  like   -- 

(her   rage   descending   to   a  hea/tbreaking   sob) 

HELLl II ^  X 

(JONQUIL  tlirusts   th»  phone   into    IX)U«3   handj 

j  BLACKOUT 


t6/ 


/ 


«>tj 


^fc-.-»vJ^^[. 


,     ^rt:I  uoy    ^dO 

■  \ 

...     '-iOddo    WOH 

^R  IIa  e  » v:öb 


r-  'i 


i.     0  vri  riO 


;i  /i. 


a'r'r    'Oiici 


i  j:  "^.w    'p^T, 


1» ; 


;joY    tY^V/ 


NO  TDffi  POR  COMMMT 


xsWv 


'«MI 


..  y.tiif 


*t --,.--. ^d 


■  w.iwi  MW<tf»imHtI^^"*^"" '^^^ ■"' '■  ^^»»«t^Tpswwwt*'-:^***^»'^***-- -»N-^^ä^npirrH' 


A 


// 


-/. 


I<f*v 


(Llvii]g  room  inthe  swaiik:  penthoase  apartment  of  the 
E«  Phineas  v/all's*   It  is  Identical  inappearanoe 
with  the  living  room  of  the  Westeroreeks,  save  that 
the  posltions  of  the  arm-ohair  and  settee  are 
reversedi  the  former  being  diagonally  plaoed  DLi 
the  latter  similarly  plaoed  at  DR.     Aboat  four 
hours  have  elapsed  sinoe  the  olose  of  S£ene  !• 
It  is  evening. )  ('Sju:f  ^OfJ^y^  SAt.^^JL,4-la^,'UJt^^ujtX^y^^tAJ 

(FADE-IN  on  forestage  and  surroanding  area  reveals 
^  Stagehand  snoring  in  a  deep  sleep  on  the  stairs  to 
'the  right  of  the  forestage*   From  the  exit  at  right 
»    side  of  aaditoriomi  we  haar  the  voioe  ofLoUt  calling, 
^i^^c:  y  "JohnJ   JohniJ   Oh^  JohnJ"  Then  Loa,  wearing 
&l   3  -"^u  **  Street  appa?r6l,enters  through  said  exit  at  right) 

Mib^lK^^lf^fi^^       apj  Wake  ap,  ^ohnl 

JOHIf 
(still  nine-tenths  asleep) 

M^mmmmmJ 


CAÜ^^f^ 


vj 


-    iL 


-  cißv; 


ff 


?.l£l:^   II 


c;  i 


H 


LOU 


Wake  a£,   I  sayl     It's  orgent^ 

(9a0£«4«)g.)  ;^t^iV.J  u  p) 
^s  wrong?  '      / 


Höh?     Wha  t 


LOU 


Look,   John  -   I've  got  to   see  Mr,   V/all J 
you  anders tand? 


And  right  awayj     Do 


vrSTAG^HAtn) 
Well,   go  and  see  him#  f^tlEl^«^ -r  :?>*    i>j 

( Starts  baok  to   sleep)        \j 


,$^M%y 


LOU 


Bat  we're  meeting  at  his  apartment J     So  yoa've  got   to  change 
the  soene  q.aickly  to   the  Wallis  llviM  ropm. 

STAGEHAJ^TD    ( ^"^^^^^  l*^J^J 
WhatJ     At  this  hoar?     Not  a  ohanoe  in  the  worldj  (-^'d^A^^ri^^i^  a  *^  ^^^J 

Oh,    I  know  it»s  late .     I  knqw,    John.   Xßat   this   is  important. 
And  there's  not  a  seoond  to/^pare.     We w#  got   to   be  there  and  ge4- 
all  set  before  the  other   two  arrive.     Don^t  yoa  see? 


>i 


liruiUuira'  i 


;   »ru   o:vBW 


rd\.     ?riDH 


|B  0^    tlloW 


n\    u^A^i 


'0^^  I    tfiO 


>,V' 


2-8 


STAGEHAIID 


(1^'^vii  u.  yxJ 


f. 


T  0-.«       Tniitre  teilin»  me  mm  -  for   the'first  time  and 

Welirf  ^Ssn^geT-Ifa  against  the  rules  -  and  besxdes.   I 
don't  like   the  whole  idea. 

Uh  ah  —  nothin'  doin'I 


^■^ 


4y^    -^' '-#^■'^•'^'1 


.:> 


e  • 


to  sa^,   Jo^t  J—  f  ^^^'*  expeot 
ing.    /,-44.'V3    *'r.  ll-.-^;!     . 
Im  a  piece  of  oifrrenoy) 


Bat  Ifa  s.rioa^._^  t»ll  ^-;ii;-i,„^3i«  Jon.) 

Oh  -  and  ah  -  needless 
your   servioes  for  nothi: 

(she  hwftCs  ^iüi  «  yj^^^^  ^--   -^ •' '  .  "^  a\ 

V/;/^--'-*'       STAGrEHAJH)  f/^^''^^^  ^    ^r    »^  / 

.,ru  ^1      +^.^a-?     JTm     ti?vin'    t'    oompÄomis«  me,    htih?     Shame  on 
ySS!  Jrs^  Jest^oreS!     A^hrSbe?     Yah  thinlc  I'd  taJce  a  briheT 

LOU  T   u 

Why.    that  was  only   jast  a  little  token  of  appreoiation.  John  - 

that's  all. 

"-■^  (as  he  rises  and  pookets  money)  J^ 

Wonderfal  thing,   *in'   it?  V' 


i\ 


What.   John? 


LOU 


STAGBHAND 


rds* 


^.^•-J"H,v.1 


^  X 


LOU  (^af_M*.  ,  - 

Rightl     Bat  harry  nowj  A.T:ÄJtl   UJt  > 

STAGEHAHD 
Bat  raind  yirrTSSTJrTÄ  more-n  switoh  the  furnitore 

LOU   fä^P^k^*^°'*^*^^^^ 

Oh.   Dut  -  Dat  that  won't  nake^  it  the/ Walls'   livin«  ^ooml 

Sure  it  willJ       What  makea  a  scene  is  who^'thete  and  what 
happens.     Yah  think  the  -.vallpaper  »a  importan 


,    * 


2-3 


\0     C.L     ;fnr^ 

Iv  >ri   eiXiüO 


--  jriD  xlU 


'"loa    lüC!^ 


<  ^.  ^-  i,    fL^  .) 


\i}tiQbiio:l 


lOi     t^BTiV; 


rl^'^ü^ij^NmiJlP- 


IWbW 


^u6    ,xlO 


L0¥ 
(as  she  exits  at 
V/ell,   all  Pightj  Bat  hurry  Johnl     HarryJI 

Besides,   these  swank  dumps  are  all  aliJce  anyway./^rs  (C 


wnw 


(He  Starts  to   go   thpough  oartains  at  C  and 
then  pausing:) 

—  and  wbat^s  moret   tho  Workshop  »s  got  no  other  scenery^ 


(He  disappeeoi's  onto   the  stage  throogh  the  oartains* 
Then  there  are   a  few  seconds  of  masio  -  and   then, 
>the   oortain  rises  on  Soene  2,   with  Phineas  and 
Loa,both  Standing   in  oonversation*Dt-C,  ^#    %A  . 

LOU    CcL67^A^P^4MMiAc^ 
How  maoh  time  have  we?  «4cX  ^rÄar>^^/  ^/ 


PHIHBAS 
She  told  the  batler  they'd  "be  baok  at  ten* 

(looks  at  wpist-watoh)  **  ^^* 

It's  seven  to  now,  Mrs.  Westere—  oh  — • 

LOU 
Creek.  Bat  yoa'd  "better  get  ased  to  oalling  me  Loa» 

PHIEEAS 
Ah,  yes  ~  Loa*    (sighs  happily)       ■■» 

(pointing  to  Frenoh  Windows)  (^ C^Uitä^i    U) 
That^s  the  roof-garden  oat  throagh  there? 

PHIKSAS 
Yes....  Gracioas,    I  do  hope   it's  not  oold.      The  night  air 
sometimes  makes  me  sneese* 

LOU 
This  is  no   time  for  sneezing,  Mr.   Wall^^,,Uh  -  Phineas,   dear. 

PHINEAS 
(enohanted) 
UmmmmmEi  -  Phineas  dearj     How  lovel^rico  hear  yoa  say  it,  my  dear, 
ah  — '' 

LOU 
Loa.  Now  don't  forget  thati 


.'!#'■'  -- 


t--  <-'•■ 


Ah,  yes  -  Loa.  (At^  UMJ>t*^~^^4y ^Cä.  Ca^^^-f^^^^"*^) 

LOU  » 

And  also  —  pleaae  dLon*t  forget  we're  Jost  -  aoting* 


11  IIb   <Xl0V/ 


Ulf    ,aobl3eü 


H) 


O^B 


..<m 


rf"  -^^  sf.  :r 


iij-   fiojjoi  woH 


lua'   •:j(9eiO 


—  BO-^^   «liA 


.) 
Cd   8i   eirlT 


11  •  lOiiuat.'muiÄJ 
—  rlü 


woVT     .i?oj:. 


L  -  ö9^   tiiA 


--  ü8lJ3  baA 


'>v^^ 


2-4 


Cf^JU^^  '^  PHIH2AS  ^y'    y        /     ^ir^  ''   \ 

Yes,  yes,  ala8.yjBat  still,  how  lovelyo  (  ^^^^^W^"^«*^  "^^T^J 

LOU 
Teil  me,   Phin  ~ 


PHINSAS 
PhinI     Ah,   how  charmingj     A  new  nioknamel 

LOÜ 
Yoa  think  this  plan  will  work? 

PHINMS 
Why,   I  know  it  will*      Just  let  Olga  realize  she  might  really 
lose  me7"iHy  —  Ea,   ha,   ha,    haj     When  I   think  of  their  going 
oat  there  as   osoal  to  see  the  moon,  and  then  finding  os   there 

looked  in  a  tight  embraoa  --  (^J^,u^,.//p,^..^^  c^JTc^y^-^) 

LOÜ  0 


üh  -  not  too  tight  — 

PHINEAS 
Oh,  I  teil  yoa,  I»m  going  to  love  this,  Mrs 


-  Oh,  tth,  uh  — 


LOÜ 


Loa  — 


PHINEAS 
Loa  -  deap  -  Ah,  I  haven't  feit  so  well  in  monthsl  And  then, 
your  hasband  -- 


Boa  -  yes,  my  hasband  — 


LOU  (  CJLx/\sA./^.Ki^L^ 


PHIHEAS 


Why,  jast  let  him  think  that  he 's  aboat  to  lose  yoa  -  to  me 
Why,  all  this  nonsense  of  Olga  and  the  serioas  piay,  I  telT 
you,   it'll  vanish  like   that  - 

(snaps   his  fingere) 
We^ll  have  a  new  Westercreek  oomedy  in  no  timej 


Bat  remember  now 
very  serioas J 


LOÜ 
this  basiness  here 


-   it  mast  all  appear 


PHINEAS 
Jast  leave  that  to  me!      I  hardly  need  to  aot  at  all,   the  way 
I  feel  now,|s4earest  LoaJv^  -  i^y  memory's  improving  alreadyj 


iw»m,mi<  >MiP i 


Oh  —  and  also,   ah  — 

(soands  of  approaohing  voioes) 
ShashI     They^re  oomingl 

PHINEAS  -  _     * 

Oh,   oat   here,    quioklyl  -  ^ 


\ 


-iHorrrsrrr: 


B  «öev.  «eeY 


i'L   <em  II  eT 


»li-fe-  Inid^ 


Lt  Inirij-  DoY 


[voM  I    ,Y/iV/ 
IM    ^em  saol 


)0u    ^'cn  -  du 
Hot  I    tdO 

—    JJOiI 

« 

,i  riajjri   ijjo'^ 


liier  IIb   «^'üV 

i) 
9VBfi  II  »eW 


evßel  JajjX» 
,v;on  loel  I 


brlT      Idauria 


BW»*" 


is   empty,    and   tv^en--   OLGA   enters   at    Irof'f ,    followed  by  BRIGHT« 
TheyK  ar©    in  conversationo  BRICtHT,    in  a  vehenently  dis- 
consolate  mood,    gooson  talking   Jiia  111    uim^B )   ><'/^     /D  C  A^^^ 

BHiaJlT  ^  riZ.    *k^ 

It's  no   use,   Olga.      I'm  all  weshod  up»   No    steain no    sparkle» 

Stagnant    soda-pop   --   that's   what    I  aml 

OLGA 
(tenderly   reprc>ving   h.im) 
Bright  dear    •«•   v''hy,    you're   a  geniusi      All  that'a  bo©n  wrong    is    -  Leu, 
You've  hitched  your  wagon  to    a   -   star«      The   result?      3lick    triflea    to 
makc  her    sound  aa    s    art  as    ah©    lookse 

BHK^HT 
Huh  --   I  might  hav©    seid  that  myaalf  • 


A^J^ 


OLGA 
You  did Porgotten? 

BRIGHT    M^-^^ 
Oh,    I  t©ll  yoM,    W  v\   hiir^iliating   -   tfiis   hold   sh©   has   on  m© «      And 
mostly  as    th©   mouthpleco   of  my  pwn  defensiv©   flipnancy.   Tbat's    th© 
meddoning  part   o.f    ito      Giv©   m©   a   sober    thou:;ht,    and  binf.o-   th©  .  sense 
of  ?ier    sl-nrry   charm  canccls    it    --  and  with  my  o^m  v/orda  >     V/©11,    if 
I  had  any  r©al  atuff,    that   conldn't  happen« 


(lookin  up   la^nbly  at  hini)' 
Oh,   BrigVit,    Bright,   you^ro   so  wrongl      Why,   ho\7  oft©n  havc    I  s©©n 
your   tragic  cyea  pocr   thro ugh  th©   comic  maskl 


BRIGHT 
(coylj  prot©3ting) 
Oh,    com©,    com©  novr   -- 

OLGA 
Yos,    and   in  your  v/hol©   pcrson  - 


<.*% 


-   th©   struggl©    I«v©  mi3T©d  in  you  playc« 


BRIG^iT 
Uh  -   that   isn't  min©   too? 

OLGA 
(tend©rly  reproving  again) 
You're  dodging. 

BRTGT^T  (^  l^  C^^^^hc^l^vur^/^Jn^ 

> 


(pönit©ntly) 
Oh,  I  --  I  know« 

I'm  just  a  sort  of  dramaturgic  pacifist»  Peaco  and  good  lj.n©s  for 
all  m©n^ 


■■u\ 


ri  tüQ    %A0 


I 


08      '"t' 


3    a'?>K   f!"^      ' 


--       H-'f;! 


^  «  •    •  •  l^  X  O     M, 


^  •'      ,•'■  •'•^    t 


iij 


o-t^ß^ti    iL^o-^ 


^;5f'.or»     t.H!0. 


•,^    -    rfU 


^:"^'-  ••     ^C     'i.f'.'Y 


^fiü 


2-6, 


#" 


Rnt   thi3  new/<lay  -   it's   so  dlfferent,   Bricht.     Waj,    It   sajr| 
^C?^»i     'snrethlnß  v.-3t  aTId  deepl      Sorrethlng  -  oh,    30-30 

lvcllEiärBr"lhtrii:Lff^ri^^     Plty  and  tcrrori      I'm  3ure 
JFritotle  would  ravel      . 


Well  #-  he   isrx't  around# 


Br  iöht       Ur^^  ^^'-':?   '^  ^  "*  ..  . ;  ^-^-  ^X. ■>,  , 


OLOA 


And  tbat  firat   adtl     Y/hy,    it'a   tremendoual 


BRIGjIT 


^^r'/< 


f*^'/!^.^  J 


a^Iu^  J 


Th'^t's  all  I've  gotl      An  actl     And  v/ithout  grov/ing  painsU-^^^«^ 
r^easly  sllce   of   llfe,    -— en  the    thlng   I  need  is    a   loafo 

OLGA  ^         ,       , 

Oh,    fiddlestlcksl     Y/hy,    that  aot's    just  panting  for   extensionl 

BRIGHT.    i      /       / 

Oh,   but  v/hat's    the  goodl         J^«^  /^   ^^,„..^-     a>    > />  /  /- 

( Im  ^trmta    |i       ^    (  /  W  C  i^^TtAT^i^^ruA  (^^--^^^ ^^ 

I  just   canH   seem  to   ---  \ 

OLGA     (a  <>  4h^  y:^^  l^,  iTj^  */A^  L  h 

Let«3   -  relive    it,   Brighto     Picture   your   opening  sceno*     The 


Isn't   that   a  big   lugubrious?       ^'^^'-'•/^^ 


\m-<^^^ 


1. 


OLGA 


^hi^k  «./■  0€«^  J 


Itts  brilllantly  mocabre,   dear.^Suoh  -  such  poignant   overtonoal 
WKy,   iUn3j'Bi'.i;uV  would  adore    lt.       v>. 


Cx.^ 


BRIQT'T 
V/ell  --  mf.ybe   so  .     Anyvvay  — ? 


\ 


/A 


1 


9^^A4^ 


i^ 


0^  tf^^j  }%^  A^/C  U-fKJL^ 


S3SMI. 


•an   ^iiii-'    iud 


^    f-^  —   II ©w 


-xl   i.«rf:t    bnA 


I    IIb    r:tt^riT 


.■sel.O-i'i    t-ciO 


1 

) 


lo  --   I-)I«:i 


-fn'!:?   i*nel 


j:.Li.j:iQ    ^^  'l 


--.   II 


Ü 


-/^j 


.\ 


■J 


(narrating  intensely) 
The  raurder  was  done   in  a  distant  city.     There   the  noble  youth 
had  founded  a   prof it-sharing  mortuary  for  the   beneflt   of  the 
underprivileged. 

BRIGHT 
(thoughtfully) 
But  wait j. •..That'3  fostering  eacapel 


2-7 


/ 


iiiiiitiiiuiii'"'**''' 


OLGA 
Oh.   no,   Bright.      ViHiy,    it»s   so  humaner/^  Jiiat  i^ttey  McKinlayi 

BRIGHT 
Yes Yes,"  I  hadn^t  tho^aght   of  that^^^^nd  besides   -- 

(now  milltantly  defensive)   Tl^i^^-^-^  ) 
--  why  not   escape??     The   Valiant  Fllghtl      Tliat»s   it    --     ; 

(he   pause 3)  vt 

Go  on,    Olga, 

OLGA  ^^^^4.^    r^^.,..m^ 

The  local  undertakers  were   indignant.  >^  ßmdt^io-^ffijiB-lij  hired 
gangsters   --   to    take   the   boy  for  a  ri-üe .    (/^^iJJ^^L^ 

I  don^t  know.-A.That's   going  a  bit  far,  j  ; 

OLGA 
But  undertakers   -  they  live  with  death,    Bright. 


^'/^ 


I 


BRIGHT 

True yea,    that^s  very  true.     Y/ell 

of  course   -- 

OLGA 


-   the   eider  mortician. 


^j^ 

^l- 


Is  grief-stricken.     He  no  longer  has  any  zest   for  his   cilling. 

He  yearns    to  do  sa:iething   constructive   -   that  wouldjxonor  the 

name   of  his   boy.     Then  --   one   day  he  rides^sttrr^ugTT'the   poor 

district   of   the    city.     He   sees   hordes   of   unfortunate   people; 

The  grey-lialred  -   the  bald  -   the   pimplyl      Pale   cheeks    pleading 

for  pinknessl      Lips    -   blue  and  vague   -  asking  only  for   red  J'^^-tu. 

definiticn.      All  this   he   sees   -  and  more.      The  mortician  is        urxr^2t 

deeply  touched^b      Then  and  there   he  deqides.      Better^than  to  J^" 


^-'^' 


i 


make  the  deadO.Q 


\ 


more   alive    --//f    \ 

A^J  ■t/l 

iRiGm      /  /     / 

Is  to  make  the   living   look  less  dead.      You  kriow,  A;hat   i 

OLGA 
So  he   establishes  a  free  beauty  clinic  in  the  heart   of  the 
slums   -- 


s   pat.  r^<V^ 


\^ 


^6t^    \ 


BRIGHT 
And  dedicates   it  to  the   memory   of  his  departed  son.      But   still 


\Vhat,   dear? 


OLGA 


1  k 


2-8 


BRIGHT 
Well  -   I»m   just  wondering  -  would  such  a   project   really  get   to 
the  roots    of  social  misery? 


OLGA 
Youth  and  charm,   dear,   are  distinctly  social  assets 
are   just  as   young  as   they  look. 

BRIGHT 
Women  too.     Olga,   you're   glorious] 

(he   goes   to  her  and  takes  her  hand) 
You're   so  -   so  good  for  me.  % 

Whät^'s  next,    dear? 


And  man 


OLGA 


A  year's  elapsed. 


BRIGHT 
yes,   and  the  clinic's  a  boon  to  thousands. 

One  morning,    a  ragged  man  with  white  hair   --  C  £^^^    f-pmr>j^ ,  y^ 

BRIGHT      /        /      V       ^  ^ 

And  long  white  beard  --  ^/lUCtrfO^^  f^^^t  ^^tm^^^\ 


OIGA 


Approaches   tlie    clinic*,,.     He   pauses. 


^^^AL.iM'N-/^  cn^  L^^y/*"^ 


>ugh 


BRIGHT 
He    ought  to  be  dyed  and  shorn.      He   look^ 
Window.  .  j —    ^  _  A  ^  i 

\  QI.GA 
And  what  does  he  see?     Tnere    -  hard  at  work  on  a   blonde   -- 


h 


Her  hair,    of   course   -- 


BRIGHT 


OLGA 
Is  the   venet»able  mortician] 

BRIGHT     f^-^"^'  ^ 
The   bearded  on3.ooker  Starts I 


^ 


i 


OLGA 


MMWM^MI».»., 


Amnesla's  dispelledl     He  lool«i  againl 


BRIGHT 
And  then  -   in  a   stif led   cry  -- 

OLGA 
He   calls   "Pather!     Fat  her  T* 


>    r  %fT 


i"i^  '« 


[■lg    "SM  JB 


a.    ,--    .     ..■.  ^  ■ 


mmmmmmmm 


2-9 


BRIGHT 
(in  a   tone    of   significant   caaualness) 
The  mortlcian's   son  had  not  been  killed  — 

OLGA 
But  oh,    so  badly  batteredl 

BRIGHT 
His   hair  had  turned  white   in  a   Single   night  -- 

OLGA 
Prom  sudden  fright.      But  now  the  wanderer^3  hörne.     He  wants 
his  dadl     He  makes  for  the   entrancewayl    ( ft^^  ,,^^^^ 

BRIGHT  ^ 

But   Coming  out   of   the  building   are  dozens    of  beautified  patients. 

OLGA     ^  V^il^^-^^  ) 

And  then  at  the  door  he  beholds  --  the  plaque  of  dedication* 
In  a  flash  he  sees  it  all.  This  whole  great  undertaking  Is 
based  on  a  Single  fact  -- 

BRIGHT 
His  deathl  Dare  he  disprove  it  and  wreck  the  clinic? 


OLGA 


^,. 


He 's  tortured  by  inner  s^rugglel    ^ 

^9       /}    J  BRIGHT        «^-     ^ 

Shall  he  be  dyed  --  or  dead?  ^^  ^^  vvva.J 


Hl 


Shall  his   face  be   shaved 


OLGA  (  ^^.<iZi4^,  yi-'^',-^^..ji^^^^^^ 
-   or  lihe    clinifc  saved?  * 


BRIGHT 


His   trembling  hand's.  on  the  door-knobi 


QOor-KnoDi    .•  ^    .    /         >.    ./    i 


OLGA 
But  you  can't   let  him  enter 

You  can't^   BrightlJ 

(He   turns  and  looks  at   her  in  enigraatic  silence 
and   then; ) 


i 


CurtainI 


BRIGHT 
(with  proud  finality) 
•  •  •   Not  bad,    eh? 


It»s  overwhelming« 


Or.GA 


BRIGtIT 
Ye s ,   ^aOK  -  -    lA^f  <  ^  ^.U<  *      Y  1%  p  «'•  ^^  "f  ^ 

(DaJLigh^A^i    he  walka   b£o^-^ 
but   --  No,    it's  no  use. 


J.iijL.>,J 


s,    then  stops    on  --) 


V 


i 


mßmmißmmm 


2-10 


What^s   wrong,   dear? 


Where  do  I   go  from  here? 


OLGA   )<  AlC*4^  0  $U.'*^-^A^  O^^H,/t^^) 


BRIGHT 


OLGA 


Why,    juat  where   the  action  takes   you. 

BRIGIIT 
Huh?»,,,  Yes,    of   courael     That's   It^Jl     You're  superb|^ 

OLGA  

Go   on,   dear.      Go  onl      I  *m  dylngl 

BRIGHT 
-  then  after  thoughtful  pause) 
our  bearded  hero   -  returns  to  bis    father's  clinic 


( 

Next  moming, 


OLGA 
But  not  to  say  he^s  alive? 

BRIGHT 
No.  To  off er  his  skill  in  make-up,  without  reveallng  he'a 
who.  The  eider  mortic" 


OIGA 
But  he  flnally  accepts  the  off  er? 


lan  ponders  " /^^^^«^A ^' ^/«^."^ 


(/ 


BRI GHT 
Yes.   On  one  condltion,  however.  That  our  hero  set  an  example  - 

OLGA    C^^^T^'^^^*^^ 

By  dyeing  his   hair   and  shaving?     I  knew  itl      Oh  GodJ      But  he 
mustn^ti  i 

BRIGHT 
Of  course   notj     He  leaves.,,.   Then  he  wanders   -  alone   through 
the   City  atreets. 

OLGA 
Oh  Bright.     You're  making  me   cry,   dear. 

BRIGHT 
There  develops  a  harrowing   thought  l      Man  born   of  woman  is   weak. 
Some  day,    perchance   -  he  might  shave.      The   clinic  wo  ;ld   then 
be  dooraedi      It  is  much  too  much  to  bear. 


OLGA 
V/hat   terrible  beauty,   Bright  J 

BRIGHT 
He  goes   to  the    funeral  parlora,   where  he'd  sp'ent'  so  much  of 
h  ia   youth.     Prom   the  man   in  Charge,    he  aaks   Service. 


(  ^-t^U^%,  .4  /f*^/-^/^  H<'^'^•*^4 


1^ 


"'''''"^mtTm^         """  ntuvWiiiHi 


2-11 


1 


OIGA 
SO  Russian  and  still  -   so   contemporaryi    '     '  .^^^^^  _ 

BRICHT 
The  erabalmer  thinks  he's  balmy.     He  rushea   out   for  help. 
But  when  he  returns   -  he  finds   — 

OLGA 
(rising  anxiously) 
Don't  teil  me   --   ?  , 

^  BRIGHT  ^   ^^      ^^^ 

Our  bearded  hsro  —  has  meanwhile  ended  hls   life. 


L 


Oh  GodI      Oh  GodJ 
That  --   is   the   end. 


OLGA 


BRIGHT 


OLGA 


How  greatly  you«ve  killed  him,   Bright* 


sl 


IMilHIH.III"*"" 


,!f 


'1  i"? 


.♦  f 


9 


1 


ü»n  »• 


-«asae*!   to   a\ 


■  -» • 


/ 


] 


'.n 


2-12 


BRI&HT 
It»s  all  yoiir  doingt  darling.     Yoa're  so  wonderfal,  Olgal 
So  deeply  ander standingl     So  atterly  and  oompletely  — 

:,  (From  offstage  Is  heard  an  ear-shattering  male 

sneeze)  ""  ^ 

What's  that??? 

OLGA 
^embarrassed  and  wlstfal) 
It's  -   the  sneeze  I  live  wlth» 

BRiaHT 
TTmfnm  -  Olga,   there's  more  l)ehind  that  sneeze  than  a  slnus, 

(He  strides  boldly  to  ^tfeg  -^Tef^^^m^ski&m ^  and  /^ 

ag  hift  htulB    tiftea  gpen   htHn   greetel  "by  another 
and  even  more  shattering  sneeze.      Seeing  Loa  /     /  /*- 

and  Phineas,   he   staiits  "back  in  amazement) /^^-^^tn-^^v^/au  A^ 

So J !  l     BapionageJ I        . u,  v :        <  WUo  ^ 

PHINIIAS 
(entering   the  room  with  Loa) 
Oh,  no  ~  it»s   jast  —       ^^-Tl.    v  t\ 

(sneezes)  ^^  '    jli>^  / 


—   jast  the  night  alr!      f3^ HeM.^^^Ujt.iiA. 

BRIGHT 
So  it's  come   to   thlsl     Spylng!      SpylngJJ 

LOU 
If  I  were  yoa,   Brlghtt   l*d  be  ashamed  to  admit  It« 


Admlt  what? 


if 


Yoor  spylng* 


Ue  spylng? 


BRIGHT 


LOU 


BRIGHT 


LOU 


türer 


Why,   of  course.     Not  ^^t-^  gallant,   I  shoald  say! 

BRIGHT 
What  In  hell  woald  I  he  spylng  on? 


LOU 
Please  don't  play  Innooent,   Brlght. 

(she   takes  Phineas ^s  arm) 
-  oor  romanoe* 


r- 


Yoa  were  spylng  on  — 


n 


i  'ii 


..i^T&tfBETJ 


2-13 


I 


Whatii 


OIßA  AND  BRiaHT 


< 


LOÜ 


Why,  of  oourse.     Oh,  you  may  as  well  Jcnow  -  Phineas  and  I  -  we  mean 
a  great  deal  to   eaoh  other.      We're  rery  devotedj     Arenn  we. 
Phinf  dear? 


.^' 


IHINEAS 
Well,  ha  haJ  We  oertalnly  are,  LllJ  We  oer 


oartalnly  arel 


lil? 


BRIGHT 


PHINEAS 
Oh,   I  -   I  mean  -   uh  -   ah  • 


^w'  C 


Loa« 


LOÜ 


f>' 


PHINMS 
Loa  -   Loa,   of  ooarse,    dearj     Of  ooarsel 


jat:  .  ? 


1 1 


BRIGHT 

(oontemptaoosly  seeing  throogh  it  all) 
Hmmm  —  .,  ... 

(slowly  shaking  hls  head) 
Thin....  Yery  thln» 


iV*  -A    O  A 


WhatI 
Me?? 


PHIKEAS 
(surveying  his  girth) 


9  t 


f A  r\  t ; 


BRIGHT 
Äo,  yoa  gpeat,  big  honk  of  — 

LOÜ 

Caref al,   BrightJ     Phin»s   the  most  ardent  admirer  of  yoar 
0  omedjLes* 

BRIGHT 
HahJ     What  batter  argament  for  tragediesl 

^^^Ä^f^  PHINEAS 

ii"i  *'^       No  oon^liments,   pleaael     It»s   too  late  for  that 
now,   We've  made  ap   cor  mindBl 

BRIGHT 
(to  Loa)  -. 

If  yoa  think  for  one  moment,    that  thisAoddy   little   soheme  i 
goijag  to  have  any  effeot  on  my  planst- 

LOU 
Don't  Blatter  yoarself,Bplght.    Ihia  isn»t  a  soheme • 

(she   takee  Phineas  »s  arm)     »tj 
It's  real* 

(Phineas  looks  at  her  and  smiles) 
Terribly  realj  ' 


8 


n 


H 


2*14 


\ 


PHINMS 
It*8  more.     It's  delightfall       It's  grandl     Why,  with  Lou's  lieaaty 
and  gg^  -   ah  splrit,  we^re  going  to  hav©  a  wondepfal  --timeJ 

BRiaHT 
Tohahl     Romanool      It's  preposteroosJ 

(to  Phineas) 
At  yoar  agej  .       ä^ 

Men  are  as  youug  as  jcfloi  they  MMAr;  Mr.   Westor 
Creek« 


^  \i  vi       «'■ »  , 


ah  - 


PHINEAS 

Creek! 

(to  Loa) 
Yoa  know,   he 's   JealoaaJ     Hah  -  am  I  feeling  grandj     Jast  grandl 

Tlo^Bright) 
Chin  ap,   old  mani     Where's  yoar  sophisticationt 

(to  Loa) 
Thls  ie  saparl)! 

(to  BPight) 
1*11  never  mlss  yoar  oomedles  agalnj 

(Loa  worri6dly  taga  at  his  sleeTe  and-whisperB-in 


I 

I. 


LOU  r  /7 

It  seema  only  fair  to  give  Mra>   Wall  the  floor.   f''1{        y  A-  /QJ^ 


PHINEAS 
What  on  earth  ahoold  aha  do  with  the  floor? 

LOU 
(to  Olga) 
Yoar   ailenoe  haa  been  moat  toaching,  M^a.   Wall* 

PHINEAS 
(half  to  himaelf ) 
Hah  -  floor J     Why,   the  whole  hoaae  atanda  in  her  name  already. 

OLGA 
I  have  nothin^to  say  -   "bat  thia:     my  feeling  for  Bright  ia 
purely  platonio» 


(again  at  aea) 
Purely  what? 


PHINEA.S 


LOU 


y^  f<%A\iL^^ 


An  attempt  to  implioate  Plato* 

OLGA 
I^ve  only  been  trying,    in  my  poor,   hamble  way,    to  foater 
Bright» a  geniaa.  Beyond  that  -  there'a  nothing  Taetween  aa. 


PHUSTEAs 
Why  not?  What's    the  matter  with  him?     Why,    he'd  make  you  an  ideal 
hasband.     Together  -  yoa^d  have  a  lot   of  -   tragedies. 

OL&A 
Why,   saoh  sordidnees  never  entered  my  mind! 


* 


PHIUEAS 
What's  sordid  atoout  marriage? 


T        -» 


BHiaHT 
(to  PhlneasA 
Hasbands  llke  yoai  Be  oareful  what  you  say  to  yoor  wife. 
Do  you  anderstand? 


OLGA 


r 


I  have  no  apologies  to  make.      I^m  proad  of  our  fpiendshipl 
It's   been  so  riohl   So   oonstraotive!      So  fraitfalj     And  besides 
bat,   of  ooarse,  yoa  oooldn't  and er stand,   either  of  yoa  -  it's 
been  eompletely  innooent.  :    "  ^ ; : 


^. 


Of  what? 


lOU 


^^) 


OLGA 
(sobbingly  to  Bright) 
Oh,  why  are  they  so  crael  and  hatefal? 

(she  barsts  Into  tears) 

BRIGHT 

(t ender ly  patting  hls  arm  aroand  her) 
Darling« 

(he  ooftffortingly  strokee  her) 
I'm  desperately  sorry,     Olga» 

(looking  daggers  at  Loa  and  Phineas) 
Of  all  the  orade,  nasty  exhibitionsl 

(he  proteotingly  takes  Olga  in  his  arms)    

PHINMS  firf^^"^  ^f^^  '''' 
(to  Loa)  ^l^^/j^iÄ^  /^) 

Say,   isn^t  this  glorioaa?     Real  progress. 

(he  pats  his  arm  aroand  her  waist) 

lOÜ 

(removing  his  arm  -  not  savagely,  bat  firmly) 
Oh,  it  is,  is  it? 

(then  passionately  to  Bright) 

All  rightl   It  was  a  sohemeJ   I»m  not  ashamed  to  admit  it* 

It  was  a  soheme  -  a  soheme  to  save  as  -  from  tragedyj   To 

revive  yoor  oareerl   To  win  back  oar  happiness. 


^vi  l^^tfuA  ^^rJ 


PHINEAS 
Trae,    trae,    t\uÄe.      It  was  a  sohemel 
now.     We've  found  eaoh""aRier. 


Bat  that's  all  changed 


(interrapting) 
Wait  a  minate* 


LOU 


'\^ 


We  love  eaoh  other* 
aftor. 


2-16 

PHINEAS 
We're  going  to  "bo  narried  and  happy  ever 


LOÜ 


] 


Who  says  so?     All  yoa  want  is  a  new  Wostercreek  oomedy, 

PHINEAS 
I  don't  need  a  comedy  now.      I'vo  got  yoa»   Loa. 

LOU 
foa've  got  nothing  of  the  Icind. 

BRIGHT 
(to   Loa  and  Phineas)  ^    v  ^  ^- 

Well,   it  doesn*t  make  a  damn  tit  of  difference  what 
either  of  yoa've  got.      Vm  free  —  free  for  the  first  time 
in  yeaps, 

(tarning  to  Olga) 
-'Darling,  we're  going  to  be  married«     We  mastj       I  love  yoa  - 
want  yoa  -  need  yoa.   We  "belong  to  eaoh  other  -   to   eaoh  other 

alonel  C  ^  <^  ^^^^i^-^  ^  i ^.-v-v^. 


[ 


XÄ 


OLGrk 

(with  soft  -  wide-eyed  innooenet) 
Oh»   bat  —  bat  Bright»   dear  -  are  yoa  sore? 


Of  coarse  he^s  sore* 


PHINSAS 


OLGA 


(to   Bright   ) 
Bat  is  this  right?     Is  it  to  yoor  best  interest»   Bright? 

(to  Olga)  ^  "^ 

Stop  asking  foolish  gaestions.   Olga. 

(MuanifhUi  Ton   1fi  j\wir\ß  the  flgbr   with  rftpirily 
riiarniiSWPÄlrh.     Olga  is  dissolved 

BRiaHT 
(tenderly)(to  Olga) 
There's  nothing  to  weep  aboat  now,    darling. 


«^  *^c^ 


Ideenex 


(to,  Bright  ) 


PHINEAS 


e  *  ■" 


wUiT 


11  be  needing  it  for  the  next  half  hoar. 


(to  Phineas) 
Shat  ap»  damn  yoal 


BRIGHT 


i 


PHIHEAS 
Now»  listen,  please.    All  of  yoa.   No  need  for  excitement. 
We  mast  take  this  as  sophistioated  people  -  Jast  like  the 
folks  in  yoor  plays  -  with  a  smile  —  ha,  ha,  hal  Now  what  it 
boils  down  to  -  what  it  really  boils  down  to  is  — 
(a  terrifio  sneeze) 

Oh  goodness! 


*iriiii ^iiiiiilin'  il»i:irM,ii'iii'in'^M>nWii  ml 


ML       .  •.     A. 


>■■  J  .»^    •   ••      .    ■ 


2-17 


PHINEAS    (Contlnued) 

(another  terriflo   sneeze) 
Olga,   do  yoa  know  where  I  left  my  noee  drops? 

(no  answer) 
Oh,   very  well  -  a  modern  man  doesn't  depend  on  his  wife, 

(another   sneeze) 
He  finde  his   own  nose  drops. 

(then  sneezing  agaln,  Phineas  exits)  ^-C  U' 


BRIGHT 
(embraolnf  Olga  a  Mt   too  ardently) 
Oh,   01§a  -  Olga,    my  darling  -  I  love  yoa  -  adore  you 
so  fond  of  yoaj  — 


-   I»m 


(Loa. who  has  been  madly  paoing  all  the  while, 
now  stops  Short  and  rises   tp  a  frenzy  of  reversion) 


•j  /^^^^^^  i/^j!:^   ^    ^^v^ 


Lemme  oatAitf  h^K^e.  Lemme  oat^eC  here  Isefore  I  slugs  dt^^ 

lot  of  yoase.  /  Tähell  wid  all  o»  voase. 

(as  sKe  rashes  oat )  ih^f.   S^t^^t  L^ 
T'hell  wid  all  o'  yoosa*  / 

(Loa  exits )^  , 

BRIGHT 
(who  has  "been  transfixed  by  Loa 's  reversion  -  in  a 

Loa  -  Loa.  JJL*.''^''"''^  wW^^  ^^    ,/.^.^.^  W.  /  j  ^,  ^ ^I^ 

OLGA 
Oh,  Bright  -   what  is   it,   Bright? 

^jUa^       BRIGHI  (^Au^i ^^<^^  l  ' 
In  those  few  jbmfresh  words  of  hers  I  reoaptured^  for  the  first 
time   in  years^  thö  aniq^ae  oharm  she   had  the  day   I  fiEMMr  foand  hör# 


(freezing) 
Oh  I  -  I  see« 


OLGA 


1..^ 


t 


(, 


BRIGHT 
(retarning  to  Olga) 
Oh,   Olga,    darlingl 

(they  em'oraoe  -  bat  almost  immediately  his  head 
and  eyes  are  direoted  again  to   the  door   throagh         .    ^^ 

whioh  Loa  left,  -M4^.tlM»H   -  (J^  /-   .  ^^i^    f^u^x^i  ^ 

Loa  -  Loa  dearest  ]  '  /     4>*^^  /  ^' 

(then  looking  at  Olga  again)  i- jv-kTi^^-    i 

Yoa,    too,   Olga.  "^^ 

(he  saddenly  f  lops  himself  on  the    f  L^or  and 
yells  oat) 
Oh,   helll 


1 

j 


*« 


A 


BLAXJKOÜT 


CURTAIN 


\  J-  SßS^ 


1 


1  L"^*^' 


m  Tiiffi  F 


»MMENT 


PROLOGUE   TO 
SCETB  III 


S  TAGEHAND 


i^-i^^^i  A^p^ 


^ 


.'e%- 


^ktr 


( 


Kuttin»   doing,  Mrs.   V/esteroreekl     Yoa  gotta  switoh  baok.^'r^-«o?jf^/ ,^ 

dat  forniture  yoorselfj      I'm  through  --  worn  oati   -— ^^esides,  ^  /^ " 

there^s  the  morals  of   itl      Those  five  "buoks  -   when  I   took 

»em  they  was  a  token  of  appreoiationj  I      That  was  Okay  — 

very  nioe  and  respecta"ble.     Bat   tnose  five  baoks   is   still 

exaotly  five  "baoksl     Not  a  penny  added  for   enooaragementj 

And  when  yoa  ask  any  more  of    'em,    those  five  bucks  don't 

look  like  appreoiation  any  more.      They  start  -   to  reyert  - 

to  go  back  to  what  they  v/as  before   I   took   *em  -  a  bpibei 

And  yoa  know  my  stand  on  briberyj      So  nothin*   doinW  (^Aj^'^ 

(to  aadienoe)^.^if  ^t^  t:r>  fo  ^i  iTT^^f  L.  / /t5^^ 

Huh,   oan^t  stay  pat, -^tttat  hox^n.     Now-%he'l&  gotta  be  back 
in  her  own  apartment  again.      Well,    she   oan  get   there   by 
herself*^   I  need  sleep.^^ighteen  long  hoors  has  passed 
in  these/last  two  minates>Oreah  -   eighteen  hoors  -  and  I 
gott^^^t  my  rest.  (t.  A4/vKrf  ^  /'    ^  ^-t /^  ^'^  .  ^  ^ 

\h<7^       ^^^  ^^  S^Vb  settred  for'  a  snooze  at  th^-^;jX^w  ">r-t  ^t  ^ 

V  ^^x^t.ffYill^^  ®^^  ^^  ^^®  forestage)  ^        ^ 

Well  -'^  nere 'g'oes* 

(yawns)     . 
Oh  -   I  might  add  -   I'm  not  worried   »boat  yoor   .vakin»  me 
with  yoar   laoghs.     I  got  a  feelin'    this  last  soene's  gonna  be 
pretty  dall» 

(as  he  goes   off  to   sleep) 
Yeah  -  pretty  dall  - 

(voioe  trailing  off)  y-         ^C/Z^rt^^^^^^ 

tty  dall^   f    s  (i,^  it    ^vi   x^^v^Vi  ^-^^-n'^i    ^ßr^^  ^' 

"-"  SCEfc   III  ^ 

(Cartain  noW  l^isöS  on  the  living  room  of  the 

Westercreek  apartment  -   same  as  Soene  I), 


_j-^pre. 

Ar. 


t 


(alone>hantlng  for  s4methlng  on  the  table 
beslde  sofa) 
Jonqail,  where  the  devil's  that  Synopsis? 


7/ 


L>-»>   ^/>>-*  < 


tAA     C^f^A-k^ 


Doh  what,   honey? 


JONQ,ÜIL 


r/' 


y « ^  /t  / ) 


; 


LOU 


(impatiently) 
The  Synopsis   -   that  Bright   sent 
his  new  playl 


ap   here  this  morningl     Of 


»^>     r    <^v 


JONQUIL  / 

{entering  with  soript  in  hand);  p' 
Oh  -  ah  thought  you^d  finished  it,   honey.     f£,i.<b^-vW 

(-hands-  i  t-ta-4fOu ) 


/ 


3-2 


I  have.      But  with  your  kind  permission    I'd   like   to  glahce   through      h^\ 
it  again-  ^ 

Dat's  right,    honey.      It'll  do  yuh  good.      Huh  -   it  sho  cheered       "^^^ ) 

LOU 
Cheered  you?      ( l^^ü  Xc^tf'iO^-^   a/^  d^^  /:>^J 

JONQUIL 
Yeah,    dat  wayward  boy  is    shd  funny   -  when  he   don  '  wanna  beJ 

LOU 
(start5.ng   to  read) 
Stop  talking  rotJ 


Dat  ain'   rot^   honey  Chile 
try*      Dat 's   fact. 


JONQUIL 
He   jes. 


LOU 


s   oughta  try  not  to 


Oh,  goll  bite  a  shoe.'  * 

(bitterly,  glancing  at  Script) 
Huh  -  funny/ ^ 


(Doorbell  buzzes  and  as  Jonquil  makes  for  U. C.  exit) 
Who  on  earth  can  that  be  -  Coming  unannounced.' 

JONQUIL  rii/^^"^^"  i-i"^^^ 

( s tapte-- Walking"  toiffarddo^r)    L  t  ^^  fi\..^y  '   ^,  k 

WJra' 


^ 


Unarmtran  c  CTiisnrr --Tt 


(Jonquil  exits   U.  C.      A  monient  later  Phineas 


enters   U. C,      He   looks   sleepy  and  bedraggled) 

LOU  ^/Lui^i^  ) 


How  do  you  do,    Mr,    Wall. 


Tired  out,    Lil. 


PHINEAS 


LOU 
(slightly  irritated) 
^  -  Lou,    please, 

PHINEAS 
Lou?     Oh,    but  uh  — • 

(wistful   and  worried) 
You  sure  it's   not  Lil? 


■    i"i'|  j-ymm$l^flf^i^/mn^->^m'-<mw»  •^■■mi-'m' 


3-3 


LOU 


Certain« 


PHrTEAS 
Tsuh,    tsuh,    tsuhJ      My  mindJ      Just   tired  out.*      Tlred  out  1 


I^m  sorry.      But  ~ 


Didn't  sleep  a  wink, 
through« 

(he  yawns) 


LOU 


PHIlNlEAS 
Just  sneezed.      Sneezed  the   whole  night 


(disinterested) 


LOU 


How  trying*' 


PHINEAS 


Won't  you  sit  down,   please. 


LOU 


Oh,   thank  you.  yKC^y 

(she   sits)     //T-*^^ 


Vi>"-^-«^- .  .^«Vt     Oiii^„.,^-iÄ.-^>'  ^ 


C-i  ^'*  V  ,  ^    #   /,  ^, 


'»*•<_. 


'^<^.) 


PHIi^AS 
It's   serlous.     Very  seriousi 


LOU 


What?  Your  sneezing? 


PHIrEAS 
No,  no  -  the  matter  I»m  coming  to,  Lil. 


LOU 


Lou. 


PH  INE  AS 
Aren't  you  a  bit  fussy  about  that? 
Uh  -  Sarah.      How's   that? 

LOU 
Fine.      Bernhardt  was   a  good   trouper  too. 

PHINEAS 
What's   she  got   to  do  wit)^    it? 


Let's  change  It  altogether. 


LOU 


That  was   Sarah 's  other  name. 


Sarah  who? 


PHINEAS 


LOU 


Bernhardt*      You  know  -   the  one  whose    other  name   was  Sarah. 


I 


'.( 


i\ 


5-4 


PHINEAS 
Hmm  -  Are  you  referring,  by  any  Chance,  to  Sarah  Bernhardt? 


Why,  yes 


The  actress,   you  mean? 


Precisely. 


LOU 


PHBIEAS 


LOU 


PHIrlEAS 
Oh,   well   -  that»s   ai:V^ight  theni 


Pine.      Then   let's  get   on.' 


On  what? 


With  your  business* 


LOU 


PHINEAS 


LOU 


PHINEAS 
What  business?     If   only  you  wouldn 't   talk   in  rlddles,    Sarah. 

LOU 
V/hy,    the  business   that's  brought  you  here. 

PHINEAS 
Oh,    thati      Oh,    that   isn't  business.      It^s  personal. 


LOU 


I   see. 


PHHIEAS 
Yes,    terribly  personal. 

The   faot   is,    Sarah  dear,    that  tired  as    I  am,    I  couldn't  keep 
from  Coming  here. 

LOU 
I  appreciate  the   sacrifice. 

PHINEAS  /^^  n^^^^y^^jl.  y^  ^  ^ 

Oh,   don»t  mention   it,    Dlease . . .  .  And  now  —  (    "^V.^T^L  ^ 

(h^=^-^f»^tyi4:yr--pa^-rtf^l4^^  {a^^ 

Ivft-f  oyft" ""Titjr /' ' ""   '"           ■■■■II ■■lim» ' ■i'^gr^iiii  innw^B,,^g^^-_  ^^^^^^  „.i,— -W*"""**"^  «Tf ' 

Now  to  fiet  down   to  brass    tacks,    Sarah  dear/Jt  caine^o-me--  ^l 


iTa  flSsh     ea-lvth  s  ^ornirg!      Foür  twelveT  to  be  exact. 
NO,    I  bes  you?"  pardon  -   It  wat  four   thü-teen.      I  know  because 
I  looked  at  my  watch. 


t 


I 


JllSMt»* 


■^^ 


*•  lAü^tafliMP«*^ 


3-5 


LOÜ 
Just  "wiriat  was   it  that   came    to  you,   Mr.    Wall? 


PHIT^^AS 
Oh,   don't  p-ut   that  Wall  between  usj,   Sarah.      Call  me  Phin. 


Oh,    very  well  -   Phin. 


Ah,    that 's  hetter. 

(he  yawns) 
TTh  -  now  let  me  see« 
four-twelve. 


Thirteen. 


LOU 

PEIMEAS 
V'/hat   was   T   going  to  say?     Oh  yes 
LOU 


-  at 


PHII^TEAS 
Thirteen?     Oh,   yes    at  four-thirteen  I  suddenly  heard  me   say  to 
myself :   -  Phin,    old  man   -  uh,   not   really  old,    you  understand   - 
^sta  manner  of  spe^:ing   -    Phin,    o^    man,    ^f^^^.'l^''^^^^^ 
far  more   than  Westercreekts    comedies   -   is   -  h3s   wife.      ^f^^^J^J^ 
clearJ      No  doubt  about   it   -  But,    of  coi^rse,    dear  Sarah,    I  want  tc 
be   ?Ilr  w?th  you  -  absolutely  fair.      I'm  a  man  of  honor.      I'm 
ready  to  üocket  my  sophistication. 

willing  to  do.     s  ^-^If*" 

(Duri4  these  last  words  Erlgl-t  enters,^ ^^-^yi^-^^    ^^ 
Por  an  instar.t  he  slances  at  mail  on  f/he 
■table  near  the  door) 

LOU 
morrpleased'than  she  admits)      f-^^My^ 


/  (hearing  Brlght  enter,    is    «"^f  ^^/^^^; 

/  more  pleased  than  she  admlts)      f^'dß^ 

Oh,   hon  unexpectedJ. .  f 


<frorn  now  on,   nelther  she  nor  Bri&ht  Pf/^   any 
•  SentJon  to  Phinea3,v;ho  re^-alns    on  hls  knees) 


(to  Leu) 
Well  -   ?     I^icL  yo^  ^*®^^   ^^^ 


But  wait. 


I  uh   - 
(yawns) 


Did  I  read  v/hat? 


LOU    ( ijr^A^^Z/y 


: 


c^y^,%^,iU^ 


3-6 


BRICrI-IT 
Yo^j  know  w?mt;/--Go   on   -  teil   itb    the  worst.      I  knov/^t^s   rotten.j 

Oh   -  the  play  inspired  by  Olga?  ^cKy^4c(^ 


BRIGPT 


.^r^ 


Bald.»      God,   you  do  need  nsw  linesi       ^-4t^Vt^-u^ 

(Phineas  pleads   with  further  gesti^res) 

LOU  ti^  /^^ 


Huh  -   yo\3^re   telling  me;»...Oh,    ipti«   f inely   ccnce5 ved,    Brlght. 
But  so  defeatist.'  ^ 

BRIGITT 
Fi^bMsh;      The  theirie's   c,QB^tructiveJ      What  stinkg    is  the  pjay^ 
It's   phoney,    CHTnr-  What  In^ell  do  I    know  ah  out  morticlan^. 
¥/hat  t  need  is  vital   contact.' 

LOU 
Good  heavens,    haven't  you  got  it? 

(Phineas  ya^'Tns,    lies  dov/n  and  goes    to   sleep 
on  the  floor) 


BRIGPT 


-7/      T^      rl  A   ^S^^^'' 

Basic,   vital    contact;      Life    in   the  rawJ^    We're  going   to 
New  Mexico.' 


Are  we? 


No   -   Ol^^a  and  I. 


LOU 


BRIGKT 


LOU 


-Saggy 


■    '  BRIGFT 

Dontf  he   an   assJ      V/eHJ.   see   life:      Primitive,    eleirBntal   üfe.» 
£"ll  See  pot^eries   and  puehlos,   savage  ritual  dances    -- 

LOU 
As  Santa  Fe  tourists? 

ERIG^^T  J^J  0 

well  .   haw  eise;      Do  I   look  like    an  Indian?     ^Wrll   T  wear 

feathers?  i  /- 

''     ; Q 

'0  (ii2.h  AI  -'-^  vvt.(  ^4  •"ht^Jz/.  '€\J,''A.ri,^  yiA.'fA-  ^<t^ 


F:-^ 


Z4y>^^ 


f    ^-4»  ^ 


^A 


^ 


\  ■'■ 


^W  \ 


7 


-fO 


ciji^ 


A> 


rrj.>^  Tp      o^      g^ 


r->  ■ 


Ha 


T   -r»  /  ,  fS^ 


l*",'^T   -^/v«    n.r    e  I i; 


UOJ 


ß.    fr/i 


^'OD^X^ 


THOIHM 


va!    nl    ob    rr^ 


?^'^r7    «^tA 


•  I   JboB  B    "      -    -rA 


u'/i 


?3iS.tlUOCf    O'I    J3.h-f.c>.3    ^A 


(er}- ixe    'a^    B.Bf^rtLif'^i 


you  mlf^ht  w? 
blt  o|:^.^ 


I  hafr^  Slev 
^cause~"yöü"d6] 


Well,   tliiern^ 
migrant^wor] 


SyntheTTc?*^ 


Eright-  dftj^li- 


*-■    ->f>.[-jV    !*■ 


Oh,    stop  pl 
vital  cc^itacl 
soul.'  X 

Nonf^ense.' 
seasoni      A 


That's  your 
other  isms  J 
to  Gallup   o: 


Dearest,    if 
. . .  V/by  niake 


Kasty  mindl 


Yo\i  have 


\%at? 


o:ißa 


She's   not 


yo\i  have    a 


r 


\ 


r,-ö  ': 


'J- 


r 


^.Oü 


1        ■•;     • 


^•xA 


—     > 


iT 


■vry 


P.A 


•^ox 


3-7 


you  TTTlght  watoll. a,  .j^:i^Ä^Ag^^?«©#-  f ±g^^- f^  TTilbure  ._jr^^ö4i<iu.l^ 

bit  ojP^.-^Jda?iui^.^in.^^ 


.«.—*' 


,JI.h<^^-  ^-M^-^ 


I  hat^  Sl«v» 
'cause  yoü 
theref 


-  VolgÄ  and  VodkaJ     P.eds.*     WofVfög   for  a  cai^se  , 
'iTwant   to  wo|»fe-.'    Besides  -^^  i#  Wö^ldrt '  t  be  safe 


LOU 


i;  vr^'  *t 


migran t^Äorkers ,    tenerrterit ö   — 


-BRITtHT 


-  .-»««»S. 'i.*****'^'*''^"''''*-"" ' 


iiüi; 


Oh,    etoD  Dlaying   a  glaT>ioro\3S   flxiroscoi;«  .'      I  teil  you   I  need 


-•^»**#^v:*^■^ 


vital  contact.   Test  me  with  litmus,  and  you  "11  find  ar.  alkall 
soul.'    (^ji/ZZC/f^e^*f)  ' 

'  LOU 

Nonaer.se.'     You've  nlenty  of  acid.»      All  you  need  is   sometbing  to 
seasonl      A  good    idea.'     A   lively  Situation. 

BRIGTTT  [/?  -t^*-^^*^  A*«  •*'^- 
That's  vour   notlon  of   dran:a.      Tast/ seasonifig.'      Aphorisms   about 
Otter   i^^i^     I'm  sick  of   itJx    I'm  here  to   pacV .    We're   goxng 


tÖG-ällup   or  -   or  sanewhere;\j 

t,    if  you  nusiy  ß^># 
V/hy 


AyL%f(^^*^y\  i-rv  An  fcv*.  4cv/v<i</ W 


Dearest,    if  you  nuslf  G-iS^' with  Ol^a   -  by  all  means  Jo.^ 
...V/hy  riiake   it   a  snaKe   dance*  ^ 


BRIXtHT 
Kasty  mindJ      Besides,    T've  £ot   no   idea. 


You  have» 


What? 


LOU 


BRIGHT 


0'.l£a 


Sbe^s   not  an  idea. 


LOU 


BRICHT 


LOTT 


S^e's  tnore.    She's   the   start  of  a  Situation- ...  Add  me 
you  have   a  play. 


-  and 


3-0 


ff ' 


'  S.  V 


3 


J  -+ 


•  r.•■^ 


\r 


0 


BRIGHT 
Geometry  of  heartsl      Old   as   the  Stone  Age- 

LOU 
But  still   absorbing.      You'll  give  it  new  angles,    shaii)er  points. 

BRIGHT 
Good  God,    civillzation^s   at  stakeJ      This   is   no  time   for   trianglB  s/ 


Then  add  Phin.' 


vmo? 


LOU 


BRIGHT 


LOU 
(pointing  to   Phineas)       ^^ 
Him/      He '11  make    it  a   quadrargle^^^^ 

JPhone   rirgs   and  Lou/goes   to  answer.      Brlgnt/paces     ^ 

''  with  troubled  thoughtfulness)  .v^t*  /    X^^-t^M  /^/*|/   (r>t  9\^d\ 

LOU 
(inte  phone) 
Yes...   Yes Who? Oh,   hello.... 

BRIGHT 
(pausing  to   look  contemptuously  at   Phineas) 

Huh  -   quadrangleJ 

(resumes   pacing) 

LOU 

Oh,   thafs^quite'alTrightlj^.Oh,    Jus.  fine,    than.  you.'    And  youl 

Goodi Yes,    just  a   mometi«  .   - 

BRIGHT      (^/^■»'-/-/'^•*'^ 
(ezcitedly  and  oblivious   o/  phone   conversatlon) 
live  got  it!      I've  ßot  it,    Lou.' 


It's  Olga,   dear. 


LOU 


BRIGHT  ^,        ^     . 

j      Just  listen  to  this.«      It's  abo^t    - 


LOU 


Ko,   no  -   not  now 

She's  waiting    at  the  bar.      Ask  her  up? 

BRIGHT  .  i  _   I  don't 

Y,3,   ^3   -  HO..  Ifll  be  a  Play  about  -f     Hl  ^«^^ 

care  --  Teil  her  - 

(to  Phineas)  __ 

Hey,   WallJ     Wake   upl     Just  teil  ber 


"^  ry  -f 


a   i^rjfi 


booO 


^^-^r^^ 


'.  •  :•  d 


.8'=^Y 


^    r^rrrT 


t>v'  I 


'   -- '  .i"! 


'dff^- 


W-l 


3-9 


Goodbye.' 


M- 


LOU 
(into  phone) 
Your  man  will  be   down  prontoJ      Yes,    goodbye/ 

(hangs  up) 

ERIGHT 
These   damned   int errtipt Ions   - 

( to  Lou ) 
Now  just   listen  - 

PHBTFAS 
(just   emerged  from  sleep) 
Dld  someone  call  me? 

LOU 
Mr.    Wall,    you're  needed  at    once  downsteirs   -  by  a  beautiful 

blonde.' 

PHITIEAS  (^(ufilr^  uu) 

L3?%&i/f^ }  ^ 

What;      Me?     Well  -  ha  ha  haJ      Is   she  nice? 

LOU 
Delightfui;     She 's   waiting   at  the   bar.  ^ 

Itll   go   at   once"';    But  uh  -    ju^t  wha%  does   sl^e/want?'        .,^ 

LOU 
A  Hopi  sna3<:e  dance.' 

PHINEAS 
What?     But  I've  never  done   one   In  my   life.' 


Gall^3P>   ^^^'    V/all. 

But  I  haven't  a  horse.» 


BRIGHT 


PHIl^IEAS 


LOU 


No  inatter-      Hurry.  (  ^c^  r^c.<  ^,  /      ^    ^.^,/) 

BRIGHT 

V,     ^    »      This    is   an   adventureJ   SopM.tlcated   ^^^-^  ^f  ^^^^^ 
Well,   ba  ha  hal      This    is.  an   t^^  ^  .t  v    ev.'>> 

Well,   goodbye,   goodbye. 

BRTGHT  A^iD   LOU 

Goodbye.'  ^^4.„^ 

(Phineas   exits) 


-.UO'. 


bnerfT 


Df 


.  1-Ä 


Id 


'.   r 


< 


'  I 


k    H  A 


h     -?-'rCr 


-^o-P) 


/ 


M 


BRiaHT 
(exoitedly  narrating   to   Loa) 
Now  listen^-   lt*s  aboat   the  two  women  in  a  man'a  life   -  the 
pepper-ap  and  the  paller-downj 

LOU 
Stanning,  dear.  And  Just  youp  meat. 

BRIGHT      I 
Anino  mere  peep-show  of  private  lives/ 


f-4r,, 


10 


'/ 


Of  00 Urse  not. 


LOU 


BRiaHT 


I  see  it   in  the   setting  of  oup    time; 


I 


LOU 


Yes,   yes  — 


ö 


BRIGHT 
A  refleotion  of  opposing  social  forcesJ     A  oonoentrated  repre 

(During  these  excited  words,    Jonqail  enters, |weari 
an  exquisite  negligee,   and  smoking  a  cigarötte 
throogh  a  carved-ivory  holder.      She  walks  aoross 
room  with   the  air  of  a  leading  lady  and  strÄtohes 

^j^jit   HYi  ft  fiJa^4^'ft-"4-ywg»f^    in  the  Reoamlere  mann  er. 
Bright  and  Louella  are   stunned. ) 


sen 


7-  P 

\         «-4  f        /  \j 

ng 


the 


Jonquill   Have  yoa  gone  mad? 


Hy  oigarette  holder! 


LOU 


BRIGHT 


LOU 


lAXA.Kh^'^^  UPi      J 


Hy  best  negligeeJ   Take  thaj  of f  at  onoel 

(Jonqail.who   has  nothing  eise   on,    Starts  to 
Strip j  A 


BRIGHT 


WaitJI.  Oatside,  yoa  savagei 


Nasty  mind] 


(imititing  him) 


JQNQUIL  ;  Co^fC^:^  cjr  ßin.^(<P 


LOUELLE 
Really,  Jonqail,  this  is  too  maohj 


Not  fo'  comedy,  honeyj 


Get  outJI 


JONQ.UIL  ,^        . 

BRIGHT  ^,,^^^pXL,^ 


-V 


'M. 


lu  Ji    weil 


l^r.imiXiJ'E 


,i'--i  oaii'L^: 


\v  'W  .0   10 


\ti    0Ö2    I 


eev,   i^eX 


moLloi  A 


Iljjjpnot 


'•:i::^io   v^M 


J-..OC     ^ 


•  •  ♦  J  X  ß . 


[1/a   y.^i^Bli 


»V^IlBaJ. 


'o'):  JoPI 


id'i.'o   teü 


^e^^^ /iU'/iMj 


3-11 


JON<iUIL 

Jltiy  maid^s  boss  oan  say  dat.     Dat»s   jes'   ordimry.      Bat  i^/o 
sez:      "Jondail.    stay  rigTir-where  yo'    is,   dearl      Sootch  or   Boarbon, 
darlin'?^'     —   Dat^s  goodl      Lak  dee  high- tone d  shows.      Kinda 
sflstikated. 


Get  oat  of  here  at  onoel 


Walt,   dear,      That's  an  idea. 


BRiaHT 


LOU 


BRIGHT 
(menaoinglytb  Ar^^^u^U,\     ^ 
Listen,   CleopatraJ      Two  womefi  are  at  nie  already. 

don't  --    1 


If  yoa 


JONQ.ÜIL 
Dat's   jes'    it,   Bright  boy.       Dey's  both  on  dee  wrong  traok. 

LOU 
How  do  yoa  mean  that,    Jongail? 

JONQ,UIL 


(to  LooftSK)  ^      ,^   ^  .     . 

Well  -   yoa  don»t  know  what  he   i£  --   an'   Olga  don't  know  what 

he  ain'x« 

(to   Bright) 
Dat  don't  mean  mach,    honey.      Jes'   soands  kinda  smart  -  j^oa  know 

like   yo'   plays. 

BRIGHT 
(to   Loafiil&,   with  reproachfal  irony) 
e,    eh?T7*.   So  freshi 


Amasing   soene 


LOU 


(mach  less  pleased  than  she  pretends) 
I»m  intpigaed....      Go   on,    Jonqoil. 

J01TQ.UIL 
V/ell  -  yah  see,    boss  -  yoa  sorta  thinks  yah  oan't  be   särioas 
anless  yo"''s  30lemn>      Hah  -   dat's    jes'   silly,    boss.     Yah  know 
what's  wrong  wid  yo'    shows?       Ah  does*      Tain't  dat  dey's  laogh 
Shows.     Uh-ohJ      It's   jes'   dat  Tey's  nebber   impohtantly  fanny> 

BRIGHT 
What  in  hell  are  yoa  jabbering  aboat? 

JONviUIL 


Well  -  s'pose  yoa  slips  on  a  banana  peel,  boss,  and  falls  /  /  /  /  /  / 
smaok  down  on  -^o^  faoe.  Dat'd  be  fonny,  all  right  -  yeah,/v.^A.  K.A.K^x^h, 
it   sho'   wogldl      v/ell,    dat 's   jes'   piain  £ü2ai^,li^e  yo'   plays. 


gotta  good-natared 


YeafTT^    Bat  den  spose   som'an  comes  along^and  fS:e  gotta  gooc 
way  of   showin'   dat  oertain  people   dat 's  spozed  to   be  big 
shots  -   like  politioians,   y'   know,    or   millionaires  or   -   or   - 

(slyly) 


It 


Well,    dat 's  what  ^o^   plays  ain't  got. 


1  •    ■■'>  C  >■' 


"1>Q    »t^xJ 


if'' 


-   .t  •  HC  b 


v#  i-     7*  Oi  X 


J.. 


*  X  /: 


>;'.♦ 


nr 


.1  oi)     d"  fc-Z 


iai.i:iÄ 


::i:    -U 


.  awcria 


ii. 


■  0    7.Jf"V 


Cr  .. 


<II.-'. 


3-12 

BRIGHT 
(obvioasly  upset) 
All  right  nowl        Scene^s  over.   Back   to  your   biscaits,    c herab J 

Dis   ain't  no    time   fo'   biscuits.      Waz  wrong,    lloney  boy?       Is  yo '    scared 
-  or    jes'   natii^lly   stupid? 


BRIGHT 


Get  out  of  here,    I   teil  youj 


JOl^QUIL 
Muhsy  me,   boss  -  yo'    sho'   gettin'   mad  at  yo'   seif.      Bat  I 
kinda   think  dat's  a  good   sign.      'Cause  when  yah  get 's  all  oooled 
down,    den  maybe  yo'   gonna  start  lagghin'    impohtantly.      Ah  dunno  • 
maybe  yo'   even  gonna  do  a  nioe  little  laugh  shov/  -    'bout  yo'self 
in  passon.      Bat  ain't  gonna   be   so  awfal   impohtant,    either  -   bat 
anyway  -   it's  fanny  on  dee  right   traok.      Yo'   sorta  see  what 
ah  means,    boss? 

BRIGHT 
Yoa  insolent  crowj     Yoa're  firedl 

JONQ.UIL 
'Cause   I'm  right  or    'cause  ISxn  wrong? 

BRIGHT 
Because  yoa're  impossibly  out   of  character, 

JONQJJIL 
Ah  kinda  thought  you  liked  dat.      In  yo '  plays  dey  all  talks   like 
you. 

LOU 
Bright  -  where's  your    sense  of  humor? 

BRIGHT 
(relentlessly) 
For    the  tenth  and  last   time  you're  firedl 

JONQ,UIL 
Yoa's  got  dee  worst  habit  of   sayin'   dat.     Bat  dis   time  ah  means 
itl  {  Right  now  ah 's  givin'   notice.i  ^Monday   ah   starts   teachin'    in 
dee/negro  College.  v       --^^.....^^ ^ 

^  BRIGHT  '^  C 

You  —   teaching??? 


\7HATI!I 


Philosophy,    I  suppose? 


LOU 


BRIGHT 


JON^UIL 
No  -  actin'. 

(then  in  pure,    cultivated  English) 
But   the  subject  of  my  master's   thesis  was    "Glass  Distinotion  as  a 
Comic  Factor".      Intriguing  theme. 


in    BlC 


i<L.. 


k)  O       V  6  c 


t.I    Y 


«' 

.'/         ■:'.  •  ■ 

(    t  " 

»  ... 

^voi) 

,- 

u  dd' 

v.t^-- 

li^ii  j 

*.4.     i. 

Y.3/^ 

"'H' 
^>*»- 

'  X -^  om 

xii? 

yi:: 


'1 


LM 


---    ...A' 


naol.'    ^9: 


'^  ^'i  <♦ 


3-13 


BRIGHT 
So  you^re  a  hoax  in  the  bargain. 


That  was  yoar  faalt« 


i  o-? 


His? 

(to   Loaella) 
Yes  —  and  yoursi 

How   so? 


JONQUIL 


LOU 


JONQUIL 


LOU 


JONQ.UIL 
Weil  -  yoQ  see,    I  needed  a  job.   And  I  wanted  to  work  for  theatre 
people.      Bat  IM  seen  a  few  of  yoar  plays.   And   I  knew  IM  never 
keep   the   Job,    anless   I  fitted  your  oonception  of  a  drawling, 
malapropping  and  amusin^ly  impertinent  negro  inferior   —   one 
who'd  gratify  yoiir  vanity  and   entertain  yoar   Sophist icated 
friends.      Oh,    it   took  a  lot  of  stady   -  Scripts  and  stage-types,   yoa 

know.     And  believe  me,    it  v/asn't   easy.     Bat  I  wanted  the   Job 

and  jo 

(slipping  back  into   character) 
And  now   if  yoa'   all  excase  me,  y//      v  n    . . ...  y^;  f ,  _  ,, 

(as  ehe  ex±t«^)  ^     /«^Y       /7  '  J 

ah  gaess  ah^ll  start  packin'   mah  things.    \^-^^-  ^  />'\  ' r.% 

(to   Jonqail)  __         /^^«V 

No,    bat  —   bat  waitJJ  /^v^v/-^-'^  ^T^mZ>^^M- 

(tooTSTe)     C^.ß/,A:j/:;:^L<^^^.'^^^^,  JO/h^/ 

(with  a   toaoh  of  malicioas  indalgence,   ae 
Bright  paces   the  floor) 
What  now,   darling?  " — 


BRIGHT  /^o  <"3p 


*"-»r^7l      «     U.  rf      ."VVfc^^      ^*--,i^  y*.^  ^^^ 


/j   ,    (a&  he    c 

C/        {aa_JifLjaimt4«le<5irT^^  Loa  loyaliytmMTTr  at 

his  side) 

LOU  o^x^A^^YJ^  ^^^^^{r^ 

In  this  crisis,   my  place  is  at  yoar  side,    Bright.         *  /  ^ 

(they  pace   together.    Then  saddanly  he  stops)  zW  r  ^ 

BRIGHT 
I've  £ot   it;   By  God,    I've  got   it,    LoaJ 


.i^-j   P  J ', 


V/hat? 


LOU 


*u,>-l    oc 


dT 


?3XH 


i^eY 


'os   woH 


^;-? 

tC'  '1 

.'  ^Ißi^ 

l 

u  '  OHIV 

.   ö 

ntivjtil 

i 

^WOiU^ 

».-» 

.«M«« 

3     J^lTJ^i 

0 

r«- 

■•x 

\B 


J  L'v) 


tO^f 


kV 


i;--  ■• 


aldJ   nl 


$  3-14, 

BRIGHT  .    ^  ,-1.    „nt 

,      1      I       ^    ^nn^«rivl      Ths  pre;^te3t   of  my  wholo   caroerl    I  ccn  a««   it  aXil 
AI?  ?lGht'dor?f  thrthSderins  appl^ns«   -  at   the   clos»   of   the 

op©ningl 


LOU 


l-^  ^.K..'^l     <*.--C <'..*-.€ 


./ 


7 


■*-V.'''T ,  V>.  /a.- 


/^ 


Darlingl 


J-f,..^^^ 


'> 

y  (• 


BRICHT 


■~\ 


Darlingl 

t         / 

?  ^    A    /^ 

■  'floliL  of  th8   curtains  p^*tfe«^rthe   rising   snund  of 

( to' audlence)  ^  .    ■.    *.vn*o 

w-n  fhp   gnlta)—  ancther   tenmonth's  gen  e  by.     Yep.     ^na   this 

Weil   --   Ihc   spita;        an  Westercraek   -   'taint  badl     Nope. 

newplay   -  v.'ell,    I  Sotca  band   it  to   i  e  ^^  ^^   ^^^   evenLn',- 

irr^u'Js  Setli'giv«'--  "chafcfto  make   their   curtain  sp«eoh«s, 
et   thla    side  of   the    curtain  tooe 

(he    lifta    the    curtain  at   ccnterj 
First   ~   the  playv/ri^htl 

?^no/you.ll  bfhanpy  to   h«ar   that  having  l«arnt   to    l.ugh  at  myaalf, 
I«m  now  better   able   to   laugh  4-  at  youl      ^  ,  ,       »         >   ^     >^. 

(ho   Steps   to   or^fTs^^)  ^  fT-^c      ^'/Z-/  ^/■'^:/$^^i''X,,^^ 

And  now,   l^s.  V/estercroek.      Purty  good   to-ni-ht.      In  the    first 
charactor   part   of  her    career# 

(LOU  ohterg,   receiv'ng  applauao; 

A   «,   v.«n-a*      cniTTcL   Tt^^jn'j-   pot   no   RutsJL^    In  Hell*  3   Kitchen  v;e 

got  real  noise   -   yoah,  ^^-<^'  .^  ^^'"^f  ^   "J  X^^?^^^ 
out  ^SlF^l     Diss   ain»t  re-voiTTK;  s^^l      ^^t^i    ainl  vnt 
3^vell  actin»    tool    So   dem»  t  get   anol^ty  or    I«  11  sl/S  yuz* 

(she    Steps   to   one   sifie)  <l.( r:y^    /  ^  f  u.i  or/  ^y.  -  ^  ^f  ^^ 

STA  GERA  l^D 
n,n4.    ^-v^4.   afn-P    nf   this   Show   —   jes    case   you  dont  happen  to    know   — 
?he   Star  of  the    sSow  -   is   thJ  one   and  only,    the  great   and   glamourous, 
the  gl'ttering   and  glorious    — 


4^ 


1 


JONC'UIL 
(appearing  at    center,    shyly) 


Me. 


>/•■ 


A    I 


O 


;    3iÜ 


^^ 


3-15  • 


.ineas 

(rushing  Ä/tt^  TiTi©   forostago   from  the  right   side   of 

auditorium,    and  accornpaniod  by  OLGA) 
But  waitl      I  don»t   understandl   Don't  get    it  at   allU     What^s    th© 
them©   of  this  now  play? 


BRIGHT 
$3topning  forward) 
5ho   thomo?     Well,    —   it»s   --   it^s  how 

(bow^ng    to    JONQUIL) 
—  by  hls  ma; 


(bowing 
aid.V^ 


a  play^vright'a  rc-mad©   -- 


^^^M4/M 


BLACKOUT 
tö  a  burst  of  muslc 


L^ 


THE  END 


/V/ 


4^^Aj^ 


/  '^" 


'  /.  -■■< 


c 


Ö'^- 


'] 


c4  J>ö^ 


^ 


■I 


mmmmmmm 


EXCERPT  FROM  "SONG  OF  SONGS". 


(Tho  oound 


^ute ; ) 


/^vc^-i/r  in^/  ci^O) c^^<^  f^^'^   ;  ^^-/^ 


ved  üf  thc  Song  of  Songoj  ooQted 


alono^ftrolttg  m)     (She  speaks  in  a  tender  love-sick  revery) 

^(^.,^  __^    GIRL  fL^^i^  ^iwt 


^ 


7^  ,  )  ^£>--?>Cc 


X 


Let  hiin  kiss.  me  with  the  kisses  of  his  mouth,  -  for  thy  love  is  better  than  wine. 
Thine  ointinents  have  a  goodly  fragrance;  thy  name  is  as  an  ointment  poured  forth... 
I  am  a  rose  of  Sharon,  a  lily  of  the  Valleys.  As  an  apple  tree  among  the  trees  of 
the  wood,  so  is  my  heloved  among  the  sons.  Under  his  shadow  I  am  delighted  to  Sit 
and  his  fruit  was  sveet  to  my  taste... My  beloved  had  turned  away,  and  was  gone.   I 
sought  him,  hut  I  could  not  find  him.  I  called  him,  but  he  gave  me  no  answer.  I 
ad jure  you,  0  daughters  of  Jerusalem,  if  ye  find  my  beloved,  teil  ye  him  that  I  am 


love-sick. \  (Pause,  Then  the  Lover,  still  unseen,  sings  as  from  afar:) 


"3^vv^  (THE  LOVER  (singing)  ^/ivtA.^  \ 
Behold,  thou  art  fair,  my  love. 


'^Hark!  %  beloved.'  Behold,  he  cometh: 


#:^ 


THE  LOVER 
Bchald,  thou  ar<^fair;  thine  eyes  are  as  doves  behind  thy  veil;  thy  hair  j«  as^af  Ä^ 
flock  of  goats.  How  fair  is  thy  love,  my  sister,  my  bridel  How  much  better  is 
thy  love  than  wine,  and  the  smell  of  thine  ointment s  than  all  manner  of  spices| 
(He-entprg;  4ialf"Iai^iila  behind  her, 


p-r— ^(üe" 


THE  LOVER 


dJ^Rise  up,  my  love,  my  fair  one,  and  come  away.   For  lo,  the  winter  is  past,  the 

rain  is  over  and  gone,  The  time  of  singing  is  come.  And  the  voice  of  the  turtle  is 


heard  in  our  land.  0^   ^VU4i2,  ,  'JvülJ^'^^,  Ik^  ^^ü^^y^^j   ^ic/c>^^  X/i^ 

(fH:&lQg 


Ise) 


Ö 


EXCERPT  FRCÄ^I  "SONGS  OF  SONGS"  -  Page  2 


THE  LOVER 


//)  Arise,  my  love,  my  fair  one  and  come  away  (^j 


(^tSTHEUZM^.  SLOVHLY;  ^BM-.^^;^^IM^'OUMD  TIIDIT.  E][1T7  TU  THE  UuNTlNUUiyUI^  U^'  l^iü^- 


In  the  -begiming  was  thf  lover...and  out^  of  the  wkoWess  of  his  being  hungering, 
came  the  blended  Image  of  lover  and  beloved:  And  the  deed  creative,  quickening  that 
Image  to  fulfillment:  The  caressing  touch,  the  confessing  sigh,  the  tender  strength 
of  emhrace  yielded  a  new  human... the  heloved  lifted  to  her  dawn  of  aliveness,  the 
illumined  smile,  the  ansvering  heart,  the  melting  hunger,  the  lover 's  fulfilling 
sense  of  seif  in  another,  fruit  of  creative  love.  ^   Z?  A 


EXCERPT  FROM  "SONG  OF  SONGS". 


ß 


CiA^u^  y 


(The  sound  of  a  flute:) 


UA;^ 


Z'^-u/  '^^v^oVr^^^*'^^  '  "^  ^^ 


(Trt^/^<^--|p   r>-p  gpoi     II  \n  .11,   fc(   yfnrnt^   t!  ^' '  1  j    "'l"""    "nrlmrrij    nf  thr    Pinnn   of  Flonnn  j    nrnt.nrl 
^l^n^   farinQ^Pff7 — (Sho  gpouikü   lii  a  itindcr  lovo  oiok  rcver^y) 

^  ,/  -t;/^?,      H:^       GIRL     ^^Ä^^^) 

Let  him  kiss  me  with  the  kisses  of  his  mouth,  -  for  thy  love  is  better  than  wine. 
Thine  ointments  have  a  goodly  fragrance;  thy  name  is  as  an  ointment  poured  forth... 
I  am  a  rose  of  Sharon,  a  lily  of  the  Valleys.  As  an  apple  tree  among  the  trees  of 
the  wood,  so  is  my  heloved  among  the  sons./  Under  his  shadov  I  am  delighted  to  sit 
and  his  fruit  was  sveet  to  my  taste... My  beloved  had  turned  away,  and  was  gone.  I 
sought  him,  but  I  could  not  find  him.   I  called  him,  but  he  gave  me  no  answer.   I 
aiflure  you,  0  daughters  of  Jerusalem,  if  ye  find  my  beloved,  teil  ye  him  that  I  am 
love-sick.   (Pause,  Then  the  Lover,  still  unseen,  sings  as  from  afar:) 


(THE  LOVER  (singing)  AA4A^H^ 


Behold,  thou  art  fair,  my  love 


7%^^^ 


Hark!  ^6^  beloved!  Behold,  he  cometh: 


THE  LOVER 


Behold,  thou  are  fair;  thine  eyes  are  as  doves  behind  thy  veil;  thy  hair  is  as  a 
flock  of  goats.  How  fair  is  thy  love,  my  sister,  my  bride!  How  much  better  is 
thy  love  than  wine,  and  the  smell  of  thine  ointments  than  all  manner  of  spices! 
(H-  -n^^r?^  >^°1-f^-]fnpf-l8  b^hin^  >^^^j  ^"^  ^^-^   n-t^^^  Viii  mini  .n  niinn  y\^v .      (He  bpuaks^. 

THE  LOVER 
Rise  up,  my  love,  my  fair  one,  and  come  away.  For  lo,  the  winter  is  past,  the 
rain  is  over  and  gone,  The  time  of  singing  is  come,  And  the  voice  of  the  turtle  is 
heard  in  our  land. 
(Ricing  nnri  hplpinp  kf^r-^Cuxi^^) 


EXCEKPT  FROM  "SONGS  OF  SONGS"  -  Page  2 


THE  LOVER 


Arise,  my  love,  my  fair  one  and  come  away  (^-^kU^  -Tt^SJKJ  ,   rcUi^.'~B^\ 
(A^^HftY  WALK  SmiLY,  All»  TN  m^,   TnVfAfiP  THmjMI^T^g^g-tXgm!^^ 

In  the  teginning  ^s  the  lover...and  out  of  the  vholeness  of  his  being  hungering, 
came  the  blended  Image  of  lover  and  beloved  rZ/And  the  deed  creative,  quickening  that 
Image  to  fulfillment:' The  caressing  touch,  the  confessing  sigh,  the  tender  strength 
Of  emhrace  yielded  a  new  human. . .the  beloved  llfted  to  her  dawn  of  aliveness,  the 
illumined  smile,  the  answering  heart,  the  melting  hunger,  the  lover 's  fulfilling 
sense  of  seif  in  another,  fruit  of  creative  love. 


ü     ß^WVl*^ 


l 


PITY  POR   THE   GOURD 


a  play  of  Jonah 


» 


> 


-by- 


JERüME  BAYER 


.00- 


The  play  is  based  upon 

a  free  traatment  of  the 

Blblical  narratlve« 


1 


V 


• 


CHARACTmSl 

Jonah 
Hls  Wlfe 
6  Marlners 


/ 


Shl^master 
5  Sallora 


The  King 

2  Aldes  of  the  King 

2  Taunters 
(apparltlons) 


« 


OPPSTAOB  VOICESJ 

Voice  of  God 

Volces  of  Nlnevltes 
(male  and  female) 


• 


PROLOÖUE 


BLACKOUT 

IN  THE  DARKKESS  WE  HEAR  CÜMÜLATIVE  DISSuMNT  MÜSIC 
OF  LONG-SüöTABJED  SOUNDS.   BEGINNING  VERY  SOFTLY,  AS 
THOÜGH  HEARD  PROM  A  GREAT  DISTANCE,  IT  SWELLS  GRAD« 
Ui^LIiY  TO  PULL  POWER;  THEN  SLOWLY  THINS  OUT. 

AS  THE  MUSIC  STARTS  TO  GROW,  THE  FIGURE  OP  JONAH  COMES 
INTU  VIEW,  PIRST  DIMLY,  PARAWAY,  AT  THE  SÜMI.IIT  OP  AN  • 
UC  STAIRCASE.   HE  SUGGESTS  A  PIGURE  OUT  OP  AN  üLD 
ENGRAVB^G:   HIS  IRON-GRiiY  HAIR  AND  BEARD  WORN  LONG; 
HIS  DRAB  BIBLICAL  ROBE  IN  TWO  TONES  OP  GRAY,  WITH  A 
HOOD  RESTING  ON  HIS  SHOULDERS.   THOUGH  HIS  EARTHLY 
TRIALS  ARE  ETCHED  DEEPLY  AND  PERMANENTLY  ON  HIS  PAGE, 
HIS  PERSONALITY  AS  A  WHOLE,  IN  THE  PROLOGUE,  REVEAS 
MATURITY  AND  INNER  HARMONY. 

STIRRED  AT  THE  MOMENT  BY  GKAVELY  TROÜBLED  THOUGHT,  HE 
GRADUALLY  EMERGES  PROM  HIS  BmOBILITY,  DESCEI2)S  THE 
STAIRS  AND  MOVES  SLüWLY  TOV/AW)  A  SMALL  POOL  OP  LIGHT 
AWAITING  HIM  AT  DC.   WHEN  HE  ENTERS  THE  POOL,  HE  REMAINS 
SILENT  POR  A  MOMENT.   THE  MUS  IG  PADES  OUT.   THEN  HE 
SPEAKS  TO  THE  AUDIENCE  WITH  A  QUIET  URGENCYl 


JONAH 
My  Visit, 
like  my  attire, 

ia  not  according  to  your  custom« 
My  miasion? 

That  fragment  of  time'a  flow 
which  was  my  life  here, 
frozen  fop  a  thouaand  and  more  years, 
thinned  Into  the  pale  tortured  images 
of  what  haa  been, 
I  ahall  now  unfreeze  and  quicken 
to  make  you  the  present  witnessea 
of  my  earthly  paat, 
that  it  may  invade  your  thought, 
challenge  the  beat  of  youp  blood, 
come  alive  within  you. 
Donot  amile  or  atart, 
you  who  imperil  the  World  with  tamperlngl 

In  the  licenae  I  take 
there  ia  a  logic,  at  leaat, 

of  urgency... 

Jonah,   the  son  of  Amittai  -- 
that   ia  who   I  am. 
(WITH  A  WISTPUL  SMILE) 
She  Jonah  of  fiäh-fame,   yea, 
dubioua  hero 


or 


JONAH  (cont'd) 
of  a  puzzllng  parable  you  know 
from  the  llttle  book  that  bears  my  name# 
How  do  I 
who  traveraed  the  earth  ten  centurloa  end  inore 

come  to  be  here? 

Legend  teils  -- 

and  that  legend  I  heve  llved  — 

that  aa  recompenae  for  suffering 

In  the  depth  of  waters 

I  waa  granted  to  enter  Paradise 

allve, 

there  to  avalt  the  tlme  of  my  Mesaianlc  mlsälon* 

(HE  SIGHS*   THEN  WITH  DETERMINED  ORAVITY:) 

I  cannot  walt.  . 

Llvlng  human  lif e 

yet  llvlöß  far  beyond  It 

I  have  a  large  perapectlve  now 

and  a  dread  ooncern: 

I  see  dire  peril  etched  in  poison 

acroaa  the  face  of  earth; 

I  aee  it  traced  around  and  round 

in  the  foot]^rints 

of  a  blind  giddy  dance  of  futile  flight| 

I  hear  it  in  a  vaat  Choral  yawn 

of  unconcern; 

in  the  criea  of  hungry  wrath  I  hear  it; 

I  aee  it  featerlng 

in  the  aickly  ailent  terror  of  annihilation« 

1  cannot  wait«*««« 

Wot  I,  but  my  lifo  itaelf  muat  apeak  to  you, 

and  more  of  it  than  ever  was  recorded» 

A  fragment  you  know, 

but  the  naked  lineament  only, 

the  cool  thin  ayllable  upon  the  ancient  page« 

1  muat  live  again  fo;r  you 

what  1  have  lived 

that  you  may  live  it  too» 

Kor  me  it  will  be  renewal  of  great  anguiah« 

But  that  la  now  the  way; 

there  ia  no  other« 

(FADE-IN  Oi«*  A  SPOT  AT  STAGE  LEFT.   SOÜNi^  OP  AN 

OFP-STAGE  SHEPhEKD'S  FLUTE.   JüNAH  BECui/iES  AV/ARB 

OF  THE  LIGHT.   THEN:) 

Let  ua  beginl 

The  light  riaes  now  to  accomodate  my  lifo 

aa  it  viaq^hen   the  atory  began. 

I  go  now  to  my  place  in  the  paat, 

to  the  fitting  time  and  taak. 

(HE  PAUüES  FOR  A  MuMEWT  aS  THOUGH  TO  COLLEuT  HI3 

MEMül(IE3#   ThEN  HE  WALllS  öLüWlY  TOWi^RD  THE  LEi?T  öPOTt) 


SCENE   ONE 


s^ENTERlNß  THE  LEi?*T   SPO^-'  JONAH  BEUJiiS  TO   RE-LXVE  HIö  EARTHLY 
FAST.   ^5HE   COVERS   HIö  IfliCE  W±TH  E13  HAwDS,    ßEGO::ES  TEi\öE 
AND  SLIGHTLY  STOOPED  WITH  THE  ßURDENS   öP  HIS   oOUL#      THEH 
HE  TAKES   HOLD  OP  A  PARM   IMPLEMENT   OP  ANCIENT   STYliE  AND> 

^STARTS  TO  WORK  ON   THE  SOI3^GAIX4ST  THE^JUPING  OP  THE 

SHEPHERD^S  FLUTE.      APTER  A  PK^  ikiOMENTS^fr HE  PAR-OFP  SOUNDS, 
HIGH  AND  SEHENE,    OP  A  TRUMPET,^VERLAP   THfi  iinEfHERD»  S 
PLUTE  AND  THEN  AS  THEY  SWELLI  POR  AN    INSTANT,    BLOT  OUT 
THE  FLUTE .»^JONAH,    RECüGNiZING  THE   GuDLY  SoURCE  OP  THE 
TRUMPET,    BECOMES   RIGID  WITH  APPKEHENSION.      HE   LISTENÖ. 

^S  TüE  TRUMPET  FADES,    IT  BEGÜf/UiS,    FIRST,   A  DESCANT  TO  TüE  ^ 

"^  CHANT  OP  GOD,    THEN  A  PABfT  BACKGROUND  FOR  HIS  öPüKEN  WORDS«^ 

VOICE  OP  GOD 

( CHANT ING  SERENELY   IN  A  VERY  RELAXED  QUAiilTY) 

Jonall«  •  •  •  •  • 
<^Jonah,    3on  of  Amlttal^ 

o^gnah,   my  servant, 
^hear  vhat   I  command  of  youl 
^(SPEAKIiMG  AGATNST  THE  FAR-ÜPF  TRUmPET   LIKE  A 

GRIEP-LADEN   PaTHER)>^ 

Go,  Sonah,  to  Nineveh,  that  graat  clty; 

there  behold  the  spread  of  evll 

llke  a  rage  of  flame  amld  dry  leavesi 

Wltnesa  the  people  fluahed,  bloated 

wlth  the  fever  of  corruptlon,  thlckened 

wlth  the  fat  of  greedl 

See  them  reeling  in  lewdneas; 

take  Into  your  noatrlls  the  atench  of  a  mighty  city 

fouled  by  slnl 

Go  there l 

The  wopds  of  my  wrath  ahall  be  upon  your  tongue« 

Gry  out  againat  the  .people 

and  foretell  thelr  dooml 

(CHANT ING  AS  BEPORE   IN   GRADUALLY  DIMINISHING  VOLUIJEl) 

Go  Jonah. 

<^Go,  düaaxxz  aon  of  Amlttal;\ 
#go,   my   aervant;  -^ 

/öo  what    I  command  of  you 


< 


:MDURING  THE  POREGO  ING  CHANT>  JONAH  PACES  IN  THE  ANGUISH  OP 
CONPLICT#  ^:iraEN  GOD»  S  VOIÖK  HAS  PADED  OUT  JONAH  STOPS  SHORT  OV 

^^frl^M'^      JONAH 

(WITH  REVULSION) 
•^No  --  no,  I  cannot  -—  I  cannotl 

(DEPIANTLr;  

I  will  not  gol 


^(JOilAH  LOOKS  ÜP  AT  THE  SKY  DEPIA1JTLY<^R  A  Wl^UTg 
♦  THEN    IN  FRIGHT  QUICKLY  TURNS  HIS  B.EA]ß^OX!APJ)   STAG 

LEFTS.   IMPULSIVELY  SHIELDING   IT  WITH  HISEßOD.    AFTER 

A  MOllENT  HE  PEARFÜLLx  UNCOVERS  HIS   FACE 

THE  RIGHT  AS  THOÜGH  SEEKING  AN  ESCAPE. 

A   FEW  SECONDSA^THEN  PINALLY,  CWITH  A  T 

HE  SPEAKS:^.--^ 

JONAH 
^  I  kndw  what   I  muat  dol 


OOKING  TO 
THINKS   FOR 
IBLE  RESOLVE, 


X     X(DURING  THE  ACTION  HVQÄEDIATELY  PRECEDH^G  THESE  LAST       ^'^^^  / 
'/*    \     WORDS  OP  JüNAH,    HIS  WIFE,   V/ITHOUT  HIS  KNOWING,    ENTEP-^     /UA/^ 


K,\ 


'ERS. 
M^'    PROM  STAGE   LEPT.      SEEING  HIS  TKOUBLED  STATE,   äIssxäIäjji 
SHE  STOPS   SHORT,    PRIGHTENED. )   J> 

Y/IPE 
Jonah  —  "shat  Is   it? 
(SEIZING  HIS  arm; 
Wjaat   l3  wrong? 

JONAH 
(PÜLLING  AWAY  PROM  HEB  AND  TAKING  PEARPÜL 
STEPS  TOfe/ARD  STAGE  RIGHT) 

(AVOIDING  HER  GLANCE) 
I  must  go  nowl 


^o  u 


Oo? 


•    WIPE 
Oo  where? 


t*  u 


c).^ 


ery  far« 


JONAH 
Par   away..»« 

Donot  preas  me  wlth  queatlona» 
I  hava  no  cholce«        ^ 

(DEPIANTLY) 

I  caxinot,  I  will  not  do  itl 


WIPE 
Do  what?   Jonah,  look  at  mel 
(SHE  TRIES  TO  FORCE  HBI  TO  FACE  HER) 
But  a  moment  ago  you  were  calmXy  worklngl 
Suddenly  now, 

some  consuming  battle  of  dredd  and  deflance 
is  tearlng  you  apai^tl 

Teil  me  what  it  is  -  this  raging  tormentV 
I  am  your  wife:  It  is  my  need  to  kxpwl 


ctir^^t 


(A  CHARGED  PAUSE.   IT  IS  DIPPICULT  FOR  JONAH  TO  ANSWER.  y\r< 
PINALLY,  WITHOUT  PACING  HER,  HE  SPEAKS : )   '^ 


5* 


h  C 


ioL 


JONAH 
God 

Hö  na 3   callfiil.  me   againl 

(THE  WIPE   SIGHS  WITH  RELIEF) 

To  Nlneveh  this    iilmel 

Hasten'  to   Nlneveh^   he   commaiidsl 

Gry  out  agoinst  the  peoplo; 

prophesy  their  destructlonl 

WIPE 
(WITH  PROUD  ELATION) 

0  my  huaband,  my  dear  husband, 

chosen  once  again  by  Ood  for  a  mlghty  taskl 
(SEE  EMBRACES  HIM) 

1  am  proud  of  youl  So  proudi 

JONAH 
Stop  It,  wlfel 


eJc^?^^^^ 


hiAJ^ 


V/IFE/  •      ^ 
(SHAMINO  HIM)  -A^^^/^^^, 
And  you,  elect  of  the  Lord, 
as  ever,  dwarfing  your  stature 
In  an  orgy  of  despairlng  doubtl 

0  my  Jonah, 

Can  you  not  let  God  be  God? 
Doea  He  not  know  your  power  as  a  prophet? 
Enough  of  worryi 

You  will  go  to  Nlnevah  stratghtwayl 
Let  me  first  prepare  some  — 

JONAH 
(WITH  DESPERATE  EMPHASIS) 

1  cannot  go  there  -- 
Have  you  no  underatanding? 
I  will  not  gol  ^2^  / 

CTHE  WIPE  LOOKS  AT  HIM  IN  ÄILENCfi  POR  A  MOMüNT.  THEN:)  * 

WIPE 
(QUIETLY) 

You  —  will  not  go? 
What  Is  thls  that  you're  saylng,  Jonah? 

JONAH 
I  must  go  so  far  away 
that  dlstance^wTliT&eafen  my  ear 
to  what  commands  God  yet  shall  makel 
So  far  230X7  from  Nlneveh 
that  aJJ.  the  days  of  my  liVlng  will  not  auffice 

to  take  me  there l 

WIPE 
You  —  you  mean  you  will  seek  to  run  away 
from  God? 


7^  L 


WIPE  (cont'd) 

You,  Jonah? 

To  avoid  tha  task  bestowedV 

To  shun  God' s  Charge  upoa  you,  - 

the  thing  which  it  is  yours  to  do? 

JONAH 
(GUILTILY  KESTLi:SS) 
isL^     TBere's  no  time  for  talkl 
The  moments  crowd  upon  me; 
I  must  be  o^l 

WIPE 

Jonah,  my  Jonah, 

Wnat  mad  not  Ion  ia  this  tnat  has  seized  upon  you7 

Pllgnü?  Escape? 

ü-he  eye  of  God  will  seek  you  out 

evön  BX   the  farthest  dark  end  of  earthl 

Hls  voice  will  thunder  even  there, 

even  there  calllng  you  to  your  täskl 

You  cannot  do  this,  Jonahl 

Gullt  would  eat  away  your  heart; 

fear  would  follow  at  your  heels 

like  a  vast,  biäck  sinister  shadowl 

0  my  huaband, 

this  ia  an  evil,  a  wicked  thing  you  planV 


'^^\!f^' 


.  JONAH  Sa 
Evil,  you  sayl  /l^ithat  the  word?  V/ickedV 
Refus ing  to  put  ^a  rr'esB.  flaming  aword 
of  destructiun 

in  the  handa  of  your  deatroyers? 
Ia  that  wickedY   Is  it? 
^hey're  our  bittereat  foel 
They' 11  ravage  our  land  and  alaughter  ual 

WIPE 
(CHALLENGINGLY) 

What  ia  it  you've  been  told  by  God  to  do? 
Arm  the  i^inevltea  «*  or  denöunge  them? 


,;U^^(^ 


JONAH 
And  why  dtjnounce  them?  ÖV 
Tnat  they  may  repent  and  eai^h  forg  Ivane  aal 
Then  God,  ever  addlgced  to  mercy, 
will  apare  them,-  L^Lfl^ 
our  moat  violent  foet 
Por  them  the  iron  of  Juatice  will  malt 
into  tihe  Dil  of  meroyl 
Then  will  they  tteg^  ^^f^i^y  ^^^ 

WIPE 
0  my  Jonah,  you  .are  lettlng  hatred  twiat  your  thought* 


7. 


hc 


JONAH 
I  cannot  argue  more  -- 
I  muat  gol 

WXPE 
(SEIZING  HIS  ARM) 
V/alt,  walt,  my  husbandl 
Can  you  not  seeV 

God  will  spare  them  only  If  they  repent 
truly, 

and  if  they  do 

their  groundless  enmity  against  us 
would  be  among  the   elZffls   they  give  up» 


t 


How  can  we 


JONAH 
a  woman' 3  logic  of  innocencel 


be  aurel 


WIPE 
Are  you,  his  prophet, 
become  a  doubter  of  Almighty  God? 

JüNAH 
(PILLED  Y/ri'H  HORROR  AT  THI3  SÜGGESTIOiO 
/0L.    Wo,   no  — 

I   love  God  and  I  am  strong  in  faitlil 
j^        /(iFOR  A  MüMriN'f   OVERvvHELI^ED  BY  ANGüISH,    HE  SITS 
#/  i^   DOWN  BESIDE  HER  STANDING  PIGÜRc;,    üLlX^GING  TO  HER 
^^tr.iJ%^AS  A  CHILDWüULD  GLING  TO   ITS  MOTHER)> 
/  /y  pr^  f.^ican  you  not   aee? 

Guilt   like  a   jagged  apear  digs  Into  my  heart  — 
I  am  chilled  with  terrorl 

WIPE 
•       (WITH  A  MOTHERLY  ARM  AROIIND  HBI) 
You  fear  God'  s  waath,   my  Jonah, 
but   still  more   you  fear  his  compassionl 
The  mercy  which  you  täste  as  gall 
You'd  not  find  bitter   if  bestowed  on  you 


;  ,      I  JONAH 

O        ^^  muddled  thoughti 
SrtijiA  Is   it  not  v7a  who  are  his  peoplev 

a*Jti0y*re  strangers   --   these  iJlineviteö, 

and  our  deadly  foel 

Why   should  God  see^c  to    save   them? 


wiPi«; 

Wo,  my  husband,  nave  no  monopoly 

on  tnu  love  of  God. 

He  Is  Lord  of  Nineveh  as  well» 

JONAH 
( AISING  IN  RAGE  AND  MOVING  AWAY  PROM  HER) 
Yüü  are  grievously  concerned,  it  seems, 
about  the  Nineviteal 


%L^ 


JONAH  (cont'd) 
What  of  ma? 

I  ahall  again  bö  mogked, 
again  as  once  beforeT 
Palse  prophat, 
pronounolng  doom  that  never  oomes  to  paas» 


V/IPE 


A 


Only  because  you  moved^the  sinful  to  repentiuacal 

JüNAH 
1/Vhat  P£j2£f  liave  they  or  wish  to  belleve 
that  penitence  has  saved  then? 
They  only  know  the  truth  I  spoke 
was  proved  a  lieV 
It  will  make  me  once  again 
the  butt  of  acorn, 
of  the  hateful  laughter  of  contemptl 


spared 


WIPE 
Is  it  better  that  you  be 
a  pain  to  pride 

than  that  thuusands  of  God' a  creatures 
be  spared  tneir  lives? 
*i?o  what  end  Is  proplaecy 
if  not  rppentence  tha^  will  save? 
la  it  merely  to  chastise  with  the  angry  word? 
A  ppologue  to  annihilation? 

JOKAH 
(AT  A  PEAK  OP  RIGHTEOÜS  HüSTILIT^) 
God  laid  bare  for  xne 

the  poisonous  whirlpools  of  their  evill 
Crushed  they  must  bei 
Stamped  outl 
Struck  down  by  Justice  with  the  arm  of  deathl 

WIPE 
Por  what? 

To  feed  a  glorified  rage? 
(WITH  MATÜRE,  ÜITDERSTANDING  LOVE) 

0  my  Jonah,  my  beloved,  I  know  you  well; 
for  out  of  the  turbulfince  of  your  wrath 

1  have  eked  ouGtinas  of  tenderneas« 
How  greatly  and  severely  good  you  are 
only  God  and  I  can  know» 

Ever  the  desperate  climber 

driven  upward  ever  toward  the  consuinmate  Vision 

of  a  Jonah  neither  you  nor  any  man  can  ever  reacnV 

And  remaining  less  of  God 

than  God  himself 

has   charged  you  v/ith  an  anger 

so   vast   and  violent 

against  yourself, 

you  cannot   beaÜ^it   all« 


9. 


enou^h 


/- 


WIPE  (cont^d) 
It  boila  over, 

aeizlng  on  the  sixis  oT  ouliora 
83  a  target« 

Prophecy's  flaming  breath  is  no 
to  dlscharge  your  rigiitöous  fury« 
It  must  be  carrled  to  the   deadly  eiicL 
of  God' s  destruction  of  tho  wicked» 
But,  my  beloved  Jonah, 

God  cannot  indulge  your  v/rathxul  heart» 
It  needs  courage  to  trust  repentanco  -- 
there  is  a  stern  logic  in  the  law  of  Justice,  yes, 
but  mercy  is  the  heart  of  God 
in  man« 

^r>^Bonot  torment  me  further,  wife, 
I  beg  of  youl 
I  cannot  go  to  Nineveh,  I  cannot« 

WIPE 
•  (DESPERATELY) 

0  my  husband, 

you  will  be  lost,  destroyedl 

Tnere  Ää  a  force,  a  torriblo  force 
that  drives  me  to  flightl 

1  cannoT''^eck  it,  I  cannot; 
I  am  helpless,  helpleasl 


d. 


(THE  WIFE  TURNS  AWAY  PROM  HIM  ANDWESPS.      HE  GOEcJ   TO  HER 
AiMD  PÜTS  HIS  ARM  AROUND  HER.    APTER  A  MOIIEIniT ,    SHE  TÜRK3  SLOW 
LY  TO  PAGE  HIM  AND   SPEAKS  QÜIETLY  TEROUGH  HER  TEARS:) 

WIPE 
And  where   -—     where  will  you  go? 

^-r-  ^                               JONAH 
/PfraKT  Par  away 

To  ^oppa  first, 

and  from  there,  I  hope,  by  ship  to  Tarshlsh, 

distant  from  the  presence 

of  the   lord* 

WIPE 

.    (CONVÜLSIVELY,  ErAßHACING  HILl) 
You  cannot  go,   you  cannot l 


.> 


(CARESSING  HER)  ^^"^^^ 
Good-bye,  my  wife. 
(HE  MOVES  AWüY  PROM  HER  TOWARD  STAGE  RIGHT) 

V/IPE 
(RUNNING  APTER  HIM  AND  TAKING  HIS  HAND) 


^^# 


V/IFE   (cont'd) 
üh,    I  fear   for   you,   my  Jonah, 
I  fear  for   youl 

I  cannot  even  ask  God' s  blessing 
on  your  going 
7/hen  in   is   agalnsu  Hiiii  that  you  do    this   'cl^lr^z 

Good-bye,   ciy  huaband»«««    I  love   youo 


*  (HE   LOUKS  AT  KEK  TEi^DERLY  PöR  A  j:.iO;:J::NT ; 
'  ^0  RIGHT  MD   LEPT^THEil  HE  HüHRISS  0.'']? 
AND  EXITS*  )>  A  ^  -L.     • 

^    ■  y/iPE 

(LOOKING  AFTER  HM) 

I  shall  not  see  you  again«..«#» 

Never9  never,  never« 


EEH  ANXIOU^jy 
T   STA  GL  RIGiiT 


^ 


(PADE-OÜT) 


C 


^-/f'^\^.^^rp^    jfj 


/ü 


'j^ 


(  TO   THE  DAIÜC  \YE  FEAR,    PIRST,    i^üSIC  THAT   6ÜGGE6TS  A   PR^KTIC    r- 
FLIGHT;    THEl^l,    OVERLAPPING  IT,    DISTANT  SOÜDiDa   OP  THE   SSA,       i 
ALSO   MÜSICALIZED*      THE  PLIGHT  TOSIC  FADES   OUT*      AS  TEE 
MJSIC  OP  THE   SEA  COllES   CLuSER,   REINPuRGED  BY  i>CRi^AMlNG  OP 
WINDS,    IT  BECOiviES  WILD,    PO^^RPUL* )  . 


SCENE  T?:0 
FADE- IN  OP   SPOT  AT  STAGE  RIGHT  REVK^LS  A  SHxP:.0/.D  OF  i.iEN 
BÜPPETING  A  TURBULh'NT   SEA*      A   SILIFLE  OUTLINE  FOR-M  TOGETEER 
V/ITH  TEE  STRENÜOÜS  MOVEIffiiMTS  OP  THE  ROWING  SAILORS   SUFFICES 
TO   THE  SÜGGEST  THE  SHIP.      THE  EFFECTS   OP  THE  ^iTORM  üKE 
INDICäTED  BY  THE  ChANGING  BODILY  ATTPfUDES  AND  POSIO^IONS  . 
OP  THE  SEAMEN,   WHO,    WHEN   FIRST   SEEN,   ARE  L-RIRMUREiü   IN 
THEIR  CONSTERNATlON.      THE  LIARINERS  ARE  SllIPLE,   RÜGGiJiD  UM^    - 
NAIVE,    HONEST,   HUMNE,    ÖUPERSTITIOUS.      THEY  ARE  SIX   IN 
NÜMBER:      FIVE  SAILORS  AND  A   SHIPMASTER. 

--^  SAILOR   I 

Never  before   like   thial 

ÖAILOR  V 
Never  such  a  violenco   of  wind  and  v;avesl 

SAILOR   III 
Like   some  mighty  ragel 

SAILOR   II 
(TRYING  DESPERATELY  TO   SÜSTAIN  HIS  COURAGE) 
I'm  not  afraid,   not   II 


SAILOR  V 


Nor   II 


SHIPMSTER 
V/ö  must  not  yield  to  fear,  menl 


11 


SAILOR   IV 
We'll  never  reach  Tarshislil      Ueverl 

SAILOR  V 
We'll  never  get  hciije    agalr.!- 

SAILOR    I 
Torn  to  pleces  our   craft  will  t..! 

SAILOR    III 
It' s  a   sign  - — 
a  terrlble   sign  of  God* s  angerl 


SAILOR   IV 


Over  what? 


SAILOR   II 
I've  done  no   evlll 


SAILOR  V 


Nor   I  — 


SAILOR  I 
Nor  any  among  usl 

SAILOR  IV 
My  god,  why  do  you  fume  and  crash  agalnst  us? 

SAILOR  II^:^liJ^.a 
YiHiat  have  we  done? 

SHIPMSTER 
Be  atrong,  menl  * 

SAILOR  V 
0  do  not  swallow  us  up,  Lordl 

SAILOR  III 
We  have  meant  no  wickednassl 


SEVERAL  SAILORS 
(OVERLAPPING) 
Save  US,  Godl  Oh,  help  usl 


Save  usl 


SAILOR  I 
Why  do  you  rouse  the  waters  in  terrlble  wrath 
agalnst  us? 

SEVERAL  SAILORS 
Teil  US,  Godl  Oh,  Soll  usl 
We  beg  of  youl 

(SILENCE*   THE  MEN  LOOK  AT  EACH  OTHER  IN  AZ2-ÜISHED 
BEWILDERMENT*   THEN  SÜDDENLY  A  THoUGHT  HITS  THEM:) 

SAILOR  II 
What  of  the  traveller  below  there? 


X 


12  • 


ÖAILOR   VI 
The   sleeperl 

SEVERAL   SAILORS 
(OVERLAPPING) 
Wake  himl      Got  hin  upl      Ajk  ;vho  ho   i.  l 

SKIPIVIASTER 
(GALLING  BELOW  Tu    JüiNfAH) 

Sleeper,   rouso  yoursolfl 


•^ 


Wake  upV 


SAILOR   III 


SAILOR   I 
Call  on  your  Godl 

SAILOR  V 
We'll  peräshl 
(JONAH  RISES   INTO   ITIFJ) 

SHIPMASTER 
Come,    cast   lots, 

tnat  W6  may  know  for  whose   cause 
this  evll's  upon  us» 

ALL   SAILORS 
(OVERLAPPING) 
Yes,    yea,    cast  lotsl     Let's   cast  lotsl 

(THEY  ALL  DRAW  TOGETHER  TO    CAST  LOTS*    AFTErl  ^  ÄiO^iEi^T  TEE 
SAILORS  DRAW  BACK  TO   EXPOSE   JONAH) 

JONAH 
The  lot  has  fallen  —  upon  me* 

SAILOR  I' 
Teil  US,    travseler,   vre  beg  of  you  — - 
for  whose   cause   — \ 

SEVERAL  SAILORS 
( INTERRUPT ING) 
Teil  US,    teil  usl 

SHIPllASTER 
Prom  vhere  do  you   cone? 

SAILOR   II 
What*s  your  occupation? 

SAILOR   IV 
Your   country'^ 


Your  people? 


SAILOR   III 


15 


JONAH 
I  am  a  Hebrew: 

I  fear  the  Lord,  God  of  hsavea 
Who  made  the  sea  and  dry  land» 

SAILOR  V 
V/hat  Is  Tihd  strangeness  in  you 
that  you  alept  against  tha  sea's  ragin^V 

JOUAH 
I  slept  to  escape  the  crushing  wetght 
of  wakefulness* 

« 

(THE  SAILORS  LuuK  AT  Ei^CH  üTHER   IN  FEAR:) 

SAILOR   I 
What  have   you  done? 

ShlPtlASTER 
Have  you  done   some  wrong? 

JONAH 
In  sleep  1  fled  from  angulsh  and  the   fear  of  Ood 
as   in  v/aking  X  have  fled  from  Eis  presence 
and  the  doing  of  Eis   Charge  upon  me» 
(THE  SAILOKiS  HECOIL,    HORRIi?*IED) 
I  aought  diatance 

from  the  hearing  of  hia  volce  agaln^ 
as  from  the  city  where  he  sent  me» 

SAILüR   I 
Oh,   why  have  you  done  this? 

SAILOR   II  ' 

lü/hy,  0   traveller,  have  you  brought  thls  ourse 
upon  U3j^ 

SAILOR    IV 
We  did  you  no  harml 

SAILOR   III 
Yi/hat   shall  we  do 
that   the^ea  may  again  be  calm  for  usV 

SAILOR  V 
We  have  no  wish  to  hurt  you,    traveller« 

JONAH 
{I^  THE  GRIP  OP  GUILT  FEELIi^öS  AND  ifVlL  Oif 

coMPAssiüN^:  rea  the  seamen) 

Nor  I  you, 

good  men  of  the  sea. 

(PAUSE.   THEN:) 

Come,  take  me  up»,  - 

1  would  not  have  you  destroyed  because  of  me« 

£ake  me  up  now 


14^ 


JONAH  tcont'd) 
and  caat  me  forth  into  thu  saa; 


ALL  ^AILOHS 
(OVERLAPPING,  J[**RIGHTEKSD) 
No,  no,  we  cannotl  We  cann:  u  do  tiiatl 

JONAH 
Then  shall  tue  sea  be  caln  Tor  you# 
For  I  am  to  blame 
tüat  this  mighty  tompüst  is  upon  you« 


SEVERAL  SAILORS 
(OVERLAPPING) 
No,  no,  this  W0  cannot  doli 


We   cannotl l 


SHIPIIASTER 
Come,  men,   row  very  hardl 
We  inay  yet  bring  our   craft  to   the  landl 

(POR  A   MOMENT  THE  SAILORS    IKCREASE  THE  VIGOR  OP  THEIR 
ROWING,   BÜT   IN  VAIN.) 

JONAH 
(WITH  UTMOST  URGB^G) 
You  cannot,   men  of  the  sea; 
you  cannot  reach  the    landl 
Come,   do  with  me  as   I  bade  youl 
(THE  SAILORS  HESITATE*     THENs) 
Comel 

SAILOR   I  ■    . 

tlUIETL^  PLEADING) 
0  Lord,   God  of  the  Hebr-ew, 
we  Beg  of  you  —  we  beg  of  you, 
let  US  not  perish  for   thia  man' a  lifel 
Lay  not  upon  ua   innocent  bloodl 

(THE  SAILOR  COME  CLOSE  TOGETHERJ  FORMING  A  WALL  WEICH       * 
CONCEALS   JONAH  PROM  ÜUR  VIEV/«      THEY  BEND  PORY/ARD  TO 
INDICATE  THE  lüV/ERING  OP  HIS  BODY  MTO   THE  SEA;    PAUSE  POR 
A  MOMENT   IN  THAT   POSITION;   THEN  SLOl^Y  TURN  AWAY  PROM  HII;I, 
-GUILIILY,    SADLY,    THEIR  HEADS  BoV/ED  LOW.    TEEES  TUHNING  AY/AY 
DIVIDES  THE  WALL  WHICH  THEY  K)RI;IED*      THIS  SHOWS  THAT   JONAS 
IS  GONE.      THE  SEA  HAS  BECOLIE   CALM.    IN  THEIR  DPJEiU),    THE 
SAILORS  NOW  COME  CLOSE  TOGETHER,   TAKÜIG  HOLD  O?    EACH 
OTHER.      THE   LIGHT  UPON  THEM  NARROvi/S  TO  A   SMALL  SPOT   IN 
WHICH  WE  SEE  THEIR  HEiiDS  LIPTED  UP  TO   GOD.) 

SAILOR  II 
God 

jfou  Who  made  the  sea  wild 

and  now  at  Your  will  tarne  it,- 

donot  punish  ua,  we  beg  of  Youl 


15  • 


SAILOR  IV 
We  liave  sinned  -- 

ÖAILÜR  III 
We  have  sinned  grievously: 
to  spare  ourselves 
we  have  glven  to  the  angry  vyaters 
the  traveller  who  was  with  us» 

• 

SAILOR  V 
Y/e  didnot  wish  to  do   it   — 
we  didnot,    God. 


We  were 


SAILOR  I 
füll  of  fear* 


SAILOR  II 
We  are  men  of  mercy,  God; 
the  traveller  urged  it  upon  usl 

SAILOR  IV 
Was  he  not  guilty? 
Did  he  not  flee  from  Your  presence? 

SAILOR  III 
It  was  still  not  our  right  to  destroy  hlml 
Oh,  do  US  no  Uli 

•  SAILOR  V 
You  who  govern  the  waters 
whereon  we  hambly  earn  our  keep,  - 
even  as  You  calmed  tne  sea, 
quieL  now  your  wrath  against  us« 

SAxLOR  I 
Forglve  us,  God  — 
we  ahall  f orever  do*  Your  willl 

SAILüR  IV 
You  alone, 
0  Lord  of  heaven, 
Y/ho  made  dry  land  and  sea, 
You  alone  shall  ever  be 
our  Godl 

PADE-OUT 


SCENETHREE 

IN  THE  DARK  TüERE  IS  A   PADS-IU  OP  MÜSIC.      IT    IS  CHARACTER- 
'  IZED  BY  TORTÜRED  DISSONANCE   IN  A  KII^D  OP  SPASMODIC  RHYTHJÜ* 
— ^^HE   RISE   OP  LIGHT^T   STAGE*  LEPT^EVEALS  JONAH   IN  A   CÜRVED 
-^  ENCLOSÜRE*      HE   K  RÜNNING  DESPERi^fELY  IN  ONE  DIREOTION 
'    APTER  TEE  OTHER,    IN  EACH  GASE  VAINLY  PUSHING  WIEH  ARMS 


IG* 


f"^ 


/km  HANDS  AGAraST  A   SECTIGH   0?  THE  RESIS^ANT  V;.' LL  ^^^"2 
^E^GIRCLES  HIM,    THüJH  RECOILIKG   PROM  IT^EEREAFi?L'5>   FÜR  A 

<MCIffiNT.      HE   STANDS  iT   G  OP  SPOT  WITH  TAGS  BuRIED   HJ  HAl^OS* 
THENVtN  A   CLIMAX   OY  FRUSTATI0I\^    he  ROTATES  IVITIi  AGGELER.^TIr4G 
TEMi-OTREAGHlNG  OUT   GRüPBnIGLY   IN  ALL  DffiECTIONS*      PIIiALLY 
HE  DROPS  TO  THE  PLOOR   IN  A  HEaP.      A  MOIffiNT  0?  SILSNCSo 
THSN  HE   SLOWLY  RAISES  HIS  HEAD  AND  OUT   OP  HIS  DüiE?  ANGUISH 
SPEAKS  TO   GODVEN  A  QUIET  TONE  OP  DESPERATE  PLILaDING  : ) 

"^    '  JONAH 

God«*«»*«««0  my  God^ 

hear  mal 

Prom  this  monster's  belly 

where  you  brought  me   to  be  spared 

against   the  ravages   of  the   sea  - 

I  cry  out   to  youl 

(WITH   INTENSE  SELP-ABASiü^ffiiMO?; 

I  had  ainned,    - 

darkly  def iant.  In  desperate  arrogance 

taklng  flight, 
I  üad  slnned  --- 

0  wlcked,  wicked  follyl 
And  thereforo  was  I  cast  into  the  tumult 

of  the  wavesl 

The  mlghty  flooda  crashed  against  ma, 

compassed  me  about, 

choked  me  even  to  the  soull 

The  vreeds  were  v/rapped  about  my  he  ad; 

1  went  down, 

domi  to  the  very  bottom  of  the  mountainsl 
And  this,  all  this 
my  guilt  hji^  justly  earnedl 
Yet  when  icalled  to  you  in  my  afflictiun 
you  heard  my  prayer 
and  deTivered  me  from  death 
in  the  deep  of  waters» 
But  now,  0  God,  now 'I  beg  to  know: 
is  this  which  You  have  done, 

causing  me  to  be  here  in  tne  belly  of  tne  monster  - 
ii  this  the  granL  of  xr^os 
to  the  sinful 
or/the  furtner  punishment 

of  sin? 

For  death^  pitted  against  this, 

would  be  a  boon» 

I  am  not  saved  at  all 

if  only  for  myself  I'm  saved: 

never  a  human  voice  to  hear, 

never  a  hand  to  touch, 

never  a  good  to  serve, 

never  an  evil  to  eraseV 

To  be  spared  in  sickly  isolatlon 

is  to  know 

the  anguish  of  unmeaningl 

0  God,  make  me  free  to  do  the  task  bestowed, 

to  do  the  Charge  upon  me. 


17 


JONAH  (cont'd) 
the  thing  whlch  it  l3  mine  to  do. 
Tüat  which  I  have  vov/ed 

I  will  pay« 

V/lth  the   vulce  of   thanksgiving 
I  will  sacriflce   to   youl 

(WITH  THE  QUIET    liMTENiSITY  OF  DEEP  PATHüS) 
You  made  me  human,    Godl 
ß         Donot   spare  my  life 

for  What   is   less»  ^ 

^JOMH  PROSTRATES  HIMSELF.      SOTCiD  OP  A   PAR-^PP  TRÜI/J^ETj^  >4^/^ 
FIRST  ALONE   IN  A   BRIEF  CALL;    THEII  AS  DESCA^T  TO   GOD'S.     CHANT| 
THEN  AS  BACKGROPD  TO  EIS  SEEAKING;   THEN  AGAIN  AS  DESCANl' 
TO  EIS   GEANT.) 


fU^ 


^VOIGS  OB  GOD 

(CHANTING) 

JonaJi«  •• 

Jonah,  my  servant, 

Eear  what  I  shall  now  say  to  you: 

(SPEAKING) 

Your  prayer  ahalX  he  answered: 

to  the  dry  land  you  shall  be  restoredl 

Then  shall  you  go  to  iMlneveh,  that  great  city, 

to  cry  out  against  the  people 

for  their  wickodness 

and  to  fopetell  their  doom, 
/saying  all  that  I  shall  speak  to  you^x^ 

,CHANTING  IN  A  DIMINISHIriG  VOLÜMg^'-^^.^H 

Jonah» ♦ • • 

Jonah,   my   servant, 
30 on  shall  you  be  re 

>/(JONAB,   AGAINST   GOD' S  CÜANT,   HISES  SL0\7LY  TO  EIS  PULL      ^,A 
HEIGET  WITB  UPRAISED  ARMS.      TBEN  AT  TEE  ElsiD  OP  TEE  CEANT 
BE  SPEAKS  WITE  REpiRENTLY  EXuLTANT  TEANKJ:'^ULNESS : } 

L^::  joNAE  <  j  ^  ^ 

0  God 0  Lord  my  Godl  .,>^^  7         . 


J^ 


7. 


•  •  • 


PADE-OÜT 


'/^r^//'^^^^^^;^'^ 


"ttJÄ 


^ 


SCENE  PI VE 
IN  DARKNESS  WE  EEAR,  PADIimG  -II4  (VIA  TAPE  RECORDER),  TEE 
PRIGETENED,  RESENTPUL  ivIÜRLTüRS  OP  A  CROWD.   ABOVE  TEEI/.  RISES 
TEE  VOICE  OP  JONAE  SPEAKING  V/ITE  PROPEETIC  V/RATE: 


JONAE 
••••♦.You  pursued  the  innocent  with  the  swordV 
You  pillaged  the  eitles  of  the  weakl 

You  murdered  their  women  and  childrenl 

* 

(DURIUa  THESE  LAST  PIVE  T/ORDS  FADE- IN  OP  A  LOCALIZED  SPOT 
ON  UR  REVEALS  JONAH  S'i'ANDIHG  HIÜH  AT  THE  TOP 


13  ♦ 


0»  A  STAIRCASE* ) 


JONAH 
I  shall  send  among  you  plague  and  pestilencoV 

VOICES  OP  LSU  AND  WOMEN 
(OVERLAPPING)     / 

No,  nol  Y/e  beg  of  youl 

JONAH 
You  have  yet  far  more  to  hear 
thaz   God' 3  anger  naa  pronounced  agalnst  youl 

VOICES  OP  MEN  AND  V/OMEN 
(OVERLAPPING) 
No  more,  we  beg  of  youl  No  morel 

JONAH 
Woe  to  them 

that  defile  the  power  I  have  granted  them 
for  good 

that  they  make  monaters  to  destroy  my  peoplel 
The  eye 3  of  the  Lord  God 
are  upon  your  sinful  kingdom 
and  He  will  destroy  It  from  the  face  of  the  earthl 

SEVERAL  VOICES 
No  more,  no  morel 

•   MLE  VOICE 
OABOVE  THE  RUMBLING  OP  THE  CROV©) 
Slnce  the  sun  flamed  overhead  at  noon 
You*  ve  Lhundered  agalnst  us 
to  3Corch  and  blister  our  soulsl 

MANY  VOICES 
(OVERLAPPING) 
We  cannot  bear  morel  No  morel 

JONAH 
You  shall  hear  God»  s  wraunful  voice 
tili  the  black  night  of  your  shame 
Covers  and  consumes  youl 

(THE  CROWD  IS  REDÜCSD  TO  A  PRIGHTENED  SlLEi>iCE) 
Have  you  not  sold  the  righteous  for  allvorf 
the  poor  for  a  pair  of  shoeaV 
Hear  these  dire  words, 
you  that  take  bribes, 

that  crush  the  needy  and  affliot  the  justl 
Your  land  shall  tremblel 
I  will  send  fire  on  the  walla  of  iMineveh 
which  shall  devour  the  palaces  thereofl 
(A  LOW  MOAN  RISES  i^'KOM  l'HE  CRÜV/D) 
Go  now,  prostrate  yourselves, 
lie  in  the  dust*upon  your  bellies 
before  the  fatuous  grins  you've  carved  in  stone 

tio  worship  as  your  Godsl 


19 


JONAH  (cont'd) 
Call  them  v;itn  the  loudness  of  your  voicel 
(WITH  CONTEia-TUGUS  IRONY) 
They  make  no  answer? 
Call  yet  louderl 
Perchönce  they  are  asleepl 
(Y/ITH  DECISIVE  POWER) 
They  ahall  not  answerl 
For  He  that  formed  the  mountalns 
and  created  the  wind 

and  declared  unto  man  what  is  hls  thought; 
He  that  treads  the  high  places  of  the  earth. 
He  alone,  the  Lord  of  Hosts,  ia  Godl 
And  theae  are  words  that  He  has  spoken  against  you: 
Woe  to  them  that  are  at  ease  in  Kinevehl 
2ov   they  gorge  their  housea  witn  greed 
and  glut  their  city  v/ith  gaudy,  monstrous  trinkets 
to  crowd  the  emptineas  of  daysl 
You  defy  my  v/lll  in  profligate  dance  of  flight 
from  tne  world' s  need; 
you  outrage  my  law  of  love 
with  i:he  brutal  hunger 
of  a  raw  and  devouring  lustl 
Por  thöse  evils 

your  king  shall  per  iah  by  the  sword 
and  hia  people  be  cast  out  and  drownedl 
Against  the  tumult 
and  the  scream  of  trumpets 
and  the  vaat  wild  cry  of  desolatloa 
Nineveh  shall  dieUl 
(A  LOUD  V/AIL  OP  ANGÜISH  PROM  THE  GHÖXH» 


BIACKOUT 


(PADE-n?  ÜP  A    SFüT  ON  UL  REVEALS  THE  iiIrJG,    ACÜTELY  DISTÜR3ED, 
HE   IS   STANDING  ALuNGSIDE  HIS  THRONE   (HAIR   ON  A  PLATPORI/i  AT 
THE  TOP  OP  A   STAIRCASE.      BELOW.  HIM,   TO  HIS   LEPT,    STANDS 
AIDE    I;   TO   HIS  RIGHT,    AIDE   II.) 

KING 
(TO  AIDE   I,    WHILE  REMOVING  HIS  ROYAL  ROBE) 
Take    ühis  my  kingly  robe 
(AIDE   I  TAKES  THE  ROBE) 
and  bring  me   sackcloth  at  once   to   cover  mo. 

AIDE  I 

Yes,  0  king. 

(AIDE  I  STARTS  TO  EXIT) 

KING 
(STOPPING  AIDE  I) 

Also  ashes,  that  I  may  sit  in  theml 
(AIDE  I  BOWS  AND  EXITS) 


(TO  AIDE  II) 


KING 


20 


KING  (cont«d) 
Let  it  be  proclaimed  at  once 
thi»oughout  Nlneveh 
by  decreo  of  the  king  and  his  noblos,  cayinr^: 

let  neither  man  nor  beast,  herd  nor  flww^ 

taste  anythlng; 

let  them  not  Heed  nor  drinlc  waterl 

But  let  man  and  beast  be  covered  y;1u1i  saclzcloth 

and  cry  mightily  unto  Godl 

Let  them  turn,  everyone,  from  his  evil  way 

and  from  the  viele  nee  that  ia  in  their  handsl 

Go  nowl 

•  •  •  . 

AIDE   II  . 

As   you   command,   O  kingl 
(EXrr  AIDE   II)  - 

KING 
(IN   GREAT  DISTRESS) 

Y/ho   knows  but   that  God  may  yet   turn  away 
from  his  fierce  anger, 
so    that  we  donot   perishV 

(THE  KING  TURNS  ABOUT*      HIS  B.^-CK  TO   THE  AÜDIENGE, 
HE  LIFTS  HIS  AKMS   IN   SUPPLICATION* 

(PADEGOUT,    AGCUMPANIED  BY  AN   aNGUISHED  CHANT,    Y/HICH 
CONTINÜES   TOR  A  FE\Y  SECONDS  ALONE    IN  THE  'DAt(K  /iNi^  THEN 
SERVES  AS  BACKGROUND  FOR   SOUNDS   OP  V/AILING  PRüM  THE  CKüYtfD. 
PADE-IN   üP  SPOT  AT   STAGE  RIGHT  REVEALS   JONAH   STANl^ING  AT 
RIGHT  END  OP  TOP   STAIR,    HIS  P^^CE  ßURIED   IN   HIS  HiiNDS.   AT 
THE  LEPT  END  OP  THE  LO\VEST   STAIR  STANDS  THE  KING, 
WEARING  SACKCLOTH.) 

KIjmG 
(TO  JONAH) 

§ehold,  0  man  of  God, 
your  words  hava  seized  upon  the  souls 
of  my  peoplel 

Through  you  God  has  reached  theml 
Look  upon  them; 
they  fast  and  wear  sackcloth, 
from  the  greatest  of  them,  even  to  the  least. 
They  turn  from  patha  of  wickedneas« 
They  believe  in  God 
and  they  repent: 
nhear  the  vast  sound  of  their  lamentationl 

(JONAH  TOWERS  HIS  H:\NDS  Jf'ROM  HIS  PAGE;  THEN  TURNS  SLOT/LY  . 
TO  LOOK  DOWN  UPON  THE  KING  ^VITH  LOATHING:) 

JONAH 
I  have  no  ear  for  the  easy  music 
of  repentance 
nor  an  eye  for  the  garb  of  contrltion» 


21o 


(JONAH  TURUS  AY/AY,    COVERING  HIS  KEAD*      BLACKOUT.      H:   THii. 
DARKNESS,    MUS  IC   SUCxGESTING  THE  PASSAGE  OP  TB'IE.      THEN 
AS    IT   FADES  TG    SILEI^CE,    PADE-IN  OP  THE  SPOT   AT   STAGS 
RIGHT  REVEALS   JüNAH  SEATED  AT  THE  LEPT  END  OP  THE  LOBTEST 
STEP   OP  THE  STAIRCASE,    BROODING. ; 

JüNAH 
(BITTERLY,    IN  A   LISTENING  ATTITÜDE) 
/^^  Silence«... . . 

no  vmimper  of  paln 
to  mar   the   complacent   stlllriöss; 
the  promlsed  flama  of  c;ha3ti3emeiit 
long  past  due;  •    . 

the  Nlnevitea,    irnmune   to  hurt, 
go    their  ways  wlth  penitent   sighs 
and  the  pious   smiles   of  a  smug  serenityl 
(IN  A   PAROXYSM  OP  ANGER j 
Agh  — -  I  knew  it  would  be   so, 
I  knew  itl 

Our   enemy,    our  deadliest   foB 
favor^d  by  God  nowl 
Bathed  in  His  healing   lovel 

This,    this   the   ansv^er  fcö   their  foul  wiclcednessl 
Pampered  by  the  Lord, 
they  now  feel  safe  in  arming  anew 
for  yet  more   savage   thrusts  against  ual 
(APPROACIlTnG  SOUJffiS  OP  DERISIVE  LAÜGHTER)      ^ 
And  what   of^me?  ^^xXM^M^f  %Jb<L. 


n 


/. 


.t 


IONS  OP  T\VO   TAUNTERS  AP  FEAR   IN 


%'fe^ 


LOW  LIGHT  TO  MOCK  HIM:) 


/ 


M 


// 


TAUNTER  I 
Hail,  true  prophet  of  the  vengeful  Godl 


TAUNTER  .II 
We  come  to  praiae  you, 
ü  great  and  icnowing  spjjkesman  of  the  Lordl 

TAUNTER  I 
Again,  as  alwayj^, 
your  promise  of  doom 
is  become  a  deadly  fact« 

TAUNTER  II 
0  perfect  prophetl 

TAUNTER  I 
0  infaailble  source  of  things  to  comet 

(MOCKING  LAÜGHTER)  •   - 

TAUNTER  II 
Behold  the  deatrpyed  of  Ninei^ehl 
How  aprightly  do  they  walkl 


ß2 


And  how  they   speakl 

The  annlhilated  apeak  witii  most   enviaolo  easCw 

TAUOTER   II 
And  their  palacesl 
How  Singular ly  proof  they  are 
agalnat  zhe  firea  of  thö  Lordl 

TAUNl'KR   I 
0   truth-telling  seerl 


TAUNTEK    II 
0  godly  man  of  unerring  visionl  xOj^^^^^ 

/"  '^"(DERISIVS  LAÜGHTEH  ACCOM^ANIES  THE  PADE-ÜÜT   OF  THE 
^PPARITIONS.  ) 


Ayi^  ^-* 


JHA^ 


; (ENRAGED) 


JOUAH 


(Z^r\To  be  mocked  agaln,   röviled,   — 


/^ 


(fy^ 


a  silly  target  for  contemptl 

To  hava  hurled  my  wratli  llke  a  fool 

against  th6  wlcked  ^.  ,^    *  , 

only  now  to  atab  my  own  fleah  ^ith  It  agalnl 

0  god^  God*« •• • 

1  dldnot  plant  within  me  the  terrible  drlva 

to  Justice 

that  hungers  In  my  breast; 
the  rage  that  festers, 
that  chokes  me 
when  justice  is  not  donel 
You,  0  Goa,  not JC^ 

haVö  made  the  natura  that  commands  mal 
yf  I  cannot  be  other  than  I  aml 

Did  I  not  know  that  this  would  be  the  end? 

When  I  was  yet  in  my  own  country? 

And  therefore  I  took  flight  to  Tarshiahf 

You  are  a  God  of  forgiveness; 

Your  way  Is  the  way  of  mercy: 

I  cannot,  I  cannot  traverae  itl 

(PLEADBiG  DESPERATELY) 

Therefore  now,  0  Lord, 

take,  I  beseech  you,  my  lifo  from  mel 

For  It  is  better  for  me  to  die  than  livel 


X  (SOUND  OF  FAR-OFF  TRUMPET  INTRODUCING,  AS  HE:ixi,TOFORE,  ^^ 

OD'S  V0ICE:)> 

^        VOIGE  OF  GOD 

(CHAWTING) 

jiJonah 

Joaah,  my  servant,  . 


25# 


GOD»^  VOICS   (cont«dO 
(SPEAKIlNfG) 

Do    you  do  well  to  be   a^igry? 
i'hough  you  had  slrmed  apalnst  me, 
Dld   I  not    save  you 
from  the   sea? 

Did   I  not  free   you  from  the   belly 
of   the  monster? 
Mercy.  dldnot   tap  your   anger 
when  it  was   you 
on  whom  I  had  bestowed  it« 


JOME 
(V/ITH  DEEP  HUMILITY)üs:ä 
(jod..*.0  0.  my  God, 

very  loving  nave  you  been  to  me'^{^ äM.4'4^ 
but  also,  God,  nave  you  not  instructed  me 
to  despise  wickedness? 

GOD«S  VOICE 
I  haje   taught  you  the  hate   of  evil,   yes; 
but  have   I  not   taught  you  as  well 
■che  evll  of  hate? 

Jonah,  my  servant,  yonder  have  I  prepared 
a  gourdj 

(PADE-IN   OP  A  SPO*r   CN   STAGE  LEIS?  R^ViilALS  A 
GOüRD  Wri'H  A  LARGE   STONE  ülü)ER   TZ) 
that   it  may  be  a  healing  shadow 
over  your  head 

to  bring   you  forgiving  coolness.  / 

Go,   Jonah,   and  slt  beneath  it#  '^^^f  cLüt^SO^-^ 

(JONAH   IS   COMt^'ORTED  MOI;IENTARILY  AliTD  FÜLL   OP  ^iÄATiSHJLLOVE   üP^./ 
GOD.      HE  RISES  AND  THEN  SPEAKS  AGAMST   THE^PADING  SOÜ'NDö   OP 
GOD«S  CHANT  HiJlARD  JjeON  THE  PAR-üPP  TRÜJffET:)'^^ 


^   ^- — 0  Lord,   for  your   lovi 


CThUvi^ 


I  lift  my  heart  in  t! 

K^^JJONAH  GROSSES  PRüM  THE  RIGHT  SPOT  INTO  THE  LEPT'  SPOT,      Cy.      i 
(ffJ^^^  WHERE  HE  SITS  DOWN  UNDER  THE  GüURD  TO  RELAX.   THE  RIGHT  SPOT  n^^^ 

PADii;S  OUT.   JONAH  LOOKS  UPJi^RD  PöR  A  MOIvlENT.  THEN  HE  SPEAKS:}  ^ 

.-— -^ ''^'^JONAH 

^   It  is  good,  0  Lord,  to  be  enfolded 

in  the  womb  of  your  sheltering  concern#..». 

(HE  THINKS  POR  A  MOIvlENT.   THEN:) 

I  am  bewilde  red  by  your  love; 

your  pardonirr  my  guilt 

if ^t)eyond  my  power  to  understand. 
Did  I  not  defy  your  will 

and  in  the  wicked  folly  of  fllght 

seek  refuge  from  Your  preaence? 


24. 


JOK.\H  tcont'd) 
(WITH  A  RETUTiN   OP  SELF-KEPROOF) 

0  God,  my  God 

1  am  too  deep  In  shamö; 
I  cannot  %g^e   your  lovol 
Of  v;hat  avall  is  your  forgivaness 
if  I  cannot  forglve  myseir? 
louv   compassion  Is  a  stab  of  remorso 
in  my  fleshl  ($0^   ) 
(HE  SOBS  C0;ViVüL3IVELY,  V/Ii'H  HEAD  BOV/ED  DOWN) 

0  earzhp   Heaven  will  not  heed  my  wisia  to  diel 
Grack  op^n,  eartJi, 
and  3uck  me   Into  your  dark  abyssl 
Por  I  am  lost : 

1  cannot  serve  God' a  mercy 
and  I  cannot  changel 
I  am  at  odda  witii  Godl 
I  cannot  live  acoording  to  Hls  will, 
I  cannot  live  against  itl 
(IN  DESPERATE  LAl.'IENTATION) 
0  earth,  earth,  take  mel 
Swallow  up  my  lifel/ 

HIS  SEATED  BODY  BENT  P^ftffiRD,  HE  COVERS  HIS  FACE  WITH  HIS 
HANDS.   AFTER  A  MOMENTy^N  APPARITION  üF  HIS  WIF^  APPEARS 
BEHIND  HIM4nD  SPEAKS  ^0  gIM  ViüTH  TENDER  WARA'ITH  AGAINST 
A  PARAWAY  LüiLING  MJSIC:  ^ 


j^^  '    WIFE  ^^^^^^^ 

^fi"^^  Oh,  my  Jonah,  my  beloved,  - 
^     ^  out  of  the  turbulence  or  your  wratJa 

I  havd  eked  our  tlmes 

of  tendernesa 

How  greatly  and  severely  good,  youa  are, 

my  husband» . . • 

Be  gentle  with  yourself,  as  God 

is  kind  to  jou.*.. 

Let  the  mantle  of  coming  night 

Cover  you  with  repose,  /  er. -y^ 

f)  l}(yL  ^^  Jonah,  my  beloved.  ^  ...r^^A'OT'^^**^^^    / 

^'(THE  APPARITION  FADES  OUT*   JONAH,  EXHAÜSTED,  FALLS  ASLEEP. } 


FADE-OÜT 


(THE  LTJLLING  MUSIC    IS  0  VERLA  PPEJTBY- MUS  IC   OF  LGNG-SÜSTA INED 
THICK  DISSONANT   CHOHDS   SUGGESOJ^GT  AN  Oi^PKESSIVSLY  TOKRID  DAY. 
FADE-IN  OF  LEFT  SPOT  REVEAI^%ONAHjriN  A  HALF-FAINT 

FROM  THE  BLAZING  SUN  WHICH'SHINES  UPON  EIM,      TE   GOÜi^,    KOW 
WITHEREDJ    NO   LüNGER   PROVIDES  ANY  SHADE.      JONAH  MOANS    IN 
DISTRESS.) 

JONAH 
Oh,    the   sun,    the   aun..o* 
pitiless  World  of  fiery  weightl 


25 


JONAH  (cont'd) 
beats  down  upon  me,  crushos  my  skull  -- 
it' 3  blazing  r^ys  plerce  my  breast 

I  cannot  bxe^th®^ 

0  what  perverse  torture  is  it 

tiiat  Leases  me  toward  death  and  yet  denies  Izl 

Yes,  I  had  sinnedy  I  ^d  ^Innedl 

But;  did  I  not,  as  I  was  told, 

Gry  out  agalnst  NinevehV 

Did  I  not  K:eep  my  \50\7? 

Dld  I  not  expose  myself  to  scornV 

Have  I  not  suffered  in  the  sea? 

In  the  monster's  belly? 

Why  then  am  I  yet  sorely  abused? 

C(HE  UTTERS  A  LOW  GRY  OP  ANGUISH.   THEN  A  MOMENT  Oi?*  ÖTILLNES^ 
#HE  THEN  LOOKS  UP  AT  THE  WITHERED  GOURD  AND  TuüCHES  IT  WITH  '" 
'TENDER  COMPASSION,) 

JONAH  .  ■ 

Shrivelled,  desd 

(REPRuVma  GOD  BITTERLY) 

Why,  0  God,  wßyV 

You  who  are  a  Lord  of  mercy  — 

what  madö  you  to  cause  destruction 

of  the  lovely  gourdi 

that  grew  in  beauty  and  in  innocence? 

What  hurt  had  It  done  youV 

0  what  wilful  cruelty  caused  you  to  blight 

ühe  lovely  plant? 


^ 


f^'   <^^  OP  THE  FAR-OPP  TRUMPET,    AGAINST  V/HIGH  GOD«  S  VOICE  ^^ 

^IS  HEARD  CHANTING  WITH  SEIiENE  WARMTHO'S*. 

GOD'S  VOIGE 

(CHANTING) 

Jonah#«*.#  ' 

^Jonah,    son  of  Amittai^x 
Ä>Jonah,   myy   servant,    hear  me.... 

(THE  TRUMj;;IifT,7C0NTINUES  iß  bAGKGUOUND  POR  TEE 

SPEAK  INGA^i-'-ii'' POLLOY^^ 

Do  you  do  well  to  be  angry? 

JONAH 
I  do  well  to  be  angry,  even  unto  deathl 

GOD»S  VuIGE 
(GENTLY  KEPROVING) 

Ah,  Jonah,  Jonah 

you  have  pity  on  the  gourd 

for  which  you  have  not  lubored  nor  made  to  grow; 

which  came  up  in  a  night 

and  perished  in  a  night. 

(WITH  TEi^DER  CuMf'A;:>C:>IüN)  ' 

Should  I  not  pity  riineveh^  that  great  city 

wherein  are  more  than  sixscore  thousand  persona 


26# 


• 


• 


GOD»S  VOICE   (cont»d) 
that   cannot   diacörn  betv;een  thelr   rlght  hand 
and   tneir   lef  t  hand  / 

and  also  much  cattle? 

<;(THE  PAR-OPP  TRÜI^ET  FADES   SlÖV/ÄY  TO   SILEI^CE.      JOITAH  "  IS 

SEATED,    HIS  HEAD  AVERTED  TOV/ARD  THE  LEFT  AND  BC'.^ED   IK    i^EAi/Jil. 
FOR  A  MOMENT  HE  TURIMS  AND  PAGES  ÜPV/ARD   IN  A   FLif^S  OP 
REBELLION;    THEN,    OVERTAKEN  BY  DEEP  PEELING-  /P  GüILT,    AGAIN 
LOOKS  AY/AY  TOV/iK  D  LEFT,    BENDITG  PORV/ARi>  ANl*   vJOVxURiNG  nlö   üEAD 
WITH  HOOD  AND  SLEEVE.      HE  HOLD  THIS  'ATTITÜDE  FOR  A   MüLiENT   IN 
SILENGE*    THEN   THE  PROLOGÜE  MUS  IC   BEGINS,    TO  RESTORE  JONi^H  TO 
THE  PRESENT.      IT    IS  ACGOl/IPANIED  BY  FADE- IN  UF  THE  SPOT  AT 
DG*      ATTRACTED  BY  THE  MUSC  C,    HE   SLOV/LY  UNCOVERS  HIS   FACE 
AND  LISTENS   INTENTLY.      THEN   HE  TURNS  AND  SEES  THE  DC   SPOT 
AWAITING  HIS  RETURN*      HE  RISES  SLOT^Y,    STRUGGLES  TO   EXTRICATE 
HIMSELP  PROM  THE  PAST,    AND  THEN  V/ALKS  SLOWLY  INTO  THE  DG 
SPOT,   TO   SPEAK  THE  EPILOGUE.) 

^    '        JONAH  ^4^<^^ 

(AT  DC,  PACING  THE  AÜHIENGE) 
i  So  ends  - 

and  doea  not  end  - 

the    story'Tn  the  book  v;hlch  bears  my  nacio. 
y^The   still-stubborn  sv/ing   of  the  heart's  pendulum 
^  from  passion  to   opposed  passion 

•was  unresolved» 

The   same  mercy 

which  I  had  dared  to   defy 

I  begged  to  grant  me  death» 

But  God  denled  that  mercy 

in  favor  of  a  deeper 

yet  to  come: 

he  made  me  to  enter  Paradlse 

alive« 

Shere,  unmasked,  I  behGld  the  nakednesa 

of  my  true  measure; 

no  longer  stretched  to  a  ready-made  godly  helght 

by  flattering  fantasy, 

no  longer  living  a  borrowed  grandeur 

in  my  mind, 

to  be  what  I  am  not 

and  then  in  the  nausea  of  av/akening 

to  hurl  fierce  wrath  again;:t  r.iyself  and  others« 

There^Sknovi^ing  the  ti^uth  of  v;nat  ;<;  am, 

cont^Ät  with  what  I  can  become,  ^ 

aspiring,  attuned, 

I  S  find  courage  to  riak  compasaion, 

confidence  to  amlj^e  at  offense  to  pridö, 

readineaa  to  do  what  ia  mine  to  do, 

and  in  the  doing 

to  accept  the  fur^theat  end# 


27 


^ 


JOMH   (cont'd) 
All   of  that 

I  experience  but  as   corrected  memory 
of  my  tlme   on  earth» 
And  thia   too    I  now  know : 

that   a  man's    living  of  his   ti'uth  and  task 
need  not  wait   upon  he.;ven, 
cannot  v/alt» 

•j?he  human  course   is   clear»..«  g     J      -^    // 

the   tlme   Is  ,;io^t   long  fpr   taklng   it •  jZöTtetM^A^    oa^J^ 


^ 


I 


\  (AS  THE   FKüLüGtJE  iiiüSIC    GONTINÜES,    JuI^aH  PAUöSS  ?0R  A 
MOMENT,   ABSORBED   BN   TMuüGHT*      HE  THBN  TÜRiNiS  TO  ?ACE 
UPSTAGE;   WALKS   SLOV/LY  TO   THE  STAIRS  AT  UC  AUD  MOuInITS 
THEM.      AS  HE  MOVES,    THE   LIGHT  UPON  HIM  NARROWS  AIQ  FADES* 
V/HEN  HE  HAS  REACHED  THE  TOP   STAIR,    HE  TURNS  TO   PAGE  DR, 
ASSÜMING  THE  ATTITÜDE   üUT  üP  AN  OLD  EriGRAVIX^G  I^.'  ';7HICH 
WE  BEHELD  HIM  AT  THE  PLAY»  S  BEGINNix^G* 


n\ 


HEKE  IS  DARKNESS. 
THE  MÜSIC  DIES  OUT. 


( 


#  1 


GORRESPONDENCE  concerning   "Pity  For  The  Gourd" 

which  was  given  as  highlight  of  the  annual 

Festival  of  Religion  and  the  Arts^  St.  Petersburg,  Fla. 

The  play  was  presented  both,  in  a  church  and  in  a  synagogue 

The  director  was  Edward  Garroll 


I 


/■ 


// 


s; 


\ 


FOURTH 
ANNUAL 

FESTIVAL 

OF  RELIGION 

AND 

THE  ARTS 

ST    PETERSBURG. 

FLORIDA 

FEB.  23-  MARCH   8 


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Festival  of  Religion  and  the  Arts 

Purpose: 

1.  To  assist  the  church  and  churchman  con- 
tinually  re-discover  the  great  potential 
for  Divme  communication  through  the 
media  of  the  fine  arts. 

2.  To  seek  to  motivate  the  artist  to  religious 
expression  in  his  crcative  endeavors. 

3.  To  make  a  creativu  contribution  to  and 
stimulate  further  the  growing  dialogue 
between  religion  and  the  arts. 


Edward  L.   Carroll 
Grant  Pulen 
William  A.  Harvard 
Robert  O.  Hodgell 
James   Grane 
Laurence  Goles 


EXECUTIVE  COMMITTEC 

Donald  R.  Mathis,  Ghairman 

Everett  Emerson 
Basil   Hankin 
Hope  Andruss 
Gharlotte    Biles 
Lamar  Glements 


ART  COMMISSION 

Robert  O.  Hodgell,  Ghairman 
James  G.   Grane  Robert  Sprague 

Hayden  Bryant  Helen  Dickey 

Marie   Shac  Rudolph  McKinley 

Ralph  McGoy  Mary  Evelyn  Lansford 


DRAMA  COMMISSION 

Laurence  Coles,  Ghairman 


Sheila  Shear 
Ralph  James 
Lyon  Williams 


David  Whittlesey 
J.   Woyne  Drash 


LITERATURE  COMMISSION 

Everett  Emerson,  Ghairman 

William  O.  Harris  Terrill  Kirk 

Raymond  L.  Irwin  Mary  Workizer 

MUSIC  COMMISSION 

Grant  Pulen,  Ghairman 


Walton  Jamerson 
Walter  West 
Ruth  Hultquist 
Sterling  Thomas 
Donald  Mathis 


Helen  White 
Theodore  Hall 
William  Waters 
John  Reynolds 


ARCHITECTURE  COMMISSION 

William  A.   Harvard 


Cover  Symbol   Designed   by  JAMES  G.   CRANE 

Sponsored  by 

The  United  Churches  of 
Greater  St.  Petersburg 


ART 

Art  exhibits  will  be  held  at  the  Plaza 
Fifth  Avenue  apartment  building,  5th  Ave- 
nue and  33rd  Street  North.  Opening  and 
reception  for  the  public,  Sunday,  February 
23rd,  2-5  p.m.  The  exhibits  continue  through 
March  7th. 

ADULT  EXHIBITS.  There  will  be  com- 
petitive  juried  exhibitions  of  art  works  by 
local  artists,  both  professional  and  amateur. 
Artists  have  been  requested  to  submit 
works  which  express  their  own  search  for 
ultimate  meaning,  or  demonstrate  their  abil- 
ity  to  personally  express  the  values  of  a 
religious  Community. 

Citations  of  meritorious  works  will  be 
awarded  in  the  amateur  exhibit.  Five  cash 
awards  will  be  given  in  the  professional 
exhibit.  A  purchase  award  will  be  made  for 
a  work  which  is  especially  appropriate  for 
ecclesiastical  use,  or  of  special  religious 
significance. 

Rules  for  entry  are  obtainable  at  the 
Office  of  The  United  Churches,  phone 
896-2659. 

CHILDREN'S  EXHIBITS.  At  the  same  loca- 
tion  there  will  be  an  exhibit  of  12  paintings 
by  children,  secured  from  the  World  Council 
of  Christian  Education  and  Sunday  School 
Association.  Paintings  are  of  Bible  stories 
and  are  by  children  from  various  parts  of 
the  World. 

Exhibited  with  these  will  be  selected 
paintings  on  Biblical  themes  done  by  chil- 
dren from  the  Pinellas  County  school  system. 


ARCHITECTURE 

An  exhibit  of  contemporary  church  arch- 
itecture,  secured  from  the  Church  Architec- 
tural  Guild  of  America,  will  be  displayed 
at  the  Plaza  5th  Avenue  building  during  the 
two  weeks  of  the  Festival.  Also  included 
with  the  exhibit  will  be  a  photo  display  of 
several  churches  in  the  St.  Petersburg  area. 

Guided  tours  at  several  churches  in  the 
area  are  planned  during  the  Festival.  Per- 
sons  may  visit  the  churches  listed  on  the 
calendar  during  the  times  specified.  Sight- 
seeing buses  will  stop  at  the  churches  at  the 
appointed  times. 


DRAMA 

February  26,  Wednesday— 7:30  p.m.,  FIRST 
PRESBYTERIAN     CHURCH,     332   -   3rd 
Street    North    —    The    Church    Drama 
Guild,    a    department    of    The    United 
Churches,  will  present  the  premier  Per- 
formance  of   Jerome   H.   Bayer's   poetic 
drcmatization    of    the    book    of    Jonah, 
cailed  Pity  For  The  Gourd.  The  play  was 
obtained     from    the     "American    Place 
Theatre",  a  non-profit,  non-sectarian  Or- 
ganization headed  by  the  Reverend  Sid- 
ney  Lanier  of  St.  Clement's  Church,  New 
York     City,     which     Sponsors     original 
drama  and  new  playwrites.  The  theme 
of  this  drama,  according  to  the  author, 
is   our   "responsibility   to  the   world   of 
humans  which,  if  it  is  to  be  more  than 
meaningless,     mechanical     duty,     must 
stem  from  a  loving  concern,  one  expres- 
sion  of  which  is  compassion". 

February  29,  Saturday— 8  p.m.,  TEMPLE 
BETH-EL,  400  Pasadena  Avenue  South. 
A  re-staging  of  Pity  For  The  Gourd. 

March  5,  Thursday— 8  p.m.,  ST.  BEDE'S 
EPISCOPAL  CHURCH,  2500  16th  Street 
North  —  A  public  reading  of  thought- 
provoking  scenes  from  six  of  the  dramas 
of  George  Bernard  Shaw,  under  the  title 
of  "G.B.S.  and  God".  Four  local  actors, 
with  distinguished  experience  in  the 
theatre,  will  demonstrate  how  this  form 
of  play  production  may  be  used  by 
churches  which  do  not  have  the  tech- 
nical  facilities  for  presenting  dramas 
with  the  usual  accoutrements  of  the 
theatre. 


The  following  churches  crre  included: 

Pasadena  Community  Church,   112  70th  St.  So. 
Temple  Beth-El,  400  Pasadena  Ave.  So. 
Grace  Lutheran  Church,  4301    16th  St.   No. 
Lakewood   Methodist   Church,   5995   9th   St.   So. 
Gulfport  Presbyterian  Church,  332  3rd  St.  So. 
St.  lude's  Catholic  Church,  58th  St.  &  5th  Ave.  N. 
Christ  Methodist  Church,  467   Ist  Ave.  No. 


LITERATU  RE 

A  new  commission  was  developed  this 
year  to  stimulate  discussion  on  the  relation- 
ship  of  religion  to  literature. 

February  27,  Thursday— 9:30  p.m.,  WEDU- 
TV,  Channel  3.  Discussion  of  Christ- 
ianity  and  Contemporary  Fiction.  The 
four  novels  to  be  considered  are  'To 
Kill  A  Mockingbird"  by  Harper  Lee, 
''Catcher  In  The  Rye"  by  J.  D.  Salinger, 
"Light  In  August"  by  William  Faulkner, 
'Xord  Of  The  Flies"  by  William  Golding. 


MU  Sl  C 

March  3,  Tuesday— 8  p.m.,  FIRST  METHO- 
DIST CHURCH,  3rd  Street  and  2nd 
Avenue  North  —  Festival  of  Faith  wor- 
ship  Service.  A  choral  service  entitled 
"Sayings  of  Jesus",  will'  incorporate  an- 
thems  and  hymns  based  on  selected 
scriptures  taken  from  the  Gospel  of  St. 
John.  Choirs  from  churches  throughout 
the  city  will  participate.  Each  of  five 
choirs  will  present  an  anthem  illustrating 
one  of  the  sayings  and,  finally,  all  of  the 
choirs  will  combine  in  the  singing  of 
Handels  ''Hallelujah  Chorus". 

March  6,  Friday — 4  p.m.  to  9  p.m.,  CHRIST 
METHODIST  CHURCH,  467   Ist  Avenue 
North  —  A  church  music  Workshop  de- 
signed  to  give  Inspiration  and  technical 
aid    in    the    production    of    music    for 
churches,    church    schools   and    graded 
choir    programs.     For    choir    directors, 
church  organists,  religious  school  teach- 
ers   and   any    others    interested    in    the 
subject.  This  seminar  is  under  the  chair- 
manship  of  John  Reynolds,  choir  director 
of  Christ  Methodist  Church.  During  the 
interval  of  the  Symposium,  a  supper  will 
be  served  which  will  be  included  in  the 
registration  fee. 


of 

ST.    PETERSBURG 


BOX  4138 

ST.   PETERSBURG    31,   FLORIDA 


October  4,  1963 


Mr.  Jerome  Bayer 

739  West  186th  Street 

Apartment  6  C 

New  York  33,  New  York 

My  Dear  Mr.  Bayer: 

We  just  recently  received  a  letter  from  the  Reverend  Sidney 
Lanier,  with  a  side  note  enclosinfr  your  address.  He  has 
perhaDS  acquainted  you  with  cur  desire  to  nroduce  your  r)lay, 
"  The  Pity  Of  The  Courd  ". 

The  Church  Draina  Huild  is  asked  every  year  to  contribute  their 
talent  for  the  Festival  of  Relijrion  in  the  Arts.  The  Festival 
is  to  Start  in  the  latter  i^art  of  February.  Enclosed  is  sone 
literature  on  these  activities. 

Mr.  Bayer,  the  Guild  would  consider  it  an  honour  if  you  would 
consent  to  its  producinj^  your  nlav  for  the  Festival.  The  castma 
committee  for  the  Huild  has  read  the  scriPt  and  ouite  frankly  we 
think  it  is  beautiful.  To  nreniere  a  play  of  this  calibre  m  the 
Festival  would  credit  the  Cuild  immeasurably. 

At  your  earliest  convenience  then  Mr.  Bayer,  nlease  write  ne  your 
decision,  and  include  in  your  renly  if  you  will:  whether  the  nlay 
has  been  copy-writed,  and  if  so  what  the  royalties  would  incur. 

Sincerely  yours, 


CHURCH  DRA^^A  GUILD 

Penny  F^uouier  u 
CorresDondintT  See 


(' 


retary 


of 

ST.    PETERSBURG 


BOX  4138 

ST.  PETERSBURG   31.   FLORIDA 


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6-A         Evening  Independenfr.  Sf.  Petersburg         2/29/64 


— Staff  Photo  by  Dan  Hightower 


'Pity  For  The  Oourd'  Play  Tonight 

Jerome  Bayer's  play,  "Pity  for  Ihe  Gourcl,"  nill  bc  preseiited  bv  the  Drama  Guild  Play- 
ers at  7:30  p.m.  today  at  Temple  Bcth-El,  400  Pasadeiia  Ave.  S.  Richard  C.  Stuntz,  left, 
who  plays  the  lead  of  Jonah,  discusses  the  play  with  director  Edward  L.  Carroll  and  Irene 
1  uUer,  who  plays  Jonah's  wifc.  The  play  was  prescnted  Wednesday  night  at  the  lirst 
Presbyterian  Church. 


Jveninq  Independen».  St.  Petersburg         2/29/64  5-A 

Youth  Hurt  In  Crash 


|o-'operated  by  Mrs.  Nina  Lavorn 
latjJackson.   50,   825  Beach    Drive 
NE.  police  Said.  The  Lundgren 
car  tlien  Struck  a   parkcd  car 


v' 

10. 

111. 
^d 


r 
k 


owned  by  Max  Feazell,  4645  34th 

Ave.  N. 

Mrs.  Jackson  and  her  daugh- 
ter,  Alice  M..  18.  complaincdof 


possiblc  injuries.  according  to 
police.  Lundgren  was  charged 
with  failure  to  yicld  tho  right 
of  way. 


$' 


12,100  -  ^500  DOWN 


BAY  PINES  ESTATES  OFFERS  UNIQUE  FINANCING  PLAN 

(not  FHAl   on  thls  lovely  NEW  2  bedroom,   I   bath  home  complete  w,th  radi 

t  ceiling   heat,  built-in'range  and   oven,  solid  ^»^ded  front  lawn   plus  man 

extra    features.    Includes    sanitary    sewers,    paved  ^  streets     and    cu  b mg     Lov 


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ccunty   taxes.   Over   400   homes   built   and    occupied.    100    BEAUTIFUL   LOTS 
REMAINING    IN    THIS    ATTRACTIVE    DEVELOPMENT.    Directly    across    from 


Üempfe  ^sraef  o/i£e  d/y  ofXew  yor£ 

12  &as/  öi^Ä/y-'SJx/A  Sireei,   ^ecu  yor£,   OC  y.  1002S  -  08uiierßef(fS"2SlO 


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iRaoot 
ISJi/Tiam  C?,  iJiosenoAim 


Manch  24,    1965 


Mr.   Jerome  Bayer, 
739  West  1861-h  Street, 
New  York,    N.   Y. 

Dear  Mr.    Bayer: 

Rabbi   Lipman  of  Washington,    D.   C.    informs  me   that 
you  are  the  author  of  "Pity  for  the  Gourd,"   which 
was  used  by  him  at  Yom   Kippur. 

Would   it  be  possible  for  you   to  favor  me  with  a  copy 
of  this  dramatic  reading.     It  would  be  most  appreciated. 


With   thanks. 


Sincerely, 


Rabbi   Mamn  J,    Zion 


Bruton   Parish   Church 


IVI  LLIAMSBURG ,    VIRGINIA 


The  Rev.  Cotesworth  P.  Lewis,  D.D.,  Rector 
The  Rev.  John  H.  Hatcher,  Jr.,  Curate 


September  22,  1965 


Mr.  Jerane  H.  Bayer 
737  West  I86th  Street 
Apt,  6  -  C 
New  York  33,  New  York 

Dear  Mr.  Bayer, 

Edward  Carroll  of  St.  Petersbiirg,  Florida  advised  me  to  write 
you  for  a  copy  of  Jonah.  I  imd erstand  that  it  is  a  süperb  plav  to 
be  done  in  the  chancel  (  although  at  Bruton  we  do  use  Staging  ;,  and 
I  am  most  interested  in  getting  a  copy  to  see  if  we  would  like  to 
do  it  herf^. 

If  you  do  have  a  spare,  I  would  indeed  appreciate  a  copy.  Also 
if  there  is  a  royalty  involved,  please  indicate  what  it  might  be. 

Thank  you  so  much.   I  find  that  drama  in  the  church  is  a  very 
effective  way  of  ministering  to  certain  of  the  College  students 
at  the  College  of  William  and  Mary. 


Sincerely, 


YVONNE    KUSHNER 

2915  Albemarle  Street.  N.W. 

Washington  8,  D.  C. 


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1000  6t h  st  S  .W.  #504 
Wash  2OO2A  D.O. 


Doar  Jerry  I 

^hanks  for  the  letter  and  the  scri^t  which  I 
enclose.  I  have  just  gotton  over  an  operation(gynecological) 
and  I  did  not  have  your  letter  until  now.  I  am  allright— 
getting  stronger  day  by  day. 

To  answer —  I  don't  ©xpect  to  be  in  New  York 
~but  one  never  can  teil.  If  I  should  make  a  flying  trip, 
I  will  call  you, 

The  Script  ia  very  interesting,  but  I  cannot  use 
it  now.  I  have  heard  nothing  from  Temple  Shalom—I  had  the 
eynagogue  take  care  of  it  and  they  would  let  me  know  of  any 
further  inquiry. 

We  are  still  getting  people  who  enjoyed  Jonah 

and  the  rabbi  sent  me  several  of  the  letters.   I  was  so 

happy  to  give  it— what  I  considered a  veiy  good  good 

showing . 

I  would  like   to  do  the  other  one — at   some   time 

when  we  honor  the  matyrs ^maybe  that  will  come  about. 

We  are   still   living  in  these   ter^porary  quarters — 
and  will   probably  have  to  until  about  May.   I   see  the  things 
at  the  xNiational  ^heatre—Pickwick—  Oactus  Flower  etc.   etc. 
and  cur  Arena  did  a  passable   shaw's  Joan 

Take  care  of  youraelf 


oiZ 


oa 


>  / 


-AeiU^  " 


Fondly, 


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flfu^' 


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^^^'^'  /A 


Ay^ 


Saint     Clement\s 


423       WEST       4  6TH       STREET,       NEW 
THE      RFVERENP     SIDNEY     LANIER,     VICAR 


ChuYch 

YORK        36, 


NEW       YORK 


C  I   R  C  L  E 


7  2   7  7 


4  December  1964 

Mr.  Jerome  Bayer 

739  West  L86th  Street 

New  York  33,  N.Y. 

Dear  Mr.  Bayer: 

Thanks  for  letting  me  read  this,   I  think  it  is  very  powerful. 
I  think  you  have  a  taLent  for  finding  recognizable  motivations 
in  these  ancient  characters  and  for  embodying  them  in  simple, 
strong  stage  pictures,   My  reservation  would  be  on  the  score 
of  diction  -  an  uneasy  conjunction  of  the  formal  '*thou  hast" 
with  the  colloquial  "I've".   As  an  actor  I  can  see  dramatic 
possibilities  in  the  contrast  but  I'm  not  sure  it  could  be 
brought  off.   Your  vocabulary  at  its  best  is  vigorous  and 
accurate  -  I  think  you  have  the  ability  to  avoid  those  pit- 
falls  of  costume  drama   stilted  archaisms  and  forced  joLIity. 

I  höpe  you  don * t  mind  these  comments.   I  don't  generaLLy  take 
it  on  myself  to  offer  criticism,  but  I  find  your  work  stimu- 
iating.   Take  them  as  you  will. 

I  have  no  immediate  suggestions  as  to  production  possibilities. 
Keep  US  posted  on  St.  Petersburg.   If  you  can  ever  spare  a  copy 
I  would  like  to  have  one  for  the  office,  to  show  to  others 
interested  in  this  kind  of  drama. 

Sincerely,         / 
Marjtiha  Orrick 


]v:i  in  p-p 


JOSEPH  TABACHNIK.  RABBI 

HAROLD  BRINDELL,  CANTOR 

JEROME  Y.   GOTTFRIED.  EDUCATIONAL  DIRECTOR 

CHARLES  SHUMAN,  YOUTH   PROGRAM  DIRECTOR 

MRS.  ALVIN  JABLON.  EXECUTIVE  SECRETARY 


westsuBURBan  tGlUplG  hAR  ZIOH 

1040  NORTH  HARLEM  AVENUE    •    RIVER  FOREST.  ILLINOIS/  FOrest  9-9000  /  AUstin  7-1882 


November  16,  1966 


Mr.  Jerome  Bayer 
739  W.  186th  Street 
New  York,  New  York 


Apt.  6-C 


OFFICERS 

HAROLD  KRULEY,    PRESIDENT 
STEPHEN   WAYNE,   VICE-PRESIDENT 
MILTON   KAUFMAN,   VICE-PRESIDENT 
ROBERT   GOLDSTINE,  VICE-PRESIDENT 
CHARLES  MARCUS,   SECRETARY 
WALTER  HORWICH.   TREASURER 

DIRECTORS 

MAURICE   ALBIN 
SELWYN   ANCEL 
DR.    RALPH   BELLER 
SAMUEL    BERNSTEIN 
DR.   SAMUEL   BOLONIK 
ALLAN    BOLOTIN 
IRVING   BRAUN 
ABE   BROWN 
DR.   CEDRIC  CHERNICK 
MAX   CHILL 
MORRIS   EPSTEIN 
HARRY    FLOWER 
DR.   HERMAN   FRACK 
DR.   IRVING   FRIEDMAN 
CHESTER   GOLDSTEIN 
DANIEL   HORWICH 
MRS.    DANIEL  HORWICH 
EDWARD  HORWICH 
SAM   KAPLAN 
THEODORE   KRASNOW 
CHARLES  MARKMAN 
DR.    BEN   NEIMAN 
ALLEN   NEMEROVSKI 
WILBUR   RICE 
HAROLD  RUBENSTEIN 
PAUL   SHANOFF 
DR.   MARTIN   SHEADE 
MAX   SHIFFMAN 
WALTER   SIEGEL 
HERMAN   SILVER 
MITCHELL   SILVERSTEIN 
MAURICE   SPIEGEL 
JOSEPH   SPORN 
HAROLD  TAFF 
MARVIN   TEMPLE 
MARSHALL   WOLKE 
MRS.  MARSHALL   WOLKE 
SAM  ZUSSMAN 


Dear  Mr.  Bayer: 

Rabbi  Tabachnik  has  asked  to  write  to  you 
for  a  copy  of  the  Script,  "Fity  for  the  Gourd" 
which  had  been  used  by  TempleAdas  Isreel  of 
Washington. 

We  would  very  much  appreciate  receiving 
such  a  copy,  if  at  all  possible. 

Thank  you  very  much. 


Yours 

truly, 

"     ^^"^ 

-a^t-H.  <^/ 

Frances  Smith,  Secretary  to 

Rabbi  Tabachnik 


i 


^t.pptprflburgelimfö 


News 


Saturday,   Februaray  22,    1964 


Religion 


«-tMra;^  \ 


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t  • 

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f«« 

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Mjjipjjjjmgg 

Ninevah  Skall  0 


''Niucvith  Shall  Die!"  thniuhrs  thc  Inofthtt  Jomih.  left, 
lilayed  hy  Rnhard  Stnutz.  altHost  topltlinii  the  Assyrian 
k'niif.  ffluyed  hy  JerotHe  Matt  heu  s.  jrom  his  throne  in 
/freni/ere  Iferjormauce  of  "Pity  Vor  The  Gourd"  hy 
Church  Drama  GuHd  this  week,  Stajj  fthoto  hy  Dan 
Hightouer.  Vor  more  ahout  the  play.  (dease  tinn  (mge. 


Drama  To  Highlight  Arts  Festival 


By  ELIZABETH  WHITNEY 

Times  Religious  News  Editor 

A  highlight  of  tho  Festival  of 
Religion  and  Arts  which  opens 
herc  tomorrow  will  be  the  pre- 
miere  Performance  of  what 
promisds  to  be  significant  and 
entertaining  religious  drama 
based  on  the  book  of  Jonah. 

The  play  was  obtained  from 
a  non-profit,  non-sectarian  or- 
organization,  the  "American 
Place  Theatre,"  which  is  head- 
ed  by  the  former  assistant  rec- 
lor  at  St.  Peter's  Episcopal 
Church  here,  the  Rev.  Sidney 
Lanier.  Father  Lanier  is  now  at 
St.  Clement's  Church,  New  York 
City,  which  Sponsors  new  play- 
wrights  and  original  drama. 

^      i^      ¥^ 

ACCORDING  TO  THE  author, 
Jerome  H.  Bayer,  the  drama's 
theme  is,  "our  responsibility  to 
the  World  of  humans  which,  if 
it  is  to  be  more  than  meaning- 
less,  mechnical  duty,  must  stem 
Irom  loving  concem,  one  ex- 
pression  of  which  is  compas- 
sion." 

In  "Pity  for  the  Gourd"  Jonah 
speaks  a  prologue  and  epilogue 
to  the  modern  audience.  Sever- 
al  scenes  comprise  the  play  it- 
self:  the  prophet's  attempt  to 
escape  to  Tarshish  against  the 
advice  of  his  wife;  the  familiär 
episode  of  his  being  cast  into 
the  sea  to  quiet  the  raging 
tempest  and  his  being  devoured 
by  the  great  fish;  his  warning, 
subsequently,  to  Ashurbanipal 
the  King;  as  well  as  his  col- 
loquy  ihroughout  with  God. 
These    have    been    dramatized 


into  exquisite  and  sonorous 
blank  verse  with  a  rieh  back- 
ground  of  music  and  sound  ef- 
fects  done  locally  by  Donald  R. 
Mathis  and  Peter  Thachcr. 
»^  1^  j^ 
THE  PLAY  will  be  under  the 
direction  of  Edward  L.  Carroll, 
knowledgeable  director  of  all 
Church  Drama  Guild  produc- 
tions.  Carroll  has  devised  dif- 
ferent  Stagings  for  the  two  local 
presentations. 

The  role  of  Jonah  is  played 
by  Richard  C.  Stuntz  who 
played  in  last  spring's  produc- 
tion  of  "Mary  Magdalene"  as 
well  as  in  several  productions 
of  the  St.  Petersburg  Little 
Theatre.  He  also  did  summer 
stock  with  Walter  Connally  in 
Travers  City,  Mich. 

Jerome  Mathews  ol  Gibbs 
Juni(Mr  CoDege  plays  Ashurban- 
ipal. Irene  Füller  plays  Jonah's 
wife.  Amie  Medary  designed  the 
authentic  period  costumes  and 
properties  were  handled  by  Jan- 
ct  Whitlock. 

On  WedResday  the  play  will 
be  giveB  in  the  saaetaary  of 
First  Presbyteriaa  Church  and 
OD  Satarday  at  Temple  Beth-El, 
both  at  7:39  p.m.  Tbere  will 
be  IM  admission  Charge,  but  a 
freewill  offering  will  be  taken. 

At  First  Presbyterian  Dona'id 
R.  Mathis  will  conduct  the  Mad- 
rigal Singers  of  the  church  in 
a  program  of  Brahm's  music 
and  contemporary  carols  by 
Poulenc  before  the  play.  At 
Temple  Beth-El  the  public  is 
invited  to  stay  after  the  play 
for  an  auction  of  paintings  in 
the  social  hall. 


SEMINOLE  PRAYER  ROOM 

recp:ivinc  prayer  requests  24  hours  a  day 
for  spiritual  help  -  prayer  for  sick  and  shut  ins 

No. 


Writ«     10731    -    4 Ist    Av«. 
L«rgo,     Florida 

A.    D.    Holllnqsworth,    Pastor 


Phon« 
311-1213 


JEROME  H.  BAYER 


Jerome  H.  Bayer,  author  of 
"Pity  for  the  Gourd"  was  born 
and  reared  in  San  Francisco, 
California,  and  holds  A.B.  and 
LL.B.  degrees  from  the  Univer- 
sity  of  California  in  Berkeley. 

He  has  written  about  120 
pieces  for  stage  and  radio,  in- 
cluding  "WaU  of  Zion,"  "Re- 
markable  Rib." 

During  the  war,  he  served  as 
theatre  Consultant  for  USO  and 
founded  the  Bremerton  Theatre 
Project.  For  six  years  he  was 
director  of  drama  at  the  Jewish 
Community  Center  of  Balti- 
more, where  among  other 
things  he  directed  the  first  Eu- 
gene O'Neill  Memorial  Festival 
in  the  country.  He  directed  also 
a  Chekhov  Festival,  a  Festival 
of  Comedy,  and  an  exhibit  and 
program  on  the  influence  of 
comedia  del  'arte. 

Bayer  established  and  for 
three  years  headed  the  depart- 
ment  of  drama  at  the  Jewish 
Community  Center  of  Detroit, 
the  largest  Community  center  in 
the  country.  He  has  frequently 
appeared  as  guest  lecturer  at 
New  York  University  and  other 
institutions  of  creative  and  in- 
formal   dramatics. 


Religion  and  Arts 
St.  Petersburg.  It 
of  church  leaders, 


Calendar  Of  Events 

The  calendar  of  evonts  for  the  Fourth  Annual  Festival 
of  Religion  and  the  Arts  opening  Sunday  and  extending 
through  March  7  is  repcated  this  weck  in  News  of  Religion 
as  a  public  service. 

The  festival  is  a  project  of  the 
Division,  United  Churches  of  Greater 
will  be  staged  with  combined  efforts 
artists,  musicians  and  guild  members. 

Oj^ing  event  will  be  a  2  until  6  p.m.  competitive 
art  works  exhibit  Sunday  at  the  Plaza  Fifth  Avenue  apart- 
ment  building,  441  33rd  St.  N.  The  exhibit  will  remain 
open  daily  through  March  6,  with  the  public  being  invited 
from  10  a.m.  until  4  p.m.  and  from  7  p.m.  until  9  p.m. 
Monday,  Tuesday,  March  2,  March  4  and  March  6.  Ex- 
hibit-viewing  hours  will  be  from  10  a.m.  imtil  4  p.m. 
Wednesday  through  next  Saturday,  as  well  as  March  3  and 
March  5.  Viewing  hours  March  1  will  be  from  2  until  6  p.m. 

A  public  reception  at  the  exhibit  site  will  be  held 
Sunday  from  2  until  5  p.m. 

Participating  churches  will  observe  "Worship  Through 
the  Arts"  this  Sunday  and  March  1  in  their  respective 
Services. 

The  schedule  for  other  festival  events  foDoWs : 

Pasadena  Community  Church  tour,  2  until  4  p.m.  Mon- 
day. 

First  Presbyterian  Church  of  Gulfport  toiff,  2  until  4 

p.m.  Tuesday 

Grace  Lutheran  Church  tour,  2  until  4  p.m.  Wednesday. 

Play,  "Pity  for  the  Gourd,"  First  Presbyterian  Church, 
7 :30  p.m.  Wednesday. 

Christ  Methodist  Church  tour,  2  until  4  p.m.,  Thursday. 

Television  discussion  (WEDU),  9:30  p.m.  Thursday. 

St.  Jude's  Catholic  Church  tour,  2  until  4  p.m.  Friday. 

Play,  "Pity  for  the  Gourd,"  Temple  Beth-El,  7:30  p.m. 

Feb.  29. 

Lakewood  Methodist  Church  tour,  2  until  4  p.m.,  March 

2. 

Choral  worship  service,  'Sayings  of  Jesus,"  First 
Methodist  Church,  8  p.m.,  March  3. 

Temple  Beth-El  tour,  2  until  4  p.m.,  March  4. 

Play,  *'G.  B.  S.  and  God,"  St.  Bedes  Episcopal 
Church,  8  p.m.  March  5. 

Church  Music  Workshop,  Christ  Methodist  Church,  4 
until  9  p.m.,  March  6. 


LEALMAN  CIIURCII  OF  THE  NAZARENE 

55th  Ave.  A  35th  Way  No.  —  Rev.  Virgil  H.  Few,  Pastor 
Preachinq    II    am   7.30  pm,   Sun.   school    10  am.   N.Y.P.S.   6:45   pm.   Wed.   7:30   pm 


ASSEMBLIES  OF  GOD 

LISTEN  TO  REVIVAL  TIME  WSUN  620 


FAITH  ASSEMBLY  OF  GOD 
3900  -  28th  St.  No. 
Sunday     School  9:45     a.m. 

Morninq     Worship  11:00     a.m. 

Sunday      Night     S«rvic«       7:30     p.m. 
Toung      Peopl*  4:30     p.m. 

Thursday      Night  7:30    p.m. 

loy    W.     Carroll.     Pastor        525-3370 

FIRST    ASSEMILY  OF    GOD 
1220    -    I4tii    St.    No. 

Sunday     School  9:45     a.m. 

Morning    Worship  11:0«    a.m. 

Christ    Ambassadors  4:0C     p.m. 

Evangelist    Service  7:0i    p.m. 

Prayer   Service    Wed.  IO:Of    a.m. 

übte    Study    Wed.  7:30    p.m. 

L.   W.    Pitts.    Pastor  042-2452 


GLAD  TIDINGS  ASSEMBLY  OF  GOD 

532  -  33rd  St.  So. 
Sunday    School  ':45 

Morning    Worship  11:00 

C.    A.    Class  4:15 

Evangelistic    Sarvice  7:00 

Wednesday    Prayer    Mtcj.     7:30     . 
Kenneth  Squiret.   Pastor    Ph.   342-2091 

SEMINOLE  ASSEMBLY  OF  GOD 
10721  •  4lst  Ave.  No. 
Sufiday    School  »:45    am. 

Worship   Hour  11:00 

Christ    Ambassadors  4:30 

Evanglistic    Service  7:30 

Wednesday    Service  7:30     ^- 

A.   D.   Hollingsworth.    Pastor   391-1213 


a.m. 
a.m. 
p.m. 
p.m.. 
p.m. 


a.m. 
p.m. 
p.m. 
p.m. 


OPEN  BIBLE  TABERHÄCLE 


Hear     "Frank 


DAWN    BIBLE    STUDENTS 

Cratt    Village     2710    4th     Street     North 
Sunday  Services:    10:00  A.M.  «    11:15  AM. 
A     Earnest"     every     Sun.     9:30    A.M.     Radio     Sta.     WFLA 


HEAR 
REV.  J.  E.  WILDERMAN 

of  Santa   Barbara,   Caiif. 
Oufsfanding   Exponent   of 

The  Bible 
Feb.  25th  fhru  March  8th  ^^^ 

Nightly     7:30.     except     Mo«,     f     Sat.  Rer.     J.     E.     Wilderman 

CHRIST  TABERNACLE 

420  Third   Ave.    So.  Rev.   O.    R.    Parlier.    Pastor 

St.    Petersburg's   Downtown   Pentecostal   Church    ITrinity) 


1200  30T"  Avenue  Ma 
(J^Convcnicnt  Parking  lots, 

945  SUNDAY 
AM  SCHOOL 


CHPiPfil 
PASTOR 


••-.    "••^.' 


■nI 


10 


4S   MORNING 
AK  WORSHIP 


A&SOC  PASTOR 


630   VOUNG- 
__    ^K  PEOPLE 

730  ei!an«eustic 
PK  SERVICE 

Wednesday  730m 


^ 


^iJSt 


PROPHETIC  CONFERENCE 

CONTINUES 

EVANGELIST,  HARRY  M.  STRACHAN 

7:30  P.M.  EVERY  NIGHT  EXCEPT  MON.  &  SAT. 


Two  Giorious  Weeks 
.jIHl^NIVERSARY  REVIVAL 

7:30  P.M. 

GRACE  BAPTIST  TEMPLE 


7600   Park   BIvd. 

FEB.  23 

Feb.    23rd 

10   A.M. 

4th    Annlversary 

Sunday    School 

Goal    500 


Pinellas   Park 

MARCH  6 


200    Ib.    CaV* 
to    be    cut 

af   the 

5:30    P.M. 

GOSPEL    SING 

featurinq    the 

Southerners    Qtarfet 

of  Tampa 


Rev.   John    Rawlings 

Dr.  Rawlings  's  Pastor  of  the  8000  member  Landmark  Baptist 
Temple.  Cincinnati,  Ohio,  has  been  heard  by  milliont  on  a 
lationwide    radio    broadcast    for    many    years. 

Jim   Motley,    Pastor 
Will     be    Preachinq    NUely     Starting    Wed,,     Feb      26    -    March    i 


Pickens  Serves 
As  Ship  Chaplain 

Dr.  John  E.  Pickens  Jr.,  pas- 
tor  of  the  Church  by  the  Sea, 
Madeira  Beach,  has  again  been 
asked  to  serve  as  Protestant 
chaplain  aboard  the  S.  S.  Jeru- 
salem, Zim  Lines.  He  conducted 
the  Sunday  worship  Services 
aboard  ship  last  Sunday  and 
will  again  tomorrow. 

Dr.  and  Mrs.  Pickens  boarded 
ship  last  week  on  this  cruise 
to  the  West  Indies  and  South 
South  America,  making  port  at 
San  Juan,  Puerto  Rico,  St. 
Thomas,  Virgin  Islands,  Martin- 
ique, Barbados,  Trinidad,  Cur- 
acao,  Montego  Bay,  Jamaica. 


ST.  ANDREW 

Russ.  Serb.  Gr. 
rhurck 

So. 
-5490 

Father  Nichols  Kashnihov 

Eveninq  Vespcrs  Sat.  4:00  P.M. 

Hiqh  Mass  Sunday  10:00  AM. 

Worship    Services 


t 


Life-Size  Replica 

MOSES' 
TABERNACLE 

IN  THE 

WILDERNESS 

Corner   I3th  St.  &  27th  Ave.  So. 

Open    12  to  4  P.M.  Daily 

Chimes    2:30    P.M. 

Lecture    3    P.M.  -  Daily 

Closed    Saturday 


2 — Sf.  Petersburg  Times 


News   of   Religion 


Soturday.  Fcbruory  22,   1964 


IRENE  B.  BAYER 

PHOTOGRAPHY 

10710    ST.  MARTINS 

DETROIT   21,  MICH 


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PITY  POR  THE   GOURD 


a  play  of  Jonah 


«by- 


JEROME  BAYER 


-00- 


The  play  Is  baaed  upon 

a  free  treatment  of  the 

Blblical  narratlve* 


( 


OHARA  CTER3 ; 

Jonah 
Hla  Wlfe 
6  Marlner 3 

Shl^master 

5^  Sallora 

The  King 

2  Aldes   of   the  King 

2  Taunters 

(appsrltlons) 


OPPSTACaS  VOICES: 

Volce  of  God 

Volces  of  Mlnevltes 
(male  and  female) 


PROLOOUE 


BLACKOUT 

IN  THE  DARKNESS  WE  HEAR  CÜMÜLATIVE  DISSüMNT  MÜSIC 
OP  LONG-SüöTAlNED  SOUNDS.   BEGINNING  VERY  SOPTLY,  AS 
THOUGH  HEARD  PROM  A  GREAT  DISTANCE,  IT  SWELLS  GRAD« 
UaLLY  TO  pull  POWER;  THEN  SLOWLY  THINS  OUT. 

AS  THE  MUSIC  STARTS  TO  GROW,  THE  PIGURE  OP  JONAH  COMES 
INTü  VIEW,  PIRST  DIMLY,  PARAWAY,  AT  THE  SÜMMIT  OP  AN 
UC  STAIRGASE.   HE  SUGGESTS  A  PIGURE  ÜUT  OP  AN  uLD 
ENGRAVIiNG:   HIS  IRüJ^-GRüY  HAIR  AND  BEARD  WORN  LONG; 
HIS  DRAB  BIBLICAL  ROBE  IN  TWO  TONES  OP  GRAY,  WITH  A 
HOOD  RESTING  ON  HlS  SHOULDERS*   THOUGH  HIS  EARTHLY 
TRIALS  ARE  ETCHED  DEEPLY  AND  PERMANENTLY  ON  hIS  PAGE, 
HIS  PERSONALITY  AS  A  WHOLE,  IN  THE  PROLOGUE,  REVEiLS 
MATÜRITY  AND  INNER  HARMONY. 

STIRRED  AT  THE  MOMENT  BY  GKAVELY  TROUBLED  THOÜGHT,  HE 
GRADUALLY  EMERGES  PROM  HIS  IMMOBILITY,  DESCEHDS  THE 
STAIRS  AND  MOVES  SLOWLY  TOWA^D  A  SMALL  POOL  0?  L^^BT 
AWAITING  HIM  AT  DO*   WHEN  HE  ENTERS  THE  POOL,  HE  REMAInS 
SILENT  POR  A  MOMENT*   THE  MUSIG  PADES  üUT.   THEN  HE 
SPEAKS  TO  THE  AUDIENOE  WITH  A  QUIET  JRGENCYt 


JONAH 
My  Visit, 
liko  my  attire, 

ia  not  according  to  your  cuatom« 
My  mission? 

That  fragment  of  time'a  flow 
which  was  my  life  here, 
frozen  for  a  thouaand  and  more  yeers, 
thinned  into  the  pale  tortured  Ijnages 
of  what  haa  been, 
I  aha  11  novr  unfreeze  and  quicken 
to  make  you  the  preaent  witneaaes 
of  my  earthly  paat, 
that  it  may  invade  your  thought, 
challenge  the  beat  of  your  blood, 
come  alive  within  you. 
Donot  amile  or  atart, 
you  who  imperil  the  world  with  tamperlngl 

In  the  licenae  I  take 
there  ia  a  logic,  at  leaat, 

of  urgency*.**» •••• 

Jonah,  the  aon  of  Amittai  -- 

that  ia  who  I  am* 

(WITH  A  WISTPUL  SMILE) 

the  Jonah  of  fiah-fame,    yea, 

dubioua  hero 


OJ 


■j. 


JONAH  (cont'd) 
of  a  puzzllng  parable  you  know 
from  the  11t tle  book  thst  bears  my  name# 
Mov  do  I 
who  traversed  the  earth  ten  centurlea  and  more  ago 

eome  to  be  here? 

Legend  teils  — - 

and  that  legend  I  hcve  llved  — 

that  aa  recompenae  for  suffering 

In  the  depth  of  watora 

I  was  granted  to  enter  i'aradiae 

allve, 

there  to  avait  the  tlme  of  my  Messianlc  miaslon« 

(HE  SIGHS.   THEN  WITH  DETERMINED  QRAVITY:) 

1  cannot  wait« 

Llving  human  llfe 

yet  llvi^g  far  beyond  It 

I  have  a  large  perspective  now 

and  a  dread  ooncern: 

1  see  dlre  perll  etched  In  polaon 

across  the  face  of  earth; 

I  aee  It  traced  around  and  round 

In  the  footj^lnta 

of  a  blind  glddy  dance  of  futile  fllghtf 

I  hear  It  in  a  vast  Choral  yawn 

of  unconcern; 

In  the  crles  of  hungry  wrath  I  hear  It; 

I  see  it  festering 

In  the  sickly  sllent  terror  of  annlhilatlon« 

1  cannot  wait««««# 

Wot  I,  but  my  lifo  Itself  muat  speak  to  you, 

and  more  of  It  than  ever  was  recorded» 

A  fragment  you  know, 

but  the  naked  llneament  only, 

the  cool  thin  ayllable  upon  the  anclent  page» 

X  must  live  agaln  for  you 

what  1  hwve  llved 

that  you  may  live  It  too« 

Kor  me  It  will  be  renewal  of  great  anguish« 

But  that  la  now  the  way; 

there  Is  no  other« 

(FADE-IN  OiT  A  SPOT  AT  STAGE  LEFT.   SOUND  OF  AN 

OFP-STAGE  SHEPhEKD'S  FLUTE.   JüNAH  BECuMES  AWARE 

OF  THE  LIGHT.   THEN:) 

Let  US  beglnl 

The  light  rises  now  to  accomodate  my  llfe 

as  It  wai^hen  the  story  began. 

I  go  now  to  my  place  in  the  past, 

to  the  fltting  tlme  and  task. 

(HE  PAUöES  FüR  A  MumEimT  ^3   THOÜGE  TO  CoLLEuT  ülS 

MEmüKIES.   tuen  he  WALüS  SLuWliY  TüWi'.RD  THE  LEi?*T  öPOT.  ) 


3. 


SCENE  ONE 


ENTERIi^G  THE  LEi<T  SPOT,  JONäH  bEUlXiS  TG  RE-LxVE  Hlö  EARTHLY 
FAST*   HE  COVERS  Hlb  FACE  WiTH  Hl6  HAi^DS,  BECOMES  TEisSE 
AND  SLIGHTL}^  STOOPED  WITH  THE  ßURDErJS  üP  HIS  SOUL*   THEN 
HE  TAKES  HOLD  OP  A  PARM  IMPLEMENT  OP  ANCIEiiT  STYiiE  AND 
STARTS  TO  WüRK  ON  THE  SOIL  AQAINST  THE  PIPIwG  OP  THE 
SHEPHERD'S  FLUTE*   AFTER  A  PEW  MOMENTS,  THE  FAR-OFF  SOUNDS, 
HIGH  AWD  SEKENE,  OP  A  TRÜMPET,  OVERLAP  THE  önEi:'HERX)»  Ö 
FLUTE  AND  THEN  AS  THEY  SWELLI  FOR  AN  INSTANT,  BLOT  OUT 
THE  FLUTE»   JONAH,  HECOGi\IZING  THE  GoDLY  SüURCE  OP  THE 
TRUMPET,  BECOMES  hIGID  WITH  APf^it  EHEN  SIGN*   HE  LIöTENÖ. 
AS  Tue  TKUMPET  fades,  IT  BECÜlAjiS,  FIRST,  A  DES  GANT  TO  TnE 
CHANT  OP  GOD,  THEN  A  PAINT  BACüGRüUND  FOR  HIS  öi'uKEN  WORDS# 

VOICE  OP  GOD 
(CHANTING  SERENELY  IN  A  VERY  RELAXED  ^UAlITY) 
Jonah*«« • •• 
Jonah,  3on  of  Amittal, 
üonah,  my  aervant, 
hear  what  I  command  of  youl 

(SPEAKIimG  aGAMST  THE  FAR-üFF  TRUmPET  LIRE  A 
GRIEP-LADEN  PATHER) 

Go,  lonah,  to  Nineveh,  that  great  city; 
there  behold  the  spread  of  evll 
llke  a  rage  of  flame  amld  dry  leaveai 
Witnesa  the  people  fluahed,  bloated 
with  the  fever  of  corruptlon,  thlckened 
wlth  the  fat  of  greedl 
See  them  reeling  in  lewdness; 

take  Into  your  noatrila  the  stench  of  a  mighty  city 
fouled  by  sinl 
Go  therel 

The  worda  of  my  wrath  ahall  be  upon  your  tongue» 
Gry  out  against  the  people 
and  foretell  their  dooml 
ICHANTING  AS  BEPORE  IN  GRADUALLY  DIMINISHING  VOLUME;) 

Go  Jonah«  ••••• 

Go,  ±)unxx  aon  of  Amittai; 

go,   my   aervant; 

Bo  what  I  command  of  you««*«* 


(DÜRING  THE  FuREGOING  CHANT  JONAH  PAGES  IN  THE  ANGl'ISH  OP 
CONPLICT.   WHEN  GOD» S  VuICE  EA3   PADED  OUT  JONAH  STOPS  SHORT:) 


JONAH 
(WITH  REVULSION) 

No  -«-  no,  I  cannot  -—  I  canno t i 
(DEPIANTLIJ 
I  will  not  gol 


(JOHAH  LOOKS  ÜP  AT  THE  SKY  DEPIANTLY  POR  A  MOMENT; 
THEN  IN  PRIGHT  QUICKLY  TURNS  HIS  EEA])   TOWARD  STAGE 
LEPTt  IMPULSIVELY  SHIELDING  IT  WITH  HIS  HOOD*  APTER 
A  MOMENT  HE   PEARPüLLi  ÜNCOVERS  HIS  PAGE,  LOOKING  TO 
THE  RIGHT  AS  THOÜGH  SEEKING  AN  ESCAPE.   HE  THINKS  POR 
A  PEW  SECONDS.   THEN  PINALLY,  WITH  A  TERRIBLE  RESOLVE, 
HE  SPEAKS:) 

JONAH 
I  know  what  1  must  dol 

(DÜRING  THE  ACTION  IMMEDIATELY  PREGEDING  THESE  LAST 
WORDS  OP  JONAH,  HIS  WIPE,  WITHOUT  HIS  KNüWING,  ENTERS 
PROM  STAGE  LEPT.   SEEING  HIS  TROUBLED  STATE, 
SHE  STOPS  SHORT,  PRIGHTENED. ) 


WIPE 
Jonah  --  what  is  it? 
(SBIZING  HIS  ARM) 
Wnat  ±3  wrong? 

JONAH 
(PÜLLING  AWAY  PROM  KEB  AND  TAKING  PEARPÜL 
STEPS  TOWARD  STAGE  RIGHl«) 
Imust  leavd*««** 
(AVOIDING  HER  GLANCE) 
I  must  go  nowl 


Oo? 


WIPE 
Go  where? 


JONAH 
Par  away.*«* 

Donot  preas  me  with  questlona* 
I  have  no  cholce. 
(DEPIANTLY) 
I  cannot,  I  will  not  do  Itl 


Very  fap# 


WIPE 
Do  what?   Jonah,  look  at  mel 
(SHE  TRIES  TO  PORCE  HIM  TO  PAGE  HER) 
But  a  moment  ago  you  were  calmly  worklngl 

Suddenly  now, 

aome  oonsuzalng  battle  of  drecld  and  deflanee 

ia  tearlng  you  apartl 

Teil  me   what  it  is  -  thia  raging  tormenti 

I  am  your  wife:  it  is  my  need  to  kiiowl 


(A  CHARGED  PAUSE.   IT  IS  DIPPICULT  POR  JONAH  TO  ANSWER 
PINALLiC,  WITHOUT  PACING  HER,  HE  SPEi^KS : ) 


6. 


JOHAH 

Gk)d 

Hö  üaa  called  me  againl 

(THE  WIPE  SIGHS  WITH  RELIEF) 

To  Hlneveh  thia  tlmel 

Hasten  to  Nlnaveh^  he  commaddsl 

Gry  out  againat  the  people; 

prophesy  theip  deatructlonl 

WIPE 
(WITH  PRÜUD  ELATIuN) 

0  my  huaband,  my  dear  husband, 

choaen  once  agaln  by  öod  for  a  mlghty  taskV 
(SEE  EMBRACES  HIM) 

1  am  ppoud  of  youl   So  ppoudl 

JONAH 
Stop  It^  wlfel 

WIPE 
(SHAMINQ  HIM) 

And  you,  elect  of  the  Lord, 
aa  evep,  dwarfing  your  atature 
in  an  orgy  of  deapalring  doubtl 

0  my  Jonah, 

Can  you  not  let  God  be  God? 

Doea  He  not  know  your  power  aa  a  prophet? 

Enough  of  worryi 

You  will  go  to  Nlnevah  atralghtwayl 

Let  me  flrat  prepare  aome  -- 

JONAH 
(WITH  DESPERATE  EMPHASIS) 

1  eannot  go  there  -- 

Have  you  no  underatandlng? 
I  will  not  gol 

JTHE  WIFE  LOOKS  AT  HIM  IN  «ILENCB  POR  A  MOMKNT*  TBESl) 

WIPE 
(QUIETLY) 

^ou  —  will  not  go? 
What  la  thla  that  you're  aaylng,  Jonah? 

JONAH 
I  muat  go  ao  far  away 
that  dlatance  will  deafen  my  ear 
to  what  commanda  God  yet  aha 11  makel 
So  far  MMXf,   from  Nlneveh 
that  all  the  daya  of  my  llVing  will  not  auffice 

to  take  me  there l 

WIPE 
You  --  you  mean  you  will  aeek  to  run  away 
from  God? 


/ 


WIPE  (cont'd) 

YoUf  Jonah? 

To  avold  the  taak  beatowed? 

To  ahun  Ood' a  Charge  upon  you,  - 

the  thing  which  It  la  youra  to  dot 

JONAH 
(OUILTILY  RESTLESS) 
THere'a  no  time  fop  talkl 
The  momenta  crowd  upon  me; 
I  muat  be  off l 

WIPE 

Jonah,  my  Jonah, 

What  mad  not  Ion  la  thia  tnet  haa  aeized  upon  yout 

Flignü?  iilacapet 

The   eye  of  öod  will  aeek  you  out 

evön  at:  the  fartheat  dark  end  of  earthl 

Hla  voice  will  thunder  even  there, 

even  there  calllng  you  to  your  t&afcl 

You  cannot  do  thia,  Jonahl 

Gullt  would  eat  away  youp  heart; 

fear  would  follow  at  your  heela 

like  a  vaat,  bltck  ainiater  ahadowl 

0  my  huaband,  ^        .   . 

thia  ia  an  evil,  a  wlcked  thlog  you  planl 

JONAH 
Evll,  you  aayl   la  thöt  the  word?  WickedV 
Refuaing  to  put  a  freah  flaming  aword 
of  deatructiun 

in  the  handa  of  your  deatroyera? 
Ia  that  wlckedV   la  It? 
They're  our  bittereat  foel 
They' 11  ravage  our  land  and  alaughter  ual 

WIPE 
(CHALLENGINGLY) 

What  ia  it  youWe  been  told  by  God  to  do? 
Arm  the  winevltea  -  or  deatiinfa  them? 

JONAH 
And  why  denounce  thöm? 

That  They  may  repent  and  earn  forgiveneaal 
Then  God,  ever  addicted  to  mercy, 
will  apare  them,- 
our  moat  violent  foel 
Por  them  the  iron  of  Juatice  will  melt 
Into  the  oil  of  mercyl 
Then  will  they  Him^  destroy  ual 

WIPE 
0  my  Jonah,  you  are  letting  hatred  twiat  your  thought» 


1 


7# 


JONAH 
I  cannot  argue  more  — 
I  must  gol 

WIPE 
(SEIZING  HIS  ARM) 
Wait^  walt,  my  husbandl 
Can  you  not  aeeV 
öod  will  spare  thea  only  if  they  repent 

truly, 

and  If  they  do 

their  groundless  enmlty  againat  us 

would  be  among  the  etffls  they  glve  up. 


JONAH 
a  w Oman*  3  loglc  of  Innocencel 


Hah, 
How  can 


we  be  aurel 


WIPE 
Are  you,  hla  prophet, 
become  a  doubter  of  Almlghty  GodT 

JüNAH 
(PILLED  WITH  HORROR  AT  THIS  SÜGGESTIOM; 

Mo,  no  — 

I  love  God  and  I  am  ai^rong  in  falthl 

(POR  A  MüMüNT  ÜVERWHELMED  BY  ANGuISH,  HE  SITS 

DOWN  BESIDE  HER  STANDING  PIGÜRn;,  GLUmGING  TO  HER 

AS  A  GHILD  WüULD  CLING  TO  ITS  MOTHER) 

Can  you  not  aee? 

Guilt  llke  a  jagged  apear  dlga  Into  my  heart  -- 

I  am  chilled  wlth  terrori 


WIPE 
(WITH  A  MOTHERLY  ARM  ARüüND  HIM) 
You  fear  God*  a  waath,  my  Jonah, 
but  atlll  more  you  fear  hia  compaaalonl 
The  mercy  whlch  you  taate  as  gall 
You'd  not  find  bitter  if  beatowed  on  youj 

JONAH 
What  muddled  thoughti 
la  it  not  ire  who  are  hia  peoplev 
*x*hey're  atrangera  --  these  Ninevites, 
and  our  deadly  foel 
Wny  should  God  aeei£  to  aave  them? 

wriPü 
Wo,  my  huaband,  nave  no  monopoly 
on  tne  love  of  God« 
He  ia  Lord  of  Nineveh  aa  well# 

JONAH 
(HISING  IN  RAGE  AND  MOVING  AWAY  PROM  HER> 
Yüü  are  grievoualy  concerned,  It  aeema, 
about  the  NineviteaV 


JONAH  (cont'd) 
What  of  ms? 

I  shall  agaln  be  mockedf 
agaln  as  once  beforei 
Palse  Prophet, 
pronounclng  doom  that  never  oomes  to  passl 

WIPfi 
Only  becauae  you  movedthe  ainful  to  repentancel 

Jon  AH 
What  proof  have  they  or  wiah  to  belleve 
that  penltence  haa  aaved  them? 
They  only  know  the  tputh  I  apoke 
waa  proved  a  liel 
It  will  make  me  once  agaln 
the  butt  of  acopn, 
of  the  hateful  laughter  of  contemptl 

WIPE 
Is  It  better  that  you  be  apared 
a  paln  to  prlde 

than  that  thüusanda  of  God' a  creaturea 
be  apared  tneir  Uvea? 
To  what  end  la  prophecy 
if  not  rppentence  that  will  aave? 
Ja  It  merely  to  chaatiae  wlth  the  angry  word? 
A  prologue  to  annlhllatlon? 

JOHAH 
(AT  A  PEAK  OP  RIGHTEOÜS  HoSTILITiT) 
öod  lald  bare  for  me 

the  polaonoua  whlrlpoola  of  thelr  evill 
Cruahed  they  muat  bei 
Stamped  outl 
Struck  down  by  Juatlce  with  the  arm  of  deathl 

WIPE 
Por  wliatT 

To  feed  a  glorlfied  rage? 
(WITH  MATURE,  ÜNDERSTANDINO  LüVE) 

0  my  Jonah,  my  beloved,  I  know  you  well; 
for  out  of  the  turbullnce  of  your  wrath 

1  have  eked  oul^^tiama  of  tenderneaa« 
How  greatly  and  aeverely  good  you  are 
only  Ood  and  I  can  know« 

Ever  the  deaperate  cllmber 

drlven  upward  ever  toward  the  conaummate  viaion 

of  a  Jonah  nelther  you  nor  «my  man  can  ever  reachV 

And  remainlng  leas  of  God 

than  God  hlmaelf 

haa  charged  you  with  an  anger 

30  vaat  and  violent 

agalnat  youraelf, 

you  cannot  beailyit  all« 


9. 


WIPE  (cont'd) 
It  bolls  over, 

aelzing  on  the  sins  of  others 
as  a  target« 

Propheey's  flaming  breath  is  not  anough 
to  diacharge  your  rjghteoua  fury« 
It  muat  be  carried  to  the  deadly  end 
of  God' s  deatruction  of  the  wicked« 
But,  my  beloved  Jonah, 

God  cannot  Indulge  your  wrathful  heart» 
It  needs  courage  to  trust  repentance  -- 
there  is  a  atern  logic  in  the  law  of  Justice,  yea, 
but  mercy  is  the  heart  of  God 
in  man« 

JOl^AH 
Donot  torment  me  further,  wife, 
I  beg  of  youl 
I  cannot  go  to  Nineveh,  I  cannot« 

WIPE 
(DESPEHATELY) 

0  my  huaband, 

you  will  be  lost,  destroyedl 

JONAH 
Tnere  Is  a  force,  a  terpible  force 
that  dPives  me  to  flightl 

1  cannot  check  it,  I  cannot l 
I  am  helplasa,  helpleasl 

(THE  Wli^E  TURNS  AWAY  PROM  HIM  ANDWEEPS.   HE  G0E6   TO  HER 

AUD  PÜTS  HIS  ARM  AROUND  HER.  AFTER  A  MOMENT,  SHE  TÜRNS  SLOW- 

LY  TO  PAGE  HIM  AND  SPEAKS  QUIETLY  THROUGH  HER  TEARS:) 


WIPE 
And  where  --- •  where  will  you  go? 

JONAH 
Par  away ••••••*• 

To  foppa  first, 

and  from  thöpe,  I  hope,  by  ship  to  Tarshish, 

distant  from  the  preaence 

of  the  lord# 


WIPE 

(CONVULSIVELY,  EMßKACING  HIM) 
You  cannot  go,  you  cannot l 

JONAH 
(CARESSING  HER) 
Good-bye,  my  wife# 

(HE  MOVES  AWüY  PROM  HKR  l'OWARD  STAGE  KIGHT) 

WIPE 
(RÜNNING  APTER  HIM  AND  TüKING  HIS  HAND) 


10 


WIPB   (cont'd) 
üh,    I  fear  for   you,   my  Jonah, 
I  fear  for   youV 

I  cannot  even  aak  God' a  bleaslng 
on  your  going 
when  it   la   agalnat  Hirn  that  you  do   thla   thlng« 

Oood-bye,   my  huaband«.«»   I  love  you« 

(HE  LOOKS  AT  HEK  TEwDERLY  POR  A  mOüäEI^T;  THEN  ANXIüÜSLY 
TO  R3GHT  AND  LEFT.  THEN  HE  HÜRRIES  OPP  AT  STAGE  RIGHT 
AND  EXITS.) 

WIPE 
(LOOKING  AFTER  HIM) 
I  ahall  not  aee  you  agaln« •••••• 

Nevery  never,  never« 

(FADE-QUT) 

( IN  THE  DARK  WE  HEAR,  FIRST,  MUSIC  THAT  ÖÜGÜE6TS  A  PRINTIC 
FLIGBT;  THEN,  OVEHLAPPING  IT,  DISTANT  Süül^DS  Oi?*  THE  SEA, 
ALSO  MÜSIGALIZED*   THE  FLIGHT  MUSIC  FADES  OUT.   AS  THE 
MUSIC  OP  THE  SEA  COMES  CLOSER,  REINFuKGED  BY  öCRü^AMING  OP 
WINDS,  IT  BECOMES  WILD,  PO\¥ERPUL. ) 


SCENE  TWO 
FADE- IN  OF  SPOT  AT  STAÖE  RlÖHf  REVEALS  A  SHIPLOAD  OP  MEN 
BUFPETING  A  TURBULEf^T  SEA.   A  SIMPLE  OUTLINE  FORM  TOGETHER 
WITH  THE  STRENUOUS  MOVEMENTS  OF  THE  ROWING  SAILORS  SUPPIGES 
TO  THE  SUGGEST  THE  SHIP.   THE  EFFECTS  OP  THE  iiTOKM  üKE 
INDICaTED  BY  THE  GMANGING  BODILY  ATTITUDES  AND  POSITIÜNÖ 
üP  THE  SEAMEN,  WHO,  WHEN  FIKST  SEEN,  ARE  MURMUKING  IN 
THEIR  CONSTERNATiON.   THE  MARINERS  ARE  SIMPLE,  KÜGGED  MKN,  • 
NAIVE,  HONEST,  HUMANE,  gUPERSTITIOUS.   ThEY  ARE  SIX  IN 
NUMBER:   PIVE  SAILORS  AND  A  SHIPMASTER. 

SAILOR  I 
Never  before  llke  thlal 

SAILOR  V 
Never  such  a  vlolence  of  wind  and  waveal 

SAILOR  III 
Like  some  mlghty  ragel 

SAILOR  II 

(TRYING  DESPEKATELY  TO  SÜSTAIN  HIS  CoURAGE) 

I'm  not  afraid,  not  II 


SAILOR  V 


Nor  II 


SHIPMASTER 
We  muat  not  yleld  to   fear,  menl 


SAILOR   IV 
We*ll  never  reach  Tarshiahi     Neverl 

SAILOR  V 
We*ll  never  get  home   againl 

SAILOR   I 
Torn  to  plecea  our   craft  will  bei 

SAILÜH   III 

It' a  a   sign  

a  terrlble   sign  of  God* 3  angerl 


SAILOR   IV 


Ovar  what? 


SAILOR    II 
I've  done  no  evlll 


SAILOR  V 


Nor   I  — 


11 


SAILüR   I 
Nor  any  among  usl 

SAILOR   IV 
My  god,   why  do  you  fuma  and  crash  ageinst  ua? 

SAILOR  IISiLUuH 
What  havo  we  donet 

SHIPMASTER 
Be  atrong^  menl  ' 

SAILOR  V 
0  do  not   awallow  ua  up^   Lordl 

SAILOR   III 
We  have  meant  no  wickedneaal 

SEVEfillL  SAILORS 
(OVERLAPPIKG) 
Save  us^   Godl     Oh^   help  ual     Save  ual 

SAILOR    I 
Why  do  you  pouae  the  watera   in  terrlble  wrath 
agalnat  ua? 

SEVERAL  SAILORS 
Teil  ua,  Godl  Oh,  teil  ual 
We  beg   of  youl 

(SILENCE»      THE  MEN    LOOK  AT  EACH  üTHER   IN  ATOÜISHED 
BEWILDERME^T.      THEN    SUDDENLY  A   THuUGHT  HITS  THEM:) 

SAILOR    II 
What   of  the   traveller  below  thereV 


12* 


SAILOR  IV 
The  aleeperl 

SEVERAL  SAILüRS 
(OVERLAPPINß) 
Wake  hlml   Get  hlm  upl  Ask  who  he  lal 

SHIPMASTER 
(CALLINQ  ßELüW  TO  JüNAH) 
Sleeper,  rouee  yourselfl 


SAILOR  III 


Wake  upl 


SAILOR  I 
Call  on  your  Qodi 

SAILüR  V 
We*ll  perishl 
(JONAH  RISES  INTO  IIEW) 

SHIPMASTER 
Oomef  east  Iota, 

tnat  we  may  know  for  whoae   cauae 
thia  evll^a  tipon  ua* 

ALL   SAILORS 
(OVERLAPPIHG) 
Yea^    yea^    caat  lotai     Let^a   caat  lotal 

(THEY  ALL  DRAW  TOGETHER  TO    GAST  LOTS.    AM?ER  A  MOMEIMT  THE 
SAILORS  DRAW  BACK  TO  EXPOSE  JONAH) 

JONAH 
The  lot  haa  fallen  —  upon  me* 

SAILOR   I 
Teil  ua,    travxeler,   we  beg  of  you  — 
for  whoae   cauae   --1 

SEVERAL  SAILORS 
( INTERRUPT ING) 
Teil  ua,   teil  ual 

SHIPMASTER 
Prom  where  do  you   cume? 

SAILOR   II 
What*8  your  occupatlon? 

SAILOR   IV 
Your   country*^ 


Your  people? 


SAILOR   III 


15« 


JOKAH 
I  am  a  Hebrew: 

I  fear  the  Lord,  God  of  heaven 
Who  made  the  aea  and  dry  land. 

SAILOR  V 
What  l3  thö  strangeneaa  In  you 
that  you  alept  agalnst  the  sea'a  reging? 

JONAH 
I  slept  to  escape  the  crushing  walght 

of  wakefulneaa« 

(THE  SAILORS  LüüK  AT  Ei-^CH  üTHER  IN  FEAR:) 

SAILüR  I 
What  have  you  doneV 

SHIPMASTER 
Have  you  done  aome  wrongT 

JOKAH 
In  aleep  1  fled  from  anguish  and  the  fear  of  God 
aa  in  waking  1  have  fled  from  Hla  presence 
and  the  doing  of  flia  Charge  upon  me. 
ITHE  SAILOKS  RECO IL,  HüKKiFIED) 
I  aotight  diatance 

from  the  hearing  of  hia  voice  agaln, 
as  from  the  clty  where  he  aent  me» 

SAILüR  I 
Oh,  why  have  you  done  thia? 

SAILOR  II 
miy,  0  travaller,  have  you  brought  thia  curae 

upon  ua? 

SAILOR  IV 
We  did  you  no  harmi 

SAILOR  III 

What  ahall  we  do 

that  th€y6ea  may  agaln  be  calm  for  ua? 

SAILOR  V 
We  have  no  wiah  to  hurt  you,  traveller« 

JOHAH 
(IW  THE  ÖRIP  OF  GÜILT  FEELIwGS  AND  FÜLL  0J< 
CüMPASSIüNj  fOÄ  THE  SEAMEN) 
Nor  I  you, 

food  men  of  the  aea* 
PAUSE .   THEW : ) 
Gome,  take  me  up,  - 
i  would  not  have  you  deatroyed  becauae  of  me» 

Cake  me  up  now 


14» 


and  eaat  me 


JONAH  Uont'd) 
forth  Into  the  aeai 


ALL  aAILORS 
(OVERLAPPINÖ,  J?»RIGHTE1>IED) 
No,  no,  we  cannotl   Wo  cannot  do  thatl 

JOHAH 
Then  shall  tJae  aaa  be  calm  for  you. 
For  I  am  to  blame 
tüat  thia  Dilghty  tempeat  la  upon  you» 


SEVERAL  SAILORS 
(OVERLAPPING) 
No^  no,    thla  we  cannot  doli 


We  cannotl l 


SHIPMASTER 
Come,  men,  row  very  hardl 
We  may  yet  bring  our  craft  to  the  landl 

(POR  A  MOMENT  THE  SAILORS  INCREASE  THE  VIGOR  OP  THEIR 
ROWING,  BÜT  IN  VAIN.) 

JONAH 
(WITH  TJTMOST  URGING) 
You  cannot,  men  of  the  sea; 
you  cannot  reach  the  landl 
Come^  do  with  me  aa  I  bade  youl 
(THE  SAILORS  HESITATE*   THEN:) 
Comel 

SAILOR  I 
feUIETLi:  PLEADING) 
0  Lord,  God  of  the  Hebrew, 
we  leg  of  you  —  we  beg  of  you, 
let  ua  not  periah  for  thia  man* a  lifel 
Lay  not  upon  ua  innocent  bloodl 

(THE  SAILOR  COME  CLOSE  TOGETHERJ  PORMING  A  WALL  WHICH 
CONCEALS  JONAH  PROM  OUR  VIEW*   THEY  BEND  PORWARD  TO 
INDICATE  THE  LDWERING  OP  HIS  BODY  INTO  THE  SEA;  PAUSE  FOR 
A  MOMENT  IN  THAT  POSITION;  THEN  SLOWLY  TURN  AWAY  PROM  HIM, 
GUIiaiLY,  SADLY,  THEIR  HEADS  BOWED  LOW.  THEIR  TÜRNING  AWAY 
DIVIDES  THE  WALL  WHICH  THEY  R)RMED*   THIS  SHOWS  THAT  JüNAH 
IS  GONE.   THE  SEA  HAS  BECüME  CALM.  IN  THEIR  DREAD,  THE 
SAILORS  NOW  ODME  CLOSE  TOGETHEH,  TAKING  HOLD  OP  EACH 
OTHER.   THE  LIGHT  UPON  THEM  NARRüWS  1*0  A  SMALL  SPOT  IN 
WHICH  WE  SEE  THEIR  HEivDS  LIPTED  UP  TO  GOD. ) 

SAILOR  II 
God 

you  Who  made  the  aea  wild 

and  now  at  Your  will  tarne  It,*» 

donot  puniah  ua,  we  beg  of  Youl 


15 


SAILOR  IV 
We  have  sinned  -- 

ÖAILOR  III 
We  have  sinned  gpievously: 
to  spare  ouraelves 
we  have  given  to  the  angry  watera 
the  travellep  who  was  wlth  ua» 

SAILOR  V 
We  didnot  wlsh  to  do  It  — 
we  didnot,  God. 

SAILOR  I 
We  were  füll  of  fear# 

SAILOR  II 
We  are  men  of  mercy,  God; 
the  traveller  urged  it  upon  ual 

SAILOR  IV 
Was  he  not  guilty? 
Dld  he  not  f lee  from  Tour  preaence? 


It  was 
Oh,  do 


SAILOR  III 
still  not  our  right  to  destroy  himl 
US  no  illl 


SAILOR  V 
You  who  govern  the  water a 
whereon  we  üumbly  earn  our  keep, 
even  as  You  calmed  tne  sea, 
qulet  now  your  wrath  agalnat  ua. 

SAlLOR  I 
Forglve  ua,  God  -- 
we  ahall  forever  do  Your  willl 

SAILUR  IV 
You  alone, 
0  Lord  of  heaven, 
Who  made  dry  land  and  sea, 
You  alone  ahall  ever  be 
our  Godl 

PADE-OÜT 


SCENEXHREE 

IN  THE  DARK  THERE   IS  A   PADE-IN   OF  MUSIC.       IT    IS   CHARACTER- 
ISm  BY  TORTÜRED  DISSÜNANCE   IN  A  KIND  OP  SPASMODIC  RHYTHM. 
THE   RISE   OP  LIGHT  AT   STAGE  LEFT   REVEALS   JüNAH   IN  A   CURVED 
ENCLOSÜRE*      HE   IS  RUNNING  DESPEKATELY  IN  ONE  DIREGTIOH 
APTER  THE   OTHER,    IN  EACH   GASE  VAINLY  PUSHING  WITH  ARMS 


16« 


AND  HANDS  AGAINST  A  SECTIO»  OP  THE  RESISTANT  WALL  THAT 
ENCIRCLES  HIM,  THKN  RECOILING  PROM  IT*  THEREAPTER,  FOR  A 
MOMENT,   HE  STANDS  AT  C  OP  SPOT  WITH  PAGE  BüRIED  IN  HANDS. 
THEN,  IN  A  GLIMAX  OP  PRÜSTATION,  HE  ROTATES  WITH  AGGELERATING 
TEMfO,  REAGHING  OUT  GROPINGLY  IN  ALL  DIREGTIONS.   PINALLY 
HE  DROPS  TO  THE  PLOOR  IN  A  HEAP.   A  MOMENT  OP  SILENGE# 
THBN  HE  SLOWLY  RAISES  HIS  HEAD  AND  OUT  OP  EIS  DEEP  ANGÜISH 
SPEAKS  TO  GOD  IN  A  QUIET  TONE  OP  DESPERATE  PLEADING:) 


JONAH 
God«««»«»#.0  my  God, 
hear  mel 

Prom  this  monater's  belly 
where  you  brought  me  to  be  spared 
agalnat  the  ravages  of  the  sea  «• 
I  cry  out  to  youl 
(WITH  INTENSE  SKLP-ABASfiMENT j 
I  had  alnned,  - 

darkly  def iant.  In  desperate  arrogance 
taklng  fllght, 
I  üad  alnned  -~ 

0  wlcked,  wlcked  follyl 

And  therefore  was  I  caat  Into  the  tumult 

of  the  waveal 

The  mlghty  flooda  craahed  againat  me, 

eompaaaed  me  about, 

ohoked  me  even  to  the  aouli 

The  weeda  were  wrapped  about  my  he  ad; 

1  went  down, 

down  to  the  very  bottom  of  the  mountalnal 

And  thla,  all  thia 

my  guilt  had  juatly  earnedl 

Yet  when  I  called  to  you  In  my  affllctlun 

you  heard  my  prayer 

and  de  livered  me  from  death 

in  the  deep  of  water a« 

Hut  now,  0  God,  now  I  beg  to  know: 

ia  thia  which  You  have  done, 

cauaing  me  to  be  here  in  tue  belly  of  tne  monster 

ia  thla  the  grant  of  mercy 

to  the  ainful 

or  the  further  puniahment 

of  aint 

For  death^  pitted  againat  thia^ 

would  be  a  boon* 

I  am  not  aaved  at  all 

if  only  for  myaelf  I*m  aaved: 

never  a  human  voice  to  hear, 

never  a  hand  to  touch, 

never  a  good  to  aerve, 

never  an  evil  to  eraaei 

To  be  apared  in  aickly  iaolation 

ia  to  know 

the  anguiah  of  unmeaningl 

0  God,  make  me  free  to  do  the  taak  beatowed, 

to  do  the  Charge  upon  me. 


!?• 


JONAH  (cont»d) 
the  thing  whlch  It  13  mine  to  do« 
That  whlch  I  have  vowed 
I  will  pay« 

Wlth  the  vulce  of  thankaglvlng 
I  will  aacrlfice  to  youl 

IWITH  THE  QÜIET  liMTENöITY  OP  DEEP  fATHüS) 
You  made  me  human^  Godl 
Donot  spare  my  llfe 
for  what  la  leas* 

(JOMH  PROSTRATES  HIMSELJf.   SOITWD  OP  A  PAR-OPF  TRUMPET, 
FIRST  ALONE  IN  A  BRIEF  CALL;  THEN  AS  DESCAIniT  TO  GOD'S   CHANT| 
THEN  AS  BACKGROUND  TO  HIS  SBEAKINO;  THEN  AGAIN  AS  DESCANT 
TO  HIS  CHANT.)  -^ 

VOICE  OF  GOD 
( CHANT ING ) 
«lonah«  •••••••••• 

Jonah,  my  servant, 
Hear  what  I  shall  now  aay  to  you: 
(SPEAKING) 

Your  prayer  shall  be  answered: 
to  the  dpy  land  you  shall  be  reatoredl 
Then  shall  you  go  to  wineveh,  that  great  city, 
to  cry  out  against  the  people 
for  thelr  wickedness 
and  to  foretell  thelr  doom, 
aaying  all  that  I  shall  speak  to  youl 
(CHANT ING  IN  A  DIMIiUSHli^G  VOLaME) 
Jonah* • • • 

Jonah,  my  servsnt, 
soon  shall  you  be  returned*«« 

(JONAH,  AGAINST  GOD' S  CüANT,  KISES  SLOWLY  TO  HIS  PULL 
HEIGHT  WITH  UPRAISED  ARMS#   THEN  AT  THE  END  OP  THE  CHANT 
HE  SPEAKS  WITH  REVERENTLY  EXuLTANT  THANKi^OILNESS : ) 


0   God 


JONAH 
,0  Lord  my  Godl 

PADE-OOT 


SCEN£  PIVE 
IN  DARKNESS  WE  HEAR,  PADIJMG  -IN  (VIA  TAPE  RECORDER),  THE 
PRIGHTENED,  RESENTPUL  MÜRMÜRS  OP  A  CROWD.   ABO  VE  THEM  RISES 
THE  VOICE  OP  JOWAH  SPEAKING  WITH  PROPHETIC  WRATH: 

JONAH 
••••••You  pursued  the  Innocent  wlth  the  swordl 

You  pillaged  the  eitles  of  the  weakl 
You  murdered  thelr  women  and  childrenl 

(DURING  THESE  LAST  FIVE  WORDS  FADE- IN  üF  A  LOCALIZED  SPüT 
ON  UR  REVEALS  JONAH  STANDING  HIGH  AT  THE  TOP 


18* 


0»  A  STAIRCASE.) 


JONAH 
I  shall  send  among  you  plague  and  pestilencel 


VOICES  OP 
(OVERLAPPIIMG) 
Ho,  nol  We  beg  of  youl 


AND  WOMEN 


JONAH 
You  have  yet  far  more  to  hear 
that  öod' 3  anger  naa  pronounced  against  youl 

VOICES  OP  MEN  AND  WOMEN 
(OVERLAPPING) 
No  moTOp   we  beg  of  youl   No  morel 

JONAH 
Woe  to  them 

that  deflle  the  power  I  have  granted  them 
fop  good 

that  they  make  monaters  to  destroy  my  peoplel 
The  eye 8  of  the  Lord  God 
are  upon  your  sinful  kingdom 
and  He  will  destroy  It  from  the  face  of  the  earthl 

SEVERAL  VüICES 
No  more^  no  morel 

MILB  VOICE 
^ABOVE  THE  RÜMBLING  OP  THE  CROWD) 
Since  the  sun  flamed  overhead  at  noon 
You* ve  thundered  against  us 
LG  scorch  and  bllster  our  soulsl 

MANY  VOICES 
(0 VERLA? PINGj 
We  cannot  bear  morel  No  morel 

JONAH 
You  shall  hear  God*  a  wrathful  volce 
tili  the  black  night  of  your  shame 
Covers  and  consumea  youl 

(THE  CROWD  IS  KEDÜCED  TO  A  PRIGHTENED  SIlEj><CE) 
Have  you  not  sol4  the  rlghteous  for  sllver, 
the  poor  for  a  palr  of  shoes? 
lear  theae  dlre  words, 
you  that  take  brlbes, 

that  crush  the  needy  and  affllct  the  justl 
Your  land  aha 11  tremblel 
I  will  send  fire  on  the  walla  of  i^lneveh 
whlch  shall  devour  the  palaces  thereofl 
(A  LOW  MOAN  RISES  KKOM  l'HE  CküY/D) 
Go  now,  prostrate  youraelves, 
lle  In  the  dust  upon  your  belllea 
before  the  fatuous  grins  you've  carwed  in  stone 

lio  worship  as  your  Godal 


19 


JONAH  (cont'd) 
Call  them  wltü  the  loudnesa  of  your  voicel 
(WITH  CüNTEIvIi'TUuUS  IRONY) 
They  make  no  answer? 
Call  yet  louderl 
Percliance  they  are  aaleepl 
(WITH  DECI8IVE  POWER) 
They  ahall  not  anawerl 
For  He  that  formed  the  mountalna 
and  crested  the  wind 

and  declared  unto  man  what  la  his  thought; 
He  that  treads  the  high  places  of  the  earth. 
He  alone,  the  Lord  of  Hosts,  la  Godl 
And  theae  are  words  that  He  has  spoken  against  you : 
Woe  to  them  that  are  at  eaae  in  Ninevehl 
For  they  gorge  thelr  houses  witn  greed 
and  glut  their  city  wlth  gaudy,  monstrous  trinketa 
to  crowd  the  ömptiness  of  daysl 
You  defy  my  will  in  ppofligate  dancö  of  flight 
rrom  tne  world' a  need; 
you  outrage  my  law  of  love 
witn  the  brutal  hunger 
of  a  raw  and  devouring  lustl 
Pop  thöse  evils 

your  king  shall  periah  hy  the  sword 
and  his  people  be  caat  out  and  drownedl 
Against  the  tumult 
and  the  scream  of  trumpets 
and  the  vast  wild  cry  of  desolation 
Hineveh  shall  diel II 
(A  LOUD  WA  IL  OP  ANGÜISH  PROM  THE  CKOWD) 


BLACKOUT 

(PADE-IK   OP  A    SPOT   ON   UL  REVEALS  THE  KIWG,    AOUTELY  DISTUHBED 
HE   IS   STANDING  ALuNGSIDE  HIS  TJriRONE   OEAIR   ON  A  PLATPORM  AT 
THE  TOP  OP  A   STAIRCASE.      BELOW   HIM,   TO  HIS   LEPT,    STANDS 
AIDE    I;   TO   HIS  RIGHT,    AIDE   II.) 

KING 
(TO  AIDE   I,    WHILE  REMOVING  HIS  ROYAL  ROBE) 
Take    this  my  kingly  robe 
(AIDE    I  TAKES  THE  ROBE) 
and  bring  me   sackcloth  at  once   to    cover  me* 

AIDE  I 

Yes,  0  king. 

(AIDE  I  STARTS  TO  EXIT) 

KING 

( STOPP ING  AIDE  I) 

Also  aahes,  that  I  may  sit  in  theml 

(AIDE  I  BOWS  AND  EXITS) 


(TO  AIDE  II) 


KING 


20 


KING   (cont'd) 
Let   it  be  proclalmed  at   once 
thPOuRhout  Klneveh  ^^  .      ^ 

by  decree   of  the  king  and  hia  nobles,    aaylng. 
let  nelther  man  nor  beast,   herd  nor  flodc 
taste  anythlng; 

let   them  not  «ead  nop  drink  water l  ,    ,    ^.v. 

But   let  man  and  beast  be   covered  wlth  sackclotn 
and  cry  mightily  unto  Godl 
Let   them  turn,   everyone,    from  bis  evll  way 
and  from  the  violenca   that    la  in  thelr  handsl 
Go  nowl 

AIDE   II 
As  you   command,  O  kingl 
(EXrr  AIDE   II) 

KING 
(IN   GREAT  DISTRESS) 

Who  knowa  but   that  God  may  yet  turn  away 
from  hla  flerce  anger, 

(Tlffi^KN^TURNS^ABOUrt^^HIS  BACK  l'O   THE  AUDIENüE, 
HE  LIFTS  HIS  AKMS    IN   SUPPLICATION. 

(PADEÄOUT,    AGCüMPANIED  BY  Ai^   ^NGUISHED  CHANT,   WHICH 
CONTINUES   FOR  A  FEW   SEGONDS  ALüNE    IN  THE  DAKK  aND  I-HEH 
STOVES  AS  BACKGROUNi^  FOR   SOUNDS   OP  WAILING  FRuM  THE   CKuWD. 
IaDE^IN   üP  SPOT  RiaHT  REVEALS   JONAH   STANi^ING  AT 

St   END  OP  TOP    STAIR,    HIS  F.^CE  ßüRIED   I^   HIS   HANDS-    AT 
?S  LE??^eSd  OP  THE  LOWEST   STAIR   STANDS  THE  KING, 
WEARING  SAGKCLOTHO 

Kli^G 

(TO   JONaH) 

Behold,  0  man  of  God, 

your  words  have  selzed  upon  the  soula 

of  my  peoplel 

Through  you  God  has  reached  themv 

Look  upon  them; 

they  fast  and  wear  sackclotn,   ^   ^^  -   *. 

from  the  greatest  of  them,  even  to  the  leest. 

They  turn  from  patha  of  wlckedneaa# 

They  belleve  in  God 

and  they  repent:        .,  ^  ,    *.  *.4««i 
iihaar  the  vast  sound  of  thelr  lamentatlonl 

(JONAH  LOWERS  HIS  RANDS  FRüM  HIS  FACE;  THEH  TURNS  SLOWLY 
TO  LOOK  DOWN  UPON  THE  KING  HVHB.   LUATHING:) 

JONAH 
I  have  no  ear  for  the  easy  muslc 
of  reoentance 
nor  an  eye  for  the  garb  of  contrltlon* 


21# 


( JONAH  TÜRNS  AWAY,  COVERING  HIS  HEAD.   BLACKOUT.   IN  THE 
DARKNESS,  MUS IC  SUÖGESTING  THE  PASSAGE  OP  TIME.   THEN 
AS  IT  FADES  TG  SILENCE,  FADE-IN  DP  THE  SPOT  AT  STAGE 
RIGHT  REVEALS  JüNAH  SEATED  AT  THE  LEFT  END  OF  THE  IX)WEST 
STEP  OP  THE  STAIRCASE,  BROODING* ) 

JONAH 
(BITTERLY,  IN  A  LISTEN ING  ATTITÜDE) 
Silence**»» • • 
no  iftinlmper  of  pain 
to  mar  the  complacent  stlllnesa; 
the  promlsed  flame  of  chastlaement 
long  paat  due; 

the  Nlnevitea,  Immune  to  hurt, 
go  their  ways  wlth  penltent  slgha 
and  the  pious  amiles  of  a  amug  serenityl 
(IN  A  PAROXYSM  OP  ANGER j 
Agh  — -  I  knew  it  would  be  ao, 
I  knew  Itl 

Our  enemy,  our  deadlieat  foe 
favored  by  God  nowl 
Bathed  in  Hia  healing  lovel 

This,  thia  the  anawer  to   their  foul  wickedneasl 
Pampered  by  the  Lord, 
they  now  feel  aafe  in  arming  anew 
for  yet  more  aavage  thrusta  againat  ual 
(APPROACHING  SOUNDS  OF  DERISIVE  LAUGHTER) 
And  nhat  of  me? 
I  ahall 

(AT  THIS  POINT  APPARITIONS  OF  TWO  TAUNTERS  APPEAR  IN 
LOY/  LIGHT  TO  MOCK  HIM:) 

TAUNTER  I 
Hail,  true  prophet  of  the  vengeful  Godl 

TAUNTER  II 
We  lome  to  praiae  you, 
0  great  and  knowing  splJkeaman  of  the  Lordl 

TAUNTER  I 
Again,  aa  alway||F# 
your  promiae  of  doom 
ia  become  a  deadly  fact* 

TAUNTER  II 
0  perfect  prophetl 

TAUNTER  I 
0  infalllble  aouroe  of  thinga  to  comet 

(MOCKING  LAUGHTER) 

TAUNTER  II 
Behold  the  deatroyed  of  Ninefehl 
How  aprightly  do  they  walkl 


62 


TAÜNTER  I 
And  how  they  speakl 
.  The  annlhilated  apeak  with  most  envlable  easei 

TAUNTER  II 
And  theip  pmlacesl 
How  alngularly  proof  they  are 
agalnat  the  flrea  of  the  Lordl 

TAÜNTKR  I 
0  tputh-telllng  seerl 

TAUNTßrt  II 
0  godly  man  of  unerring  vlsionl 

(DERISIVE  LAUGHTER  ACGOMfANIES  THE  PADE-ÜÜT  OF  THE 
AFP AKIT IONS.) 

JOHAH 
(ENRAGED) 

To  be  mocked  again,  r^viled,  -- 
a  sllly  target  fop  contemptl 
To  have  hupled  my  wrath  llke  a  fool 

agalnat  the  wlcked  .^^  ^^    *  , 

only  now  to  atab  my  own  fleah  tlth  it  agalnV 

0  fod,  Gk)d ^^^   ^  . 

1  didnot  plant  wlthin  me  the  terpible  dPlve 

to  Justice 

that  hungera  In  my  bpeast; 

the  Page  that  feateps, 

that  chokea  me 

when  Justice  Is  not  donel 

Xou,  0  Goa,  not  I 

have  aade  the  natupe  that  commands  mel 

I  cannot  be  othep  than  I  amV 

Dld  I  not  know  that  thls  would  be  the  end? 

When  I  was  yet  In  my  own  countpy? 

And  thepefore  I  took  fllght  to  Tapshlshf 

You  ape  a  God  of  fopglveneas; 

Youp  way  Is  the  way  of  mepcy: 

I  cannot,  I  cannot  tpaverse  Itl 

(PLEADENG  DESPERATELY) 

Therefope  now,  0  Lopd, 

take,  I  beseech  you,  my  llfe  fpom  mel 

Pop  It  Is  bettep  fop  me  to  die  than  llvel 

(SOUND  OP  PAR-OFP  TRUMPET  INTRODUCING,  AS  HERii^TOPORE, 

^GOD'S  VOICiä:) 

VOICE  OP  GOD 

(CHANTING) 

Jonah 

Jomah,  my  servant, 


25« 


aOD»S  VOICB  (cont«d0 
(SPEAKINß) 

Do  you  do  well  to  be  angryt 
l*hough  you  had  sinne d  agalnst  me, 
Dld  I  not  save  you 
from  the  aea? 

Dld  I  not  free  you  from  the  belly 
of  the  monster? 
Mercy  didnot  tap  your  anger 
when  it  waa  you 
on  whom  I  had  bestowed  it# 

JONAH 
(WITH  DEEP  HUMILITY)*«* 
God«« •••  0  my  Qod^ 
very  lovlng  have  you  been  to  mei 
but  also,  God,  nave  you  not  Instpucted  me 
to  deapiae  wickedneaa? 

GOD^S  VOICB 
I  have  taught  you  the  hate  of  evll,  yes; 
but  have  I  not  taught  you  as  well 
the  evll  of  hate? 

Jonah,  my  aervant,  yonder  have  I  prepered 
a  gourd 

(PADE-IN  ÜP  A  SPOT  ON  STAGE  LEW  RüYEALS  A 
GOURD  WITH  A  LARGE  STONE  UNDER  TU) 
tnat  it  may  be  a  healing  shadow 
over  your  head 

to  bring  you  forgiving  coolneas» 
Go,  Jonah,  and  sit  beneath  it# 

(JONAH  IS  COMi«*ORTED  MOMENTARILY  AND  FÜLL  OP  GRATEPÜL  LOVE  üP 
GOD*  HE  RISES  AND  THEN  SPEAKS  AGAINST  THE  PADING  SOüNDö  OP 
GOD'S  GHANT  HKAKD  JPON  THE  PAR-üPP  TRÜMPET:) 


JONAH 

0  Lord,  for  your  loving  regard 

1  lift  my  heart  in  thanka« 

(JONAH  GROSSES  PRüM  THE  RIGHT  SPOT  INTO  THE  LEPl'  SPOT, 
WHERE  HE  SITS  DOWN  UNDER  THE  GüURD  Tu  RELAX«   THE  RIGHT  SPOT 
PADüS  OUT*   JüNAH  LOOKS  UPWARD  POR  A  MOMENT.  THEN  HE  3FhAK3:) 

JONAH 

It  ia  good,  0  Lord,  to  be  enfolded 

in  the  womb  of  your  aheiter ing  concern««.»« 

(HE  THIMKS  POR  A  MOMENT.   THEN:j 

I  am  bewildered  by  your  love; 

your  pardon  of  my  guilt 

ia  beyond  my  power  to  underatand. 
Did  I  not  defy  your  will 

and  in  the  wicked  folly  of  flight 

seek  refuge  from  Your  preaence? 


24* 


JONAH  tcont^d) 
(WITH  A  RETUEN   OP  SELP-REPRüOP) 

0  öod,   my  God...... • 

1  am  too  deep  In  ahama; 
I  cannot  take  your  lovol 

üf  what  avall  la  your  forgivaneaa 

if  I  cannot  forgive  myaelf? 

I^our  compaaaion  la  a  atab  of  remorae 

In  my  fleahl 

(Hß  SOBS  COMVÜLÖIVELY,  WITH  HEAD  BOWED  DOWN) 

0  eamii,  Heaven  will  not  heed  my  wlah  to  diel 
Grack  op^n,  earth^ 

and  auck  me  Into  your  dark  abyaal 
Por  I  am  loat: 

1  cannot  aerve  God' a  mercy 
and  I  cannot  changel 

I  am  at  odda  wlth  Oodl 

I  cannot  live  acoording  to  Hla  will, 

I  cannot  live  agalnat  Itl 

(IN  DESPERATE  LAMENTATION) 

0  earth,  earth,  take  mel 
Swallow  up  my  llfel 

(HIS  SEATED  BODY  BENT  POR¥/ARD,  HE  COVERS  HIS  PAGE  WITH  HIS 
RANDS*   APTER  A  MOMENT,  AN  APPARITION  OP  HIS  WIFE  APPEARS 
BEHIND  HIM  AND  SPEAKS  TO  HIM  WIITH  TENDER  WARMTH  AGAINST 
A  PARAWAY  LÜLLING  MUSIC:> 

WIPE 
Oh,  my  Jonah,  my  beloved,  - 
out  of  the  turbulance  of  your  wratü. 

1  have  eked  cur  tlmea 
of  tenderneaa« •• • • 

How  greatly  and  severely  good,  you«  are, 

my  huaband« • • • 

Be  gentle  wlth  yourself,  aa  God 

la  klnd  to  you« • • • 

Let  the  mantle  of  coming  night 

Cover  you  wlth  repoae, 

my  Jonah,  my  beloved. 

(THE  APPARITION  PADES  OUT*   JONAH,  EXHAÜSTED,  PALLS  ASLEEP. ) 

PADE-OÜT 

(THE  LÜLLING  MUSIC    IS  OVERLAPPED  BY  MUS IC    OP  LONG-SÜSTA INED 
THICK  DISSONANT   CHOKDS   SUGGESTING  AN  Oi^PRESSlVELY  TORRID  DAY. 
PADE-IN  OP  LEPT  SPOT  REVEALS  JONAH   IN  A  HA LP-PA INT 

rROM  THE  BLAZING  SUN  WHICH  SHINES  ü?ON  HIM.      THE   GüüRD,    NOW 
WITHEREDJ    NO    LONGER   PROVIDES  ANY  SHADE*      JONAH  MOANS    IN 
DISTRESS. ) 


JONAH 
Oh,    the    aun,    the   aiin».#. 
pltlleas   World  of  fiery  weightl 


25 


JONAH  (cont'd) 
beats  down  upon  me,  cruahes  my  skull  — 
it' s  blazing  rgcys  plerce  my  breast 
I  cannot  breathel 
0  what  perverse  torture  is  It 
tnat  ueaaes  me  toward  death  and  yet  denies  Itl 
Yes,  I  had  sinned,  1  had  sinnedl 
But  did  I  not,  aa  I  was  told, 
Gry  out  agalnst  WinevehV 
Dld  I  not  iceep  my  tDOW? 
Did  I  not  expose  myself  to  scornV 
Have  I  not  suffered  in  the  sea? 
In  the  monster^a  belly? 
Why  then  am  I  yet  aorely  abused? 

(HE  ÜTTERS  A  LOW  GRY  OF  ANQUISH.   THEK  A  MOMENT  Ol*'  STILLNESS- 
HE  THEN  LUÜKS  UP  AT  THE  WITHERED  GOURD  AND  TuüCHEb  IT  WITH 
TENDER  GOMPASSION.) 

JONAH 

Shrivelled,    dead 

(REPrtuVINü   GüD  BITTERLY) 

Why,  0  God,   wnyV 

You  who   are   a  Lord  of  mercy  -- 

what  medu   you   to    cause  destructlun 

of  the   lovely  gourd* 

that  grew    in  beauty  and  in  innocence? 

What  hurt   had   It   done   youV 

0   what  wllful  cruelty  cauaed  you   to  blight 

the   lovely  plant? 

(SOUND  OP  THE  FAR-OPP  TRUMPET,    AGAINST  WHIGH  GOD' S  VOICE 
IS  HEARD   GHANTING  WITH  SEI^JINE  VifARMTH:) 

GOD'S  VOICE 
(CHANTING) 
Jonah*« ••• 

Jonah,    80 n  of  Amlttai, 
Jonah,   myi^   aervant,   hear  me««.« 
(THE  TRUMi^^GuNTlJ^UES  «  bAClvüKüUi^D  FOR  THE 
SPEAKBiG^Äir  FOLLOWS : ) 
Do  you  do  well  to  be  angry? 

JONAH 
I  do  well  to  be  angry,   even  unto  deathl 

CjOD'S  VuIGE 
(GENTLY  KEPROVING) 

Ah,  Jonah,  Jonah 

you  have  pity  on  the  gourd 

for  which  you  have  not  labored  nor  made  to  grow; 

which  came  up  In  a  night 

and  perlshed  In  a  night, 

(WITH  TEiMDER  CuMxAüöluN) 

Should  I  not  pity  r4ineveh§  thet  great  clty 

wherein  are  more  than  sixscore  thousand  persona 


2b. 


GOD'S  VOICE  (cont'd) 
that  cannoi;  dlacörn  between  thelr  rlght  hand 
and  tneir  left  hand 
and  also  much  cattle? 

(THE  PAR-OPP  TRÜMPET  PADES  SLüWLY  TO  SILENCE.   JONAH  IS 
SEATED,  HIS  HEAD  AVERTED  TOWARD  THE  LEPT  AND  BüWED  lA  öEAmE. 
POR  A  MOMENT  HE  TURNii  AND  PAGES  ÜPWARD  IN  A  PLARE  OP 
REBELLION;  THEN,  OVERTAKEN  BY  DEEP  PEELING  OF  GÜILT,  AGAIN 
LOOKS  AWAY  TOWJi  D  LEPT,  BENÖNG  PORWARi;  ANl;  COVERING  UlS  HEAD 
WITH  HOOD  AND  SLEEVE.   HE  HOLD  THIS  ATTITÜDE  POR  A  MOMENT  IN 
SILENCE.  THEN  THE  PROLOGUE  MUS  IC  BEGINS,  TO  RESTORE  JONaH  TO 
THE  PRESENT.   IT  IS  ACCOMPANIED  BY  PADE-IN  ÜP  THE  SPOT  AT 
DG.   ATTRACTED  BY  THE  MUSE  C,  HE  SLOWLY  ÜNOOVERS  HIS  PAGE 
AND  LISTENS  INTENTLY.   THEN  HE  TÜRNS  AND  SEES  THE  DC  SPoT 
AWAITING  HIS  RETURN*   HE  RISES  SLOWLY,  STRUGGLES  TO  EXTRICATE 
HIMSELP  PROM  THE  PAST,  AND  THEN  WALKS  SLOWLY  INTO  THE  DO 
SPOT,  TO  SPEAK  THE  EPILOGUE*) 

EPILOGUE 


JONAH 
(AT  DC,  PACING  THE  AÜOIENCE) 
So  ends  - 

and  does  not  end  - 

the  atory  In  the  bock  which  bears  my  name« 
The  still-stubborn  awing  of  the  heart's  pendulum 
from  passlon  to  opposed  pasaion 
was  unreaolved« 
The  aame  mercy 
which  I  had  dared  to  defy 
I  begged  to  grant  me  death« 
■ut  God  denled  that  mercy 
in  favor  of  a  deepep 
yet  to  come: 

he  made  me  to  enter  Paradise 
alive« 

Vhere,  unmasked,  I  behald  the  nakedness 
of  my  true  measure; 

no  longer  atretched  lo  a  ready-made  godly  height 
by  flattering  fantaay, 
no  longer  living  a  borrowed  grandeur 
in  my  mind, 
to  be  what  I  am  not 
and  then  in  the  nauaea  of  awakening 
to  hurl  fierce  wrath  againat  myaelf  and  othera» 
There,  knowing  the  truth  of  what  I  am, 
content  with  what  I  can  become, 
aapiring,  attuned, 

I  S  find  courage  to  riak  compaaaion, 
confidence  to  amile  at  offenae  to  pride, 
readineaa  to  do  what  ia  mine  to  do, 
and  in  the  doing 
to  accept  the  für the st  end» 


27 


JONAH  (cont'd) 

All  of  that 

I  experlence  but  as  corrected  memory 

of  my  tlme  on  earth« 

And  thia  too  I  now  know: 

that  a  man' 8  living  of  his  truth  and  task 

need  not  walt  upon  heaven, 

cannot  walt» 

The  human  courso  ia  clear»«»« 

the  tlme  Is  not  long  for  taklng  lt# 

(AS  THE  FRüLüGUE  MUS IC  CüNTINÜES,  JUKAH  PAUSES  POR  A 
MOMENT,  ABSORBED  lU   TMuUGHT.   HE  THJN  TÜRNS  TO  FACE 
UPSTAGE;  WALKS  SLOWLY  TO  THE  STAIRS  AT  UC  AID  MÜÜNTS 
THEM,   AS  HB  MOVES,  THE  LIGET   ÜPON  HIM  NARRüWS  AND  PADES* 
WHEN  HE  HAS  REACHED  THE  TOP  STAIR,  HE  TÜRNS  TO  PAGE  DR, 
ASSÜMIHG  THE  ATTITÜDE  üUT  üP  AN  OLD  EDiGRAVIUG  IN  WHICH 
WE  BEHELD  HIM  AT  THE  PLAY«  S  BEGINNING* 


THEKE  IS  DARKNESS. 
THE  MÜSIC  DIES  uUT. 


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AND  SANDS  AGAINST   A   S^CTION   OP  THE  RESICTAI^T 
ENGIRCLES  HM,    THüK   RECOILIKG   PROM   IT.    'i^xIE^hAx^.x.u,    rüR  A 
i-^Mwn^        Tri?   <iT<AN-n<5  AT  'C   OP  SPOT  Y/ITH  PAGE  BUR_-J)    E.    Eivr;DS. 
ST'^IN  f CLiS?  oftWsLflON,    HE  R0TA2ES_W1TH  A.XELERATI.O 

?1S5,  reIcSSg^ut  grüph^gly  in  all  DiHECTiü.r;      ■nt^'^.^ 

HE  DROPS  TO  THE  PLOOR   IN  A  HEAP.      A  KOIÄENT  0  ;   l^'^yf..^":.^^ 
rnmjw  ITC  SLOWLY  RAISE3  HIS  HEAD  AND  OUT   OP  Hli.  DA^/  .'M^I^H     . 

Sk? TO  god  iTa^quiS  tone  OP  desperate  PUi:.4DIi.-G:)  .<-'/ 


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JCNi 
\God. ••0  my  God, 

hoar  mal 

From  thia  monster's  belly 

where  you  brought  diö  "to  be  spared 

agalnst  tho  ravages  of  the  sea  - 

I  cry  out   to  youl 

(Wim   niTENSK  SÜLP-ABASEMEiNl'j 

I  had  ainned,  - 

daTEly  dif iant.  In  desperate  arrogance 

taklng  night, 

I  jtiad  sinned  -— 

0  \7lcked,  wlcked  follyl  ^  i,   * 

And  thereforo  was  I  caat  Into  tho  tuujwlt 

.  ,ofi  tha  wavesl    ^?7^f  ^^^^U^^i^"^-<p^^^ 
-i?^The  mlßhty  floods  orashed  againsVmo#   ^ 

compassed  ma  about, 

chokad  ma  avan  to  the  soull 

The  \7aed3  wäre  wrapped  about  my  he  ad; 

I  went  down,  ^  .   , 

down  to  the  very  bottom  of  the  mountainal 

And  this,  all  this 
my  guilt  had  justly  earnedl 
Yet  when  I^^lid^to  you  in  my  afflictlon 
you  heard  my  prayar 
and  dalivared  me  fx-ora  death 
in  the  deep  of  waters. 
"But  now,  0  God,  now  -I  bog  to  know: 
ia  this  which  You  have  dono, 

causing  me  to  be  höre  in  tne  bolly  of  tno  monot^r  - 
ia  thia  the  gran;;  of  meroy 
to  the  sinful 
or  the  furtner  punlshment 

of  siA^  / 

For  death,  pittod  againot  thi^, — "^/^ 

would  be  a  b^o^.  Cny-£ p4^  <^  U^  l^^ 


l/^Ji  ^c'^'^^J''"'  WA^^ 


I 'am  not  aavlT^"  at  all 

if  only  for  myself  I'm  saved:     ^ 

never  a  human  voice  to  hear, 

never  a  hand  to  touch, ^ 

never  a  good  to  serve,  -*" 

never  an  evil  to  erasel 

To  be  spared  in  sickly  isolatlon 

ia  to  know  -^rf^'^y^c^ 

the  anguish  of  unmeaningl  /M"^^^^^ 

Ö"  God,  make  me  free  to  do  the  task  beotowod, 

to  do  the  Charge  upon  me,* 


^i 


v  t. 


0  tiA4Myi\M.tpdiA^ 


v^u^feMK 


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JONAH   (corxt'd) 
ythe  thing  which  it    is  minö   to  do» 
\  Tüat  which  I  have  vowod 

I  I  will  pay* 

IWith  the   vuico  of   thanks^ivlcLß    i. 
(j^will  sacrificö   to  youl  ^   cni^vt/ 
WITH  THE  QUIET   ijNTENiilTY  OP  DES 

You  made  me  human,  Godl      . 

Donot  spare  my  life 

for  what  is  less« 

OMH  PRO;^Ri(^si]D.lSELi*'.   SOTOiD  OP  A  PAR-OP?  TRÜIvIPET, 
PIRST  ALONE  IN  A  BRIEF  CALL;  THEII  AS  DESCAWT  TO  GOD«  S.  GHANT| 
/.  THEN  AS  BACKGROÜND  TO  HIS  SEEAKINÖ;  TUEN  AGAIN  AS  DESCANT 
^^^  TO  HIS  CHANT.)  "^  ^ 

^^  VOICE  OB  GOD         • 

(CHANTING) 

jonah«** 

Jonah,  my  servant, 
Hear  what  I  shall  now  say  to  you: 
•(SPEAKING) 

Your  prayar  shall  be  answered: 
to  the  dry  land  you  shall  bo  rostorodl 
Then  shall  you  go  to  Nineveh,  that  great  city, 
to  cry  out  against  the  people 
for  their  wickedness 
and  to  foretell  their  doom, 
saying  all  that  I  shall  speak  to  70Ul 
(CHANTING  ra  A  DIMINISHIi^iG  VOLüME) 
Jonah*  # • •                 .    ' 
Jonah,  my  servant, 
soon  shall  you  be  returned ••• 

(JONAH.  AGAINST  GOD' S  ChANT,  KISES  SLOV/LY  TO  HIS  PULL 
HEIGHT  WITH  UPRAISED  ARMS.   TEEN  AT  THE  END  OP  THE  CEaNT 
HE  SPEAKS  WITH  REVERENTLY  EXüLTANT  THANO'ÜLNESS : ) 


0  God. 


JONAH 
,0  Lord  my  Godl 

PADE-OüT 


SCENS  PIVE 
IN  DARKNESS  WE  HEAR,  PADIi^G  -IN  (VIA  TAPE  RECORDER),  THE 
PRIGHTENED,  RESENTPUL  MUR^IÜRS  OP  A  CROWD.   ABOVE  THELl  RISES 
THE  VOICE  OP  JONAH  SPEAKING  WITH  PROPHETIC  Y/RATH: 


< 


JONAH 
•  •♦♦••You  pursued  the  innocont  with  the  sv/ordV 
You  pillaged  tho  cities  of  the  v/eakl 
You  murdered  their  womon  and  childrenl 


..f^ 


(DURIHQ  THESE  LAST  PIVE  WORDS  FADE- IN  OP  A  L0CALI2ED  SPOT 
OK  UR  REVEALS  JONAH  STANDING  HIÜH  AT  THE  TOP 


f\ 


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N  AI 


AND  HANDS  AGAINST  A   S^CTION   OP  THE  RESICTAljT 


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foSyf  HE™iA^^  AT%  OF  SPOT  V/ITH  FAO._BUB:g   I>;^|äjgij_,., 

HE^ROPS  TO  THE  PLOOR   IN  A  HEAP.      A  VlOl^T  0-    ^  /LC^,;  c/- 
^w^  >rK   SLOWLY  RAISES  HIS  HEAD  AND  OUT   OP  HI^  DaA/  ,v^Vw^-H^ 
-^Sk? tÄ   iS^rQ^  TONE  OP  DESPERATE  PLEADr.'G:)  ,      >  -^ 

Uji-A^^j  r_         *  JCNAH 

God 0  my  God, 

hear  mal 

Prom  thia  monater' s  belly 

where  you  brought  me   to  bo   spared 

agalnat    the  ravages   of  the   aea  - 

I  cry  out   to  youl 

(WITH   INTENSE  SEIiP-ABASEMEiNl*; 

I  had  slnned,  - 

darkly  doriant.  In  desperate  arrogance 

taklng  night, 

I  iaad  ainned  -— 

0   \7lcked,   wicked  follyl 

And  thereforo  waa   I  caat  Into   the   tumult 

o£  the  waveal 

The"  mlghty  flooda  craahed  agalnst  mo, 

compaaaed  me  about, 

choked  me  even  to  the  aoulV 

The  weeda  wäre  wrapped  about  my  ho  ad; 

I  went  down,  ^  ^   » 

down  to  the  very  bottom  of  the  mountainal 

And  thia,  all  thla 

my  guilt  had  juatly  earnedl     ^^,,  .,  „ 
Yet  when  I  called  to  you  In  my  affllctiün 
you  heard  my  prayor 
and  dellvered  me  from  death 
_in  tho  deep  of  watera. 
-But  now,  0  God,  now 'I  bog  to  knowJ 
ia  thia  whlch  You  have  dono, 

caualng  me  to  be  höre  In  tne  bolly  of  tno  monotor  . 
la  thla  the  granx;  of  meroy 
to  the  alnful 
or  the  furtner  punlahment 

of  aln? 

Por  death,  plttcd  agalnat  thia, 

would  be  a  boon« 

r^am  not  aavod  at  all 

If  only  for  myaelf  I'm  aaved:  ^^^u*^j 

nover  a  human  volce  to  hear, 

never  a  hand  to  touch, 

never  a  good  to  aerve, 

never  an  ovil  to  eraael 

To  be  apared  In  alckly  iaolatlon 

la  to  know 

the  angulah  of  unmeanlngl 

0  God,  rna^e  me  free  to  do  the  taak  boatowod, 

to  do  th^  Charge  upon  me,-" 


^l\,ii*^^ 


CAt>LCjiA^.U^' 


L^wU'^r^  ^ '^^^'<^^^ 


7 


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^tmx^-D — ^Yf^^rfi:B-^  f^  ^ J  ^cr ^^jM^ 


•^ 


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fc.r1^ 


f 


as  a  Creatiöt  InflüCECE' 


^ 


Series  of  Programs  at  the 
Jewish  Community  Center 

March  3rd    ....    April  14th 


This  Exhibit  will  feature 
tnasterpieces  from  Chagalls 
*'lllu5trations  of  the  Bible," 
which  took  the  artist  altnost 
30  years  to  complete.  In  ad- 
dition,  there  will  he  illutni- 
nated  manuscripts  of  Bibli- 
cal  significance  dating  back 
to  the  12t h  Century.  There 
will  he  a  nutnber  of  con- 
temporary  paintings  and 
sculptures  on  display. 


A  modern  vision  for  the 
stage,  highlighting  the  crea- 
tive  significance  of  the 
Bible.  This  new  work  by 
Mr.  Bayer  introduces  drama, 
music  and  dance  in  a  unique 
and  exciting  form. 


Clubs,  schools  and  organ- 
izations  are  invited  to  ar- 
ränge  group  visits.  The  JCC 
staff  is  available  to  guide 
these  Visits. 


f 


t 

X 


t 


ART  EXHIBIT  OPENING 

SUNDAY,  MARCH  3rd,  8:30  P.M. 

Guest  Speaker: 

Adelyn  D.  Breeskin 
Director,  Baltimore  Museum  of  Art 

Musical  Selections  By 

Frances  Kessler 
Violinist,  Baltimore  Symphony  Orchestra 

Admission  Free 


"MAKET^s  UFON  EARTH" 

By  Jerome  Bayer 

A  Dramatic  Presentation  By  The 

JCC  Dramatic  Workshop 
With  Dale  Sehnert  As  Solo  Dancer 

SATURDAY,  MARCH  9th,  8:30  P.M. 

With  Musical  Selections  By 
Phyllis  Frankel,  Soprano 

MONDAY,  MARCH  IIth,  8:30  P.M. 

With  Talk  By 

Dr.  Leo  Spitzer 
Professor  Emeritus,  Johns  Hopkins  University 

Admission  $1  JCC  Members  50(* 


SYMPOSIUM 

THURSDAY,  MARCH  28th,  8:30  P.M. 

'^The  Biblical  Theme  In  Contemporary  Art" 

Panelists: 

Dr.  Lincoln  Johnson 
Associate  Professor  of  Eine  Arts  Department, 

Goucher  College 

Dr.  Christopher  Gray 

Acting  Chairman,  Eine  Arts  Department, 

Johns  Hopkins  University 

Kenneth  Sawyer 

Art  Critic,  Baltimore  Sun 

Abraham  Kampf 

Moderator,  Director,  Adult  Department, 

Jewish  Community  Center 


Admission  Free 


S88    ON  llWaad 

aw  '3yowinv9 

a  I  vd 

3ovisod  s  n 

OaO  llJOad-NON 


P09 
Su;uui939^ 

m  Hu 


X3HHXS  xNawaNOK  JLSHy^  gof 


Jewish  Community  Center  of  Baltimore 

George  Gump,  President 

Yehuda  Rosenman,  Executive  Director 


JCC  COMMITTEE  ON 

Mrs.  Fred  Berl 
Mrs.  Harry  Bernstein 
Samuel  Carliner 
Mrs.  Jacob  Dashew 
Dr.  N.  Bryllion  Fagin 
Mrs.  Samuel  Feldman 
Mrs.  Phillip  Golomb 
Irvin  S.  Keyser 
Mrs.  Samuel  Legum 
Mrs.  Gustav  Leibowitz 
Mrs.  Milton  Markowitz 
Mrs.  Leslie  Moses 


MUSIC,  ART  AND  DRAMA 

Mrs.  Reuben  Oppenheimer 

Mrs.  Nathan  Patz 

Mrs.  H.  Melvin  Radman 

Joseph  Rosenfeld 

Mrs.  Joseph  Sherbow 

Mrs.  Martin  Shor 

Mr.  Irving  Shulbank 

Hal  Victor 

Howard  Wagonheim 

Mrs.  Morton  White 

Irving  Wildhorn 

Mrs.  Frank  Kaufman,  Chairman 


STAFF  MEMBERS  in  CHARGE  OF  ARRANGEMENTS 
Nathan  Loshak,  Program  Director 
JEROME  Bayer,  Director  of  Drama  Department 
Abraham  Kampf,  Director  of  Adult  Department 


•S3Ui3qj  qsiAiaf  uo  uoissajdxa  aAp 
-B3J3  §uiSBjnoDU9  Xq  BDIJ9UJV  ui  ajij  qsiAi^f  jo  juauiqDuua  aqj  oj  ajnquj 
-U03  Ol  puB  uonipBJj  jBjnjinD-oiSipJ  qsiAi^f  aqj  jo  s3jnsB9Jj  puB  X^nBaq 
3qj  qjiAi  Ä^iunujuiOD  qsiM^af  aqj  juiBnboB  oj  sadoq  i\  JJB  puB  BuiBjp  'Disnui 
jo  sppy  aqj  ui  XjjBpadsa  sjOABapua  |Bjm|nD  SuipuBdxa  sji  qjiAi  Suidaa^ 
ui  ujBjSojd  jBnsnun  siqj  paSuBJJB  jajua3  Xaiunuiuio^  qsiAvaf  aqx 

•ajqig  aqj  jo  aDuanyui 
IBjmjnD  JSBA  siqj  JO  japuiuiaj  juBDyiuSis  jnq  *jsapoui  b  sjajyo  jajua^  aqj 
*sjuaAa  pajBjaj  jo  jaquinu  b  qSnojqx  -suoumusui  snoiSi|3J  JOj  stft  ibuou 
ounj  JO  uiBiuop  aqj  uiqjiAi  sb  w^/a  sb  apisjno  anjj  si  siqx  '^^^^  aAijBajJ 
aqj  JO  juauinyinj  jBajS  joj  suoisia  ppiX  oj  puB  Bipaui  ijb  ui  sjsujb  jo  suou 
-buiSbuii  aqj  jojod  puB  ua>|3inb  oj  saAjas  ups  puB  paAjas  jaAa  sBq  aiqig 
aqj  *a]doad  qsiMaf  aqj  jo  sniuaS  aAUBajo  aqj  jo  uoissaadxa  auiaidn^ 


\ 


» 


T    KJ 


niAYmS  U?CH  EABTH" 


or 


"UNTC  TKE  LCRD  A  NEl^f  SONG" 


by 


Jercme  Bayer 


.  /^ 


(There  is  darkness.  Cut  of  darlcness  comes  a  quiet  ^^rooding 
music.  Then  fade-in  of  a  spot  reveals  The  Poet  and  the  Girl 
seated  side  by  side  on  stairs  in  front  of  dovm  center.  He 
is  mtensely  absorbed  in  thcught.  She  looks  at  him,  smiling 
warraly:) 


GIRL 


A  dime  for  yoiir  dreaia,  prof? 


P 


CET  (starting) 


Huh? 


TOf? 


GIRL 


Uh  huh,     Meaning  prophet. 


POET 


Hc.Hardly  that.     Still,  I-I  teil  you  it's  true.     Again  and 
again  and  again  I  hear  it.    With  the  inward  ear  of  fancy. 
That  sarae  mighty  and  conpelling  voice — 

(A  roll  of  t^TOpani,   as  from  a  distance,   and  then  against  it:) 

i'lAICER'S  VGICE 

In  the  time  of  beginning, 

upon  earth, 

I,  the  Creator,  made  in  mine  own  image 

Han» 

Yea,  in  mine  own  image  I  created  hdm, 

Thus  granting  hijn  to  share 

in  my  power 

And  to  be  a  creator  also» 

And  behold  him  now,— 

this  maker  upon  earth,— 

how  miserably  he  has  neglected 

and  abused  the  gift. 

The  Poet 


Yes,   and  how  he— 


Girl 


Now  waitl    I  don't  get  this  i    v/hy,   the  world's  chock  füll 

of  -oainters  and  poets  and  composers  and  inventors fuller 

than  ever  bef ore  1    Not  everyone's  a  genius Not  everyone 

can  even  daubl    And  whose  fault  is  that? 

The  i oet 

You  think  creation  is  a  special  grant,  as  profeBSion  or  pastime, 
for  the  favored  few?  Cr  the  isolated  pursuit  of  an  unl^empt 
Bohemia?  Cr  a  therapeutic  hobby? 

The  Maker 's  Voice 

I,  the  haker,  endowed  man  with  creativity,  as  a  ^^y  of  living, 
as  a  quality  of  experience,  as  avenue  to  greatest  fullliiment. 
And  all  have  it;  though  unequally  all  have  the  gift.  And 
behold  how  most  have  failed  tc  use  it;  nay,  are  even  deal 
to  its  presence  wLthin  them« 


T    K) 


•     • 


\  • 


4 


Page  2. 


Poet 

And  why?    m^    Because  those— <start  of  an  oily  little 
111t  on  a  clarinet)— well,  here  they  are,  — that's  their 
theme  tune  —  let  them  purr  and  coo  for  themselves.     The 
Civilizers  —  those  solicitous  sirens  that  permeate  the 
earth  — -  indef atigable  agents  of  bait  and  bribe  l 

(Two  sirens  enter  with  insinuating  galt  to  clarinet«  s 
oily  lilt,     Then  they  speak  rhythmicälly,  with 
synchronized,   formalized  movements:) 

1:     Uh— uhtihl 

2 »     Uh— uhuh  J 

li     Gh,  darling,  don't  dare 
to  yield  to  your  flair  l 

2j  VJhy,  my  dear,   folks'll  jeerl 

1:  They' 11  call  you  queerl 

2:  And  beware  that  fainily  frovjnl 

1:  They' 11  think  you're  an  arty  clownl 

2:  Oh,  donH  tempt  the  Imagination  i 

1:  Avoid  all  risk  of  creationl 

1:  Why,  once  you  start  letting  go, 

2  t  Oh,  my  dear,  you  never  knowl 

It    l'ftiy,  to  strive  for  creative  effulgence 
is  the  rankest  self-indulgence  l 

2l  Let  furriners  be  creative 

ll  You  be  a  sensible  nativeU 

2i  Dtn't  heed  what  scmo  folks  sayl 

1?  Being  different  just  doesn't  payl 

2i  "Conform,  Conform",  says  your  Deity,  dearl 

1:  Avüid  all  spontaneity,  dear, 

2»     Come,  now,  strengthen  your  nerve  i 
Don't  yield  to  the  vice  of  vervel 

ll  Let  what  you  do 

2:  Be  not  of  you, 

1:  Nor  really  new 

2:  But  the  tried  and  true, 

1:  Cr  if  it's  new, 

2:  What  millions  do  — 

1:  Then  those  who  view 
the  things  you  do 

2:  Will  cling  to  you, 
Hy  dear,  like  gluel 

1,2:  Oh 

Just  move 
In  the  groove 
In  the  groove 
In  the  groove 


• 


4 


Page  3i 


1,2:  (Continued) 
Just  move 
In  the  groove 
And  prove 
That  you^ve 
Found  the  groove 
They  approve» 

Now-—  -  — 

1 :    VJhy  do  Gen  and  Jimmy  rate? 

2:     Because,  my  sweet,  they  Imitate l 

1:     What's  the  ideal,  since  all  are  brothers? 

22     Avoid  what's  different;  be  just  like  others  l 

1,2;     Everybody's  doing  it, 

doing  it, 

dcdng  itp 

doing  it» 
1:     Everybody's  doing,  brewing,   chewing,  gluing,  ruing, 
shoeing,  stewing,  strewing,  viewing 

1,2:     The  utterly  seifsame,  and  absolutely  identical  Itj 

(A  long,  sigh  of  relief ,   and  then) 
2:     Oh,  do  what's  being  done,  my  dear. 


1: 


ünanimity's  such  fun,  my  dearl 

2:     Witness  the  Oscars  that  |^llie  and  H»wfearn, 
by  living  true  to  the  populär  pattern. 

1:     Don't  be  different,  dear,  it's  sloppyl 
Be  a  well-groomed  carbon  copyl 

2t     Be  au  courant:     Read  what's  read 
in  every  subway,  bus  and  bed  1 

1»     Quote  each  new  learned  plirase  l 

2l     You'll  be  cultured,  dear,   a  crazel 

It     You're  longing  to  belong? 
Then  sing  each  latest  songl 

Ij     Ride  furiüus,  yes  and  far 
In  a  long,  low,  yellow  carl 

1,2:    We  guarantee  you'll  tlirive 

Cn  that  world-wide  Ditto  Drive  l 

(Blackout  of  spot  cn  two  sirens) 

Poet 

Dear  Gcd,  dear  God  I    Your  child  of  creationl    Starched  of 
soul  now.     Frozen!    Frozen  into  a  low  relief  on  fhe  ad-smeared 
wailing  wall  of  life.     Wisdcm  impacted  l    Air-conditioned  against 
heat  of  creationl    Perma-plastic  smile  of  public  relations, 
enamelled  with  delight  over  products  and  prospects  i    Deep  freeze 
of  the  schola's  dusty  mind  l    Congealed  executive  soul: 
proud  pattern  of  pigeonhöles  and  appointments  l    Granite  frown 
and  gown  of  the  benchl    Manual  of  arms,  legs,  minds  l    liechanized 
peacel    Desk-side  manners J    Stencilled  bann er s  I     Iced  customl 
Spiced  cliche  l    And  ever  and  ever  and  ever  the  copy  of  the 

rieprint  of  the  reproduction  of  the  Imitation  of  the ^ 

(with  disgust)  Ughl    The  ever-widening  vistas  of  mass  sedationl 
World-wide  lullaby  that  puri^es  cur  urges  i    To  this— to  this 
have  sunk  the  creatively  blest  of  earthl 

(A  moment  of  charged  silence.     And  then:) 


# 


# 


Page  h. 


Girl 

(with  trcubled  seriousness) 

Yes,  I— I  know.  I  know  now  vjhat  you  mean— that  is,  the 
negative  part,  at  any  rate,  But  the  positive  - —  well, 
what  really  is  creaticn?  The  finished  fruit,  of  course, 
I  know.  ßut  the  experience,  the  process  —  me  actually 
creating  —  what  would  it  be  like?? 

The  Poet 

Well,  —  when  you  hunger  for  food,  you  act  upon  the  urge 
to  bring  what*s  outside  you  into  yourself.  And  thereby 
you  are  sated.  When  you  create,  you  act  upon  the  urge  to 
bring  yourself  to  what's  outside  you:  —  such  a  vision 
you  distill  out  of  all  the  essential  elements  of  your  being, 
that  acting  to  realize  that  vision  in  and  through  the  stuff 
of  earth,  gives  you  a  sense  of  consummate  aliveness,  a 
fulfilling  experience  of  yorrself. 


The  girl 


But  how  can  one  — -? 


The  i'oet 


VJaitt»»    (A  far  away,  germinal  music  of  creation  begins) 
Listen—  (For  a  mciaent  they  listen  intently.  Then,  in  a 
Spot,  a  group  of  dancers  appears,  one  being  the  creating 
dancer,  the  others  being  elements  within  her) 


The  i'oet 


Lookl 


(Ardthen,  as  Voices  speak  against  the  music,  the  dancers 
describe  in  abstract  movement  what  is  spoken) 

Malcer's  Voice 

In  the  beginning  there  is  impulse i 

The  i'oet 

The  mind's  screen  throbs  with  a  kaleidoscope  of  Images,   f eelings  1 
VJhirling,   clashing,  swirling,  dashing,   twirling,   flashing, 
hurling,   crashingl 

(Imsic  swells  to  great  povier  for  a  moment  as  the  dancers 
ccntinue.     Then  dovm  again) 

loet 

Ah,  yes,  yes  —  clearer  now^  clearer  l 

Closer,  ever  closerl  And  now  •—  kaleidoscope  emerges  as 

a  Vision  l 

Creating  Dancer 

Yes,  this  has  it,   this  vision,   forged  out  of  the  essentials 

of  my  being,     This  to  which  the  whole  of  me  shouts  "YeaJ" 

liy  special  dissonance  and  resolve  l 

iiy  very  own  cry  of  cdors, 

xTofile  of  melüdy  that  is  mine,  mine  l 

iiasses  and  lines  that  say  yea  to  me,  yea  l 

And  my  be-it-ever-so  humble,  mumble,   jumble,  my,  my  rhythmic 

beat;  me  in  lines,  colors,  masses,  tones  and  living  words — 

all  saying  me  to  me; 

Poet 


Something  that*s  new 
Since  essentially  you l 


\ 


• 


# 


Page  5« 


Maker's  Voice 

And  the  Vision  formed  is  a  throbbing  blueprint  clamoring 
for  palpable  beingl 

Creating  Dancer 

So  vividly  real  to  me. 

So  compelling  l 

I  see  it,  hear  it,  pulse  it, 

Feel  it  with  all  of  me, 

\Jith  pounding  blood, 

iJith  vibrant  nerves, 

IJith  tensing  muscles,  ,      .  -u^^iH^nfr     rarvinß, 

Vath  my  uhole  moving,   shaping,  -^|-!:.^5Xina"r7afe'lir 

coloring,  uttering  body:—  and  eartn,         aui  u, 

and  clay  and  stone  —  obey  comand  of  my  action,  take  firom 

me  their  shape;     fron  me  their  life.     The  Visioto,_  ^^ 

Affirmation  of  r,iy  füll,  my  sovefeign  seif,  becoming  quickenea 

Stilf  f  of  earth,  sings  out  myself 

cries  aloud  ^  amJ 

(There  be^ins  now  frora  offstage  a  celebrational 
Chorus  of  creation  with  the  opening  Kords  of  Genesis) 

Poet  (against  the  music) 

A  thing  of  beauty  she  created in  her  ovm  image  she 

creatS  it.     And  she  looks  on  what  she  has  made  and  behold 
it  is  very  good» 

Creating  Dancer 

And  shall  not  this  which  to  me  says  Yea,  speak  clearly 
a^welito  my  brothers?     Strangeness  for  a  tme  there  m^ 
Jej  Sr  that  Which  is  so  much  of  me,  must  ^«  ^f/  °^.  JJf;;„ 
Yet  the  bond  of  commcn  meaning  is  there.     And  to  my  hrothers 
ifwiS  c^mej  and  coming  it  shall  for  me  perfect  what  xs  so 
greSly  good:--to  Icnow  that  what  in  high  joy  is  given  forth 
shall  be  in  joy  received. 


(Fade-out  of  spot  on  dancers. 
rises  in  volume  for  a  raaaent- 
Then:) 

The  Girl 


Chorus  of  Creation 
—then  sloMly  fades  out» 


(ouietly,  sincerely  moved)     Yes,  I-I  understand  now.     And 
I  tMnk  i  have  the  feeling  of  it,  too....  But  still,— 


Poet 


Still  what? 


Girl 


Ljeii if  creation  was  intended  as  a  way  of  living,   as 

a  auality  of  exoerü^e  for  all,   and  not  merely  as  a 
LSf ifsymphonies  and  statuea  and  pictures  and  poems- 
what' s  it  like  elsewhere?     :lhat  does  it  do£ 

Poet 

Let's   iourney  to  an  earlier  time,  nearer  to  the  great 
ägimSr^hen  the  S'oirit  of  man  was  simpler  and  more 
suSJ^rstiU  unseduced  by  those  solicitous  sirens  of 
cur  time -itill  untcuched  by  the  menacing  squint  of  the 
stlcSer  for  facti  still  hospitable  to  the  fructifyxng 
'sJibSs  whrch  a  vital  fancy  yields.     In  such  tjme  there 
stood  no  wall  austerely  firm  betueen  creatin&  and  the 
res?  o?  iS,  between  artist  and  the  man.     ^verywhere, 
Som  ?he  trembling  tl^ad  of  intimacy  ^f  f^f  ^^f  ^J° 
+h*>  michtv  embrace  of  worlds,   everywhere  the  image  ana 

Z  kiSlL    deed  of  creation.  J^-^-^?  «^SHollSo 
for  a  moment  alonej  then  as  background  for  the  followmg.^ 


t  U    } 


# 


• 


Page  6, 


The  ilaker's  voice 


Is  it  not  given  man  to  create  in  another  the  face  of  love? 
(The  sound  cf  a  flute:) 

(Fade-in  of  spot  reveals  a  young  girl,  the  Beloved  of 
the  Seng  of  Songs^  seated  alcne  facing  DR)t  (She 
speaks  in  a  tender  love-sick  revery) 

Girl 

Let  him  kiss  me  x-jith  the  kisses  of  his  mouth, —  for  thy 
love  is  better  than  wine«  Thine  ointments  have  a  goodly 
fragrance;  thy  naine  is  as  ointment  poured  fortht»«»!  am 
a  rose  of  Sharon,  a  lily  of  the  Valleys.  As  an  apple  tree 
among  the  trees  of  the  wood,  so  is  my  beloved  among  the  sons» 
ünder  his  shadow  I  delighted  to  sit  and  his  fruit  was  sweet 
to  my  taste« •»  My  beloved  had  turned  away,  and  was  gone» 

I  sought  him,  but  I  could  not  find  him.  I  called  him,  but 
he  gave  me  no  ansvrer.  I  adjure  you,  0  daughters  of  Jerusalem, 
if  ye  find  my  beloved,  teil  ye  him  that  I  am  love-sick» 

(Pause.  Then  The  Lover,  still  unseen,  sings  as  from  afar:) 

The  Lover  (s inging) 
Behold,  thou  art  fair,  my  love* 

Beloved 
Harkl  My  beloved  l  Behold,  he  comethl 


The  Lover: 


^  ..i.^--'^^-^/*'^^-V 


Behold,   thou  are  fairj  thine  eyes  are  as  doves  behind  thy 
veilj   thy  hair  is  as  a  fleck  of  goats.     How  fair  is  thy  love, 
my  sister,  my  bride  l    How  much  better  is  thy  love  than  wine, 
tad  the  smell  of  thine  ointments  than  all  manner  of  spices  I 

(He  enters,  half-kneels  behind  her,  at  Jier  side,  his 
arm  around  her.     He  speaks) 

The  Lover 

Eise  up,  my  love,  my  fair  one,   and  come  away« 

For,  lo,   the  winter  is  past, 

The  rain  is  over  and  gone, 

The  time  of  singing  is  come. 

And  the  voice  of  the  turtle  is  heard  in  o\ir  land« 

(Rising  and  helping  her  to  rise) 
Arise,  my  love,  my  fair  one,  and  come  away« 

(As  they  walk  slowly,   arm  in  arm,  toward  their 
Exit,  to  the  continued  sound  of  the  flute:) 

The  liaker*s  Voice 

In  the  beginning  was  the  lover — 

And  out  of  the  wholeness  of  his  being 

hxingering 

Game  the  tJ-'ö.nded  Image  of  lover 

and  beloved: 

And  the  deed  creative, 

luickening  that  dmage  to  fulfillment: 

The  caressing  touch, 

The  confessing  sigh, 

The  tender  strength  of  embrace 

yieldöd 

A  new  human>— ^ 

the  beloved  lifted  to  her  dawn 

of  aliveness, 

the  illumined  smile 

the  answering  he art 

' '  '•*  ^-  the  melting  hunger. 


t    KJ   O 


j 


• 


• 


Page  7# 


the  lover's 

fulfilling  sense  of  seif 

in  another, 

fruit  of  Creative  love. 

(During  these  last  four  lines,  the  lovers  cease 
Walking  and  turn  to  face  each  other  tenderly«) 

(Then  fade-out  of  spot  on  lovers,  then  the  -'oet  and 
the  Girl  at  his  side,  whc  have  been  absorbed  in 
tliis  enactment  from  the  Song  of  Songs,  tum  slowly 
to  face  each  other  with  tender  understanding  and 
take  each  other  *s  hands#) 

The  Girl 

Yes,.»  But  how  often  in  life  can  one  reach  her  Song  of 
SongsV  How  often  attain  creative  love?  ^erhaps  once. 

The  I oet 

Has  not  the  heart  its  hierarchjjr?  And  creation  too? 
There  are  levels.     Dare  to  like  people — really  like  thern* 
Make  the  creative  most  out  of  any  human  urge,   however  modest, 
toward  another,     Give  onesself  to  friendliness  beyond  the 
meager  amenities  of  Howdy  and  Hi,  beyond  the  brittle  wisecrack, 
and  the  loud-jawed  fellcwship  of  RotaryJ    Is  the  seif  sunk 
so  deep,  so  sickly/SßlB  seif,   that  the  fulfilling  warmth  of 
creative  fellowship  is  all  but  lost?     (music) 

lialcer's  Voice 

Hearken  ye,  C  hearkenJ    Was  it  not  given  you  out  of  Mankind 
to  create  humanity?     Attend  once  again  to  the  ancient  voice 
of  friendly  devot ion,     (The  sound  of  a  flute.     And  fade-in 
of  spot  reveals  Naomi  standing  wLth  Ruth  at  her  left,  Orpah 
at  her  right«) 

Naomi 

(With  her  hands  touching  their  inner  elbow  and  looking 
altemately  at  one  and  the  other.) 

Go,  return  each  to  her  Hother's  house:  the  LGRD  deal 
kindly  with  you,as  ye  have  dealt  with  the  dead,  and  with  me. 
The  Lord  grant  you  that  ye  may  find  rest,  each  of  you  in  the 
house  of  her  husband.  (Naomi  kisses  Crpah  on  her  left  cheek; 
Crpah  Covers  her  face  in  weeping.  Naomi  then  kisses  Ruth 
on  her  right  cheek  and  Ruth  Covers  her  face  in  weepinc«) 
(Then  Orpah  turns  round  slowly  to  face  Naomi  and  Ruth  then 
turns  slowly  to  face  Naomi.  And  Ruth  speaks  to  Naomi.) 

Ruth 

Surely  we  will  return  with  thee  unto  thy  people. 

Naomi 

Turn  again,  my  daughters:  why  will  ye  go  with  me?  Are 
t^here  yet  any  more  sons  in  my  womb,  that  they  may  be  your 
husbands? 

(Orpah  turns,  weeping,  to  face  DtR.,  and  Ruth,  weeping,  U.L*) 

Turn  again,  my  daughters,  go  your  way:  for  I  am  too  old  to 
have  an  husband.  If  I  should  say,  I  have  hope,  if  I  should 

have  an  husband  also  to  night,  and  should  also  bear  sons; 
l'Jould  ye  tarry  for  them  tili  they  vrere  grown?  IJould  ye 
stay  for  them  from  having  husbands?  Nay,  my  daughters; 
for  it  grieveth  me  much  for  your  sakes  that  the  hand  of  the 
Lord  is  gone  out  against  me.  (Then  Crpah  turns  slowly  to 
face  Naomi,  kisses  her  on  right  cheek,  turns  to  face  D.R» 
and  Starts  to  D.U.  and  halfway  looks  back,  then  continues 
to  D.R.  exit)   (Meanwhile,  Naomi  turns  to  face  D.R.  to  look 
at  Crpah.  When  Orpah  is  gone,  Naomi  turns  to  face  Ruth, 
touches  her  and  speaks) 


f 


« 


Page  8. 


Naomi 

Behold,   thy  sister  in  law  is  gone  back  unto  her  peoplfi , 
and  unto  her  gods:     return  thou  after  thy  sister  in  law» 

(Ruth  turns  to  face  Naomi) 

Ruth 

Intreat  me  not  to  leave  theet.»  (Naomi  then  turns  to 
face  D,R»  and  takes  three  steps  io  D.R#  and  Ruth 
continuefe  speakingt)  or  to  retufn  frm   following  after 
thee:  for  whither  thou  goest,  I  will  goj  and  where  thou 
lodgest,  I  will  lodge:  thy  people  shall  be  my  peoplß, 
and  thy  God  my  God:  VJhere  thou  diest,  will  I  die,  and 
there  will  I  be  buried:  the  Lord  do  so  to  me,  and  more 
also,  if  ought  but  death  part  thee  and  me, 

(Naomi  turns  to  face  Ruth  and  crosses  to  her.  They 
then  both  face  D.L,  and  cross  together  to  D.L.  exit«) 

Girl  (as  -^^uth  and  Nacni  exeimt) 

How  good  and  how  pleasant  it  is  for  brethren  to  dwell 
together  in  unity*  The  fullness  of  creative  fellowship##t 


Poet 


Yes. 


Girl 


How  unspoilt,  how  beautifully  waiin  and  alive  that  little 
World  must  have  been» 

Poet 

Yet  rampant  with  evil  tco.     Dcn't  forget  that,     But 
m^n  er  ose  who  created  against  the  evil# 

Girl 


Prophets,  yes«## 


Poet 


VJith  mighty  accents  of  wrath,  and  the  kindled  Images  of 

Vision  i  4ftl  that  a  prophet  was 

all  the  elements  of  his  being 

united  in  a  flaming  impuls© 

to  voice  denouncement 

of  evil 

and  a  pictured  promise  to 

live  by» 

And  the  vision  born  of  righteous  fury 

became  in  the  uttered  word 

a  creation, 

carrying  the  force  of  truth 

to  mankind» 

(The  roll  of  a  tympani  suggesting  thunder,  as  the 
lights  fade  out.  In  the  dark  sounds  of  an  impetuous, 
insistent  call  of  shofarim  from  a  distance  played 
high  on  French  hornSf  Then  as  the  tympani  roll  continues, 
the  fade-in  of  a  spot  reveals  a  bearded  prophet  standing 
on  an  elevation,  in  an  attitude  of  intent  listening. 
An  impressive  godly  voice  is  heard  from  offstage:) 

Godly  Voice  (wrathfully) 

Gry  aloud,  spare  not  1 

Lift  up  thy  voice  like  a  trumpet 

and  Show  my  people  their  transgression  l 

(Again  a  call  of  shofarim,  this  time  of  füll  and 
compelling  strength»  Then;) 


• 


# 


Page  9# 


Prophet 

Come  near,  ye  nations  to  hearj 

(Fade-in  of  another  spot  at  sane  distance  fi^om  the 
Prophet  revea3.s  The  People,   a  grou^^  in  close  formation 
listening  closelyO 

And  hearken,  ye  people: 

let  the  earth  hear 

and  all  that  is  therein? 

for  the  Indignation  of  the  Lord  iö  upcn  all  nations, 

One  of  the  i'eople   (Looking  tov/ard  the  sky, 

angrily  pr  otesting) 

Wherefore  have  we  fasted  and  ThoU  seeest  not? 

Another  of  the  Peoplß 

VJherefore  have  we  afflicted  our  Soul  and  thou  takest 
no  loiowledge'^ 

All  the  People  (overlapping) 

If/herefore?    Wherefore?    Wherefore? 

Gcdly  Vcice 

Behold,  in  the  day  of  your  fast 

Ye  find  pleasure  ] 

Ye  fast  for  strife  and  debate 

And  to  smite  with  the  fist  of  x^ickedness  1 

Is  it  such  a  fast  that  I  have  chosen 

a  day  for  a  man  to  af flict  his  souli 

Is  not  THIS  the  fast  I  have  chosen? 

To  loose  the  bands  of  wickedness, 

to  undo  the  heavy  biirdens, 

and  to  let  the  oppressed  go  free? 

Is  it  not  to  deal  thy  bread  to  the  hungry? 

And  that  thou  bring  the  poor  that  are  cast  out  to  thy  house? 

VJhen  thou  seeest  the  naked  that  thou  cover  him  and  that 

thou  hide  not  thyself  fron  thine  own  fleeh?  What  mean  ye, 

that  ye  beat  my  people  to  pieces  and  grind  the  faces  of 

the  poor? 

(The  peopie  turn  aside,  their  heads  bowed  wth 
a  sense  of  guilt) 

VJoe  unto  them  that  decree  unrighteous  decrees,  to  take 
the  right  from  the  poor  of  my  people,  that  widows  may 
be  their  pr  ^y  and  that  they  may  rob  the  fatherless# 

(The  bodies  of  the  People  with  bowed  heads  sink  lower) 

Prophet 

Your  iniquities  have  separated  between  you  and  your  God 
and  your  sins  have  hid  his  face  from  you  that  he  will  not 
hear«  For  your  hands  are  defiled  with  blocd  and  your 
finsers  with  iniquity. 

(The  People,  as  though  being  weighed  downward 
by  the  sheer  force  of  castigation,  lower  their 
bodies  tili  they  lie  prostrate,) 

Your  lips  have  spoken  lies,  your  tongue  hath  muttered 
perverseness,  None  calleth  for  justice,  nor  any  pleadeth 
for  truth» 

(A  brooding  music  idth  the  overlay  of  an  unrelenting 
beat  upon  the  tym^^ani,  suggesting  self-castigation, 
After  a  few  measures  the  People  lift  their  heads  slowly, 
looking  upward,  and  the  music  is  reduoed  in  volume, 
Then  they  speak  with  a  deep  feeling  of  remorse  and 
self-contempt) 


# 


# 


Page  lOi 


One  of  The  Peoplß 


Oh,  that  thou  wouldest  rend  the  heavens;  that  thou 
wouldest  come  down  that  the  mountains  might  flow  down 
at  thfy  presence,  tc  make  thy  name  known  to  thine 
advers ari es  i  For  we  have  sinned,  ^^'e  are  all  as  ^ 
unclean  thing,  and  all  our  righteousnesses  are^as  filthy 
racsi  and  vre  de  lade  as  a  leaf,  and  our  iniquities, 
like  the  wind,  have  taken  us  away« 

(The  music  now  becomes  a  plaintive  melcdy  on  an 
unacccMpanied  flute,  serving  as  background  for 
the  following:) 

Cne  of  the  Teople  (in  a  gentle  child-like 

manner) 

But  noi'T,  C  Lord,  thou  art  our  fatherj  we  are  the  clay 
and  thou  our  potter;  and  we  are  all  the  werk  of  thy  hand. 

Cne  of  The  People  (in  a  tenderly  pleading 
poignant  manner  with  corresponding  gestures) 

Be  not  wroth  very  sore.  0  Lord,  neither  remeniber  iniquity 
forever;  behold;,  see,  we  beseech  theej  we  are  all  thy 
people. 

(Quiet  music  of  deep  coiipassiun,  After  a  few  measures, 
it  if-  reiucad  in  volume,  becoming  the  background  for 
the  follox^ingi) 

Godly  Voice 

Comfort  ye,  comfort  ye,  my  oeople.  The  voice  of  him  that 
crieth  in  the  wilderness,— «prepare  ye  the  way  of  the  Lordi 
Lift  up  thy  voice  with  strength;  lift  it  upj  be  not  afraidj 
speik  unto  the  eitles  of  '-^udah. 


(iiusic  swells  for 


e 


•ao.-...  ^v.^-^^  ^^.  a  moment,  as  the  Prophet  slowly 
,:xtends  his  arms  toward  the  x^eople.  Then  it  decreases 
in  volume  as  background  for:) 

i^rophet 

Arise,  shine^  for  thy  light  is  come,  and  the  glory  of  the 
Lord  is  risen  upon  thee.  For  behold,  the  darkness  shall 
Cover  the  earth;  and  gross  darlmess,  the  people;  but  the 
Lord  shall  arise  upon  thee,  and  his  glory  shall  be  seen 
upon  thee.  He  shall  feed  his  floclp  like  a  shepherd; 
he  shall  gather  the  lambs  with  his  arm,  and  carry  them  in 
his  boscm  and  shall  gently  lead  those  that  are  with  young^ 

(The  music  is  now  faint.  Against  it  is  heard  a  shofar, 
first  far  away,  then  closer  and  closer,  as  the  music 
under  it  swells.  Then  the  music  ceases  except  for 
tympani  roll  as  background  fors 

Prophet 

And  he  shall  judge  smong  the  nations,  and  shall  rebuke 
many  oeople;  and  they  shall  beat  their  swords  into 
Dlowshares  and  their  spears  into  pruning  hooks;  naticn 
shall  not  lift  up  sword  against  nation;  neither  shall  there 
be  war  any  more. 

(A  few  powerful  definitive  strokes  on  tympani.  Then 
a  moment  of  silence.  Then  the  tenderly  beautiful 
sound  of  a  flute,  which  after  a  few  measures  beccmes 
background  for  the  following:) 

Voice  Ol  a  Young  Gril 
(among  the  People) 

How  beautiful  upon  the  mountains  are  the  feet  of  him  that 
bringeth  good  tidings;  that  publisheth  peace;  that  saith 
unto  Zion,  thy  God  reigneth. 


n  1 


# 


♦ 


Page  11 • 


Prophet 


Break  forth  into  joy,  sing  to-ether,  ye  waste  places 
of  Jerusalem;  for  the  Lord  hath  comforted  his  peoidej 

(An  oxf-stage  chorus  siiigs  the  following  words 
exultantly.     As  they  do  so,  the  People  on  sta^e 
break  into  a  group  dance  of  joyo\is  celebration» ; 

Chorus  (singing) 

The  Lord  hath  made  bare  his  holy  arm  in  the  eyes  of  all 
the  nations.  And  all  the  ends  of  the  earth  shall  see  the 
salvation  of  oiir  God, 

(The  singing  is  repeated  as  from  a  great  distance, 
serving  as  background  for  the  following:) 

The  Girl 
(still  rapb  by  the  scene) 

For  ye  shall  go   out  with  joy  and  be  led  f urth  with  peace; 
the  mountains  and  the  hills  shall  break  forth  before  you 
into  singing» 

(The  singing  rises  to  f\ill  volume  to  accompany  the 
X  eople  in  an  e:cultant  dance  processional  to  which 
they  exit.  The  spot  on  the  irophet  fades  out, 
The  Girl  and  The  halber  stand  alone  in  a  spot  upstage 
center) 

Girl  (still  deeply  absorbed  in 

what  she  has  heard) 

The  mighty  Isaiahr— those  vast  and  thundering  and  compassionate 
phrases,  You  took  me  right  into  the  living  wholeness  of 
wcrds  that  glcw  and  sing  in  the  i.iind— and  scmehow,  I— well, 
I  feel  freer,  quickened.  I  wonder— will  I  ever  again  let 
my  heart  ^ark  time  to  the  tick-tock  tunes  of  standardized 
living'.'  Will  ever  af^ain  I  let  nyself  be  frozen  to  fonnula? 
Ch,  what  courase  it  takes  to  keep  onels  head  above  the 
tainted  waters  of  our  time.... Isaiah» s  God — why  have  I 
lost  him?  V/hy  is  my  heart  barren  of  meditation?  Why 
have  the  words  of  my  mouth  shrunlc  to  mindless  mutteringV 


Is 


Poet 

Ycu  have  lost  only  what  you  failed  to  create  anew. 
this  not  also  the  meaning  of  the  Creator  that  made 
heaven  and  earth? 

Halcer's  Voice 

Who  can  embrace,  nay  touch  the  hem  of  the  infinite 
and  eternal  that  is  I?  And  therefore,  have  I  not  given 
it  to  each  upon  earth,  ever  to  create  afresh  his  vast 
yet  modest  version  of  my  being?  To  enliven  hallowed 
forms  and  figures  with  the  flame  of  his  imagining,  guided 
ever  by  the  hand  of  new  enlightenment  I  have  granted?..» 
And  that  which  he  thus  creates  shall  be  his  god.  And 
it  shall  live  not  in  the  blinded  eye  of  the  listless,  nor 
in  the  frozen  epithet,  nor  in  limp  obedience  to  the  past. 
The  book  is  not'  kindled,  where  the  reader  is  without 
the  quickening  light.  God  lives  for  you  etemally  each 
time,  and  only  then,  that  the  wholeness  of  your  being 
forges  him  afresh. 

The  Poet 

To  quiet  the  heart  tili  you  hear  within  you  the  vast 
eternal  music  of  silence,  tili  you  Image  the  intimations 
of  infinity.  To  make  the  universe  at  home  within  you: 
the  wholeness  of  good  and  of  beauty,  all  values  and 
Visions.  To  feel  the  richness  and  the  might  of  the  total 
within  you,  tili  it  become  part,  deeply  part  of  the  very 
texture  of  your  being,  having  the  special  color  and  the 


♦ 


Maker  x 


Page  12«.  • 

tone  that  is  you*  And  then— then,  in  the  high  moment 
of  utter  release,  to  create,  in  your  gesture  of  adoration^ 
in  your  burning  syllables  of  living  prayer,  in  the 
ascending  chant  of  your  exultation,  in  your  consecration 
anew  of  life»s  füll  agenda  of  little  deeds  and  duties:— 
thus  to  cx^eate  your  god,  your  own  versiv,n  of  the  living 
god  within  you.  And  the  hallowed  words  upon  the  ancient 
page  shall  glow  afresh,  shall  sing  in  the  mind,  shall  bear 
the  voice  and  the  special  accent  of  your  being* 

Girl 
(rising  slowly  frcm  the  ground) 

Gcd,  dear  God, 

hear  me, 

hear  the  words  of  my  mouth:-- 

Qut  of  the  Vinowing  of  fulfillment, 

I  shall  exult  in  the  goodness,  the  beauty 

and  the  power, 

Ohf   earth,  sing, 

and  dance,  ycu  muuntains 

and  you  rivers 

and  you  peoplesj 

f  or  G^  is 

and  the  universe  is  good  t 

(There  is  the  sound  of  a  girl  singing  a  free 
rapt,  wordless  spontaneous  nelody.  Cne  by  one 
other  voices  are  added,  each  bearing  its  own 
special  quality»  Gradually,  the  total  becomes  a 
contrapuntal  tapestry  of  individual  creative 
utterances  harmonized» ) 

i^oet 
(against  the  music,  now  reduced  in  volume) 

How  wondrously  rieh, 
how  raoturous,  when  free, 
is  the  heart  of  each  creator  upon  earth« 
How  well  shall  the  melcdies  of  the  makers  blend.  And 
God,  who  created  man  in  his  own  Image,  shall  bless  all 
that  men  create  in  theirs.  There  shall  yet  come  a  day 
when  these  words  shall  be  upon  the  mcuntains:-— 
Ch,  makers  cn  earth,  I  fcrmed  you  out  of  the  dust  and 
breathed  into  your  nostrils  the  breath  of  life.  I 
behold  a  new  radiance  upon  your  tired  and  tormented  little 
earth,  I  come  to  you  now,  as  never  before,— my  collea{::ues 
in  creation» 

(As  the  light  rises  upon  the  earth,  the  i  oet  and 
the  Girl  walk  in  simple  pride  toward  the  Chorus 
of  Creation,  which  swells  now  to  great  power  as 
the  curtains  close«) 


t-- 


"IIAICERS  UPCH  BARTH" 


or 


"UNTC  T?IE  LCRD  A  mJ  SCNG" 


■■\ 


Jercme  Bayer 


(There  is  darkness.     Cut  of  darlcness  comes  a  quiet  brooding 
music.     Then  fade-in  of  a  spot  reveals  The  Poet  and  the  Girl 
seated  side  by  side  on  stairs  in  front  of  doirm  center»     He 
is  intensely  absorbed  in  thcught.     She  looks  at  him,  smiling 
warmly: )  ^ 

GIRL  ^ 

A  dime  for  your  dreaia,  prof? 


POET  (starting) 


Huh? 


'rof? 


GIRL 


Uh  huh.     lleaning  prophet. 


'  9^-^.1 


POET 


Wo*.,Hardly  that,    ^till,   I-^S-^ell  you  it's  true.^gain  and 
again  and  again  I  hear  it.  *With  the  inw^d  ear  of  f^cy« 
That  sarne  mighty  and  compelling  voice — ^>^ 


y {k  roll  of  tyirrpani,   as  from  a  distance,   and  then  against  itt)  ^ 


%yCL^LmYM.^S  VOICE 

,>^In  the  time  of  beginning, 
upon  earth, 

I,  the  Creator,  made-in  mine  own  image 
Han. 

Yea,  in  mine  own  iinage  I  created*hiin, 
Thus  granting  hto  tc  share 
in  my  power  ,^^^_^ 

And  to  be  a  creator  also^"^ 
And  behold  him  now,— 
this  maker  upon  earth, — 
how  miserably  he  has  neglected 
and  abused  the  gift. 

V  The  loet 


/ 


Yes,   and  how  he— 


Girl 


Now  waitl    I  don't  get  this  i    IJhy,   the  world^s  chock  füll 
of  painters  and  poets  and  composers  and  inventors — -fuller 
than  ever  bef ore  J    Not  everyone's  a  genius-— Not  everyone 
can  even  daubl    And  whose  fault  is  that? 

The  i  oet 

You  think  creati^n  is  a  special  grant,   as  profession  or  pastime, 
for  the  favored  few?     Or  the  isolated  pursuit  of  an  unlcempt 
Bohemia?    Cr  a  therapeutic  hobby? 


#  The  Haker 's  Voice 

^Q^  the  liaker,  endox^ed  man 
/as  a  quality  of  experience 
And  alljjggye  itj   though 


with  creativitjO^as  a  way  of  living/^ 
tT^s  avenue.to^reatest  fulfillment. 
iQfiäii^ly  allA'Jaave  the  gift.     And 


behold  now  mos t  have  failed^^juw^ 
to  its  presence  wLthin  themV^^ 


aJ^Joave  the  gift.     And 
^itYnay,   are*  even  deaf 


v 


Jw 


y 


y" 


^X 


"--.. 


_-r '' 


öAnd  why?    VJhy^^ecause  thos^^start  ofan  oily  little 
S«ilt  on  a  cla^KIt )— well^SQ«*^  they  areV—that's  J^h^ir 

^    theme  tune  — •  let  them  purr  and  coo  for  -ohemselvesT^^he  M^o 
Civüizers  —  those  solicitous  sirens  that  perme^e>iiQ^^ 
earth  — -  indefatigable  agents  of  bait  and  bribe|/ 

(Two  sirens ^nter  with  insinuating  galt  to  clarinet^s 
oily  lilt.  ^Then  they  spea^hythmically,  with 
synchronized,   formalized  mdvements:) 

1:     Uh— uhuhl 

2  t     Uh— uhuhl 

It     Ch,  darling,  don^t  dare 
to  yield  to  your  flairl 

2t  Why,  my  dearj   folks'll  jeerl 

It  They' 11  call  you  queerl 

2:  And  beware  that  family  frovjnl 

1:  They' 11  think  you're  an  arty  clownl 

2:  Oh,  donH  tempt  the  imagination  i 

1:  Avoid  all  risk  of  creationl 

1:  l^Thy,  once  you  start  letting  go, 

2:  Oh,  my  dear,  you  never  knowl 

It     Why,   tc  strive  for  creative  effulgence 

is  the  rankest  self-indulgence  \  (       y.       ^      -^  /  * 

2:  Let  furriners  be  creative 


1^ 


It     You  be  a  sensible  nativell 


^iUL^<rf\ 


2: 


Dcn't  heed  what  some  folks  sayl       ^^Y^^if^^<-<i^ 


/%My  ^'lo*^ 


^^^^^^-^Jfcy   ^^OcUjf^^^ 


,  c 


2: 


1:  Avcdd  all  spontaneity,  dear. 


2, 


li 


'• 


1« 
2: 

1: 


Being  different  just  doesn't  payl      ,^^_  ,,, 

Come,  novj,  strengthen  your  nerve  1      (X^  ?  07\  a^  ^  f^^     yJ 
Don't  yield  to  the  vice  of  verve  l       -^r^  ify\^  ^  L^^,^ 

Let  what  you  dp  ^  i#  O  cZIjM^ 

Be  not  of  you, 

Nor  really  new 

But  the  tried  and  true, 

Cr  if  it's  new, 


2:  What  millions  do  — 

1:  Then  those  who  view 
the  things  you  do 

2:  Will  cling  to  you, 
Hy  dear,  like  glue l 

1,2:  Oh • 

Just  move 
In  the  groove 
In  the  groove 
In  the  groove 


,  -Ü..,., ^'^^. lA_i »■- 


-*'   -ty  -  -  


1,2:  (Continued) 
Just  move 
In  the  groove 
And  prove 
That  you've 
Found  the  groove 
They  approve» 

Nojj-—  -— 

1 :     Hhy  do  Gen  and  Jimmy  rate? 

2:     Because,  my  sweet,  tifey  mitate  l 

1:     What's  the  ideal,   since  all  are  brothers? 

2i     Avoid  what's  differentj  be  just  like  others  l 

1,2:     Everybody's  doing  it, 

doing  it, 
doing  itf 
doing  it. 

li     Everybody^s  doing,  brewing,   chewing,  gluing,  ruing, 
shoeing,  stewing,  strewing,  viewing 

1,2:     The  utterly  |elfsame,   and  absolutely  identical  Itl 

(A  long,  sigh  of  relief,   and  then) 

2  t     Oh,  do  what's  being  done,  my  dear, 

li     Unanimity's  such  fun,  my  dear  l  .  // 

2  s     Witness  the  Oscars  that  -^iLllie  and  tlnB^socn, 
by  living  true  to  the  populär  pattern« 

It     Don't  be  different,  dear,   it's  sloppyi 
Be  a  well-groomedj>wflE^n  copyl 

2t     Be  au  courantt     Read  what's  read 
in  every  subway,  bus  and  bed  I 

It     Quote  each  new  Igayiigi  phr^se  l 

2t     You'll  be  cultured,  dear,   a  crazel 

It     You're  longing  to  belong? 
Then  sing  each  latest  songl 

It     Ride  furious,  yes  and  far 
In  a  long,  low,  yellow  carl 

1,2:  We  guarantee  you'll  thrive 

Cn  that  world-wide  Ditto  Drive  l 

(Blackout^f  spot  cn  two  sirens) 

tDear  Gcd,  dear  God  1    YcuSq^hild  of  creationl    Starched  of 
Soul  now.     Frozen  1,   ^ozen  into  a  low  relief  on  fhe  ad-smeared 
wailing  wall  of  iff^^döfisdcm  impactedj/'Air-conditioned  against 
heat  of  creation  r^erma-plastic  smile  of  public  relations, 
enamelled  with  delight  over  products  and  prospects^  Deep  freeze 
of  the  schola's  dusty  mind  l   ^ongealed  Executive  soul: 

x^proud  pattern  of  pigeonhöles  ahd  appbintments  l)>  Granite  frown 
and  gown  of  the  bench l'<^anual  of  arms,  legs,  minds  l    Mechanized 
peace  l    Desk-side  manners J    Stencilled  bann er s  I    Iced  customl 
Spiced  cliche 1    And  ever  and  ever  and  ever  the  copy  of  the 
•  reprint  of  the  reproduction  of  the  Imitation  of  the  — -  — - 
(with  disgust)  Ughl    The  ever-widening  vistas  of  mass  sedationj 
World-wide  lullaby  that  pur^^es  cur  urges !    To  this— to  this 
have  sunk  the  creatively  blest  of  earthl 

(A  moment  of  charged  silence»     And  then:) 


<;aaS^<t^ 


Girl 

(with  trcubled  seriousness) 

Yes,  I — I  know.   I  know  now  vftiat   you  mean— that  is,  the 
negative  part,  at  any  rate,  But  the  positive  —  -  well, 
what  really  is  creaticn?  The  finished  fruit,  of  course, 
1  know.  ßut  the  experience,  the  process  -—  me  actually 
creating  -—  what  would  it  be  like?? 

The  Poet 

Well,   —  when  you  hung^ei^or  food,  you  act  upon  the  urge 
to  bring  what's  outside  you  into  yourself.     And  thereby 
you  are  sated.     When  you  create,   you  act  upon  the  urge  to 
bring  yourself  to  what*s  outside  you:     -—  such  a  vision 
you  distill  out  of  all  the  essential  elements  of  your  being, 
that  acting  to  realize  that  vision  in  and  through  the  stuff 
of  earth,  gives  you  a  sense  of  consummate  aliveness,  a 
fulfilling  experience  of  yonrself» 


The  girl 


But  how  can  cne  — -? 


The  1^0  et 


Wait#.»         (a  far  away,  germinal  music  of  creation  begins) 
Listen—     (For  a  maaent  they  listen  intently,     Then,   in  a 
spot,   a  group  of  dancers  appears,   one  being  the  creating 
dancer,  the  others  being  elements  within  her) 


The  I'oet 


Lookl 


(Ardthen,   as  Voices  speak  against  the  music,   the  dancers 
describe  in  abstract  movement  what  is  spoken) 

Malcer's  Voice 
In  the  beginning  there  is  imiDulse  i 

The  i'oet 

The  mind's  screen  throbs  with  a  kaleidoscope  of  Images,   f eelings  I 
XThirling,   clashing,  swirling,  dashing,   twirling,  flashing, 
hurling,   crashLngl 

(i'iusic  swells  to  great  power  for  a  moment  as  the  dancers 
ccntinue.     Then  down  again) 

A  oet 

Ah,  yes,  yes  —  clearer  now,  clearer  I 

Closer,  ever  closerl    And  now  •—  kaleidoscope  emerges  as 

a  Vision  l 

Creating  Dancer 

Yes,  this  has  it,  this  vision,  forged  out  of  the  essentials 

of  my  being,  This  to  which  the  whole  of  me  shouts  "YeaJ" 

Ily  special  dissonance  and  resolve  l 

iiy  very  own  cry  of  cdors, 

I  rofile  of  melody  that  is  mine,  mine  l 

Hasses  and  lines  that  say  yea  to  me,  yea  l 

And  my  be-it-ever-so  humble,  mumble,  jumble,  my,  my  rhythmic 

beatj  me  in  lines,  colors,  masses,  tones  and  living  words 

all  saying  me  to  me; 

Poet 


Something  that 's  new 
Since  essentially  youl 


Maker's  Voice 

And  the  vision  formed  is  a  tbrobbing  blueprint  clamoring 
f or  palpable  being  l 

Creating  Dancer 

So  vividly  real  to  me. 

So  compelling  1 

I  see  it,  hear  it,  pulse  it,  * 

Feel  it  with  all  of  me, 

VJith  pounding  blood, 

Hith  vibrant  nerves,    w 

liith  tensing  muscles, 

V/ith  my  whole  raoving,  shaping,  singing,  building,  carving, 

coloring,  uttering  body: —  and  earth,— —  diunb,  inanimate  air 

and  clay  and  stone  —  obey  command  of  my  actionj  take  from 

me  their  shape;  frcm  me  their  life«  The  Vision^ - 

Affirmation  of  r.iy  fiill,  my  sovefeign  seif,  becommg  quickened 

stüff  of  earth,  sings  out  myself 

cries  aloud  I  ami 

(There  becjins  now  from  offstage  a  celebrational 
Chorus  of  creation  with  the  opening  words  of  Genesis) 


? 


oet  (against  the  music) 


A  thing  of  beauty  she  created in  her  own  image  she 

created  it.  And  she  looks  on  what  she  has  made  and  behold 
it  is  very  good. 

Creating  Dancer 

And  shall  not  this  which  to  me  says  Yea,  speak  clearly 
as  well  to  my  brothers?  Strangeness  for  a  time  there  may 
be;  for  that  which  is  so  much  of  me,  must  be  less  of  them« 
Yet  the  bond  of  commcn  meaning  is  there.  And  to  my  brothers 
it  will  come;  and  Coming  it  shall  for  me  perfect  what  is  so 
greatly  good: — to  know  that  vjhat  in  high  joy  is  given  forth 
shall  be  in  joy  received« 


(Fade-out  of  Spot  on  dancers« 
rises  in  volume  for  a  moment- 
Then:) 

The  Girl 


Chorus  of  Creation 
—then  slowly  fades  out» 


(Quietly,  sincerely  moved)  Yes,  I — I  understand  now.  And 
I  think  I  have  the  feeling  of  it,  too....  But  still,— 


Poet 


Still  what? 


Girl 

^•Jell— if  creation  was  intended  as  a  way  of  living,  as 
a  quality  of  ex-perience  for  all,  and  not  merely  as  a 
means  to  symphonies  and  statues  and  pictures  and  poems--^ 
what's  it  like  elsewhere?  '/hat  does  it  do? 

Poet 

Let's  journey  to  an  earlier  time,  nearer  to  the  great 
beginning,  when  the  s^irit  of  man  was  simpler  and  more 
supplej  still  unseduced  by  those  solicitous  sirens  of 
our  time;  still  untouched  by  the  menacing  squint  of  the 
stickler  for  lactj  still  hospitable  to  the  fructifying 
Symbols  which  a  vital  fancy  yields.  In  such  time  there 
stood  no  wall  austerely  firm  betv/een  creating  and  the 
rest  of  life,  between  artist  and  the  man.  J-verywhere, 
from  the  trembling  tliread  of  intimacy  between  humans  to 
the  mighty  embrace  of  worlds,  everywhere  the  image  and 
the  kindling  deed  of  creation.  (tenderly  ethereal  chords, 
for  a  laoment  alorej  then  as  background  for  the  followingO 


TSTSSüssr' 


^ 


The  i laker 's  voice 
Is  it  not  given  man  to  create  in  another  the  face  of  love? 
(The  sound  cf  a  flute:) 

(Fade-in  of  spot  reveals  a  young  girl,  the  Beloved  of 
the  Seng  of  Songs;  seated  alone  facing  DR)t  (She 
speaks  in  a  tender  love-sick  revery) 


\ 


Girl 


Let  him  kiss  me  with  the  kieses  of  his  mouth, —  for  thy 
love  is  better  than  wine,     Thine  ointments  have  a  goodly 
fragrance;  thy  name  is  as  ointment  poured  forth,».»!  am 
a  rose  of  Sharon,   a  lily  of  the  Valleys,     As  an  apple  tree 
among  the  trees  of  the  wood,  so  is  my  beloved  among  the  sons, 
Under  his  shadow  ^  delighted  to  sit  and  his  fruit  was  sweet 
to  my  taste« ••  My  beloved  had  turned  away,   and  was  gone» 

I  sought  him,  but  I  could  not  find  him.     I  called  him,  but 
he  gave  me  no  answer»     I  adjure  you,  0  daughters  of  Jerusalem^ 
if  ye  find  my  beloved,  teil  ye  him  that  I  am  love-MckT" 


(Pause,     Then  The  Lover/  still  unseen,^,>itigs  as  from  afar 


/ 


/ 


The 


lejiovör^  (einging ) 


Behold,  thou  art  f^ir^  my  love, 


<^ 


Beloved 
Harkl/My  beloved  l    Behold,  he  comethlj^ 

The  Lover: 


Behold,   thou  ar^fairj  thine  eyes  are  as  doves  behind  thy 
veil;   thy  hairTs  as  a  fleck  of  goats,     How  fair  is  thy  love, 
my  sister,  my  bride  l     How  much  better  is  thy  love  than  wine, 
änd  the  smell  of  thine  ointments  than  all  manner  of  spices ) 

(He  enters,  half-kneels  behind  her,  at  ^er  side,  his 
ami  around  her«     He  speaks) 

The  Lover 

Rise  up,  my  love,  my  fair  one,  and  come  awayt 

For,  lo,  the  winter  is  past, 

The  rain  is  over  and  gone, 

The  time  of  singing  is  come. 

And  the  voice  of  the  turtle  is  heard  in  oixr  land. 

(Rising  and  helping  her  to  rise) 
Arise,  my  love,  my  fair  one,  and  come  away« 

(As  they  walk  slowly,  arm  in  arm,  toward  their 
Exit,  to  the  contlnued  sound  of  the  flute:) 

The  liaker's  Voice 

In  the  beginning  was  the  lover — - 

And  out  of  the  wholeness  of  his  being 

hungering 

Game  the  bl-*e.nded  image  of  lover 

and  beloved t 

And  the  deed  creative, 

Quickening  that  dmage  to  fulfillment: 

The  caressing  touch, 

The  confessing  sigh, 

The  tender  strength  of  embrace 

yielded 

A  new  human,-— 

the  beloved  lifted  to  her  dawn 

of  aliveness, 

the  illumined  smile 

the  answering  he art 

* '  '"^  ^*  the  melting  hunger^ 


/ 


the  lover's 

rulfilling  sense  of  seif 

in  another, 

fruit  of  Creative  love. 

(During  these  last  four  lines,  the  lovers  cease 
Walking  and  tum  to  face  each  other  tenderly*; 

(Tlien  fade-out  of  spot  on  lovers,  then  the  x  oet  and 
the  Girl  at  his  side,  who  have  been  absorbed  in 
this  enactment  fi-om  the  Song  of  Songs,  tum  slowly 
to  face  each  other  with  tender  understanding  and 
take  each  other 's  hands#) 

The  Girl 

Yes,.*  But  how  often  in  life  can  one  reach  her  Song  of 
SongsV  How  often  attain  creative  love?  ^'erhaps  once. 

The  i'oet 

Has  not  the  heart  its  hierarchj^?  And  creation  too? 
There  are  levels.     Dare  to  like  people — really  like  thenit 
Make  the  creative  most  out  of  any  human  urge,  hcwever  modest, 
toward  another,     Give  onesself  to  friendliness  beyond  the 
meager  amenities  of  Howdy  and  Hi,  beyond  the  brittle  wisecrack, 
and  the  loud-jawed  felloirship  of  Rotaryi    Is  the  seif  sunk 
so  deep,  so  sickly/ffi!8  seif,  that  the  fulfilling  warmth  of 
creative  fellowship  is  all  but  lost?     (music) 

lialcer's  Voice 

Hearken  ye,  C  hearkeni    Was  it  not  given  you  out  of  Mankind 
to  create  humanity?     Attend  once  again  to  the  ancient  voice 
of  ftiendly  devot ion#     (The  sound  of  a  flute.     And  fade-in 
of  spot  reveals  Naomi  standing  wLth  Ruth  at  her  left,  Grpah 
at  her  right*) 

Naomi 

(With  her  hands  touching  their  inner  elbow  and  looking 
alternately  at  one  and  the  other.) 

Go,  return  each  tc  her  liother's  house:  the  LORD  deal^ 
kindly  with  you,as  ye  have  dealt  with  the  dead,  and  with  me. 
The  Lord  gi*ant  you  that  ye  may  find  rest,  each  of  you  in  the 
house  of  her  husband.  (Naomi  kisses  Crpah  on  her  left  cheek; 
Grpah  Covers  her  face  in  weeping.  Naomi  then  kisses  Ruth 
on  her  right  cheek  and  Ruth  Covers  her  face  in  weeping. ) 
(Then  Orpah  turns  round  slowly  to  face  Naomi  and  Ruth  then 
turns  slowly  to  face  Naomi.  And  Ruth  speaks  to  Naomi.) 

Ruth 

Surely  we  will  return  with  thee  unto  thy  people# 

Naomi 

Turn  again,  my  daughters:  why  will  ye  go  with  me?  Are 
there  yet  any  more  sons  in  my  womb,  that  they  may  be  your 
husbands? 

(Orpah  turns,  i^eeping,  to  face  DtR.,  and  Ruth,  vzeeping,  U.L.) 

Turn  again,  my  daughters,  go  your  way:  for  I  am  too  old  to 
have  an  husband.  If  I  should  say,  ^  have  hope,  if  I  should 

have  an  husband  also  to  night,  and  should  also  bear  sonsj 
Woiild  ye  tarry  for  them  tili  they  were  grown?  Uould  ye 
stay  for  them  frcm  having  husbands?  Nay,  my  daughters; 
for  it  grieveth  me  much  for  your  sakes  that  the  hand  of  the 
Lord  is  gone  out  against  me.  (Then  Grpah  turns  slowly  to 
face  Naaai,  kisses  her  on  right  cheek,  tiurns  to  face  D.R» 
and  Starts  to  D.R.  and  halfway  looks  back,  then  continues 
to  D.R.  exit)   (Meanwhile,  Naomi  tums  to  face  D.R,  to  look 
at  Grpah.  When  Orpah  is  gone,  Naomi  turns  to  face  Ruth, 
touches  her  and  speaks) 


<■/,'..  T  , 


Naoifd 


Behold,  thy  sister  in  law  is  gone  back  unto  her  peoplß, 
and  unto  her  gods:  return  thou  after  thy  sister  in  law. 

(Ruth  turns  to  face  Naomi) 

Ruth 

Intreat  me  not  to  leave  thee...  (Naomi  then  turns  to 
face  D*R.   and  takes  three  steps  to  D.R,  and  Ruth 
continues  speaking:)     or  to  return  fi-cn  following  after 
thee:     for  whither  thou  goest,  I  will  goj  and  where  thou 
lodgest,  I  will  lodge:     thy  people  shall  be  iny  people  , 
and  thy  God  my  God:     Where  thou  diest,  will  I  die,  and 
there  will  I  be  buried:     the  Lord  do  so  to  i.ie,  and  more 
also,  if  ought  but  death  part  thee  and  me. 

(Naomi  turns  to  face  Ruth  and  crosses  to  her,     They 
then  both  face  D.L»   and  cross  together  to  D.L,   exit*; 


Girl  (as  ^^uth  and  NaonJ.  exeunt) 


How  good  and  how  pleasant  it  is  for  brethrefto  dwell 
together  in  unity*     The  fullness  of  creative  fellowship..t 

Poet 


Yes* 


Girl 


How  unspoilt,  how  beautifully  warm  and  alive  that  little 
World  must  have  been» 


Poet 

Yet  rampant  with  evil  tco»  DcnH  forget  that, 
men  arose  who  created  against  the  evil» 

Girl 


But 


Prophets,  yes.»» 

^X^Poet 

<  VJith  mighty  accents  of  wrath,  and  the  kindled  images  of 
\  Vision  4  -Ö-l  that  a  prophet  was 

all  the  Clements  of  his  being 

united  in  a  flaming  impulse 

to  voice  denouncement 

of  evil 

and  a  s^tured  promise  to 

live  by^ 

And  the'vision  born  of  righteous  lury 

became  in  the  uttered  word 
a  creation, 

carrying  the  force  of  truth 
to  mankind»  \^ 

/frhe  roll  of  a  tympani  suggesting  thunder>  as  the 
lights  fade  out.     In  the  dark  sounds  of^an  impetuous, 
insistent  call  of  shofarim  fi-om  a  distance  played 
high  on  French  horns,     Then  as  the  tympani  roll  continues, 
the  fade-in  of  a  spot  reveals  a  bearded  prophet  standing 
on  an  elevation,  in  an  attitude  of  intent  listening. 
An  impressive  godly  voice  is  heard  from  offstage:) 


y Godly  Voic^  (wrathfully) 


Gry  aloud,  spare  not  I 
^-^t  up  thy  voice  like  a  trumpet  ^ 

show  my  people  their  transgression  l 


(Again  a/^all  of  shofar^^this  time  of  füll  and 
compel34iig  strength.    -?fienj) 


.> 


■    t 


• »  . 


•  4 


^Prqphet' 

Come  near,  ye  nations  to  hearj 

(Fade-in  of  another  spot  at  some  distance  firom  the 
Prophet  reveals  The  People,  a  groun  in  close  formation 
listening  closelyO 

And<nearken,  ye  people: 

let  TJhe  earth  hear 

and  all  that  is  thereinj  v 

for  the  Indignation  of  the  Lord  is  upon  all  nations  r> 

yMDne  of  the  ?eopl^(Looking  toward  the  sky, 
-^  angrily  protesting) 

Wherefore  have  we  fasted  and  Thou  seeest  not? 

Another  of  the  People 

VJherefore  have  we  afflicted  our  soul  and  thou  takest 
no  toowledgeV 


<0 


Wherefore? 


All  the  People  (overlapping) 
Wherefore?  Wherefore  ?V 
'^Godly  Voice 


JiW 


<üoaiy  voice 
'/ 
'  Behold,  in  the  day  of  your  fast 
Ye  find  pleasxire  J 
Ye  fast  for  strife  and  debate 
And  to  smite'  with  the  f  ist  of  x^ickedness  J 
Is  it  such  a  fast  that  I  have  chosen— 
a  day  for"a  man  to  af flict  his  soul? 
Is  not  yilS  the  fast  I  have  chosen? 
W>  To  loose  the  bands  of  wickedness, 
to  undo  the  heavy  burdens, 
and  to  let  the  oppressed  go  free? 

Is  it  not  to  deal  thy  bread  to  the  hungry?        ^,        /^ 
And  that  thou  bring  the  poor  that  are  cast  out  to  thy  house. 
Vfhen  thou  seeest  the  naked  that  thou  cover  him  and  that 
thou  hide  not  thyself  from  thine  own  fleeh?  XWhat  mean  ye^^-f  H 
that  ye  beat  my  people  to  pieces  and  grind  the  faces  of 
the  poor? 

(The  peopie  turn  aside,  their  heads  bowed  wth 
a  sense  of  guilt) 

#  V/oe  unto  them  that  decree  unrighteous  decrees,  to  take 
the  right  from  the  poor  of  my  oeople,  that  widows  m^ 
be  their  priy  and  that  they  may  rob  the  fatherless.^^. 

(The  bodies  of  the  People  with  bowed  heads  sink  lower) 

Prophet 

^^our  iniquities  have  separated  between  you  and  your  God 
^and  your  sins  have  hid  his  face  from  you  that  he  will  not 
^   hear.     For^our  hands  are  defiled  wLth  blocd  and  your 
fingers  witn  iniquity.\ 

(The  People,   as  though  being  weighed  downward 
by  the  sheer  force  of  castigation,  lower  their 
bodies  tili  they  lie  prostrate,) 

•   Your  lips  have  spoken  lies,  your  tongue  hath  muttered 
perverseness»     None  calleth  for  justice,  nor  any  pleadeth 
for  truthY\ 

Ak  brooding  music^^dth  the  overlay  of  an  unrelenting 
iDeat  upon  the  tynrpani,  sug^esting  self-castigation* 
After  a  few  measures  the  People  lift  their  heads  slowly, 
looking  upward,   and  the  music  is  reduc^  in  volume. 
Then  they  speak  with  a  deep  feeling  of  remorse  and 
self-contempt) 


wmmm 


1    at 


•<iLne  of  The  People 


that  thou  wouldest  rend  the  heavefsj   that  thou 
Guides t  come  da-7n  that  the  mountains  might  flow  doTTn 
at  tliey  prescnce,    tc  make  thy  name  Imcwn  to  thine 
advers aries  I     Foi^  we  have  sinned.     Vie  are  all  as  arx 
unclean  thing^and  all  our  righteousnesses  are  as  filthy 
rar;s^nd  vre  "de  lade  as  a  leaf,   ai^^ur  iniquities, 
like  the  wind,   have  taken  us  awayv 


(■^he  music  now  becomes  a  plaintive  melcdy  on  an 
unaccompanied  flute,  serving  as  background  for 
the  following:) 

<^Cne  of  the  i^eopl^dn  a  gentle  child-like 

manner) 

C^But  now,   C  Lord,  thou  art  our  father;  we  are  the  clay 
and  thou  our  potter;  and  we  are  all  the  worlc  of  thy  handT 

Cne  of  The  People  (in  a  tenderly  pls  ading 
poignant  manner  with  corresponding  gestures) 

^Be  not  wroth  very  sore«  e  Lord,   neither  remember  iniquity 
^orever;  behold,   see,  we  beseech  thee;  we  are  all  thy 
people. 

(Quiet  music  of  deep  cOiipassicnA 
it  is  'oeluced  in  volume,  becorrrfnf 
the  followingi) 

/uodly  Voice 

#^omfort  ye,   comfort  ye,  my  oeople^    The  voice  of  him  that 
crieth  in  the  wilderness,—"preparB  ye  the  way  of  the  Lordt 
Lift  up  thy  voice  with  streng thj^ift  it  up;  be  not  afraidj 
spe-ak  unto  the  eitles  of  ^udah^Ä 

(iiusic  sT/ells  for  a  moment,   as  the  Prophet  slowly         < 
extends  his  amis  toward  the  People.     Then  it  decreases 
in  voluine  as  background  for:) 


After  a  few  measures, 
rng  the  background  for 


<■ 


.^rophet 


C^rise,   shine:   for  thy  light  is  come,   and  the  glory  of  the 
Lord  is  risen  upon  thee^>  For  behold,   the  darkness  shall 
Cover  the  earth;   and  gross  darlmess,   the  peuplej  but  the 
Lord  shall  arise  upon  thee,   and  his  glory  shall  be  seen 

I    upon  thee.  <He  shall  feed  his  floclc  üke  a  shepherd; 
he  shall  gctlier  the  lambs  with  his  arm,   and  carry  them  in 
his  boscm  and  shall  gently  lead  those  that  are  with  young»^ 

(The  music  is  now  faint.     Against  it  is  heard  a  shofar, 
first  far  away,   then  closer  and  closer,   as  the  music 
under  it  swells.     Then  the  music  ceases  except  for 
tympani  roll  as  background  for: 

Prophet 

And  he  shall  judge  among  the  nations,  and  shall  rebuke 
^  .any  people;  and  they  shall  beat  their  swords  into 
plowshares  and  their  spears  into  pruning  hooks;  naticn 
shall  not  lift  up  sword  against  nation;  neither  shall  there 
be  war  any  more.V 

(A  few  powerful  definitive  strokes  on  tympani.  Then 
a  moment  of  silence.  ^hen  the  tenderly  beautiful 
sound  of  a  flut^  which  after  a  few  measures  becanes 
background  for  fne  following:) 

^ice  of  a  Young  Gril^ 
^among  the  People) 

How  beautiful  upon  the  mountains  are  the  feet  of  him  that 
\  bringeth  good  tidings;  that  pubj^sheth  peace;  that  saith 
unto  Zion,  thy  God  reigneth,  \  " 


^^ 


mm 


A,-  > 


^Prophet  ^ 

♦  /Break  forth  into  joy,   sing  to-ether,  ye  waste  places 
^.T?  Jerusalem;   for  the  Lord  hath  comforted  his  peüule^*^ 

(An  off-stage  chorus  siiigs  the   following  words 
exultantly.     As  they  do  so,   the  People  on  sta^e 
break  into  a  group  dance  of  joyons  celebration» ) 

Chorus  (singing) 

The  Lord  hath  made  bare  his  holy  arm  in  the  eyes  of  all 
the  nations.  And  all  the  ends  of  the  earth  shall  see  the 
salvation  of  our  God. 

(The  singing  is  repeated  as  fron  a  great  distance, 
serving  as  background  for  the  following:) 


ri 


(rhe  Girl^ 
itill  rapt  b: 


(still  rapt  by  the  scene) 


For  ye  shall  go  cut  with  joy  and  be  led  furth  with  peace; 
the  Mountains  and  the  hills  shall  break  forth  before  you 
into  singing« 

(The  singing  rises  tc  füll  volume  to  accqmpaaiy  the 
1  eople  in  an  exultant  dance  processionalybo  which 
they  exit.     The  spot  on  the  irophet  fad^  out. 
The  Girl  and  The^^i^^^stand  alone  in  a  spot  upstage 
Center) 

Girl  (still  deeply  absorbed  in 
what  she  has  heard)  . 

The  mighty  Isaiah those  vast  and  thundering  and  compassionate 

phrases,     You  took  me  right  into  the  living  wholenes^  of 
wcrds  that  glcw  and  sing  in  the  mind— and  sonehow,   I— well, 
I  leel  freer,  quickened.     I  wonder--will  I  ever  again  let 
my  heart  mark  time  to  the  tick-tock  tunes  of  standardized 
livingV     Will  ever  again  I  let  nyself  be  frozen  to  fonnula? 
Ch,  what  coura^e  it  takes  to  keep  onefe  head  above  the 
tainted  waters  of  our  time. ••  •Isaiah' s  God — why  have  I 
lost  him?     VJhy  is  my  heart  barren  of  meditation?     Why 
have  the  words  of  my  mouth  shrunk  to  mindless  mutteringV 


Poet 

Ycu  have  lost  only  what  you  failed  to  create  anew. 
this  not  also  the  meaning  of  the  Creator  that  made 
heaven  and  earth? 


Is 


.  i 


f, 


\ 


\ 


Haker 's  Voice 

Who  can  embrace,  nay  touch  the  hem  of  the  infinite 
and  eternal  that  is  I?  And  therefore,  have  I  not  given 
it  to  each  upon  earth,  ever  to  create  afresh  his  vast 
yet  modest  versiun  of  my  being?  To  enliven  hallowed 
forms  and  figures  with  the  flame  of  his  iuiagining,  guided 
ever  by  the  hand  of  new  enlightenment  I  have  granted?«.» 
And  that  which  he  thus  creates  shall  be  his  god.  And 
it  shall  live  not  in  the  blinded  eye  of  the  listless,  nor 
in  the  frozen  epithet,  nor  in  limp  obedience  to  the  past. 
The  book  is  not  kindled,  where  the  reader  is  without 
the  quickening  light.  God  lives  for  you  etemally  each 
time,^  and  only  then,  that  the  wholeness  of  your  being 
forges  him  afresh« 

The  Poet 

To  quiet  the  heart  tili  you  hear  within  you  the  vast 
eternal  music  of  silence,  tili  you  Image  the  intimations 
of  infinity.  To  make  the  universe  at  home  within  you: 
the  wholeness  of  good  and  of  beauty,  all  values  and 
Visions.  To  feel  the  richness  and  the  might  of  the  total 
within  you,  tili  it  become  part,  deeply  part  of  the  very 
texture  of  your  being,  having  the  special  color  and  the 


Maker  s 


Page  12. 

tone  that  is  you*  And  then— then,  in  the  high  moment 
of  utter  release,  to  create,  in  your  gesture  of  adoration, 
in  your  burning  syllables  of  living  prayer,  in  the 
Äscending  chant  of  your  exultation,  in  your  consecration 
anew  of  life«s  füll  agenda  of  little  deeds  and  duties:— 
thus  to  create  your  god^  your  ovrn  versiai  of  the  living 
god  within  you.  And  the  hallowed  words  upon  the  ancient 
page  shall  gloi-j  afresh,  shall  sing  in  the  mind,  shall  bear 
the  voice  and  the  special  accent  of  your  being. 

Girl 
(rising  slowly  frcm  the  ground) 

God,  dear  God, 

hear  me^ 

hear  the  words  of  my  mouth:-- 

Cut  of  the  Imowing  of  fulfillment, 

I  shall  exult  in  the  goodness,   the  beauty 

and  the  power. 

<  h,   earth,   sing, 

and  dance,   you  m^untains 

and  you  rivers 

and  you  peoplesj 

for  G^  i.s 

and  the  universe  is  good  J 

(There  is  the  sound  of  a  girl  singing  a  free 
rapt,  wordless  spontaneous  melody.  Cne  by  one 
other  voiceo  are  added,  each  bearing  its  own 
special  quality^  Gradually,  the  total  becoiiies  a 
contrapuntal  tapestry  of  individual  creative 
utterances  harmonized« ) 


/ 


I 


(afai 


i^oet 


nst^  the  music,   now  reduced  in  volui 


^ 


x^) 


How  wondrously  rieh, 

how  rapturous,  when  free, 

is  the  heart  of  each  creator  upon  earth« 

How  well  shall  the  melodies  of  the  makers  blend.  And 

Gcd,  who  created  man  in  his  own  iinage,  shall  bloss  all 

that  men  create  in  theirs.  There  shall  yet  come  a  day 

when  these  words  shall  be  upon  the  mcuntains:-— 

Ch,  makers  on  earth,  I  fcrmed  you  out  of  the  dust  and 

breathed  into  your  nostrils  the  breath  of  life.  I 

behold  a  new  radiance  upon  your  tired  and  tormented  little 

earth.  I  come  to  you  now,  as  never  before,-- — my  collea^ues 
in  creation« 

(As  the  light  rises  upon  the  earth,  the  f oet  and 
the  Girl  walk  in  simple  pride  toward  the  Chorus 
of  Creation,  which  swells  now  to  great  power  as 
the  curtains  close«) 


^ 


i    •  /, 


ü 


% 


''«iMnA 


MÄJCERS  I3P0N  BARTH 


"a  modom  vision  for  tho  stago 


v'vdr.  J     ' 


X 


^y- 


JEROT^  BAYER 


m^^ 


^pff-VS^"^"^""         ♦  '  * 


■-r-,,,.         , 


y 


» 


t. 


*J 


'%  ■   V 


'%IAKERS  UPOK  EAETH" 
-by- 
Jeronie  Bayer 

^^Halvers  Upon  Barth"  ^  by  Jerome  Bayer,   served  as  the  climax  of  a  six-weeks 
festival  conducted  by  the  Jev/ish  Conmi-anj-ty  Center  of  Baltinore  on  "The  Bible  as  a 
Creative  Influence."     It  was  presented  tliree  times  by  the  Drairiatic  '/Jorkshop  oi  the 
Center,  under  the  directicn  of  the  author,  who  is  head  of  the  Institution* s  Drania 
Departiient.     The  liorkshcp  had  al.ready  had  tc  its  credit  the  Baltimore  premiere  of 
such  works  as  Garcia  Lorca* s  "Blood  IJedding,"     Meliere 's  "The  Learned  Ladies," 
Stark  Young's  nei:  ver.sion  of  "Uncle  Vanya, "  Suf:;ene  C'Neill  iiemorial  Festival   (first 
in  U.S.A.)^    the  V^orld  of  Sholeri  Aleicha-a,  G.  E.   Shat^'s  "How  He  Lied  To  Her  Ilusband," 
etc*,    etc»,   etc. 

"iiakers  Upon  ILarth"  was  received  at  all  three  Performances  with  unanimous 
enthusiasiu  by  audiences  that  represented  a  cross-sectioD  of  the  entire  coiniiiunity,   not 
excludinr-  many  university  professors  and  students,   clergynen,   teachers,  doctors, 
lawyers,    artists,   musicians,    theatre  folk«     l-Iany  came   tc  cee  it  twice. 


-»SEI 


The  work  was  presented  before  a  huge  translucent  flat,    on  which  was 
painted  an  abstract  depiction  of  creation.     By  varied  uses   of  colored  lighting 
(on  djjmiiers)  behind  it,   the  luLat  was  ablc  to  prcvide  a  wide  ranse-  of  moods  and  Cu 
Icindt  of  Visual  d^mamics« 

The  inusic,  recorded  on  tape  and  perfectly  synchronized  i^ith  the  action, 
was   a  highlight  of  the  prcxiuction»     ?or  a  nur.ber  of  episcdes,   exceipts  fron  Srnest 
Bloches  "Shelaiio"  were  used;   for  certain  scenes,   including  the  finale,    Choral  sections 
of  Bloches  macnificent  Sacred  Service;   for  the  satiric  sccne  cf  the  "sircns",   ^ 
burlesque  Version  of  a  narch  by  Paul  Bailes.     The  "dance  of  creation"   jas  done  as  a 
solo  in  ballet  style,  perfectly  synclironi2.ed  with  the  sooken  vjords,   against  a  nood 
background  draim  from  Puavel^s  "Daplmis   and  CliLoe"  Suite  !r2.     Chants  sung  and  plaj^'ed 
on  a  flute  for  the  "Song  of  Songs"  episode  were  coiiiposed  by  the  author. 


I 


Jeroriie  Bayer 
The  liadison 
817  St.  Paul  St. 
Baltimore  2,  M. 


• 


# 


"MAIvERS  UPON  EARTH" 


or 


"UNTC  TKE  LCRD  A  NSU  SCNG" 


by 


Jerane  Bayer 


(There  is  darloiess.     Cut  of  darlmess  comes  a  quiet  brooding 
music.     Then  fade-in  of  a  spot  reveals  The  ^^V^J;^®  ^^^ 
seated  side  by  side  on  stairs  in  flront  of  ^mm  mnfrffr    He 
is  intensely  absorbed  in  thcught*     She  looks  at  him,  smiling 
warmlyO 

GIRL 


A  diine  for  your  dreaia,  prof? 


P 


GET  (starting) 


Huh? 


TOf? 


GIRL 


Uh  huh,     Ifeaning  prophet» 


^^. 


Wc.Hardly  that*     Still/il— I  teil  you  it^s  true.     Again  and 
again  and  again  I  hear  it,     With  the  inward  ear  of  fancy. 
That  saiiie  mighty  and  compelling  voice — 

(A  roll  of  tympani,   as  from  a  distance,   and  then  against  it:) 
^  ^^  Jt^y®^^  VGICE 

In  the  tine  of  beginning, 

upon  earth, 

I,  the  Creator,  made  in  mine  own  Image 

Han* 

Yea,  in  mine  own  iiniage  I  created  him, 
Thus  granting  him  to  share 
in  jny^power 

And  to  be  a  creator  also. 
C^oJJL^  And  behold  him  now,— 
g       this  maker  upon  earth,— 
•       how  miserably  he  has  neglected 
and  abused  the  gift« 

The  ioet 


Yes,  and  how  he— 


Girl 


Now  waitl    I  don't  get  this  I    IThy,   the  world's  chock  füll 
of  painters  and  poets  and  composers  and  inventors— füller 
than  ever  bef ore  J    Not  everyone's  a  genius-— Not  everyone 
can  even  daubl    And  whose  fault  is  that? 

The  i  oet 

You  think  creati^n  is  a  special  grant,   as  profession  or  pastime, 
for  the  favored  few?     Cr  the  isolated  pursuit  of  an  unlcempt 
Bohemia?    Cr  a  therapeutic  hobby? 


The^ 


Voice 


I,  the  iiaker,  endowed  man  with  creativity,   as  a  way  of  living, 
as  a  quality  of  experience,   as  avenue  to  greatest  fulfillment. 
And  all  have  it;   though  unequally^all  have  the  gift.     And 
behold  how  most  have  f ailed  tc  use  it;  nay,   are  even  deaf 
to  its  presence  idthin  them« 


# 


# 


Page  2# 


Poet 


And  why?    VJhy?     Becaiise  those-^start  of  an  aily  little 
lilt  on  a  clarinet)^ell,  here^they  are,  <^hat«s  their 
theme  tune^-  let  them  purr  and  coo  for  thei^elves,     The 
Civilizer^ —  those  solicitous  sirens  that  permeate  the 
earth  — •  indef atigable  agents  of  bait  and  bribe  t 


r%^^^ 


1 
2 


i^oLuJi  ^ 


(Two-si^5nsö^^fi%r  with  insinuating  galt  to  clarinet^s 
oily  lilt,  -^Then  they  speak  rhythmically,  with 
synchronized,   formalized  movements:)  S   ^^/vi^/^e^;  — 

Uh— 2huh  \ 

Uh— uhuh  1 

Gh,  darling,  don't  dare 
to  yield  to  your  flairl 

Why,  my  dear^    folks*ll  jeerJ 

They' 11  call  you  queeri 

And  beware  that  family  froiml 

They' 11  think  you're  an  arty  clownl 

Oh,  don't  tempt  the  Imagination  I 

Avoid  all  risk  of  creationi 

Why,  once  you  start  letting  go, 

Ch,  my  dear,  you  never  know  I 

Why,  to  strive  for  creative  effulgence 
is  the  rankest  self-indulgence  \ 

Let  furrinors  be  creative 

You  be  a  sensible  nativeU 

Dtn't  heed  ^rhat  romo  folkf?  sayl 

Being  different  just  doesn't  payl 

"Conform,  Conform",  says  your  Deity,  dearl 

Avoid  all  spontaneity,  dear, 


2»     Come,  now,  strengthen  your  nerve  1 
Don't  yield  to  the  vice  of  vervel 

li  Let  what  you  do 

2:  Be  not  of  you, 

1:  Nor  really  new 

2:  But  the  tried  and  true, 

Is  Cr  if  it's  new, 

2:  What  millions  do  — 

1:  Then  those  who  view 
the  things  you  do 

2:  Will  cling  to  you, 
Hy  dear,  like  glue  1 

1,2:  Oh • 

Just  move 
In  the  groove 
In  the  groove 
In  the  groove 


1 
2 


# 


Page  3» 


1,2:  (Continued) 
Just  move 
In  the  groove 
And  prove 
That  you*ve 
Found  the  groove 
They  approve» 

Nojj-—  -  — 

\\    VJhy  do  Gen  and  Jimmy  rate? 

2:  Because,  my  sweet,  they  Imitate l 

1:  What's  the  ideal,  since  all  are  brothers?  ^ 

2:  Avoid  what's  different;  be  just  like  others  l 

1,2:  Everybody's  doing  it, 

dcing  it, 

doing  it| 

düing  it» 
1:  Everybody's  doing,  brewing,  chewing,  gluing,  ruing, 
shoeing,  stewing,  strewing,  viewing 

1,2:  The  utterly  seifsame,  and  absolutely  identical  ItJ 


2: 
1: 


2: 


1: 


(A  long,  sigh  of  ^e^i©^*   andthen) 
Oh, '^iy^M^^s^eaSg^  dear,    / 

Unanimity's  such  fun,  my  dear  l 

/A  >^^ 

Witness  the  Oscars  that  {i|Lllie  and  n»' 
by  living  true  to  the  populär  pattern« 

Don't  be  different,  dear,   it's  sloppyi 
Be  a  well-groomed  carbon  copyl  ^  ^  doj^^l 

<   H's  so 


arn. 


2:     Be  au  courant:     Read  what's  read 
in  every  subway,  bus  and  bed  l 

1:     Quote  each  new  learned  plirase  l 


2:     You'll  be  cultured,  dear,   a  crazel 

1:     You're  longing  to  belong? 
Then  sing  each  latest  songl 

1:     Ride  furious,  yes  and  far 
In  a  long,  low,  yellow  aar  1 

1,2:     We  guarantee  you'll  tlirive 

(Blackout  of  spot  In  two  sirens) 

Poet 

Dear  God,  dear  God !    Ycur  child  of  creationi    Starched  of 
soul  now.     Frozen!    Frozen  into  a  low  relief  on  fhe  ad-smeared 
wailing  wall  of  life,     Wisdcm  impacted  l    Air-conditioned  against 
heat  of  creationl    Perma-plastic  smile  of  public  relations, 
enamelled  with  delight  over  products  and  prospects  J    Deep  freeze 
of  the  schola'^  dusty  mind  l    Congealed  executive  soul: 
proud  pattern  of  ^igeonhöles  and  appointments  i    Granite  frown 
and  gowÄ^STthe  benchl    Manual  of  arms,  legs,  minds  l    llechanized 
peacel    Desk-side  manners  l    Stencilled  bann er s  I    Iced  customl 
Spiced  cliche  l    And  ever  and  ever  and  ever  the  copy  of  the 

reprint  of  the  reproduction  of  the  Imitation  of  the  

(with  disgust)  Ug'hl    The  ever-widening  vistas  of  mass  sedationj 
VJorld-wide  lullaby  that  pur^es  cur  urges  1    TotJiis-T-to  this 
have  sunk  the  creatively  blest  of  earthl        ^ 

(A  moment  of  charged  silence.     And  then:) 


/ 


Page  U» 


Girl 
(with  troubled  seriousness) 

Yes,  I— I  know.  I  know  now  *at  you  mean-^that  is,  the 
negative  part,  at  any  rate,  But  the  positive  —  well, 
what  really  is  creation?  The  finished  fruit,  of  course, 
I  know.  But  the  experience,  the  process  —  me  actually 
creating  — -  what  would  it  be  like?? 


k^' 


The  Poet 


Well,^f  —  when  you  hunger  for  food,  you  act  upon  the  urge 
to  bring  what*s  outside  you  into  yourself.     And  thereby 
you  are  sated.     VJhen  you  create,  you  act  upon  the  urge  to 
bring  yourself  to  what's  outside  you:     —  such  a  vision 
you  distill  out  of  all  the  essential  elements  of  your  being, 
that  acting  to  realize  that  vision  in  and  through  the  stuff 
of  earth,   gives  you  a  sense  of  consuinmate  aliveness,  a 
fulfilling  experience  of  yonrself. 


The  girl 


But  how  can  one  — -? 


The  Poet 


VJaitt.»         (A  far  away,  germinal  music  of  creation  begins) 
Listen-—-    (For  a  manent  they  listen  intently»     Then,   in  a 
spot,<^ay^roup  of>dancei(i^  appears,/bne  being  the  creating 
danceiv^he  othÄ'S  being  elementsSrithin  her)\ 

The  Poet 

Lookl 

(Ardthen,   as  Voices  speak  against  the  music,  the  dancei^ 
describe,  in  abstract  movement  what  is  spoken)  ^ 

<j4alcer's  VoiceN, 

In  the  beginning  there  is  impulse  l 

Ahe  Poet"^ 

The  mind's  screen  throbs  with  a  kaleidoscope  of  images,   f eelings  1 
Whirling,   clashing,  swirling,  dashing,   twirling,   flashing, 
hurling,   crashLngl 

/(nusic  swells  to  great  power  for  a  moment  as  the  dancery 
^    continue?    Then  dovm  again)  \ 

Poet 

Ah,  yes,  yes  —  clearer  now,  clearer  l 

Closer,  ever  closerl  And  now  — •  kaleidoscope  emerges  as 

a  Vision  l 

Creating  Dancer 

Yes,  this  has  it,  this  vision,   forged  out  of  the  essentials 

of  my  being.     This  to  which  the  whole  of  me  shouts  "Yfidl" 

Ily  sr)ecial  dissonance  and  resolve  l 

ily  very  own  cry  of  cdLors, 

?rof  ile  of  melody  that  is  mine,  mine  l 

Hasses  and  lines  that  say  ye£to  me,  yeÖ 

And  my  be-it-cver-so  humble,  mumble,  jumble,  my,  my  rhythmic 

beat;  me  in  lines,  colors,  masses,  tones  and  living  words— 

all  saying  me  to  me; 

Poet 

Something  that 's  new 
Since  essentially  youl 


# 


(Maker's  Voice  ^ 


Page  5« 


And  the  vision  formed  is  a  throbbing  blueprint  clamoring 
f or  palpable  being  l 

Creating  Dancer 

So  vividly  real  to  me/ 

So  compelling  1 

I  see  it,  hear  it,  pulse  it, 

Feel  it  with  all  of  me, 

Uith  pounding  blood> 

With  vibrant  nerves, 

Uith  tensing  muscles, 

VJith  my  whole  moving,   shapin^^  singing,  building,   carving, 

coloring,  uttering  body:^^^d  earth, dumb,   inaniraate  air 

and  clay  and  stone  — -  obey  command  of  my  action;  take  from 
me  their  shapej     fron  me  their  life.     The  Visiüto|- 
Affirmation  of  ray  füll,  my  sovefeign  seif,  beccmmg  quickened 
ötüff  of  earth,  sings  out  myself 
cries  aloud  I  ami 

(There  begins  now  from  offstage  a  celebrational 
Chorus  of  creation  with  the  opening  words  of  Genesis) 

Poet  (against  the  music) 

A  thing  of  beauty  she  created in  her  own  image  she 

created  it»     And  she  looks  on  what  she  has  made  and  behold 
it  is  very  good» 

Creating  Dancer 

And  shall  not  this  whichi  to  me  says  Ye^  speak  clearly 
as  well  to  my  brothers?f^ätrangeness  for  a  time  there  may 
bej  for  that  which  is  so  much  of  me,  must  be  less  of  them» 
Yet  the  bond  of  ccmmcn  meaning  is  there»     AncTTb  my  bfo^ers 
it  will  come;  and  Coming  it  shall  for  me  perfect  what  is  so 
greatly  good: — to  know  that  vrhat  in  high  joy  is  given  forth 
shall  be  in  joy  received« 


(Fade-out  of  spot  on  dancers« 
rises  in  volume  for  a  moment- 
Then : ) 

The  Girl 


Chorus  of  Creation 
—then  slowly  fades  out# 


(Quietly,  sincerely  moved)  Yes,  I— I  understand  now#  And 
I  think  I  have  the  feeling  of  it,  too».».  But  still,— 


Poet 


Still  what? 


Girl 


^7ell-^-if  creation  was  intended  as  a  way  of  living,  as 
a  quality  of  experience  for  all,  and  not  merely  as  a 
means  to  symphonies  and  statues  and  pictures  and  poems-— 
what^s  it  like  elsewhere?  IJhat  does  it  do? 

Poet 

Let's  journey  to  an  earlier  time,  nearer  to  the  great 
beginning,  when  the  spirit  of  man  was  simpler  and  more 
supple;  still  unseduced  by  those  solicitous  sirens  of 
our'  time;  still  untcuched  by  the  menacing  squint  of  the 
stickler  for  lact;  still  hospitable  to  the  fructifying 
Symbols  which  a  vital  fancy  yields.     In  such  time  there 
stood  no  wall  austerely  firm  between  creating  and  the 
rest  of  life,  between  artist  and  the  man«     i-verywhere, 
from  the  trembling  tliread  of  intimacy  between  humans  to 
the  mighty  embrace  of  worlds,   e;v'erywhere  the  image  and 
the  kindling  deed  of  creation»  utenderly  ethereal  chords,  c 
for  a  moment  alone;  then  as  bacRground  for  the  following:)\ 


V 


# 


Page  6» 

The  l4€&^'»/voice 
A 
Is  it  not  given  man  to  create  in  another  the  face  of  love? 

(The  sound  ef  a  flutet) 

(Fade-in  of  spot  reveals  a  young  ßirl,  the  Beloved  of 
the  Seng  of  Songs;  seated  alone<rac:^  DR)#  (She 
speaks  in  a  tender  love-sick  reveiryr^ 

Girl 

Let  him  kiss  me  with  the  kisses  of  his  mouth, —  for  thy 
ove  is  better  than  wine.     Thine  ointments  have  a  goodly 
fragrancej  thy  name  is  as  ointment  poured  forth,»««I  am 
a  rose  of  Sharon,   a  lüy  of  the  Valleys.     As  an  apple  tree 
ainong  the  trees  of  the  wocd,  so  is  my  beloved  among  the  sonSt 
Under  his  shadow  ^  delighted  to  sit  and  his  fruit  was  sweet 
to  my  taste «5  My  beloved  had  turned  away,   and  was  gone» 

I  sought  him,  but  I  cpuld  not  find  him.     I  called  him,  but 
he  gave  me  no  answer.^I  adjure  you,  0  daughters  of  Jerusalem, 
if  ye  find  my  beloved,  teil  ye  him  that  I  am  love-sick» 

(Pause.     Then  The  Lover,  still  unseen,  sings  as  from  afar:) 

The  Lover  (singing) 

Behold,  thou  art  fair,  my  love. 

Beloved 
Harkl  My  beloved  l  -©^dhöld,  he  comethl 

The  Lover: 

Behold,  thou  are  fair;  thine  eyes  are  as  doves  behind  thy 
veilj  thy  hair  ^  as  a  fl^^ck  of  goats.  How  fair  is  thy  love, 
my  sister,  my  bride  l  How  much  better  is  thy  love  than  wine, 
tad  the  smell  of  thine  ointments  than  all  manner  of  spices  I 

(He  enters,  half-kneels  behind  her,  at  her   side,  his 
arm  aro\md  her.  He  speaks) 

The  Lover 


Eise  up,  my  love,  my  fair  one,  and  come  awayt 

For,  lo,  the  winter  is  past, 

The  rain  is  over  and  gone, 

The  time  of  singing  is  come. 

And  the  voice  of  the  turtle  is  heard  in  our  land. 

(Rising  and  helping  her  to  rise) 
Arise,  my  love,  my  fair  one,  and  come  away« 

(As  they  v/alk  slowly,  arm  in  arm,  toward  their   ß 

the  flute  :0  2^  Xä^^L-^^ 


Sxit,  to  the  continued  s 


The 


ice 


In  the  beginning  was  the  lover — 

And  out  of  the  wholeness  of  his  being 

hungering, 

Game  the  bl-e.nded  image  of  lover 

and  beloved: 

And  the  deed  creative, 

^.uickening  that  diuage  to  fulfillment: 

The  caressing  touch, 

The  confessing  sigh, 

The  tender  strength  of  embrace 

yielded 

A  new  human,-— 

the  beloved  lifted  to  her  dawn 

of  aliveness, 

the  illumined  smile 

the  answering  he  art 

• '  '-  '*•  the  melting  hunger. 


f 


f 


Page  ?• 


the  lover's 

fulfilling  sense  of  seif 

in  another, 

fruit  of  Creative  love« 

/(During  these  last  four  lines,  the  lovers  cease 
X  Walking  and  tum  to  face  each  other  tenderiy*;  ^ 
(Tlien  fade-out  of  spot  on  lovers,  then  the  ^  oet  and 
the  Girl  at  his  side,  whc  have  been  absorbed  in 
this  enactment  fi^om  the  Song  of  Songs,  turn  slowly 
to  face  each  other  with  tender  understanding  and 
take  each  other 's  hands«) 

The  Girl 

Yes,..  But  how  often  in  life  can  one  reach  her  Song  of 
SongsV  How  often  attain  creative  love?  .erhaps  once. 

The  Toet 

Has  not  the  heart  its  hierarcW^?  And  creation  too? 
There  are  levels.     Dare  to  like  people---really  like  thaa. 
Make  the  creative  most  out  of  any  human  urge,  liowever  raodest, 
toward  another.     Give  onesself  to  friendliness  beyond  the 
meager  ainenities  of  Howdy  and  Hi,  beyond  the  brittle  wisecrack, 
and  the  loud-jawed  fellowship  of  Rotaryl    Is  the  seif  sunk 
so  deep,  so  sickly^!8  seif,   that  the  fulfillmg  waimth  of 
creative  fellowship  is  all  l^jit  lost?     (music) 

Voice 

Hearken  ye,  C  hearkenJ    Was  it  not  given  you  out  of  Mankind 
to  create  humanity?     Attend  once  again  to  the  ancient  voice 
of  fi^iendly  devotion*     (The  sound  of  a  flute.     And  f ade-in 
of  spot  reveals  Naomi  standing  \dth  Ruth  at  her  left,  Grpah 
at  her  right«) 

Naomi 

/(With  her  hands  touching  their  inner  elbow  and  looking 
^  alternately  at  one  and  the  other.  )^ 

Go,  return  each  tc  her  Ilother's  house:  the  LGRD  deal 
kindly  with  you,as  ye  have  dealt  with  the  dead,  and  with  me. 
The  Lord  grant  you  that  ye  may  find  rest,  each  of  you  in  the 
house  of  her  husband.  (Naomi  kisses  Crpah/on  her  left  cheekj^ 
Crpah  Covers  her  face  in  weeping.  Naomi  tfiön  kisses  Ruth 

<pn  her  right  cheek>nd  Ruth  covers  her  face  in  weepinc« ; 

/(Then  Orpah  turns  ^ound  slowly  to  face  Naomi  and  Ruth  then 
turns  slowly  to  face  NaomiNAnd  Ruth  speaks  to  Naomi.) 

Ruth 

Surely  we  will  return  with  thee  unto  thy  people. 

Naomi 

Turn  again,  my  daughters:     why  will  ye  go  with  me"?     Are 
there  yet  any  more  sons  in  my  womb,   that  they  may  be  your 
husbands?  a  ^ 

(Orpah  turnsf  T^e45ing,<to  face  D.R^^^and  Ruth,.^^ing,  U 

Turn  again,  my  daughters,  go  your  way:     for  I  am  too  old  to 
have  an  husband.     If  I  should  say,  I  have  hope,   if  I  should 

have  an  husband  also  to  night,   and  should  also  bear  sons,* 
Would  ye  tarry  for  them  tili  they  were  grown?    Would  ye 
stay  for  them  firom  having  husbands?     Nay,  my  daughters j 
for  it  grieveth  me  much  for  your  sakes  that  the  hand  of  the 
Lord  is  gone  out  against  me.     (Then  Crpah  ti^gns  slowly  tp 
face  Naomi,  kisses  her  A)n  right  cheek,NturnS/^^  face  D.R 

/and  Starts  to  D Jl .'ynd  TTalfway  looks  back,  then  contmu 

Tto  D.R.   exit)  Wl^nwhile,  Naomi  turns  to  face  D.R.   to  look 
at  Grpah.>wi(en  Orpah  is  gone,  Naomi  turns  to  face  Ruth, 
touches  her  and  spealcs) 


.l5> 


• 


4 


Page  8. 


NacHtii 


Behold,  thy  sister  in  law  is  gone  back  unto  her  peoplB  , 
and  unto  her  gods:  return  thou  after  thy  sister  in  law. 

(Ruth  turns  to  face  Macani) 

Ruth 

Intreat  me  not  to  leave  thee**»/t Naomi  then  turns  to 
face  D.R.  and  takes  three  stepsHo  D.R»  and  Ruth 
continues  speakingOVor  to  return  fi-cn  following  after 
thee:  for  whither  jdho\x   goest,  I  will  go;  and  where  thou 
lodgest,  I  will  lodge:  thy  people  shall  be  my  people, 
and  thy  God  my  God:  Vihere  thou  diest,  will  I  die,  and 
there  will  I  be  buried:  the  Lord  do  so  to  rae,  and  more 
also,  if  ought  but  death  part  thee  and  me. 

(Naomi  turns  to  face  Ruth  and  crosses  to  her.  <CThey   --v..^ 
then  both  face  D.L»  and  cross  together  to  D.L.  exit.)  / 

Girl  (as  ^^uth  and  WÄCni  e^^gun*^  <.jz^^Uy\_^ 

How  good  and  how  pleasant  it  is  for  brethren  to  dwell 
together  in  unity»  The  fullness  of  creative  fellowship««« 

Poet 


Yes. 


Girl 


How  \inspcilt,  how  beautifully  warm  and  alive  that  little 
World  must  have  been» 

Poet 

Yet  ranpant  with  evil  tco»     Dcn't  forget  that,     But 
men  arose  who  created  against  the  evil. 


Girl 


X-'rophets,  yes..» 


Poet 


With  mighty  accents  of  wrath,   and  the  kindled  Images  of 

Vision  i  /feil  that  a  prophet  was 

all  the  eleraents  of  his  being 

united  in  a  flaming  Impulse 

to  Vüice  denouncement 

of  evil 

and  a  pictxired  promise  to 

live  by. 

And  the  vision  born  of  righteous  fury 

became  in  the  uttered  word 

a  creation, 

carrying  the  force  of  truth 

to  mankind. 

(The  roll  of  a  tympani  suggesting  thunder,   as  the 
lights  fade  out.     In  tl^  darlc  soui^a,of  an  impetuous, 
insistent  call  of  ^dS^eiSÄ^f3^MltMitance^laye^ 
high  on  French  hornsi^  Then  as  the  tympani  i^oll  continues, 
the  fade-in  of  a  spot^eveals  a  bearded  prophet  standing 
on  an  elevation,   in  an  attitude  of  intent  listening. 
An  irapressive  godly  voice  is  heard  fron  offstage:) 

Godly  Voice  (wrathfully) 

Gry  aloud,  spare  not  1 

Lift  up  thy  voice  like  a  trumpet 

and  Show  my  people  their  transgressicn l 

(Again  a  call  of  shofariSv'this  time  of  füll  and 
compelling  sirength.     Then;) 


• 


# 


[i 


dM^ 


Page  9# 


Prophet 


Come  near,  ye  nations  to  hearj 

(Fade-in  of  another  spot  at  some  distance  fjrom  the 
Prophet  reveals  The  People,<a  group  in  close  formation> 
listening  closelyO 

And  hearken,  ye  people: 

let  the  earth  hear 

and  all  that  is  thereinj 

for  the  Indignation  of  the  Lord  is  upcn  all  nations, 

Cne  of  the  ?eople   (Looking  to^ard  the  sky, 

angrily  protesting) 

Wherefore  have  we  fasted  and  Thou  seeest  not? 

Another^  the  PeoplB^ 

VJherefore  have  we  afflicted  our  soul  and  thou  takest 
no  laiowledgeV 

Ali  the  People  (overlapping) 

Where  f or e  ?    Uhere  f ore  ?    Wherefore  ? 

Godly  Voice 

Behold,  in  the  day  of  your  fast 

Ye  find  pleasure  l 

Ye  fast  for  strife  and  debate 

And  to  smite  with  the  f ist  of  wickedness  1 

Is  it  such  a  fast  that  I  have  chosen 

a  day  for  a  man  to  af flict  his  soul? 

Is  not  HJIS  the  fast  I  have  chosen?' 

To  loose  the  bands  of  wickedness, 

to  undü  the  heavy  biirdens, 

and  to  let  the  oppressed  go  free? 

Is  it  not  to  deal  thy  bread  to  the  hungry? 

And  that  thou  bring  the  poor  that  are  cast  out  to  thy  house? 

When  thou  seeest  the  naked  that  thou  cover  him  and  that 

thou  hide  not  thyself  from  thine  own  fleeh?  What  mean  ye, 

that  ye  beat  my  people  to  pieces  and  grind  the  faces  of 

the  poor? 

(The  peopie  turn  aside,  their  heads  bcwed  Wth 
a  sense  of  guilt) 

Woe  unto  them  that  decree  unrighteous  decrees,  to  take 
the  right  from  the  poor  of  my  people,  that  widovjs  may 
be  their  pr*«y  and  that  they  may  rob  the  fatherless. 

(The  bcdies  of  the  People  with  bowed  heads  sink  lower) 

Prophet 

Your  iniquities  have  separated  between  you  and  your  God 
and  your  sins  have  hid  his  face  from  yov  that  he  will  not 
hear.  For  yo\ir  hands  are  defiled  idth  blo^d  and  your 
fingers  with  iniquity« 

(The  People,  as  though  being  weighed  downward 
by  the  sheer  force  of  castigation,  lower  their 
bodies  tili  they  lie  prostrate,) 

Your  lips  have  spoken  lies,  your  tongue  hath  muttered 
perverseness,  None  calleth  for  justice,  nor  any  pleadeth 
for  truth« 

(A  brooding  music  Tdth  the  overlay  of  an  unrelenting 
beat  upon  the  tympani,  suggesting  seif -castigation* 
After  a  few  measures  the  People  lift  their  heads  slowly, 
looking  upward,/4nd  the  music  is  redxiced  in  volume,"^ 
Then  they  speak  with  a  deep  feeling  of  remorse  and 
self-contempt) 


# 


♦ 


Page  10# 


< 


One  of  The  People 


Oh,  that  thou  wouldest  rend  the  heavens;  that  thou 
wouldest  come  da-rn  that  the  mountains  might  flow  down 
at  tliey  presence,  tc  make  thy  name  Icnown  to  thine 
advers aries  i  For  wa  have  sinned.  ^^'e  are  all  as  an^ 
unclean  thing,  and  all  cur  righteousnesses  are  as  filthy 
raGSl  and  we  de  i^ade  as  a  leaf,  and  our  iniquities, 
liice  the  wind,  have  talcen  us  away»  \^ 

(The  music  now  becomes.  a  plaintive  melody  on  an 
iinacccMpanied  flute yserving. as  background  for 


tb 


f  lute  j/servmg .  i 


Cne  of  the  People  (in  a  gentle  child-like 

manner) 

But  noi'/,  0  Lord,  thou  art  our  fatherj  we  are  the  clay 
and  thou  our  potter;  and  we  are  all  the  work  of  thy  hand. 


/^ 


Be  not 

forever; 

people. 


Cne  of  The  People  (in  a  tenderly  pleading 
poignant  manner  with  corresponding  gestures) 

.- vei^or'eT'*-  Lord,  neither  remember  iniquity 
hold,  see,  we  beseech  theej  we  are  all  thy 


<^' 


(Quiet  music  of  deep  coupassic^n. /After  a  few  measures, 
it  is  reducad  in  volume,  becomirig  the  background  for 
the  followinsi)^' 

Godly  Voice 


Comfort  ye,  comfort  ye,  my  oeople.  The  voice  of  him  that 
crieth  in  the  wilderness,— prepare  ye  the  way  of  the  Lord, 
Lift  up  thy  voice  with  strength,-  lift  it  upj  be  not  afraidj 
speik  unto  the  eitles  of  '^udah. 


/Ari 


(iiusic  si/ells  for  a  nomerit,   as  the  Prophet  slowly 
'extends  his  arms  toward  the  x^^ple.  <^Then  it  decreases 
in  volume  as  background  for:)S 

i^rophet 


X  Arise,  shine;  for  thy  light  is  cone,  and  the  glory  of  the 
%  Lord  is  risen  upon  thee.  For  behold,  the  darkness  shall 
'  Cover  the  earth;  and  gross  darlaiess,  the  people;  but  the 
Lord  shall  arise  upon  thee,  and  his  glory  shall  be  seen 
upon  thee.  He  shall  feecThis  floclf  like  a  shepherd; 
he  shall  gcther  the  lambs  with  his  arm,  and  carry  them  in 
his  bosom  and  shall  gently  lead  those  that  are  with  young, 

(The  music  is  nowi  fajAt.  Against  it  is  heard  a  shofar, 
first  far  away,  xhen  closer  and  closer,  as  the  music 
under  it  swells . ^<^Then  the  music  ceases  except  for 
tympani  roll  as  background  forW 

Prophet 

And  he  shall  judge  among  the  nations,   and  shall  rebuke 
many  people?  and  they  shall  beat  their  swords  into 
plowshares 'tend  their  spears  into  pruning  hooks;  naticn 
shall  not  lift  up  sword  against  nation;  neither  shall  there 
be  vjar  any  more. 

(A  few  powerful  definitive  strokes  on  tympani.     Then 
a  moment  of  silence.     Then  the  tenderly  beautiful 
sound  of  a  flute, /which  after  a  few  measures  becanes 
background  for  the  following:)^ 

Voice  of  a  Yo\mg  Gril 
(among  the  People) 

How  beautiful  upon  the  mountains  are  the  feet  of  him  that 
bringeth  good  tidings;  that  publisheth  peace;  that  saith 
unto  Zion,  thy  God  reigneth,\^ 


# 


f 


Page  11t 


Prophet 


Break  forth  into  joy,  sing  toc,ether,  ye  waste  places 
of  Jerusalemj   for  the  Lord  hath  comforted  his  people^ 

(An  oif-stage  chorus  siiigs  the  following  words 
exultantly.     As  tl^ey  do  so,   the  People  on  sta^e 
break  into  s^roupNiance  of  joyons  celebration* } 

v^horus  (singing) 

The  Lord  hath  made  bare  his  holy  arm  in  the  eyes  of  all 
the  nations.     And  all  the  ends  of  the  earth  shall  see  the 
salvation  of  oiir  God« 

(The  singing  is  repeated  as  firom  a  great  distance, 
yserving  as  background  for  the  following:)/^ 

.ß     The  Girl  oJi^l^  ^0^"^^^ 
4H(still  reipb  by  the  sceneW 

For  ye  shall  go  out  with  joy  and  be  led  furth  with  peace; 
the  Mountains  and  the  hills  shall  break  forth  before  you 
into  singing»  ' 


!Z  Xjux 


(The  singing  rises  to  füll  volume  to  accompany  the 
1  eople  in  an  exultant  dance  processional  to  which 
they  exit.     The  spot  on  the  irophet  fades  out, 
The  Girl  and  The  ^^i^^  stand  alone  in  a  spot  upafeißß  .:^) 

Girl  (still  deeply  absorbed  in 
what  she  has  heard) 

The  mighty  Isaiah those  vast  and  thundering  and  compassionate 

phrases*     You  took  me  right  into  the  living  wholeness  of 
words  that  glcw  and  sing  in  the  mind— and  sanehow,   I— -well, 
I  feel  freer,  quickened.     I  wonder--will  1  ever  again  let 
my  heart  mark  time  to  the  tick-tock  tunes  of  standardized 
living*.'     Will  ever  again  I  let  rayseif  be  frozen  to  formxila? 
Ch,  what  Courage  it  takes  to  keep  onefe  head  above  the 
tainted  waters  of  our  time,.,.Isaiah^s  God — why  have  I 
lost  him?     V/hy  is  my  heart  barren  of  meditation?    Why 
have  the  words  of  my  mouth  shrunlc  to  mindless  mutteringV 


//. 


^-LA.^ 


Is 


Poet 

Ycu  have  lost  only  what  you  failed  to  create  anew. 
this  not  also  the  meaning  of  the  Creator  that  made 
heaven  and  earth? 

Voice 


Who  can  embrace,  nay  touch  the  hem  of  the  infinite 
and  eternal  that  is  I?  And  therefore,  have  I  not  given 
it  to  each  upon  earth,  ever  to  create  afresh  his  vast 
yet  modest  versiun  of  my  being?  To  enliven  hallowed 
forms  and  figures  with  the  flame  of  his  imagining,  guided 
ever  by  the  hand  of  new  enlightenment  I  have  granted?«.« 
And  that  which  he  thus  creates  shall  be  his  god.  And 
it  shall  live  not  in  the  blinded  eye  of  the  listless,  nor 
in  the  frozen  epithet,  nor  in  limp  obedience  to  the  pastf 
The  book  is  not  kindled,  where  the  reader  is  without 
the  quickening  light.  God  lives  for  you  etemally  each 
time,  and  only  then,  that  the  wholeness  of  your  being 
forges  him  afresh, 

The  Poet 

To  quiet  the  heart  tili  you  hear  within  you  the  vast 
eternal  music  of  silence,  tili  you  image  the  intimations 
of  infinity.  To  make  the  universe  at  home  within  yout 
the  wholeness  of  good  and  of  beauty,  all  values  and 
Visions.  To  feel  the  richness  and  the  might  of  the  total 
within  you,  tili  it  become  part,  deeply  part  of  the  very 
texture  of  your  being,  having  the  special  color  and  the 


'  .V 


; 


Makeri 


Page  12# 

tone  that  is  you*     And  then— then,  in  the  high  moment 
of  utter  release,  to  create,   xrTyour  gesture  of  adoration^ 
in  your  burning  syllables  of  living  prayer,   in  the 
esoending  chant  of  your  exuLtation,   in  your  consecration 
anew  of  life's  füll  agenda  of  little  deeds  and  duties:— 
thus  to  create  your  god,  your  own  versi^n  of  the  living 
god  within  yüu.*'"^d  the  hallowed  words  upon  the  ancient 
page  shall  glow  afresh,  shall  sing  in  the  mind,  shall  bear 
the  voice  and  the  special  accent  of  your  being. 

Girl 
(rising  slowly  frcm  the  ground) 

God,  dear  God, 

hear  me, 

hear  the  words  of  my  mouth:-- 

Cut  of  the  ):nowing  of  fulfillment, 

I  shall  exult  in  the  goodness,  the  beauty 

and  the  power« 

Chf   earth,  sing, 

and  dance,  ycu  mountains 

and  you  rivers 

and  you  peoples; 

f or  God  is 

and  the  universe  is  good  l 

(There  is  the  sound  of  a  girl  singing  a  free 
rapt,  wordless  spontaneous  nelody.  Cne  by  one 
other  voices  are  added,  each  bearing  its  own 
special  quality*  Gradually,  the  total  becomes  a 

tntrapuntal^tapestry  of  individual  creative 
terances  Imrmonized» ) 


_i.-» 


i^oet   


How  wondrously  rieh, 

how  rapturous,  when  free, 

is  the  heart  of  each  creator  upon  earth, 

How  well  shall  the  melodies  of  the  makers  blend.  And 

God,  who  created  man  in  his  own  Image,  shall  bless  all 

that  men  create  in  theirs.  There  shall  yet  come  a  day 

when  these  words  shall  be  upon  the  mcuntains:-— 

Ch,  makers  cn  earth,  I  fcrmed  you  out  of  the  dust  and 

breathed  into  your  nostrils  the  breath  of  life.  I 

iDehold  a  new  radiance  upon  your  tired  and  tormented  little 

earth«  I  come  to  you  now,  as  never  before, — my  colleagues 
in  creation» 

(As  the  light  rises  upon  the  earth,  the  i oet  and 
the  Girl  walk  in  simple  pride  toward  the  Chorus 
of  Creation,  which  swells  now  to  great  power  as 
the  curtains  close«) 


!>£/>>  J)  L  IMSS 


\ 


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DEADLINBS 

by 

JEROME  BAYER 


.M,*^!]^»-- 


(STUDENT  LAUaHS  UPROARIOUSLY,  THEN  STOPS  SUDDENIY,  BMBARRASSED) 


ST. 


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GR. 


(TO  AÜDIENCB)   Oh,  I  -  I'm  awfully  sorry.   I  didn»t  mean  to  laugh,  honestly. 
This  is  -  well,  I  suppose  itSs  really  a  very  serious  matter.  But.you  see  - 
well.  I  won't  go  Into  that  smc  right  now,  I  suppose  you  want  to  know  what  s 
on  the  agenda?  Well,  first,  there's  an  elderly  Citizen  here  (not  natxve 
born,  I  hasten  to  add)  who's  expressed  a  desire  s  to  speak  to  us.   Let  s 
welcome  him  with  a  big  hand,  folks:  Grandpa! 

Yah My  dear  friends,  will  you  perhaps  let  me  teHT^rou  what  is  troubling 

me?  Maybe,  who  knowe,  maybe  you  can  help  me.  The  time  -  yah  -  it  is  so 
Short.   In  two  weeks  -  only  two  Uttle  weeks  -  is  coming  that  fateful  day  - 
the  fifth  of  November.  And  I  —  well,  I  feel  -  how  do  you  call  it  - 
frustrated?  Yah,  very  frustrated.  A  conscientious  Citizen  I  think  1 

^ays  have  been  but  now?  (SHRUGS).  ¥ou  know,  thirty  four  yeara 

now  it  is  now  eince  I  landed  here.  From  the  dark  terror  over  there  I  fled. 
And  America  —  ehe  opened  her  arms  to  me.  And  then  -  after  thearequired 
number  of  years  passed,  there  came  finally  —-yah,  never  shall  I  folget 
this  day  --  when  for  the  first  time  I  voted.  It  was  £?r  the  President  of 
the  United  states.  And  there  I  stood,  me  alone  -  in  that  little  curtained  , 
~  uh  what  you  are  calling  it?  -  ach,  ya  ya,  a  cubicie.a  little 
curtained  cubiihle.  And  before  me  —  this  was  of^course  ^^fore  the  days 
of  the  voting  machine  ~  before  me  lay  that  sheet  of  paper  with  the  name* 
printed  on.  And  one  of  tnose  men  would  be  the  next  presxdent.   And  then  •— 
Then  I  picked  up  that  little  letter  X  and  I  looked  and  looked  and  looked 
at  it.   Ya,  ya,;  1  know,  quicker  I  should  have  been  --  so  many  People 
were  waitin^  ther4  in  line  for  their  turn.  But,  you  know,  my  dear  friends, 
you  must  exfuse  me,  but  at  that  moment  nobody,  NOBODY  could  make  me  rush. 
So  I  am  gazing  at  thiÄ  little  x  and  I  am  saying  to  myself;hah,  think  of 
it  -  this  little  lettert  So  what  is  it  after  all?  Two  little  lineswith 
their  knees  ccossed.  And  so  little  they  thought  of  it  when  they  made  the 
aliha  bet  that  way  down  near  the  end  they  put  it.  And  yet,  my  ^^ienas, 
that  kleine  x  in  my  hand  -  that  is  U'mmm  -  one  of  the  faxräst  hibpes  of 

modern  man So  then  I  made  amxa  only  such  a  slight  movement  of  my 

wrist  to  starai  it  on  the  ballot.  So  very  small  was  this  action,  but, 
you  know,  when  I  made  it,  at  that  moment,  ia  my  heart,  xn  »y  thought^, 
i  became  —  an  American.  They  h^d  feiven  me  a  choice  -  a  real  choxce.      j 
fNot  like  in  Nazi  Germany  orin  Soviet  Russia  with  one  party,x  no  . 

^SteriativS,  tut  -  American  That  ballot  said  to  me:  Herr  Rosenthal,  here  .i^ 
Syo^  American  right,  th^opportunity  to  choose.  And  I  made  my  choxce. 
A^d  b7m^ing  it,  I  a»  simple  man,  helped  to  elect  the  President  of  the 
United  SS^.  i  feit,  yoS  Inow,  -  I  who  had  lost  everything  and  been 
driven  from  my  homeland  -  I  feit  a  wonde;rful  new  dignity  and  Pnde  and 
'    Dower.  Like.  as  we  say,  you  know,  —  a  mensch,...  So  when  I  came  hotae, 
I  opeAed  a  bottle  of  schnapps.  Not  one  I  )drank  but  three.  My  children  - 
thev  looktd  surprised!  "Papa",  they  said,  "for  what  is  all  this  extravaganc« 
SfsJ  I  tolHhei!  i  said"^-' (you  know,  a  happiness  i^^t^aking  me  always;^ 
aliffhtlv  noetic)  -  I  said:   Behold  your  papa,  a  man  of  the  hour, 
?or  mStiJlIed  I  am  the  pebple's  power;  American  voters  80  million  stron©^ 
£5  ?  aa  one  of  them,  I  belong  -  went  to  the  polls  to-äay  to  vote!        ^1 
Choose.  we  were  told  and  we  made  our  choice.  That  ia  the  great  American  exjuu 
American  experience!  That  is  the  way  of  free  men.....  And  I  have  never 
forgotten  it.>So  later  they  put  in  that  voting  machine.  Li^«  "/  J^^n  t  . 
Too  automatiä4.  But  still,  whose  haHd  was  on  the  handle?  Right.  Mine! 
Mine  to  make  the  choice.  And  I  made  it  time  and  time  and  time  agaxn.      .: 


■-( 


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But  now,  this  year  -  it  seems  some  how  different*  Maybe  I  -  well, 
maybe  I  am  wrong?  So  you  will  teil  me.   Bat  I  have  the  feeling  I  am 
not  gi¥en  a  real  choice   to  make»   Let  me  explain»   One  evening  - 
it  was  about  two  months  ago  -  I  turned  on  my  T7.     Unf ortunately  it  was 
in  the  middle  of  a  program»   This  is  very  bad»  Very  misleading  it  can  )ul. 
be»  I  am  seeing  policemen  with  helmets  and  clubs  hitting  and  beating     i 
young  people  and  dragging  sJsdLx   them  bloody  and  screaming  through  the  x±xae 
streets.   I  am  suddenly  feeling  very  sick.   And  ^  sgiy:  Ai  ai  ai,  these 
damned  Russians  again!   Prague  maybe  I   BratisslavQ.,  who  knows7  Maybe 
Bucharest,  Zagreb»   And  then  -  then  I  hear  -  God  help  us  -  I  hear- 
nu,  you  know,  always  have  I  thought  Chicago  sounds  like  a  Russian 
name  -  Tchicago,  Zhivago»   I  used  even  to  spell  it  TCH. .  Ya  ya,  mx  ' 

very  bad  it  looked.  Sc|precklich.   But  then  -  then  when  I  hear  the  great 
Herr  Humphrey  praise  and. defend  the  Burgomas t er  Daiiy,  I  kHK  knew 
everything  was  airxgkt  entirely  different  from  how  it  Ipoked. 
Unfortunate,  y^^ya,  unfortunate,if  but  right,  necessary»  Expecially 
when  this  great  American   (Ha  ha  ha  we  are  affectionately  giving  him 
a  knickname)  is  saying  with  clarion  voice  and  perspttation  that  we 
must  have  l^w  and  order  and  if  people  are  so  foolish  that  they  want 
things  changed,  good,  then  good,  this  must  they  do  throught  the  law, 
eleotiinns,  the  Congress,  the  courts.   They  must  not  be  allowed  to 
get  impatient»   Things  are  already  much  better;  they  will  eventually 
be  better  still«  The  war  in  Vietn^  is  only  five  years  old,  ää2  um  Gott 
es  will»  What  is  all  the  rueh?  Rome  was  not  ruined  in  a  day!   And 
\yesides,  he  says,  if  Hanoi  stops  trying  to  stop  cur  killing  them  we    \^ 
will  stop  the  bombing  .   This  shows  that  the  beloved  Hahaha  is  a  great 
statesman  ^nd  a  great  lover  of  the  peace.  And  then  the  ne^oes« 
After  all,  only  250  years  theyve  been  waiting»  All  this  impatience 
is  unfair  ;  its  immature»  And  what  finally  convinced  me  that  the  Herr 
Humphrey  Hubert  is  100^  rights  is  when  the  eminent  Herr  J.  Edgar  Hoover 
proved  that  all  these  protesters  are  anarchists»   ÄaxeYa,  the  great 
Herr  Humphbert.   Very  often  I  believe  in  what  he  says,  even  if  I  don^t 
beieve  him  when  he  says  it.   But  this  makes  no  difference.   What  counts 
is  the  principle»   And  wheü  sometimes  I  don't  believe  in  what  he  says, 
I  a^  convinced  he  doesn't  either  and  I  just  had  the  misfontunate  to 
hear  him  on  the  wrong  day.  Gott,  when  there  are  so  veyy  many  things 
to  say,  he  can't  always  pick  the  right  one.  But  what  I  am  admiring  most 
in  o\ir  revered  HA  HA  HA  is  how  broadminded  and  flexible  he  is  in  his 
convictions»  He  shows  the  samemagnificent  enthusiasm  when  he  is  FOR 
something  as  when  he  is  against  it»   This  shows  a  great  fairness 
and  a  rare  genius  for  identifying  himself.  with  botn  sides;  the 
Courage  to  be  not  merely  his  own  MAN,  but  his  own  MEN,  one  after  the 
other  in  the  appropriate  order •  And  so,  of  course,  I  favor  tne  Herr 
Humbprt.  For  him,  I  say,  I  have  got  to  vote  -  that  Js,  until  I  think 
of  another  great  American  -  the  Herr  Richeurd  Nichtsohn.   Ai  aiai, 
such  a  great  man»   A  man  who  hs  Vice  President  showed  the  remarkable 
courrage  to  actually  converse  with  üil^ita  Kruschev;   who  bravely  did 
for  California  what  the  late  Herr  Hoseph  McCarthy  ,  may  his  soul  rest 
in  peace,  -  did  for  the  nation;  who  piroved  to  be  such  a  great 
diagnostician  that  he  could  actually  detect  redness  in  people  evem 
where  they  themselves  had  no  idea  they  had  it;   who  has  all  the  noblest 
virtues  of  the  Boyish  Scout  and  needs  only  to  fly  for  a  weekend  to 
moscow  or  China  to  teil  them  what  is  right  and  wrong  and  show  them 
colored  slides  of  our  nuclear  weapons  and  boom,  onve  and  for  all, 
they  are  put  in  their  place;   who  is  siisk  ÜTmmm  such  an  enemy  of 
bigotry  that  he  actually  sacrificed  himself  by  joining  a  golf  club  r- 
excludinfe  Jews  and  negroes,  to  clean  it  up  taxm  fmm   the  inside  out; 
and  above  all,  who  promises  he*ll  end  the  war;  and  when  such  a  great  man 
promises  ,  who  needs  to  ask  HOW?  He'll  do  it« 


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GR. 
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MEET  THE  DESPERATE  NEED3  OF  OUR  TIME 


VAYS  AND  MEANS  THAT  ARE  THE 


PRODUCT  OF  THE  BEST  THIKXINa  OF  THE  BEST  MINDS  OF  OUR  LAND  AND  ALREADY 
MADE  THE  NQMINEE'S  OWN  DETERI4INED  INTENTION??  I  TELL  YOU,  AMID  ALL 

THE  SOUra  AND  FURY  THAT  COVERS  ÜP  PBOPLE^S  FRUSTRATION  AND  BITTERNESS, 

STAND  TWO  PATBETICALLY  LONELY  MEN  THAT  NOBODY  REALLY  WANTS  BUT  THE 

IRRESPOriSIBLE  POLITICAL  MACHINES  THAT  NOMINATED  THEM*   TWO  MEN  WHO  HAVE 

LITTLB  TO  OFFER  BUT  THE  BLIND  DESPERATE  FORCE  OF  THEIR  GREEDY  AMBITION! 


TWO  MEN 


TWBEDLEDEE,  TWEEDLEDUM  WHO  HAVEN'T  ENOUGH  BONA  FIDE 


,  XIMKXXaJS  DIFFERBNCES  OF  VITAL  CONVICTIONS  TO  MAKE  RESPECTABLE  DRAMA 
'  OUT  OF  A  CAMPAIGN  THAT  SHOULD  BE  THE  MOST  CHALLENGING  AND  CRUCIAL  TEST 
'   OF  OUÄ  PEOPLE  IN  A  CENTURY.   CAREERIST  TWINS  HANDED  TO  US,  READY  TO 
SERVE,,  ON  THE  TARNISHED  TRAYS  OF  OLD*TIME  HACK  POLITICSI !  ••••  Hah, 
TRICKY  DICK  -  HOW'D  EE  MAKE  IT?  GOT  REWARDS,  RETURN  PAYMENT  FOR  ALL 
THE  POLITICAL  FAVORS  HE*S  DONE  THE  DELEGATES  THROJGH  THE  YEARSI 


,^  ,  .^IT  FOR  TAT?  i  • 

7  ■■•   ^.     • 


AND  HORATIO  HUBERT??  HE  MADE  IT  THROUGH  THE  PARTY 


"T" 


,11»  II     J.   I  liilfl  il|iUII-|i|lli 


"  »>VV 


'■||    ^  m  I  "Wyi 


■  Ig!   »   lil.ll— 1*^» 


■'.I 


Yah,  and  so  finally  when  I  am  looking  at  his  fine  Ktxfixg  big  jaws 

of  humble  origin,  the  open  honest  smile,  and  hearing  the  deep  sincerity 

of  his  voice,  it  is  giving  me  a  feeling  of  security  ahd  strength.  And 

I  say,  witbout  question  -  for  this  great  and  noble  Herr  Nicht-sohn 

must  I  vote.  Yah, • . .  but  then  I  eun  seeing  again  the  radiant  smile 

and  the  gleaming  teeth  of  the  great  HA  HA  HA  and  with  such  zxiixauit 

happiness  atnd  hope  they  are  filling  me!   And  I  say  *  for  HIM  I  must 

Gast  my  — I   Yah,  but  ai  ai  »i  -  there  is  also  Herr  Nicht söhn,  From 

one  to  the  other  I  eun  looking  and  looking*  Who  can  decide^??xiiH 

No  choice  they  have  given  ÄXi:  me!   So  how  can  I  choose?  ^ 

STUDENT  LAUGHS, 

^  laughs*   So  teil  me,  why  do  you  laugh? 

Grandpa,  you^re  marvelous!   That  good  old  Jewish  ironyl  Emphasizing 
your  real  opinion  by  slyly  saying  just  the  opposite  of  what  you  mean! ! 

H'mmm...  You  -uh  -  you  really  think  that'e  it?  £x±^ktx£BiiBx  Such  a 
bright  fellow! 

AND  DAMNED  RIGHT  WE'VE  BEEN  DENIED  A  REAL  CHOICE!   AND  WHY?  WHY??? 

WAS  EITHER  CANDIDATE  SELECTED  BEOAUSE  MASSES  OF  HIS  PARTY  TRULY  WANTED 

and  convictions     \ 
HIM?  WAS  EITHER  SELECTED  FOR  HIS  SOUND  CONSTRUCTIVE  VISIONS/FIRMLY  HELD 

AND  PERTINENT  TO  OUR  SORELY  TROUBLED  WORLD?  WAS  EITHER  SELECTED 

BECAUSE  H'ED  PROPOSED  EFFECTIVE,  PRACTICABLE  WAYS  AND  MEANS  TO 


j 


vo- 


MAOHIUE  OP  AN  ADMINISTRATION  SO  DISCREDITED,  SO  LAMENTABLY  BANKRUET 

THAT  ITS  0^^  LBADER  DIDN'T  DARE  SHOW  HIS  FACE  AT  THE  CONVENTION  OF  HI3  OVN 

PARTY!:,  .THE  WILL  OF  THE  ZSEIIÄ  PEOPLE???   OH,  COME  NOW,  DON'T  BE  NAIVE! 

.  ,  ,  .1 

THE  DESPERATE  NBEDS  OF  THE  NATIONS??  LET'S  NOT^  FOR  GOD'S  SAKE,  GET 
SENTIMENTAL I !   THE  BITTER  CRIES  OF  AN  ANGÜISHBD  WORLD??   OH,  PLEfiSB, 
JUST  LET  THEM  BB  POLITELY  DAI^INED!   STRIKE  UP  THE  BAND,  BOYS!   WE  GOT 
BUSINESS  HERE!   THE  CALLOUS,  CYNICAL,  WILFUL,'  ARROGANT  LAST  STAND  OF     "^ 
A  POLITICAL  MECHANISJlf  THAT  WE  THE  MASSES  OF  THE  PEOPLE  HAVEN'T  HAD  THE 
GOOD  SENSE,  THE  INVOLVEIVIBNT ,  THE  GUTS,  TO  GET  RID  OF  AND  REPLACE. 

REPLAOB  WITH  WHAT?  WITH  NATIONWIDE  PRIMARIES  THROUGH  WHICH  V/E«D  li 

'-.  '  ' 

SELECT  OUR  OWN  BONA  FIDE  PARTY  CANDIDATESI   SO  THIS  IS  IT,  PALS!   THIS     ! 
IS  WHAT  WE'VE  GOT!   MOCKERY  OF  A  CHOICB  BETWEEN  TWO  UNWANTED!   WHAT        j 


\ 


ARE  WE  GOING  TO  DO  ABQUT  IT??  . 

\  .... 

(NIX,  HUM,  WALL)   OVERLAPPING  :   I  PROTEST!  OUTRAGE!   SUBVERSIVE! 
'     COmaES!   DOPE  ADDICTS!   SUBVERSIVES!   ANARCHISTS  !   YIPPIES! 
SOCEIALISTS!   YIPPIES! 
WAL»  •  Ah  PROTEST!   AH  MOST  CERTAINLY  DO,!   KKXXXÄEXimiMSXBMXIOQCBÄXXKi^ 
WHY,  THE  VOTERS  HAVE  A  VERY  GREAT  ANA  WONDERFUL  CHOICE!   A  GHOICE  AS 
CLEAR  AS  THE  DIFFERBNCE  BETWEEN  BLACK  AND  WHITE!   THE  CHANCE  TO  ELECT 

V 

.  A  TRUE  I4AN  OF  THE  PEOPLE*,   BY  THE  PEOPLE,   FOR  THE     iuufejub       no,   no,    ah 

^':-      BEG  YO  PARDON     NONB  0*    THOSE  OL*    TIME  SUBVERSIVE  NORTHERI/I  SLOGANS! 

* 

^    WHAT  AH  MEANT  TO  SAY  IS  A  TRUE  MAN  FROM  THE  PEOPLE,  WITH  THE  PEOPLE,  * 
^"   UH'  ~  raLL,  AH  JES'  CAINT  TRINK  OF  ANY  MO»  0»  THOSE  —  WHADYA  CALL 
•EM  ??  PREP  UH  PREP  v, 

ST.    '       PREPOSITIONS? 

I       I        ... 

WAL.^   HOLD  IT  ,  BOY!   AH  DON'T  NEED  ANY  OF  YO'  HIGHFALUTIN«  NORThER  N  HECKLIN«! 

Besidee,  it  don«Sc  make  no  difference.   |H15  FOLKS  —  THEY  KI^OW  WHAT  AH  HXXXS 
,  •    '  MEANS!   WELL,  ANYWAY,  AS  AH  WAS  SAYIN«  —  A  MAN  WHO  AIN'T  NO  TOOL  OF 
..»  NO  POLITICAL, MACHINE;   A  MAN  WHO  DARED  DEFY  THAT  VICIOUS  ILLEGAL 
.  ..'  FEDERAL  GOVERNMENT  WHEN  IT  XHmRYOUSURPED  STATES  RIGHTS;   A  MAN  WHO 


ii 


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-  '■■  »MT'"  '  'H    "■■■';  7' 


"T^pm 


■.i'?w;  !■■■;'' 


I  mi  I.   •^- 


(^  l.M^« 


Ai 


RISKED  HIS  VERY  LIFE  BY  HEROICALLY  STANDIN ^  ALONB  TO  DEFEND  THE  WHITE  XASWlIT 

■•^  •••••  ■  ■•:■  '■    ■  •    :  . ,  •  ■  •         I 

SANCTITY  OF  HIS  STATE 'S  UNIVSRSITY  FROM  UN- WHITE  POLLUTION:   A  MAN  WHOXÄ  WOULD  . 


■  »*i»«- 


CLEAN  HX  OUT  OUR  SOUPREME  COURT  OF  ALL  SUBVERSIVE  ELEMENTS  ;|  A  MAN  WHO  WILL 
^CORRECT  THE  GRAVE  INJUSTICES  OF  THAT  CRIMINAL  RAPS  OF  THE  SOUTH  BY  NORTHERN 


INVADERS,  -  ERRONEOUSLY  CALLED  THE  CIVIL  WAR 
ABOUT  IT??) ;  A  MAN  WHO  FAR  FROM  HA$ 


t-  (WHÄT,  AH  ASK,  WAS"  CIVIL 
IN^  THE  NEÖROES . ,  FEBLS  A  DEEP  AND  SOLEMN 


DUTY  TO  PROTECT  THEIR  OLD  AND  CHBRISHED  WAY  OF  LIFE  AGAINST  NORTHERN  AG-ITATORS 
AND  A  MINORITY  OF  CRIMINAL  MALCONTENTS:   A  GREAT  AND  FEARLESS  LEADER  WHO  WILL 

END  VIOLENCB  AT  HOME  AND  THE  WAR  BEIN«  CRUELLY  WAGED  AGAINST  US  AT  OUR  VERY 

DOORSTEP  Eß:  10,000i  miles  AWAY,BY  USIN'  WITHOUT  HESITATION  OR  RESERVE  THE 

FÜLL  ARMED  FORCE  OF  THIS  MIGHTY  NATION  AGAINST  «EM  ~  AND  WHEN  AH  SAY  FÜLL 

ARMED  STRENGTH  Y'' ALL  KNOW  WHAT  AH  MEAN;   A  DEDICATED  AND  INSPIRED  MOSES 

—  WELL,  NOT  OF  THAT  PERTICULAR  RACE  OR  REELIGIOUS  FilTH,  OF  COURSE,)WHO. 

of  magnolias  and  mint  juleps; 
WILL  XSXX  LEAD  US  BACK  INTO  THE  PRÖMISED  LAND/  V/HO  WILL  DEFY  THE  VERY  LAWS 

OF  NATURE  THEMSELVES  (THEY  AINT  FEDERAL  LAWS  OF  COURSE)  TO  TURN  BACK  THE 

HANDS  OF  OUR  NATIONSS  CLOCK  ONE  HUNDRED  AND  TEN  YEARS  TO  THE  GOLDEN  AGE 

OF  GRACIOUS  LIVING»  FELLOW  AMERICANS,  AH  GIVE  YOÜ  THE  VERY  NEXT  PRESIDENT 

x 

OF  THESE  HERE  IE22SUNITED  STATES g^OVERNQR  WaLLACE!  !  t 

GIRL:   (TO  ST.)  UH  *  EXCUSE  ME,  BUT  UH  -  WELL,  DOES  HE  REALLY  MEAN  WHAT  HE  XXXX 
SIYS  ?   IS  HE  REALLY  AND  TRULY  GOING  TO  DO  ALL  THOSE  THINGS? 

ST;    WELL,  LE»'S  PUT  IT  THIS  WAY,  SWEETHEART:   BB'S  GOT  HIS  HEART  IN  IT  

GIRL:  •  HEART? 

ST:    SURE*   YOU  KNOW*  HEART?  ~  H  -  A-T-E?  AND  LET  ME  TBLL  YOU  THAT  SHREWD 
PARAGON  OF  HATE*CHARGED  IGNORANCE,  GOD  HELP  US,  IS  PRECISELY  WHAT  WE 
THE  GREAT  AMERICAN  ^TggSTi^TT^  BOOBOISIE  ARB  GOING  TO  GET  ONE  OF  THESE 
'   MZS  DIRE  YEARS  UNLESS  WE  SIT  UP,  GET  FULLY  INFORMED,  TRINK  STRAIGHT, 
•  •   AND  ACT  DECISIVELY  IN  UNITY  TO  MAlüE  OUR  GOVERNMENT  THE^  TRUE 

INSTRUMENT  ONCE  AGAIN  OF  OUR  OWN  BEST  NATIONAL  INTERESTÜf   SO,  YOU 
SEE,  DEAR,  THAT  THIRD  NON-CHOICE  IS  EVEN  WORSB  THAN  THE  OTHER  TWOl 


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'■w.-^'  .,,,^-'  J^- 

(SHOUTING)   OUTRAGEOUSÜ   JUST  1MPTO3NT  AND  SUBVERSIVE  NONSENSE, 
THIS  TALK  ABOUT  NO  CHOICEll  VfHY,  OUH  GREAT  G.O.P.  CANDIDATE,  THE 
DISlImuiSHBD  RICHARD  NIXON  IS  — !  !  !   (SUDDENLY  SPEAKING  QUIETLY) 
NO,  NO, ,  I'M  SORRY,  REALLY  I  AM.   I  DIDN'T  MEAN  TO  LOSE  MY  NEW  NIXON  EEM  . 
COOL  AND  SHOUT  LIKB  TRAT.   TRAT  C0I4PLBTLEY  VIOLATES  THE  SPIRIT  OF  OUR 
PEERLBSS  LEADER,  WHO  IS  CALM,  MATURB,  MASTEHHBL,  TOLERANT,  FORCEFÜL, 
FRIBNDLY,  DOGGBD  ,' DEGENT,  DYNAMIC,  TENDER;  DEVOTED  HÜSBAND,  FATHER,   ,  ' 


-  .*\ ' 


\ 


FRIEND  AND  FOB,  VICB*PRESIDENT  WITHOUT  A  SINGLE  VICE: 


h-- 


^. 


GIRLt  - 


WON«T  EVER  XXXÄ  SMOKE, 

WON'T  EVER  TAKE  A  DRINK, 

WON'T  TELL  A  DIRTY  JOKB, 

XXS  IS  RJRB^AND  WILL  RARELY  THINKl 


ST:  (SINGS) 


WAL. 


GIRL: 


\ 


NIX: 


AND  TO  HIS  CREDIT  BE  IT  EVER  SAID 
THATIiE  IS  PA33I0NATELY  ANTI-RED 

that"^  is"Tassionately  anti-rbd  . 
!     is  passionatbly  anti-rsd! ! 

GH.  TRICKY  DICK,  MCKY  DICK,  TRICKY  DICK  NIXON 
TTAq  T.O^Cr   CONTINUED  TO  SCRIMMAGE: 
SS?S  SItoR  STOPPBD  FUMIN«  AND  FUSSINA  AND  FIXIN« 
HIS  MANNER  TO  FORM  A  GOOD  IMAGE! 

13  IMAGES  HE  TRIED  FOR  PREXY! 
ALAS,  NO  LUCK,  NO  LUCK!  •■ 

13  MORB  FOR  GOVERNOR  , 

BUT  STILL  HIS  BAD  LUCK  STUCK. 

STOP  IT,  I  SAYÜt   THIS  IS  OUTRAGEOÜS  SLANDERt  FELLOW  CITIZENS.  HOW 
GAN  I  HOPE  TO  DO  JUSTICE  TO  THIS  GREAT  AMERICAN?  PERHAPS  HE  WILL  PBRMIT 
ME  TO  SHARB  A  GONFIDBNGE  WITH  YOU.  MR.  NIXON  HAS  A  -  WELL  IIB  HAS  A 

DEEP  PERSONAL  TRAGEDY:  -  HE  WAS  BORN  WITH  HIS  HBART ON  .THE  LEFT. 

AND  THOQGH  HE  ADMITS  HIS  PROFOUND  GRIEF  AND  ANGUISH  OVBR  THIS 
TERRIBLE  AFFLICTION,  HE  HAS  RISBN  VALIANTLY  ABOVB  IT  AND  HAS  EVER 
REKUSED  TO  BB  INFLUBNCED  BY  THAT  CRUELLY  MISPLACED  ORGAN.  LADIES 
AND  GENTLBMEN,  I  GIVB  YOU  NOW  A  MAN  DE^iäRVING  OF  YOUR  SUPREME  GONFIDENCB 
AND  SUPPORT,  A  MAN  EQUIPPED  BY  GOD  AND  CALIFORNIA  ORANGE  JUICE  TO  LEAD 
■  OUR  NATION  IN  THESE  PERILOUS  TIME|;   A  TRULY  GREAT  AMERICAN  WHO  IX 
•  GLOWS,  WHO  IS  FIRED.  NAY  WHO/iraWKH  A  -  WELL,  A  WHITE  FLAME  OF  LOVE 
FOR  HIS  GOUNTRY.:  I  GIVE  YOU  NOW  THE  VERY  NEXT  PRESIDENT  OF  THESE  UNITED 
Sj;^j3S THE  OH  SO  VERY  HONORABLB  ÄiCHARD  NIXON  I  II 


'-'s. 


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GIRL: 


\  .••. 


ST:  v 


NIK: 


NIX: 


,HÜM: 
ST: 


7J^ 


YOU  GIVB??   YOU  MEM  YOU  REAILY  GIVE???   OH,  WELL  THAT'S  DIFFEEENTl 
SURE.  I  ALWAYS  SAY:  NEVER  LOOK  A  GIFT  HORSB  IN  THE-*  HEART  OR  HEAD.     ' 


.j!/^>**^- 


'  *>f^*»f  / 


(SOLEMNLY)   THE  PARTY  aiVETH,    '  , 

THE  PEOPLE  RBJBGTETH:   (WISHFUL  THIMING??) 
BLESSED  BE  THE  NAME  OF  THE  PEOPLE I 

OUR  DEAR  DEVOTED  DICK,  KMXaUXKlEa^  WHO  STARTED  AT  THE  VERY 'BOTTOM  OP 

THE  LADDBR,  FROM  THE  HUMBLEST  OF  ORIGINS  AND^  . 

(INTERRUPTEHG)  WHAT  ABOUT  OUR  HUMBLE  HÜMPHRET?  WHERB'D  M  START?? 
WHAT  COULD  BB  ILOWER  THAN  SELLING  DANDRUFP  CURE  IN  THE  FAMILY ' S 

COUNTRY  DRUG  ST0RB7? 

rose 

AND  IH  FROM  THOSE  HUMBLE  ORIGINS  NIXON/TO  THE  VERY  TOP  -  OR  -  well, 
pretty  near  it.  HB  BBCAME  THE  GRBAT  AND  DYNAMIC  VICE  PRESIDENT  OF 
THESB  UNITED  STATES. 

SO  DID  HUBERT! 

AND  DID  WHAT??  BECAiffi  THE  COUNTRY' S  MOST  IMPASSIONED  HUCKSTER 

FOR  MASS  MURDER  IN  VIET  NAM  ~  WITH  ALL  THE  HORRIBLB  CöNSEQUENCES  HERE 

AT  HOME! • 

OH  for  heaven's  sake,  CAN'T  YOU  SEe'  HE  NEVER  HAD  HIS  HEART  IN  IT? 


\ 


HÜM: 

ST:  NO  HEART  IN  IT,  HUH?  GOODYl   THAT  SURE  MAKES  THB  DEAD  LESS  DEADI 

HüMs  BUT'  AS  V.P.  HB  DIDN»T  MAKE  POLICY;  HE  JUST  -IMPLEMENTED  IT! 

ST.  SURE,  AND  WITH  WHAT  OBSCENB  FERVORI 

HÜM»-  BUT  HE  COULDN'T  HELP  IT.   THAT'S  HIS  NATURE.   HB  JUST  GETS  ENTHUSIASTIC 

'  ABOUT  EVERYTHING,  HUBERT  DOES.    .  .  .   .   ^  >  "  * 

ST.  Tg^PTC  APPARENTLY. 


NIX: 
GIRL: 


ST: 
GIRL: 


THERE  ARE  THINGS  THAT  DECENCY  JUST  VON'T  LET  YOU  DO.  .     .    ' 
(INNOCENTLY)  OH  REALLY?  IN  POLITICS?? . . GEE,  I  DIDN'T  KNOW.  BUT  WHAT 

COULD  THB  POOR  MAN  DO? 

RESIGNl   REPUSB  TO  BE  A  POLITICAL  UNCLB  TOM!  KBEP  HIS  MOUTH  SHUTl 

NOT  TALK?  .'hUMPHREY?"  ARE  YOU  KIDDING?  NO,  HONESTLY,  THAT'S  NO!C  FAIR^ 


THAT^S  ASKING  TOO  MUCH!  ..      v\//^N 

ST:  WHY,  WITH  HIS  STRATEGIC  POSITION  IN  THB  DEMOCRATIC  PARTY ,/|DIDN » T  HB 

>•, /JEMAND  A  STRONG  PLANK  ON  VIET  NAM?  WHY  DIDN'T  HE  INSIST  ON  A 


«."  1  ■  '.  )■     S    ■    M'll 


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BOMBINa  HALT?  .  '"      "^ 

HÜM:      LET  MS  TELL  YOU,    THAT  HUBERT  HÜMPHREY  WAS  FIGHTING  FOR  PEACB  AND  SOCIAL  XHS2 

JUSTICE  BEFORE  THESE  MILITANT  COLLEGE  KIDS  WERE  BORN.      HE 'S  BEEN  STRIVING 

FOR  YEARS  TO  HALT  THE  DANGEROUS  ARMS  RAGE;   HE »3  BEEN  A  CHIEF  SUPPORTER 

OF  THE  TEST^BAN  AND  NON-PRQLIFERATION   TREATIES.      FOR  DECADES  HE 'S  BEEN 

•        •  ...  •  •  •  •  I  i 

FIGHTING  FOR  CIVIL  RIGHTS.      YES,   AND  EVEN  RIGHT  IN  THE  HEART  OF.  THE  ENEMY  EI 


CAMP 


IN  MISSISSIPPI,    IN  LOUISIANA  AND  ELSEWHERE.      HE  FOUGHT  FOR  A 


i  I, .; 


CIVIL  RIGHTS  PLANK  WAY  BACK  IN  Ui  1948.      HE  WAS  THE"AUTHOR  OF  THE  PEACE  KSRI 
\        CORP^AND  THE  FOOD  FOR  PEACE  AGENCYl      HE  HAS  WAGED  A  LONG,   HARD    , 

UNRELENTING  WAR  AGAINST  THE  RBACTIONARY  REPUBLICAN  COALITION.      HE  HAS 
EVER  BEEN  A  GREAT  LIBERAL  LEADER  WITH  EXTRAORDINARY  ENERGY  AND 


\ 


IMAGINATION!      AND  WHAT,    I  ASK,    WHAT  DURING   THOSB  SAME  LONG  YEARS  HAS 
RICHARD  NIXON  EVER  DONE?? 

■  * 

NIX:      DONE?     WHY,   ^  THE  RANK  I14PERTINENCE  OF  EVEN     ASKING  SUCH  A  QUESTIONI  I 
MR.    NIXON  HAS  BEEN  THE  MOST   INDEFATIOABEE  AND  UNCOMPRISING  ENEMY  OF 
,  C0r4iaJNISM  THROUGHOUT  THE  LONG  YEARS,  OF  HIS  PUBLIC   LIFE»      AS   VICE- 
PRESIDENT  HE  WAS  THE  MOST  ARDENT  AND  ELOQUENT   SP0KE3MAN     OF  THE  GREAT 
REPUBLICAN  CAUSE!      AND  TO^DAY  HE  STAl^S  FOR  THE  MOST  ADVANCED  AND  PRACTICAL; 
PROPOSALS   TO  SOLVE  OUR  FOREIGN  AND  DOMESTIC  PROBLEMS.      VIET  NAM?? 


HE   STANDS  FOR  PEACE  WITH  HONOR! 
HüM:        WAIT!      THAT 'S  HUMPH  4^^-!!!      HE  STOLE  IT  PIROMUS! 
NIX:        PEACE  THROUGH  NEGOTIATICNS  MR.   NIXON  IS  COMMITTED  TO   .      BUT  

•       -  "  * 

NEGOTIATICNS  CONSISTENT  WITH  AMERICAN  INTERESTS! 
GIRL:      UNNOCENT)      AMERICAN  INTERESTS?      I  DON'T  UNDERSTAND.      WHOSE  COUNTRY 
IS  VIET  NAM  ANYWAY? 


I  I 


vf. 


.  r 


ST: ,AND  IF  THEY  DONOT  NEGOTIATE  ON  OUR  TERMS  AND  CONDITIONS,    WHY  THEN  — 

MOST  RELUCTAITTLY  WE  WOULD  BE  OBLIGED  TO YOU  KNOW! 

■  f'  ■     • 

NIX:,     MIXDPEACE!      BUILD  UP,   MR.    NIXON  SAYS,    THE  ^ILITARY  POl^ER  (QF* 

.,.    JAPAN,    SOUTH  KOREA,    THAILAND,    AND  SOUTH  VIETNAM  AS  BUFFERS  BBTWEEN 
COMMJNIST  CHINA  AND  US! 


!  I 


"i  '":'"!'  ,*;''"  — 


II I  ^m 


Tl  ■  111^«   II  ^   ■ 


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'1.'.  Mili  i|J'i  ^  ■■■■I  III  1       I  wm  >i    l'W  I  I 


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iT.SI.  YUP,  THAT'LL^  STOP  «EM  ALRIGHT!   AND  KBBP  US  FROM  WASTING  TOO  MÜCH  HÖHET 


■«1  .  •» 


AT  HOME  TOO!  "   ■■  :  - 

NIX:   AS  MR.  .NIXON  SO  RIGHTLY.  CONTENDS:,.  WB  MST  CUT  DOWN  ON  FEDERAL  SPBNDINGl 
■■RESTORB  LAW  AND  ORDER  BT  DOUBLING  COURT  CONVICTIONS  AND  INSURINQ   ■ 
"^    PUNISHMENT  OF  ALL  OFFENDERS!   CRIME  AND  DRUG  ADDICTION  ARE  NOT  DUE  TO 

'  POVERTT,  TO  UNEMPLOTMENT  AND  BAD  LI¥ING  CONDITIONS!   SPEND  ALL  THAT  ANTI* 
POVERTT  MONET  ON  MORB  POLICE,  HORB  JAILS,  MORE  GUN3I 
STSr,.  THAT 'S  TEB   STUFF!   MAKE  THE '  PUNISHMENT  FIT  THE  CRIME.  THE  PUNISHMENT  FIT 
'  THE  CRIME! 


N- 


GIRL: 
ST: 


WELL,  BUT  WOULD  IT  WORK? 

NATURALLT!   REMEWBER  THE  BALL  AND  CHAIN?   THE  TORTURE  CHAMBER?   THE 
ELECTIIC  CHAIR7  THE  GUILLOTINE  AND  THE  GALLOWS? 
TOU  KNOW.  MATBE  I'M  JUST  INNOCENT,  BUT  DON'T  YOU  HAVE  TO  MAKE  A  PRBTTT  EIEl] 
CLEAR  DISTINCTION  BETWEEN  THESE  CRAZT  KIDS  WHO  ARE  OUT  TO  MAKE  TROUBLE  JUST 


FOR  THE  SSKE  OF  MAKING  TROUBLE 


a  kind  of  new  and  nervoua  MASS 


HüMi 


NIX: 
ST. 


NIX: 


HÜM: 


RECREATION  THAT  GIVES  THEM  A  BIG  SENSE  OF  POWER AND  ON  THE  OTKER 

HABD.  MILLIONS  WHO  ARE  RBALLT  DEEPLT  TROUBLBD  BT  THE  WAT  THINGS  ARE  AND 
WHO  FEEL  SO  HOPELESS  ABOUT  ANT  CHANGES  BEING  MADE  THROUGH  THE  USUAL 
CHANNELS  THAT  THET  FEEL  THET&VE  GOT  TO  TAKE  TO  PROTEST  MEETINGS  AND 

MARCHES?  * 

SATS  MR.  HUMPHRET:.  MW  AND  ORDER??  TES,  OF  COURSE  WE'VE  GOT  TO  RESTORE  UWL 
THEM!   BUT  THE  WAT  TO  ELIMINATE  CRIME  IS  TO  GET  RID  OF  ITS  CAUSES:   SLUMS, 
UNEMPLOTMENT.  IDLENESS,  POOR  EDUCATION,  DRUG  ADDICTION.  RUN*DOWN  SCHOOLS. 
■RAT»INFESTED  HOUSES! 

CIVIL  RIGHTS?  WELL,  TBS  ^ 

(IRONICALLT)  Sow  walt!   DO  PEOPLE  WHO  AiUäN'T  CIVIL  RBALLT  DESERVB  ANT 

RIGHTS? 
NO,  RICHARD  NIXON  DOES  NOT  GO  THAT  FAR.  HE  SATS:  GIVE  TAX  CREDITS  TO 

ENCOURAGB  THE  GROWTH  OF  BLACK*OWNED  BUSIBESS! 

HUBERT  INSISTS  THAT  THE  FURTHERANCE  OF  CIVILRIGHT?  DEMANDS  NO  LESS  THAN 
■'  VAST  PROGRAMS  Vor  THE  CITIES  AND  THE  POOR  ^  THE  MILLIONS  OF  THE  POOR 


V,,-  MO   HAVE  NO 


.DECBNT  BMPLOTMENT,  NO  PROPER  SCHOOLING,  NO  TRAINING  FOR  JOBS 


■:"  f"f 


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KO  CIVILIZED  HOUSINai   HAH,  TAX  GREDITS??  GOODGOD,  THESE  MILLIONS 


,'«■  •I»f-«(V 


ST. 


*  s-^ 


HÜM* 


NIX» 
HÜM. 


HAV]&  NO  TAXBS  TO  PAY! 
I  HOPE  YOU'RE  NET  THROUG-H*  YOÜ  REALLY  HAVEN»T  DONE  JUSTICE  TO  POOR 
RICHARD  N.   YOÜ  »VE  FAILED  TO  MENTION  HOW  PERSÜASIVELY  HE  HAS  WOOED 
THE  BACKLASH  COMMÜNITIES  WHO'VE  C0I4E  TO  HATB  AND  PEAR  THE  AMERICAN 
NEGROI   THE  TOUCHING  CAMERADERIB  HE 'S  SHOWN 'IN  MAKING  COMMON  CAUSE 
WITH  SOUTHERN  REACTIONARIES !   THE  FRIGHTENING  PLACEMENT  OF  HIS  GENTLB 
LITTLB  FINGER  ON  THE  NUCLEAR  TRIGGER  AND  -  OH  LOT 'S,  L(>T 'S,  LOT 'S 

LOT'S  MORE!      ,  .  , 

YES,  AND  COMPARE  ALL  THIS  WITH  THE  POSITIONS  OF  HUBERT  HUMPHREYlf 

RECONCILIATION  WITH  RUSSIA  INSTEAD  OF  CONTAINMENT  I 
WAITl,  THAT'S  WHAT  NIXON  WANTS! 

YES,  BUT  ALWAYS  WITH  A  BROTHERLY  BOMB  IN  HAND!    OUR  MAN  IS  COMITTED 
TO  CONTINUED  NEGOTIATIONS  WITH  RUSSIA  ON  ARMS  GONTROLI   HE  STANDS  AS 
HE  HAS  ALWAYS  STOOD  FOR  POLITICS  OF  PUBLIC  SERVICE  l 


GR: 


UH  ~  MAY  I  ASK WHAT  ABOUT  ISRAEL? 


V 


NIX.  &  HUM*  (TOGETHER)   OH  ISRAEL!  I  j^^  '  ^ 

NOW  DON'T  TRINK  I*M  SAY/THIS  FOR  YOUR  VOTB, 
BUT  ON  JBW3  I  REALLY  AND  TRULY  DOTE! 
ON  WARLIKB  EGYPT  I  CERTAINLY  FRO^//N!     > 
^  I  PROMISE  I'LL  NEVER  LET  ISRAEL  DOWN! 


HUM: 
NIX: 


ICH  BIN  A  KIBBUTZNIK! 


ST: 


GIRL: 


; 


(PUTTING  ON  SKULL  CAP)  DON^T  BELIEVE  HIM! 

DON'T  BELIEVE  HIM! 

I  NEVER  DRINK,  BUT  TO-DAY,  WELL,  GEE,  '  ' 

IX  SAY  L'CHAYIM  TO  lOBB! 

MR.  NIXON,  TO'VE  HE  ARD  YOU  ARE  FOR  THE  FORGOTTEN  PEOPLE.   XfiK 
WOULD  YOU  KINDLY  ELABORATE? 

OH  WHY  THAT'S  WONDSRFUL,  MR.  N!   OH,  YOU'RB  SO  RIGHT!   ra'VE  JUST 
GOT  TO  DO  LOTSI  MORE  ?0R  THE  POOR  Aip  JOBLESS,  BOTH  BLACK  AND  WHITE, 

WHO  LIVE  IN  miserable;  rat*infbstbd  tbnembnts  and. .... 


NIX.   WELL,  UH  —  THAT  IS  NOT  EXACTLY  '-ftlAT  I.MEAN  BY  THE  FORGOTTEN  PEOPLE. 
GIRL:        OH....  WELL,  WOULD  YOU  MINDIXK  MY  ASKINO  WHO  A^  THE  FORGOTTEN 


NIX;" 


;"* 


PEOPLE  THEN? 

THEY  ARe''~THOSE  UNFORTUNATE  M^LLIJNS  WHO  HAVE  NICE  JOBS,  SffiiS:^ 

THEIR  OWN  ÜITTLE  H014ES  WITH  THEIR  WELL  KBPT  GARDENS,  THEIR  LATEST 


■  V  >\ 


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GIRL: 


NIX® 


MODEL  CARS,  THEIR  COLOR  TV'S,  THEIR  ELECTRIC  DISHWASHERS,  THEIR  GENERAL 
ELECTRIC"  AIR  DONDITIONERS,  -  WHO  ARE  INDUSTRIOUS,  HARD*WORXING ,  THRIFTY, 
LAW-ABIDING,  -  WHO  PAY  TAXES  AND  DON'T  MAKE  TROUBLE  BY  PROTESTING  AGAINST 

^HAT  IS  AND  DEMANDING  WHAT  ISN»T!  * 

I   ■     • 

OH..  I  SEE.   BUT  WHO  HAS  FORGOTTEN  THESE  *  THESE  UNFORTUNATE  FORGOTTEN  TgTC^gnt 

PBOPLE? .  ' 

WHO???  WHY,  THE  SO*CALLED  » ÜNDERPRIVILE(IED  '  AND  THE  GOVERNMENT  THAT'S 

BEEN  CODDLING  THEMl   THE  UNDERPRIVILEGED  TOO  LAZY  TO  GET  WELL*PAYING 

JOBS;   TOoLACKING  IN  AMBITION  TO  MOVE  OUT  OF  THESE  WRETCHED  SLUMS; 

tae  IRRESPONSIBLB  TO  BUY  STOCKS  AND  BONDS;   WHO  JUST  GRUMBLE  AND  PROTEST 

AND  RIOT  \miLB  CONTRIBUTING  LITTLE  OR  NOTHING  TO  TAXES  NEEDED  TO  SUPPORT  IM 


«  I 


THE  WAH. 
HÜMJ     AND  THESE  ARE  PRECISELY  THE  ONES  THAT  I,  HUBERT  HUMPHREY,  CALL  THE  ~ 
well,  HE  STOLE  THE  WORD  FORGOTTEN  FROM  MB,  SO  I  CALL  THEM  NOT FORGOTTEN 
BUT  UNREMEMBERBD.   AND  FOR  THEM  AND  I  AM  SOBERLY  AND  SOLBMNLY  PLEDGED 
AND  I  PROMISE  WITH  ALL  MY  HEART.  WITH  ALL  MY  SOUL,  WITH  ALL  MY  MIGHT, 

f 

WITH  ALL  MY WELL,  WITH  WHATEVER  OTHER  PARTS  OF  ME  ARE  IMPORTANT,- 

TO  AID  AND  ABET  AND  ASSIST  AND  ADVAITCE  BY  ANY  AND  ALL  MANNER  AND  MSANS 


\ 


St;  ST: 


HÜM: 


AND  METHODS  TO  -— 

(SINGS)   OH HUBERT,  HUBERT, 

OH  HOW  YOU  DO  BLURT 

WHATEVER  gi.OUGHTS  POP  IN^YQUR  HEA^ 

HUBERT,  0  HUBERT, 

WHY  OH  WHY  DO  YOU  BLURT? 

WHAT  YOU  SAY  TO-DAY  REFUTES 

WHAT  YESTERDAY  YOU  SAID! 

ON  THE  OTHER  HAND,  THAT  GREAT  DOCTOR  ~ 

TRICKERY,  DICKERY  NIX  t^ 
WILL  GßT  YOU  IN  SOME  FIX: 
).  ■'  TO  RID  YOU  OF  FE  ARS 

"'  HB'LL  USE  GUNS,  MY  DEARS: 

A  NATION  OF  HEAVY-ARi^iED  DICKSI 


GIRL: 


LOUSY  PUN,  BUT  REALLY,  THSRE'S  SO  MUCH  I  DO  MISS  THESE  BUS  DAYS. 
/YOU  SE5,  I'M  IN  THE  THROES  OF  A  DUTY  CONTEST  .   I'VE  JUST  GOT  TO  GET  • 
•SOr^BODY  INTQ  THAT  LOVELY  BIG  HOUSE,  -  YOU  KNOW,  SOMEONE  WORTHY  OF  ITS 


'f  -^ " 


7t 


«Jr 


r 


^  ■■»- 


^  •!  ** 


NIX;' 

HÜM: 

NIX: 

HÜM: 

NIX: 


HÜM':- 


COLOR  WHITE,  PURE  WHITE! 

COMB,  DEAR,  YOU  NEED  SOFiETHINO  NEW! 
NO,  TAKE  ME!  I'M  TRIED  AND  TRUE!^"""'-. 
LAW  AND  ORDER  WITH  GUNS  I'LL  BRING! 
WITH  ME  YOU'LL  BE  GAY,  YOU'LL  SING! 


ß>^ 


.w.^rtt^' 


NIX: 

GIRL: 

HÜM: 

NIX: 
HÜM: 

GIRL: 
NIX: 

HÜM: 

NIX: 

« 

WAL: 

NIX: 

HÜM.  AND 
WAL: 

GIRL: 


ST: 


/ 


PEACB  ;;ITH  HONOR,  THAT'S  MY  MOTTO: 

I'LL  ÜSE  NUCLE  -  JUST  YOU  WAIT  -  IE  I 'VE  GOT  TO! 

I'D  BRING  OUR  BOYS  HOME  RIGHT  AWAY  " 
WERE  IT  NOT  FOR  -  LBJ. 

I'LL  BE  NO  MAN»S  MAN,  IS  THAT  CLEAR7  • 

WOULDN'T  EVEN  BE  MINE,  I  FEAR, 

AND  ME?  I'LL  BE  MY  OWN  MAN 
JUST  AS  SOON  AS  I  POSSIBLY  GAN! 

I'M  EARNEST,  BUT  STILL  I  GAN  SMILEI 

BUT  BEHIND  THAT  SMILE  IS  GUILB. 
TAKE  I^,  JUST  LOOK  AT  MY  SMILE! 

WELL,  FRANKLY  IT  RAISES  MY  BILE! 

solve 
I  WILL  SOE^E  ALL  PROBLEMS  ÜRBAN 
and  whatSs  more:   I  NEVER  TOUCH  BOURBON! 

TAKE  HIM  AND  YOUiLL  BE  IN  A  MESS!' 
CHOOSE  m\      COME,  DARLING,  SAY  YES! 

BY  NO  MEANS  FLIRT  WITH  WALLACE!       " 
WHAT*S  WRONG  WITH  HIM??  JUST  ALLES! 

ALL  LIES^  AH  WILL  SAVE  THIS  MIGHTY  NATION 
FROM  THE  CURSE  OF  INTEGRATION! 

I'M  PROPER!   BUT  ON  YOU  I  DOTE!  *  .' 

FOR  HEAVEN'S  SAKE  GIVE  ME  YOUR  VOTE! 

•  NO,  I'IE!   HO,  ME!   MB  14E  ME  ME! 

WELL  ~  OH  DEAR,  OH  DEAR 

-   WHO  GAN  VOTE?  I'VE  GOT  NO  CHOICB! 
NO  SOONER  I*M  DONE 
BERATING  ONE 
THE  OTHER  SEBMS  EVEN  WOISE! 


\ 


\ 


I' 


V* 


if. 


*'< 


YOU  SAY  YOU  CAN'T  DECIDE  ON  EITilER! 
RIGHT!  JSSL   I  SAY  JUST  tfOTE  FOR  NEITHER! 
DESIST!   TOO  BAD,  OF  COURSE,  YET  BEST: 
IT»S  OUR  WAY  OF  SHOWING  WE  PROTEST! 
AND  THEN  SUPPORT  A  BIG  CRITICAL  FORCE 
TO  UPHOLD  A  TRULY  CONSTRUCTIVB  COURSE • 
BUILD  A  NEW  PARTY,  LIBERAL,  STRONG, 
TQ  WHICH  WITH  PRIDE  YOU  CAN  BELONG. 
ACTIVATE  YOUR  CLEAR  INTENTION 
TO  ABOLISH  THE  0LD*TB1E  PARTY  CONVENTION 


m  «  I  ■,.  II  ',\i  In  ■ 


JVU^Vjj 


4.1' 


GR: 


ST; 
GR: 


BUT 'ON  THIS  COMING  ELECTION  DAY  " 
DON*T  VOTBl  DON'T  VOTE!  JUST  STAY  ÄWAY! ! 


„^  •  >  .»•.■ 


NO,  NO,  MY  PRIEND,  I  BHJ OF  YOU!   THAT  IS  WRONG!   IT  XIX  IS  VERY  WRONG! 
IT  IS  TERRIBLY  DANGEROUS!  YOU  CAN  NOT  NOT  VOTE!   YOU  VOTE  WHEN  YOU  DON^TI 
AND  YOU  MAY  HELP  TO  ELBCT  TIIE  ONE  FAR  WOR^B  THAN  THE  OTHER!  . 

BUT  GRANDPA,  THERB  IS  NO  CHOICB!   YOU  SAID  SO  YOURSELP! 

THERB  IS  NOT  THE  KIND  OE  CHOICE,  THE  DEGPEEB  OF  CHOICB  WB  ARB  ENTITLED  TO  ", 

X2SL  TO  HAVE,  NO!   BNTHUSIASTIC  I  AM  NOT  ABOUT  EITHER  CANDIDATEl  BUT  THE 

ONLY  CASB  WHERE  IT  IS  UTERLY  USELESS  TO  VOTE  IS  WHERE  YOU  ARE  OFFERED  - 

WHAT  YOU  ARE  CALLING  THEM?  -  IDENTICAL  TV/INS,  YAH  —  identical,  MENTALLY 

'\  ■     ■   ■ 

MORALLY,  POLITICALLY,  HUMANLY.   IS  THIS  REALLY  THE  CASB  NOW?  YOU  KNOW, 

IF  I  WERB  NOT  A  REALIST,  ALIVB  I  WOULD  NOT  BB  TO-DAY.   THIS  CHOICE  -  wäHAT 

WB  ARE  HAVING  HERB .  AND  NOW  -  THIS  IS  THE  REALITY*   OUR  COUNTRY,  MY  DEAR 

FRIENDS,  (YAH,  WHO  KNOWS  IT  BETTER  THAN  I?)   OUR  COUNTRY  IS  A  VERY  GREAT 

COUNTRY,  BUT  SOMEHOW  IT  -  IT  HAS  LOST  ITS  WAY.   WB  MUST  FIND  IT  AGAIN. 

YAH,  CHANGES  MUST  BB  MADE,  GREAT  ORANGES I   AND  STARTED  HERB  AND  NOWI   BUT 

ABOUT  OUR  GOVERNMENT  FOR  THE  NEXTTYEARS,  NO,  NO,  WB  CANNOT,  WE  MUST  NOT 

BB  CYNICÄliL:  WE  DARE  NOT  SURRREin)BR  ^TO  BITTER  AND  DESPONDENT  INDIFFERENCB  • 

WHEN  THE  CHOICE  IS  DOT  MX  OBVIOUS,  THEN  BEING  A  RESPONSIBLE  CITIZEN 

MEAl^S  EXAiviINING  CLOSEL^,  WEIGHING  VERY  CAREFULLY,  BALANCING. . . .  ALRIGHT, 
SO  YOU  ARE  NOT  BNTHUSIASTIC.   IS  AN  ELECTION  A  FOOTB ALLGAME (  FROM  WHAT 

WE  ARE  OFFERED,  WHETHER  YOU  LIKE  IT  OR  NOT,  WB  MUST  MAKE  A  DECISION 

AND  ACT  UPON  IT.   AND  ON  WHAT  SHALL  WE  BASE  OUR  DECISION?  ON  PROMISES 

.THE  CAllDIDATES  MAKE??  ACH,  THEY  ARE  MOST  JUST  FOR  GETTING  VOTESt 

UNLESS  WE  KNOW  THEY  ARE  BACKED  UP  BY  PAST  PERFORMANCES IS  IT  THEN 

THE  POLITICAL  COMPANY  TZSXXXSXS  EACH  CANDIDATE  KEEPS:  WHOIU  HE  IS  WOOING, 

■  WHOI^"HE  MAKES  HIMSELF  OBLIGATED  TO?  EVEir'  THIS  IS  NOT  ALONB  A  VERY  SAFE  OTBE 

'  GUIDE....  WHAT  lÄ  FOR  MY  I14PRESSI0N  IS  MOST  IMPORTANT,  IS  WHAT  THEIR 

WüQLB  BACKGROUND  SHOWS,  AS  TO  STRjNG  AND  CONSISTENT  SYMPATH^BS  AND  IDEALS, 

AS  TO  CHARACTER,  AS  TO  WELL  PROVED  ABILITY,  STABILITY,  DEPEI^ABILITY.   

WHAT  THEY  HAVE  STOOD  FOR  OVEK  THE  YEARS.   HOW  THEY  HAVE  FOUGHT  FOR  WHAT 
THEY  PRÜFESSED.   AND  PLEASE,  MY  DEAR  FRIENDS,  IN  COMP  ARING  THE  CAi.DIDATES, 
'  LET  US  REi^lEKiBER  ALSO  THAT  I2X  IF  NO  MAN  IS  LIKELY  TO  BB  AS  GOOD  AS  HIS 
.v^  'POLITICAL  PROMISES,  NO  ^lAN  NEED  REMAIN  AS  BAD  AS  HIS  A  TRAGIC  BLUNDER  HB 


t^-- 


-■  '  ^  ^  ■  'v\v' 


•-V 


HAS-MADB.      HSX  WHAT  COUOTS  IS  THE  TOTAL  RECORD.      THE  SITUATION  IS   SO  GRAVB 


AND  THE  TIME  SO  SHORT.      COMB  PLEASE,   HELP  MISS  AMERICA, TO  MAEE  THE  RIGHT 
DECISION.      GIVE  HER  ÄND  OURSELVES  THE  BBNBPIT  OF  YOUR  BEST  THINKING.I? 


SPEAK  YOUR  MINO  NOW   ,   FREELY  AND  FULLY,    I  BEG  TOU.' 


THANK  YOU, 
». 


\ 


V, 


/ 


\ 


\ 


ii 


.i 


f'fi. 


':  ^^' 


— r-  Trr—, — T—  — »•* '  "    ••<' 


■  ■„»■in«      »  — 


■  liffii  i.yi|.ii  ^iji'  ij.ii  iii^iiiii  III  »1)111  iijii^' j"  I  ■  j>yr 


!l-# 


»^'ON    STAGE,    AMERICAN    JEW' 


<' 


JEWISa    CQHIIUNITY    CENTKH,    18100   MSYSRS   RQAD,    DSTROIT.    llICHo 


PROLOGUE  AND   FRAHETiORK 


POR 


^0}i   STAGE>   AMERICAN  JSW" 

I   I      — «>     amtmmtmmi^mmmm        in     m    mi  iiw     ■    wi »«w— 


By  Jeroro«  Bayer 


Davids 


JEANNEs 


DAVID» 
JEANNEg 
DAVID« 
JEANNEs 


DAVIDg 


JEANNEs 

DAVIDg 

JEANNEs 


DAVIDx 


(FADE   IN   OF   LIGHTS   ON    CU  ITAINo      TIISN   FADE-OUT   OF 
HOUSE   LI'^HTSo      MÜSIC    STARTS,      LIGÜTS    ON    CÜRTAIN 
FADE    OüTo      FOR  A   MOIIENT   THI3RE    IS   COHPLETE   DARKNESSj 
IN   ^f:iICH    DAVID   ANO    JEANNE   TAKE   TIl'^R   PLACESj       HE, 
AT    RICJUT    SIDE    OF  PROSCENIUII;    SIIE,    AT    LEFT.      THEN 
FADE-IN    OF    SIUE   SPOTS,    AL0N5  T'ITH    DIU   LJCrllTING   OF 
THE    HOUSEy    REVEALS  DAVID    AND   J^iANNB    EXPLORING    THE 
AUDITORIUM    FROH    TH'5IR  RESPECTIVS  VANTAGE  POINTS, 
LOOKING  AT    CEILING   AND    WALLS   WJTH    DELIGHT  BD 
SURPRISE,      THEN   AS  MÜSIC    FADES   OUT?) 

(Sniling  Tfith  pride   and   turning   to  faco  Jeazmo)o 
Not   badp    huh? 


(Noddlng)o      Such  a   cloan^    honedt   boauty   it   has 

The   fino  appeal   of  a   tastoful   slmplicityo 

And  the   spaciousnoss   of  It  ] 

Yet,     somehow  snug,    too©    •    aad  friendly  ! 

And   that  sloping  floor  J     Look  at   It  l 

(Looklng:)o      Thank   hoavens   for   that  I     No   itioro 


o   «   o 


^WM*«Ma>M 


straining  and  squirming  to  avoid  those  xaonuinental 


varslty  Shoulders  In  front  of  you  0 


0  o 


Or  thosa   high-pilod,   longfiaay«tht.y«vave  hair«do*8!o 


o  o 


But  best  of  all,  Joanne,  (polntlng  at  audionce),  that 

wonderful  audlence  l 

(In  a  roproving  half^whiaper)«   Davo,  stop  pointing S 


Thinlc  of  it  !  A  ironderful,  ready^made  audionce  i 


Listen,  pal,  don't  atart  getting  faacy  ideas 


No 


audience  is  ready^iaadoo   It*s  got  to  bo  wooed  and 
von  t 

(AS  DAVID  CONTINÜES  TALKING,  MÜSIC  FADES-IN<^ 
OVERLAPPING  HIS  VOICE,  CÜRTAINS  OPEN  SLOTfLY  ON  A 
BARE,  DIIILY  LIGHTED  STAGE.   JEANNE  IS  AVARE  OF 
THIS  HAPPENING.   BÜT  DAVID  IS  TOO  ABSORBED  IN  HHAT 
HE  IS  SAYING)i 

(Over  music)«   Oh,  well,  naturally S  All  I  neant 

vas  that  when  they're  favorably  disposed,  it's  all 


so  muoh  ea^ier  to 


000 


JSANNEi 


DAVID» 


JEANNE: 


DAVIDj 


JßANNEf 


DAVIDS 


JEANNEs 


(Calling   bis   attention   to   axposed   atage)«      Davda    *    «I 

(POR  A   MOinNT   TUET    BOTH  LOOK  AT  THE    STAGE   IN   SILENT 
ADUIIiATIGN,       TUEN  AS   TliEY   CONTINUi:   TO    SÜRVEY    IT, 
THEY    BOTU   IIOVE   TOKARD    "C"    ÜNTIL   TtlEY   HEBT   TIIEREK 

(Kods   approvingly   and   then)i      Y«p,    this  is   it  l 

Space!     Roon  galore   to   accomodate  Man*8   vhole  blamed 

reportoire  of  attitudeo   and  actions}    tha  total   grand 

gallo ry   of  his  nasks   and   laannors© 

(Quiotly)o      Space  to   half-^light    the  vastnoss   that 


envelopos   nan   ,    •    «that   hlghlifrhts   his   littloness 
and  his  lonelineddo 


o      o     o 


And   crovds«    »    »Look  at   thc    Space   for   crovds 


o      o      o 


All  those  surging  arabesques  of  angor  or  joy« 
(Thon  looking  up  at  Spotlight  traiued  on  hiiHj  as 
though  suddenly  discoverlng  it)o   And  lights  l 
(Looking  to^fard  offstage  left)«   Thero  ho  is 


o  o  o 


cur  Ronbrazidt  of  the  switchboard^  playing  doftly 

on  tho  organ  of  light  and  shade,  and  of  color© 

(Quletly).   Carving  a  livlng  face  out  of  the 

naueless  dark  2  •  «(On  «'Carving*^  thore  is  a  fade^^in 

of  Spot  on  a  face  at  rightj  on  "Dark"  fadeout  of  spot) 

Lighto  o  oBreathinj^  a  qtiiot  croscondo  of  davn,  of 

Vision,  of  fulfillmont«   (On  '»Croscondo"  start  the 

fade-in  of  warn  light  on  cycloramo)« 

Light  sighing  out  for  the  vane  of  hope«   Cr  fading 

tovard  the  long  pale  am  of  dreaiao   (On  ••hope"  start 

slow  fade-out  on  eye») 


DAVID t 


And 


O        0        9 


Don*t  ovorlook  those  convenieatly  shelterl&g 


JEANNEt 
DAVID I 

JEANNE: 


DAVID? 
JEANNE i 
DAVID? 


JEAKNEt 
DAVID? 


JEANNEi 


shadovs  for  tho  privacy  of  love<,   (He  klsaos  her)o 

(Fullins  airay)a   Dave,  thero  aro  people  watching« 

Oh,  of  courso,  of  coursea   Our  audi.enca« 

And  lock  brother,  its  about  tine  to  say  something 

to  then  I 

Naturally« 

And  pleas9,  sonothing  pertinento 

Just  loave  it  to  me,  Joanne  !   (He  steps  forvard  and 

spaaks  to  audienco)*   Good  evening,  friends« 

What,  I  ask,  o  o  «What  could  be  nore  fitting  aa  a 

prologue  to  these  proceodings  than  that  siost 


oelebrated  of  all  stage  Speeches 


o   o   «   o 


(Fade«in 


of  Spot  at  righto   David  noticcs  apot;  and  says 

to  off-staga  right)«   Oh,  thank  youo   (Ue  then 

runs  over  into  the  Spotlight;  aesuaes  the  thoughtful 

attitude  of  an  old«f ashioned  harn  actor  and  declairas)s 

»To  be  0  o  oOr  not  to  be.   That  is  the  questiono** 

(With  a  teasing  snile)   And  the  ansver? 

(To  Joanne) o   Look,  give  ae  a  Chance t  The  ansver 

oomes  later  in  the  speech« 
Dave  darling;   Khat  onr  good  frlends  out  there  tränt 
to  knoir  Is  irhat's  to  be  or  not  to  be  the  policy 


and  program  of  Center  Theatre« 


DAVIDi 


Oh 


o   «   o 


Oh,  that  l   o  oAh,  ye^j»  a  0  (a  hatiny  apostrox>he) 


JEANNEs 


DAVIDS 


o  oTheatroj   Mocca  of  T?ial:e*»believep  whore  by  tho 
alchomy  cf  art^  tho  frail  shadows  of  dreaa  and  of 
noaory  materialize  to  quick»ned  llf9|  vhcro^  out 
of  the  nists  of  hopo  and  fear  tro  aay  capture  all 
tenuous  tonorrows  and  j;ive  then  tho   realnass  of 
thls  riorning'3  broadf  whore  docoptivo  raasks  of 
here  and  now  are  piercod  by  tho  fluoroscopo  of 
insi^hto   (To  Jeanno).   Not  bad^  huh? 


Quito  a  tiae  ycu  had  yoursolf ^  you  incorrislble 
han  l     But  bof oro  you  got  lost  In  any  noro  oceans 
of  (^onorallzation,  nay  I  remind  you  that  thia 
happens  to  bo  the  theatre  of  a  Community  of  Jevso 
Does  that  nean  nothin^;  spooial? 

Oh>  It  cortainly  dooa  l     Tfasn^t  It  our  prophot»  who 
proclairaod  tho  brotherhood  of  nan^  the  fraternity 
of  nations?   So,  lustn^t  our  stage  bvqt   be  hospitabl« 
to  the  plays  of  all  culturesT 


eff stage  aai^WLazu  IIALE  VOXCBi 


DAVIDg 


And  what  of  our  own? 

Well,  what  I  say  is  o  <»  o (double  take)o   Hho  are 

you?   Who  Said  that? 


OFFSTAGE  OLD   1T02LI)  IIALE   VOICEg 


One  presuning   to   spoak   for  thoae  vho  vould,    if  they 
could,    travol  over  2000  years   to  be   here|   who^d 


DAVIDS 


JEANNEj 


force  thoir  vay  throucl^  all  tha  lattice->vork  of 
lotters  on  the  hailowod  page  te  reach  youo   Your 
anciont  Hobraic  forboars^  vho  are  not  content  boing 
faint  frozen  inag^  in  tho  nind^  or  pseudo^soleran^ 
dead«VGlvot  sound-track  in  the  aouth|  vho  hunger 
to  live  agaln  in  tho  eye  and   ear  of  tho  living«, 
Ycu  who  aro  young  and  bold  and  füll  of  fantasy, 
can  you  not  try  to  rostore  thon  to  the  flosh  of 
flane  upon  your  stage?   To  tho  qtiivorinrr  tongue 
and  quickenod  gesturo  of  passion?  Try  ! 
(Conplötely  aoberod  no^/,  and  uith  a  qtiiet  hunility), 
Woll|  yos«  «  oyoSp  of  coursdo   But  hov  can  ko  daro? 
Pigurca  of  tho  Biblo  l   Iloir  can  tro  hopo  to  bo  able 
to  me«t  such  a  challengo?   Tho  iiighty  patriarchs 
and  prophets?  o  o  »They^ro  so  far  boyond  uö  yet^^ 
it  vould  be  folly  to  evon  try  to  oncocipass  thoiio 
Ono  can  only  onact  vhat  lios  to  soiao  oxtent  vithin 
his  cvn  exporioncoo 
(Intorrupting)o  TTait,  Davo  I  What  you  say,  voll 


o  o   o 


I  guos3  it's  true«  Wo  cau^t  start  portraying  Job 
and  Jeroniah  and  Doborah  right  off»  But  coiildn't 
wo  perhap»  makc  a  raodost  boginning  with  sonething 
out   of  öm  Bibla  tbat'a  relativoly  close  to   cur 


ovn  orpQrionce?      B'or   oxaiiple, 


«   o 


volle  .  ••  tho 


anciont  archetypo  of  our  own  love?   Gan*t  vo,  for 
a  briof  moaent,  through  tho  lovo  wo  know,  ro^enact 
a  living  ocho  of  the  "Song  of  Songs"? 


(FADE-OÜT  0?  LIGHTSo  IN  DARKNESS  DAVID  AND  JEANNE 
EXITo  MÜSIC  OF  FLUTE  STARTS,  ACCOIIPANIED  BY  FADE- 
OF  LIGHT  ON  EPISODE  FROM  "sONG  OF  SONGS" )o 


JEANNGt 


DAVIDS 

JEAKNEs 

DAVIDS 

J5ANKE: 

DAVIDt 

JEANNES 


(AT  Tay  lillD  OF  "SONCr  OF  SONOS»  EPISODE,  THE 
CÜRTAINS  CLOSE.  AS  TIISY  ARE  CLOSED  FADE-IK 
OF  SPOT  OK  JTiAIJNE  AND  DAVID  AT  LEFT  SIDE  OF 
PROSCENIÜM), 

(Kith  tondor   thouglitfullness) .      The    song  of  love 

that  was  8olonion*d|    oome   aovly  alive  upon  our   stagOo 

Yeso    p    «But  vhore  do  wo   go  from  her«?     What   next? 

Oh,   that^s   easy   enough» 

Yes? 

üma  -  hmri  ^  o 

To  Vit? 

Fron  that  peak  of  human  onchantment  ve  go  to  tho 

nore  livable  hunanity  of  a  dodioated  fellovdhipg 

the  dovotion  of  Ruth,  tho  lloabite,  for  Naocil| 

nothor  of  her  dead  husbando  o  ©at  thc  parting 

that  novor  cane  to  paas« 

(AS  LIGHT  FADES  C^T  ON  JIIANNE  AND  DAVID,  MUSIC 
STARTS  AND  CüiZTAIN  OPENS  OIJ  11113  PARTING  SCBNE 
FROM  »»TIIE  BOOK  OF  RUTII»*)o 


DAViDf 

JEANNdi 
DAVID I 


(AT   TIIS   END    OF   "THE   BOOK  OF   RUTH"    SCENß   THE 
CÜRTAINS   CLOSß  AND   FADE-II4   OF    SPOT    QU   JEANNB 
ANÜ   DAVID   AT    RIGUT    OF  PROSCENIUH)» 


•  • 


(Thou2htfully)o   YeSo  •  «but. 
But  vhat? 


W0II9  a  »Oh,  nov  don^t  misunderstand  moo   Bringing 
our  ancient  bible  to  lifo  upon  tho  stage  Is  fine  S 

It*a  vonderf ul 2  But  if  our  tK^atre^s  to  be  a 
really  living  force  in  Jovish  terxas,  I  say  that's 
not  enougho   Tfhat  we've  got  to  dopict  is  our 
irorld  of  today,  witli  all  its  vacant^  laugh<?>aad-cr7 
▼ioleixcoy  its  frightening  a^v-found  power^  its 
relontlesa  standardications,  its  giddy,  infantilo 
adoration  of  giranick  and  gadget  !o  o  «And  in  that 


vorld«  «  «aSJELf  •  •  aodern  aan  groping,  seoking 
neaning  and  solutioa,  and  rotrioving  lost  integrity 
through  rovaluatlon  and  frash  Interpretation  of 
doop  Hebraic  vision^  and  insights  l  That 's  Tfhat  ve 
aust  brinf;  to  our  stago« 


OLD  TfORLD  IIALE  VOICTi« 


o  •  oUk,  pleaso,  my  young  friond,  not  so  fast  l 
Oi,  liko  a'circus  acrebat  ho  loaps  across  th« 
centurieso   Wait  l     Jnst  wait  a  little  i  Khat  you 


DAVID« 


say  is  fine,  find. 
And  who  are  you? 


»   •   o 


but  waix  a  little 


8 


OLD  WORLD  I:ALK  VOICEj 


Who  an  I,  he  askSo   I  an  «  «>  ©  of  nany  here  tonight^ 
thö  gramlfathoFo   It  is  I  Tfho  holped  to  koep 
lovlngly  allve  through  the  iram  toxturo  of  unzer   folk 
our  sacred  biblical  traditiorij  to  preserve  it  a3  the 
whole  pattara  of  cur  dailin.p:  llvlng  and  to  hand  it 
on  to  youp   Much  they  haron't  loft  of  ua  In  this 
oraxy  world^  but  you  would  writo  as  off?   Älght 
aoWp  ploase^  ve  vant  that  you  shoiild  for  a  nonont 
let  US  laugh  a  Xittle  with  you  on  your  stag«© 
Oi,  ho\f  V©  n'^od  that  J   Just  to  laugh  uith  you  a 


DAVID g 


littla   in   tho    spirit    of 
Tfait  l     Listen  i 


o      «      o      o 


(SOUNDS   OF   TIIK  MT3JIC    OF   TII^    "WORLD    OF    SIIOLOM   ALt^,ICHEM")  o 


DAVIDi 

JEANNE? 

DAVIDi 


Look  I     Therö  he    öorres 


Tfho? 


Sonoone    atrajght   oi?t   of  tho  vorld   of  Sholom  Aleichem 

(LIGOTS   FA.OE    OUT    ON  BOY   ANi)    "rIRL    AS   MtdNDELü:   THE 
nOOK    PiSDDLER   COIIKS    DOIIN   TUE  AIvSLK    OF   TIIfD   TllEATRE 
TOWAIiDS   STAGli;   TflTÜ    IIIS    BATTERED    BABY   CARRIAGE 
FÜLL    OF   BOCKS) o 


JiCANNKs; 


DAVID g 


JEANN38 


(AT   TII^    iNl)   OF   T:11^    SJIOLO:;    AL'':iO:mi    lilPlSOOE 
TlliUK   It>   A    BLAC.CüUTo      TIPCN    FADIS^IN   OF    SPOT    ON 
DAVID   AND    J^UNNR   AT    RKJHT    SIDE   OF  i*ROSCENIÜlU 
DAVID    :iAS   A   DlililAlIY    FARAUAY    LOOKK 

(Teasiii:3ly)  o      So  vhat«s   bothoring  you  now^    uy 


(Chuckling)o      Fxxnny^   you  knoir, 


O        4        O 


such  a  reatlesa 


alnd   I«vo   got^    ,    .    .1  vas   juat   thinklng  what  a  long 
long  way  it   io    fron  the    old   shtotl   of  Sholon  Aleichen 
at  th«   Century«»   turn  to   a   typlcal   litt:|Lo  town   of 
Anoriea^    o    ©    oOf  New   F,n:]:land,    sdiy    ^    ©    «at   tho  vory 
•  axio  tinoo 


A  long   t/ay?      Hmra^    you   H«>aid   It 


0         9         9 


And  yetp  Davo 


in  broad  basic  human  toras  Kare  they  roally  so 
dlfferent?   Eaoh  the  stronghold  of  a  blble«inspirod 
faithg  each  tho  scono  of  tho  ©tornad  cyclo  of  birth, 
growing  upp  courtshipp  narriagOn  doath©   And  for 


nany  of  our  boardod  forbears 


o   o   o 


their  shtotl 


bocano  '•Our  Tovn^^   Our  tovn  that  wovo  thon  lato 
its  texturo  to  help  make  the  American  JeWo  You 


know„  Davco  e  ohuh^   now  I^m  soeing  thlngs 


o   o   « 


See  on  our  stago  a  lovoly  glrl 


O   0   o 


Saily, 


o  o 


as 


Thornton  Wilder  saw  her  In  "Our  Town" 


0    0-) 


Smilyp 


vho  dled  In  chlldbirth^  and  is  nevly  come  nov  to  th« 
cenetory  on  a  lovely  hlll  above  her  town»   Bmlly 
Standing  botwoen  the  living  who  riourn  at  hör  opea 

grave  and  the  doad  irho  voro  once  her  neighbors^  and 

finily 

aro   nou  her  noighbors   agalny/ls  part  of  us,    too^    and 

the  toTHn  of  her  life   and  her   death  is   our  tovno 

(MüSICo      SC^NE   OPENS   ON  lIONOLOGUn;   FROM    "OUR  TOWN" 
ÄS    SPOTLIGHT    ON   DATMD    AND   JEANNE    FADES    OUT)^ 


10 


JBANNEi 


(AT   Tin   TilND    OF    «OUR   TOTfN«    CURTAIN   CLOSES   AND 
FADB-IN    OF   SPOT    ON   DAVID    AND   jr^ANNE)^ 

(MusinjTly)      Pur  toifn   and   their    shtetol  and  all 

placos  everywhcre  upon  tho   oartho     And  in  then   •    o 


o      epOOplOo 

OLD   TfOIlLD   MALE   VOICEi 


DAVIDä 


Have  V©  not  all  ono  father?   Hath  not  ono  God 
created  us? 

Yeso  •  oAnd  30  fron  cur  hallovotl  book,  a  cuo  for 
the  presonco  on  owr   Center  Sta^e  «  «of  "The 
Pamily  of  Man'»« 


(FAIIILY  OF  HAN  E1>IS0DB) 


Dr-E  4/59-jh 


LhBBL 


h  fiPcDiO    P^^f 


4 


JEROME   H.   BAYER 


PLEASE  RETUHN  TO: 


JERüKE    BüYER 

759   W*    186 tu  Sz., 

Apt.    6c 

New   i^ork  o5,    N.i. 

phone;   öW  $  5-9576 


ÜBELS 


i 


A  Radio  or  Assembly  Play 
-by- 


JEROMB  BAIER 


■JHHHt- 


CHARACTERSj 

BILL:  (NARRATOR)  a  College  Student 

DON:  a  College  student,  somewhat  younger 

ANNOüNCBRi  an  elderly  man 

FRED:  in  middle  fifties 

JOHN  BRAIDON:   about  f  ifty 

PKTLLIS:  his  daughter,  a  College  student 

PIUL:  about  thirty-five. 

MAY  BE  PRODUCED  VERBALLT,  TTPED 
QR  MIMEOGRAPHED  WITHOUT  PERJCLSSION 

-»f  ♦  *  ♦  ♦  # 


\ 


BILLt 

DONt 

BILLs 

DONt 

BILLi 

DONt 

BILLt 

DONt 

ANNOÜNCER: 


DON: 
BILLt 
DONt 
BILLt 


See  this  package,  Don? 

Uh  huh.*, 

What's  the  label  aayt 

Ifhat  is  this?  A  reading  test?  It  says  —  X  Canned  Beef . 

Right.  Wanna  taste  it? 

Sure  • 

Here  • 

Thanks . 

Sorry  to  intrude,  boys.  But  while  Don 's  eating,  I  want  to  enlighten  the 
audience.  priends,  this  conversation  you»re  hearing  is  the  start  of  a  little 
radio  draraa.  Called  "LABELS"  it  was  iiritten  by  Jerome  Bayer  and  is  being  pre- 

sented  by  the  Radio  Players  of  .  Any  now,  boys, 

go  aheadJ 

ü'mzmnm«.*  Say  this  is  goodi 

It  sure  isl  And  now,  Don,  let  me  ask  you  a  question. 

Shootl 

Suppose  that  for  months  a  rimor  had  been  sprcad  that  I  Canned  Beef  is  dangerous 
How  would  you  react  to  a  package  bearing  that  label? 


^ 


DONt 

BILLt 

DONt 
BILLt 


DONt 


BILLt 


DONt 

BILLt 

DONt 

BILLt 

DONt 

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DONt 

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DONt 

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DONt 

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DONt 
BILLt 

TREDt 


¥•11^  nhat  do  you  iiappos«?  I  woiildn't  touoh  the  stuff  •  (ALARMED)  Sa/j 
wait  a  vLnutal  That  haan*t  happened^  haa  it? 

Wo,   don^t  gat  aearedi  Thcra's  no  rumor  about  that  baef  •  What  I  want  to  polnt 
out  ia  that  that'a  Juat  the  vort  of  thing  that  doaa  happan  ~  about  paopla  l 

About  paopla?  I  don't  gat  yon« 

Wall,  70U  999f   Don,  auch  worda  aa  Catholio,  Jew,  Nagro,  Mezlcan  —  tha/^ra 
uaad  lika  labala  of  branda.  Falaa  rumora  ara  apraad  about  tha  branda  and 
Iota  of  paopla  fall  for  tha  rumora.  Than,  ihan  tha/  anoountar  tha  labala, 
thay  raaot  wlth  diatruat  or  hoatility. 

(THOUQRTFULLr)  H'mam..,,Taa|  I  aaa  what  70U  maan«  But  «hat  gata  ma  ia  hov 
auoh  falaa  rumora  taka  root«  I  auppoaa  it*8  Juat  that  •—  wall,  if  liaa  ara 
rapaatad  oftan  anough,  folka  Juat  gat  to  baliaTa  tham. 

Taa,  bitt  why  ara  thay  rapaatad?  Tou  aaa,  thara*a  aomething  alaa  too,  Dont 
many  daTloaa  ara  uaad  to  axdta  our  f aalinga  directly  and  ao  maka  paopla  mora 
racaptiva  to  liaa  and  aagar  to  paaa  tham  on. 

For  axaiqpla? 

Wall,  taka  tha  atory  my  friand  Fhyllia  told  ma  the  othar  night. 

Fhyllia  who? 

Brandon.  Tou  know  —  you'va  mat  har  on  tha  oampua. 

(Hl  uh  — »  yB,   aha* 8  that  aooiology  major. 

That'a  right.  And  raryaotiva  in  diffarant  intargroup  moramanta. 

Sura.  Say,  aha*8  a  pratty  amart  girl. 

Sha  oartainly  ia Wall,  anyway,  —  Fhyllia  ia  tha  daughtar  of  John  Brandon. 

Tha  big  aotor  and  producar,  you  maan? 

üh  huh«». 

Oh,  I  didn't  know  that.  Tea,  -*  I'Ta  aaan  him.  I!i«8  topa.  Alwaya  doaa  tha 
olaaaica. 

Right.  And  that 's  Juat  what  tha  atory'a  about.  Tou  know,  aaoh  yaar  Ib*. 
Brandon  makaa  a  oro88->oountry  tour.  And  laat  aaaaon  ha  decided  to  add  to 
hia  rapartoira  a  raviral  of  Marlowa'a  play,  »Tha  Jaw  of  Malta". 

I  9m%. 

Wall,  whan  tha  play  waa  firat  announcad,  a  cloae  friand  of  hia  oame  to  hlm  ona 
ayaning  and  —  (SLIOHT  FADE  ON  LAST  FEW  WORDS) 

(FADINQ  IN) it'a  a  great  mistake,  John.  Oh,  I  grant  tha  play'a  a  cla8aio 

—  graat  poatry  and  all  thati  But  it'a  vicioua,  Johnl  Tha  way  that  charaotarta 
drcwn.  Ha (8  not  Juat  a  rLUain  who  happana  to  be  a  Jaw.  Ria  baing  Jawiah  ia 
■^  •ap^f^iaad,  ao  isolatad  in  a  non- Jawiah  anyironmant,  that  what  amargaa  ia  tha 
Portrait  of  aomaona  who »8  avil  BEGAU3B  ha»8  a  Jaw.  And  ao  it  becomaa  a  falaa 
indiotmant  of  a  whole  groupt 


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BR^NDONt 


FRSDs 
MANDOXt 


FREDs 


BaJLNDOH: 


FHSD: 


BRiNDOIs 


FRED: 


BRANDONx 


FRED: 


But  an  indictment  nad«  four  huadred  years  agot  And  that»»  hofw  tha  public  will 
taka  itl  Thi»  ia  maraly  tha  Jaw  that  ii^lawa  draw  — •  in  timaa  irhan  prejudica 
waa  atill  rampant. 

Rah  -  and  niiat  do  70U  think  it  ia  now? 

B«t  graat  Soot,  oan  I  halp  how  aoiia  twiatad  ninda  raaot?  I*fli  not  praaanting  an 
ai^gumanti  All  I*m  doing  ia  bringing  tha  publio  a  work  of  arti  An  itam  of 
litarary  hiatoryl 

Tou*ra  doing  «ora^  John«  Xou *ra  oonmonicating  to  hundrada  of  iopraaaionabla 
ninda  a  liTing  imaga  af  aril  that  inoitaa  hoatilitj.  Toaira  bringing  potantial 
anti-S«nitaa  ona  mora  alandoroua  portrait  to  flaah  in  tha  mind  whan  tha  word 
Jaw  ia  aantiinadl 

(ANNOIED)  Oh>  all  thia  infamal  eoddling  and  oautioni  And  so  I  auppoaa  xon'd 
ban  thia  and  hundrada  of  othar  booka  from  oxxr  librariaa  tool 

No^  John.  Saaing  a  pla^  in  tha  thaatra  ia  a  vary  diffarant  ordar  of  axparianca 
from  raading  tha  oold  pagaa  of  a  book  in  /our  room«  A  dramatio  production 
ian*t  Juat  a  pictinra  book  or  a  hiatorj  laaaon,  It's  a  powarftQ.  dynaaio  foroa 
that  doaa  thinga  to  paopla*8  amotiona. 

And  to  what  battar  uaa  can  X  put  that  graat  foroa  than  to  kaap  aoknovladgad 
claaaioa  alira? 

But  will  you  tall  me  whj^  out  of  all  the  doaana  of  long-naglactad  claaaioa^ 
you  Juat  had  to  pick  out  thia  ona? 

Baoauaa  I  aae  it  aa  an  artiati  You  aao  it  only  aa  a  aooial  raformar!  I  b%^ 
IVB  baautiaa!  You  B9e  nothing  Buf  abaurdly  axaggaratad  dangeral  Wall7  I'a 
willing  to  f  aea  lEEösa  dangarat 

That'a  up  to  you,  John.  I  auapaot^  howaTer^  you*ll  hava  plant/  raaaon  for 
ragrat.   (BRIDQE  OF  SEVERAL  CHORDS.  THEHi) 


BILLt 


BRANDONi 


BÜX: 


BRANDOMt 


Wallj  daapita  hia  friandia  advioa^  Brandon  want  ahaad  with  hia  plana.  Tha  tour 
■tartad  in  a  law  England  eity.  And  **Tha  Jaw  of  Malta**  waa  achadxilad  for  tha 
firat  two  night s.  Phyllia  flaw  oTar  for  tha  opaning.  I  might  add,  Brandon*  a  a 
widowar  and  Phyllia^  hia  only  ohild  -—  wall,  aha  maana  aTerything  in  tha  world 
to  hl«,  low  it  ao  happanad  that  Phyllia  had  nayar  raad  tha  play.  Still  aha 
did  hara  aoaa  qual«a  äbout  it.  But  anyway,  thara  aha  waa  —  part  of  that  orowdad 
firat^night  houaa.  Wall,  tha  draaa  prooaadad  amoothly  to  tha  final  apaaeh— 

(FADIHCl  m,   IN  DSCLAiaTORY  IHINNER)  ** ao  maroh  away  and  lat  dua  praiaa  ba 

givan,  naithar  to  Fata  or  Fortuna,  but  to  Haarani"  (SEVERAL  OfFRESSIVE  CHORDS, 
OVSRLAPPED  BT  APPLAUSE,  TOICH  FADES  OUT.  A  SECOND  OF  SILENGE.  THEMt) 

Wall,  later  that  night^  whan  Brandon  waa  baok  in  hia  auita  at  tha  hotal,  thara 
waa  a  (SLIQHT  FADE  ON  LAST  WORDS,  THEN  SOUND  OF  KNOCK  ON  DOCR) 

Comai  (SOUND  OF  OPENINQ  DOCR)  Phyllia,  darlingl  (SOUND  OF  CLOSINQ  DOCR)  What 
happanadT  Why  didn*t  you  ooae  back  ataga?  I*Ta  baan  worriad.  • .  «Why,  what  -*- 
what*a  wrong,  dear? 


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PHILLISt 

BMNDON: 
PHILLISt 


BRANDONt 


PHTILIS: 
BRANDOX: 

PHILLISt 


BRANDONt 


PHILLISt 


BRANDONt 


PHILLISt 


BRANDON: 


PHILLISt 


BRANDONt 


PHILLISt 


(DSBPLI  PAINED  AND  AGITATED)  Gtiy   Daddy,  Dad(^ 
never  so  ashamed  and  hundliated  in  107  lifoi 


how  could  you?  I  was 


\ 


(IN  A  HURT  TONE)  Phyllis,  pleasa i  Hearing  that  from  you  is  — 

Oh,  I  know,  — —  it'8  terriblei  And  I»m  sorryl  Bttt  I  can't  help  it,  Dadc^rl 
I  can'tl  How  could  you  thixik  of  putting  on  auch  a  play???  And  after  all 
the  talka  we'ye  had  and  all  tha  — 

(INTERRUPTINQ)  Listen  to  mm,   I^llia.  I  knofw  what  you»re  going  to  aay.  And 
you  Ire  irrong*  Tou're  completely  nietaken«  I  think  I  know  more  about 
people'8  reactiona  than  you  do!  And  I*m  Juisrb  as  muohagainst  prejudice  as 
you  areJ 

But  that'a  Juat  —  what  I»ve  begun  to  doubt. 

(SÜDDENLY  HEGOMINa  RATHER  SEVERE)  Don»t  say  that  to  m,   P^yllial  Tou  have 
no  earihly  reaaon  to  belieTW  that  I  ~ 

(INTERRUPTINQ)  There's  auch  a  thing,  Daddy,  aa  unoonacioua  prejudice!  And 
uaing  a  great  author's  worda  ~  atanding  behind  hia  creation  —  you  can  give 
vent  to  it,  without  feeling  personally  responsible. 

That '8  all  rubbiah  and  nonsense J  Uy  Job 's  to  keep  the  classics  alive  in  the 
theatreJ  It's  the  verdict  of  hiatory  and  critics  that  this  play  is  a  — - 

(INTERRUPTINQ,  WITH  RISINQ  INTENSITI)  Tea,  ysB,   classics,  classics 11  I»ve 
heard  §11  that  beforel  And  why  is  this  a  classic?  The  greatness  of  Ifarlowe? 
The  glowing  poetry?  Tes,  I  grant  all  thatJ  But  a  work  can  be  evil  in  spite 
of  it*s  poetry  and  authorl  You '11  fling  the  word  'art*  at  met  But  what  ia 
art,  I  aak  youTT  The  deepest  test  of  art  ia  TRUTHl  TRUTH j  I  And  here,  in  lEls 
piece,  you  walk  the  stage  —  yes,  you  —  you,  my  own  f ather  -  walk  the  stage 
as  a  liring  lie  -  a  horrible  stereotype  tnat  brande  a  whole  peopleJ  For 
heaTen's  sake,  where  is  your  oonscience??? 

But,  great  Scotl  In  playing  this  part,  lim  not  claiming  it's  typical  or  truej 
I*n  merely  bringing  Marlowe*8  oonception  to  lifel 

Äat'a  Just  itl  Tou're  bringing  it  to  lifel  And  wherett  In  a  vacuua??  For  an 
age  that 's  aature  and  calm  and  objectivet?  No,  you*re  bringing  it  into  a  world 
that'a  atill  tainted  with  the  same  falae  gener aliaations  that  Marlowe  waa 
affected  byl  lou're  bringing  it  to  life  for  many  who  still  live  in  the  twilight 
of  half-hates,  -*  who  are  ready  c  andidates  for  actire  enmityi 

That 's  preposterousi  What  you're  demanding  is  a  thousand  times  more  dangenousl 

lou  Start  censoring  everything  that  might  somehow  be  a  — -I 


Who 's  talking  about  censorship??  I'm  as  opposed  to  censorship  as  you  arel  But 
the  best  insurance  against  censorship  is  the  art ist  who  meets  his  responsibilityl 
No,  not  a  apecial  responsibility  to  Jews  or  Catholica  or  other  groupa  "— *  but  a 
basic  responaibility  to  TRUTHl 

HaTe  I  Yiolated  TruthT?  Did  I  write  the  play??  Am  I  responsible  for  history  call- 
Ing  1^  a  classic???  All  I  say  to  the  public  is  thist  I  bring  you  an  acknowledged 
work  of  artl  Take  it  or  leave  itJ  This  is  more  than  my  rightl  It's  my  dutyl 
It's  safegufgrding  the  freedom  of  artl 

And  what  about  the  freedom  of  people??  From  hate  and  abuse  and  discrimination?? 
What  about  the  freedom  of  cur  country  from  bittemess  and  dissension??  But  what 


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BR^NDONt 
PHILLISi 


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BRANDONt 
PHUt 
BRANDONt 
PHUt 

BRANDONt 

PHILt 

BRANDONt 

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BRANDONt 

PHILt 

BRANDONt 
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BRANDONt 


do  yon  oare  about  that?  All  you*ra  eonoernad  wlth  is  your  preciouB  egol 
Tour  vanity  parading  a*  oultural 

PHnXISJU 

(WITH  ALMOST  HTSTSRICAL  VEHBMENCE)  No,  you  Juat  can't  resiat  a  fat  part, 
that's  alll  Not  evan  a  diagusting  staraotype  -  aa  long  aa  it'a  hallowad 
in  blank  varset  It'a  paopla  lika  you  that  andangar  fraadomi  I  tall  you 
I*m  aahamed  of  youl  louj  my  own  fathar  whom  I  loTat  I*a  aahaoad  af  youtl 
I  navar  want  to  aaa  you  on  tha  ataga  againlil  (THREE  PIERCING  DISSONANT 
CHORDS.  THEN  A  SUSTAINED  QUIET  CHORD|  THEN  A  SBCOND  OP  SILSNGEj  THENt) 

Wallj  noadlesB  to  say^  ¥r*  Brandon  waa  awfuLly  upaat  by  thia  talk  wlth 
Phyllia.  His  stubbom  prida  aa  a  fathar  and  an  artiat  had  baan  terribly 
ehallangad«  Ho  Juat  had  to  go  on  now.  Bis  aalf-aateam  waa  at  staka  —  to 
aay  nothing  of  tha  thirty  thouaand  dollars  he*d  invaatad  in  tha  production 
•  •«••Wallj  naxt  ovening^  bafora  curtain  tima^  aa  he  sat  in  his  drassing 
room,  making  up  f or  tha  Marlowa  part  —  his  cecretary  came  in  with  8  oma 
papara.  (SLIcmT  FADE  ON  LAST  WORDS) 

How<8  tha  houaaj  Phil? 

Sold  out,  Mr.  Brandon. 

Good. 

(IN  A  TROÜBLSD  TONE)  Say  uh  —  heraus  a  bit  of  fraa  advertising  wa  didn»t 
oount  on« 

QtL,   really? 

Somaone  Just  handad  it  to  ma.  It*8  oertainly  Bomathing« 

I  haTan*t  my  glaaaaa  hara.  IVhat  ia  it? 

A  bigi  full-paga  picture  of  you  aa  "The  Jew  of  Malta"« 

Ulfhara? 

I  hata  to  tall  you.  It*x  in  ona  of  thaae  aoTirrilous  weeklies  -  a  hata  aheat 
against  Jaws^  Catholics,  Negroes  and  — — 


(SHOCKED  AND  PAINED)  Oh,  great  haayena 


Above  tha  picture  it  says  »»THS  JOT  OF  liALTA«  IT'S  STILL  TRüE  TO-DAYi»  And 
than,  underneatht  «JOHN  BRANDON  IN  HIS  UTEST  RQLE,  IN  SPIRIT,  THE  EMINENT 

ACTOR  IS  ONE  OF  üSüi"      (SSVERAL  PIERCING  DISSONANT  CHORDS;  THEN  A 

SECOND  OF  SILMSÄTTflENt) 

Wall  —  that  waa  that.  Twanty  minutaa  later,  tha  cinrbain  roaa«  John  Brandon 
appaarad  on  ataga  — *  without  maka-tqp«  He  came  to  the  footlighta  and  addraased 
tha  audianoa. 

(FADING  IN)  •••••  and  that,  ladiea  and  gentlaman,  is  n^y  I  cannot  do  the  play 
tonight  —  or  evar  again«  I  am  extremely  sorry  there  was  no  time  for  advanca 
notioa.  But  aa  I'ye  said,  thia  painful  prooess  of  ny  awakening  Juat  eama  to  a 
olimax  a  faw  minutes  ago.  I  aak  you,  friends,  to  shara  this  bitter  lesaon  with 
ma,  for  I  belle ve  it  has  meaning  for  everyone  .  We  atill  live  in  a  tainted 


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DOHs 
BILLt 


ÄNNOUNCERs 


mtnospher«  -^  an  atoosphere  charged  with  vlcioualy  falsa  generallzationa 
about  differant  groups,  Thaaa  become  an  evan  graver  manace  *an  kindlad  by 
auah  graphie  ahort-*outf  to  hata  aa  ataraotypaa^  aa  oaricatures^  aa  odioua 
niokname»,  contemptuous  Jokes,  slanderoua  talai,  slogans*  Tor  tha  hoatila 
faelings  ao  awakanad  make  paople  laore  reoaptive  to  tha  liaa^  irhioh  in  tum 
breed  furthar  anmity.  It  ia  not  anough  that  aaoh  of  ua  ayoid  uaing  thasa 
hataftil  daTicaa  himself ,  Wa  auat  ~  all  of  ua  *  Protastants,  Gathollea, 

Jewa  ~  tinita  in  action  againat  «U  catiaaa  of  prajindice frianda^  I  aak 

you  to  oonfart  youp  diaappointaant  tonight  into  an  aotira,  constructiTi 
andoraamant  of  ny  dacision*  For  that  will  maka  us  all  actors  togathar  in 
tha  rlsing  draaa  against  bigotry*  A  draoa  whoaa  spirit  ia  civiliaad  daoanoyi 
whoaa  goal  ia  tha  good  of  all  naan, 

(SETERAL  STRONQ,  IRIIIMPHAHT  CHORDS.  THKHt) 

R«nm«.,»that*a  cartainly  quita  a  storyi  ianU  itt  And  ndüit  waa  tha  outoomaT 


Tha  outcona?  Oh^  nothing  vary  momantoua  in  itaalf ,  Don«  Jaat  ona  nora  littla 
adTanoa  in  tha  long  but  rerj  hopafiil  mareh  toward  BR0THERH00D2 

(A  FINAL  CHQRD.  AND  THENi) 

Tou  hava  boan  listening  to  ^^LABELS**^  a  radio  drama  by  Jerome  Bayar«  It  waa 
praaantad  by  (nama  of  organiaation) . .  " 


waa  haard  aa  Bill| 


aa  Fradi 


aa  Donj 
aa  John 


Brandoni 
aa  Phili 


aa  Phyllia; 


waa  tha  Announoar.  Tha  production 


waa  diractad  by 


c 


onareaaiion    ^haate^ 


SL 


2^eaeli 


CHICAGD   BLVD.  AT   LAWTDN   -  -   DETROIT  6,    MICHIGAN 


t 


emt0rr0irti0n  Äifwurtg  Ubtk 


3621 


laai 


^^BUE^^ 


^» 


'»GATES     OF      RIGHTEOUSNESS'» 


by 


JEROME    H.     BAYER 


HYMAN   SAFRAN,     Chairman 
Centennial  Committee 


PRO  DU  GERS 

Mrs.    Nathan  Shur 
Mrs.    George  Parzen 


DR.    SAMUEL  KROHN 
Program   Chairman 


/ 


DIRECTOR 
Burton  Wright 


TECHNICAL   DIRECTOR 
Frank   J.    Wurtsmith 


s^ 


/ 


SOGGESTIONS  FOR  PROTOCTTON 


This  piece  is  so  designed  ps  to  insure  smoothness,  continuity  and 
Overall  effectiveness  with  the  simplest  of  facilities. 

SCK^FHY: 

In  the  given  circumstanres  no  use  of  scenery  is  contemplated. 

Numerous  devices  have  been  employed  to  reduce  the  number  of  charac- 
ters  required  to  unfold  the  centuiy-long  story  of  the  conpregation. 
The  number  of  actors  to  be  used  may  be  preatly  reduced  bv  various 

(1)  In  TTiany  instances  one  actor  may  play  as  many  as  three 
characters,  with  changes  in  period  costme  and  make-up  for  differen- 

tiation.  ^/.  x  / 

(2)  Many  non-speaking  personales  included  for  effect  ve«g# 
twenty  in  the  192^  dedication  scene)  can,  if  necessaiy,  be  eliminated* 

(3)  Of^sta^e  voices  can  be  recorded, 

Competent  b?cksta rre  help  is  imperative  to  handle  the  sizable  numbers 
of  persons  to  be  involved,  to  insure  quick  costume  and  make-up  changes, 

etc. 

In  the  cases  of  German-Jewish  and  Ea?t-European  Jewish  characters, 
attempt  shonld  be  ma^e  to  realize  sympathetically  the  distinctive 
flavor  of  their  speech,  through  quality  of  inflection  and  certain 
minimal  suggestions  of  distortion  in  speech  sounds,  without  ever 
allowing  them  to  depenerate  into  "dialect"  which  may  be  offensive. 


Music  and  Sound  Effects; 

It  is  recommended  that  most  off stage  music  and  sound  ef fects  be  recorded 
on  tape  and  that  a  really  competent  and  responsible  person  be  in  Charge 
of  recordation  and  use  of  tape  at  rehearsals  and  Performances.  Most 
people  who  own  tape  recorders  esteem  themselves  "experts".  They  can  be 
a  prodigal  wrste  of  time  and  energy.  ^-^Hiat  is  worse,  they  can  ruin  a 
shoif« 

A   con^etent  musician  who  is  at  home  in  Jewish  liturgical  music  and  also 
scmewhat  familiär  with  American  period  music  should  be  recruited  to 
select  and  arranpe  the  music  and  to  rehearse  it, 

Sound  effects  such  as  the  noises  of  crowds,  war,  etc.  are  recorded  on 
records  available  at  the  public  library  and  at  some  radio  stations. 


Postumes t 

Colorfulness  In  costumes  is  espec-iallv  important  in  view  of  the  non-use 
of  scenery,  Where  an  actor  is  to  play  two  or  more  parts  covering 
different  periods,  e^se  and  rapidity  of  change  must  be  taken  into 
consideration  in  choosinp  the  costumes. 


LlRhtinp; 

Required  effects  are  all  simple  to  obtain,     A  small  portable  dlinming 
board  should  be  borrowed  along  with  a  number  of  spots.     Light  cues 
will  be  ntrnier'^us  but  verv  simple  to  carry  out. 


The  Setting 


Envisioned  in 

of  the  Synagogue. 


in  accordance  «ith  the  nature  and  limitations  of  the  Social  Hall 


k:M 


.'McO^     ' 


■X 


y   /    /L 


■^K4./ 


/ 


"-V^-ll^- 


i 


l^^ 


..^' 


"ITC 


rZT 


S  C  Y  C  C  v^  > 


i 


sw 


.^ 


1. 


BLACKOUT 


IM 


(OOT  OF  TH?;  WRKNESS  COME  SOUNDS  OF  />  TRÜMPlirr,  HTGH  AND  CHALLENGIMJ, 
SöOGFPriNC  TIF.  IW/LIZ;»TION  OF  A  SHOFAR: 


OTKLPPTim  im  FINAL  HELD  ITT^.  ^F  TH^  TPJ1MPFT,   A  ROLL  ^N  TYMPANT 
STARTS.     THFN  AP-AIN^  TW  COliTTNITTNG  ROLL  TS  TPJ^RD  AN  OFFSTAGF  MALE 
VOICF  SPFAKINO  FE^^NTLYO 


I  wHI  enter  them  and  give 


VOICE 
"Open  to  me  the  gates  of  righteousness  l 
thanks  unto  the  lordi" 

(A  FÜLL  CmRTTS  ^URSTS  TNTO  FXTTLTAMT  SIIiaiNG  OF  THE  ^^^^D  mLF  OF 
PSAIM  118,  B^GTNNINO  V.fJTH  TH-  VORDS  "PISGHOO-LEE  SHA-A-REY  TSEDQCl" 
AS  THF  SINGING  STARTS,   FADE-IN  OF  LIGHT  ON  STAIRS  IN  FRONT  OF  THE 
mcZ^™Ojr^^         VW,  NA-RATOR,  DAVID,  AN  ^MERTCAN-BORN  J^OF 
?8     SfSd  OF  THE  miRS.     HT^  IS  HOLDINT.  A  LA^f  ROOK  AND  IS  LI^NINÖ 
DRwtr^  TH?^^^  AT  HIS  LEFT,  KNITTIII),  IS  ^J^f^^^ 

RHTH     ABOirr  32.     ATO  TO  HER  LEFT,    PLAYING  WTH  A  TOT,   IS  THEIR  8  YEAR 
oS  DaI^  jW       AS  ^^^  CHORAL  SINOIW  FADES  TO  A  HÜM,  RUTH  TITRNS 
TO  FACE  THE  NARRATOR  ATO,   SMILING,   vSPFJ^KS  TO  HIM:) 


RUTH 


A  dlme  for  yo\ir  dream,  Dave ! 


NARRATOR 
Htwm?  (THEN  SNAPPING  OUT  OF  HIS  REARRY)  Oh-  oh,  I  uh  --  I  was  Just 
thinking  -  (Tr.TT)ICA'^NG  THE  BOOK  HT,  IS  HOLDING)  about  the  book.  Just 
finished  reading  it. 

5UDY 
(LOOKING  TP  FROM  H^  TOY)  A  stoiy-book,  dadcfy? 

NARRATOR 
ü'irm,  ye  -  es,  in  a  sense.  But  a  true  story.  A  great  Jewloh  stoxy,  - 
a  great  American  story,  -  and  really  -  our  story  too. 


Ours??  Yoü  mean  we're  in  it? 


JUDY 


NARRATOR 


That's  right.  And  it  poes  back  a  Century  -  a  whole  Century. 


JUD^ 


Hbw  long  is  that? 


2. 


One  hundred  years.  36,500  days. 


I^RRATOR 


JUDY 
Gosh,  -  but  you're  not  that  old,  Pre  you,  daddy? 

N^^RRy^TOR 
Not  quite,  Judy,  no,  But  in  this  story  there  are  5  generations  of 
our  family.  You  see,  it*s  the  history  of  our  synapopue, 

JUDY 
Oh  —  Shaarey  Zedek 

NARRATOR 
Heve  you  leam^^'-et  what  that  name  means? 

JUDY 
Uh-huh  -  -  the  f»ates  of  righteousness. 


•r 


That's  right. 


NA RR r TOR 


RUTH 


And  now,  Judy,  you  go  right  up  and  pet  ready  for  bedl 

JUDY 
(W^NTNO  PROT^ST^NGLY)  Oh I  wanna  hear  the  story.  Teil  me,  daddy, 

NARRATOR 
Not  now,  depr.  You  heard  motber.  Come  and  kiss  us  pood-night,  and  then 
right  upstairs  like  a  pood  pirl. 


But  I  —  l 


JUDY 


RUTH 


Come  along  now,  Judfy.     N  o  arpinnents. 

JUDY 
(RISING  R^LUCTANTLY  AND  CROSSING  TO  NARRATOR)     Oh  ~  O.K.     (KISSING 
NARRATOR)     Good-night,   daddy. 

NARRATOR 
(CARKSSING  JUDY)     Good-night,  darling. 


(KISSING  RUTH)     Good-night,  mother. 


JUDY 


RUTH 


Good-night,  dear. 


(JUDY  STARTES  ^XITT^^.,  THKN  .STOPS  AND  TTJRNS  TO  t^'ACF.  RUTH) 


II 


ID 

n 

II 


3. 


Csn  1  have  a  Cookie  first? 


Alright.  But  just  one,  mind  youl 


O.K. 


JUDY 


RUTH 


JUDY 


RUTH 


And  don't  forget  to  brush  your  teethl 


JUDY 


(EXTTI^JD)  I  won't. 


NARR/^TOR 
(LDOKTNG  AT  JUDY  /S  >SH^  L-^.A^^KS)   Some  day  she'll  know,  our  little 
Judy,  how  much  this  (INDICATING  THF.  BOOK  HE  TS  HOLDING.)  really  Is 
her  story  too« 

RUTH 
It  is  a  wonderful  record,  isn't  it?  I  finished  readinp  it  yesterday. 
Jus"T  think,  Drve:  -  throuRh  all  that  centmy  -  lonp  procession  of 
wars  and  economic  crises  and  social  upheavals  and  scientific  advances  and 
all  the  numberless  other  forces  of  iDajor  change,  that  grand  old  shiU  of 
ours  has  stood  f?st  and  firm  as  a  bastion  of  living  Judaism,  -  resisting 
all  the  lures  of  those  genteel  sirens  of  dilution  l 

NARRATOR 
O^ILTNG^  You  know,  darling,  when  you  talk  about  Shaarey  Zedek,  you  wax 
absolutely  poetic.  But  it's  true  -  what  you  say.  It  has  stood  fast  and 
firm.  And  yet,  never  succumbing  to  Stagnation  either, 

RUTH 
That's  the  pointl  ^Vhat  does  it  really  mean  to  conserve,  -  to  maintain 
a  tradition?  Is  it  to  mummify  what's  handed  down  to  us?  To  harden  it 
into  a  fossil?  No  i  It  means  to  keep  the  tradition  alive  within  us  and 
respond  wholeheartedly  to  it.  And  that  means  it»s  bound  to  be  exposed 
to  what  \^e   are  as  part  of  the  m.odern  world:  to  be  strengthened  anew  and 
freshly-colored  bv  the  forces  of  human  progress  that  rre  alive  within  us. 


NARRATOR 
And  that's  precisely  what's  bappened  in  Shaarey  Zedek. 
this  history  is  s^ich  a  magnificent  chmnicle  of  prowth. 
in  size  but  in  substance. 


And  that's  why 
A  prowth  not  just 


(A  DISTANT  OA^^^ORIAL  nHHlT  TH  w^AR^  FRO^'  ^^t^st/^^,    a^  THF,  t^/^T1K-IN  OF  A 
SPOT  RKV^ALS  V^.  cr^^'^'^.irv ^TORS  (2  GIRLS  ATTITI^.D  IM  FLA  IN  ROB^S  ^F  RICM  CO^PLE- 
MFNTARY  COLORS)    STA^nT^^r.   SIDE-BY-SI^^,  AT  TIF,  CFNTF.R  <^F  THF  .^TAGE -EXTENSION. 
THF,Y  SPFAK,   AGAINST  TIK  CHA^T',   ^^rTTH  ACn'^^^PANYING  GRP^nUC  MOW-^^^NTS  APPRO- 
PRIA'^.  TO  T^^.   .SPOFFN  ^^T^RDS:) 


h. 


GTRL  1 

The  openinp,  - 

widely  pnd  ever  more  widely, 

of  the  pates, 

that  more  and  ever  more 

may  enter,  - 

to  know  the  quick ening 

and  the  warmth 

of  the  flame  enduring 

that  is  Torah. 

GIRL  II 
The  opening,  - 
widely  and  ev^r  more  widely, 
of  the  pates, 

that  the  rays  of  hallowed  light 
f rom  within 
may  reach  outward 
farther  yet  and  farther, 
to  illumine  the  life  of  the  land. 


GTRL  I 
The  opening,  - 
widely  and  ever  more  widely, 
of  the  pa tes, 
that  freshness  in  i/d-Sdom, 
new  heauty  and  use 
may  enter 

to  nourish  tradition 
and,  in  turn, 
by  the  flame  of  Torah 
to  be  sanctified. 


I 


GTRL   II 
And  thns, 

what  began  as  a  sanctum 
for   study 

and  a  place  of  praver 
is  beccme  at  last 
a  way  of  life, 
rieh  and  rounded 
for  our  length  of  days. 

GTRL  I* 
A  communal  consecration 
of  Jews, 

with  fiillness  and  unity  of  being, 
within  the  larger  pattem 
of  the  land. 

(TT/iDE-onT  ^"^  LIGHT  ON  Tl^.  VV  GJRLS,  mo  EXttuOT  IN  ^/RKL^SS.     FÄDE-OUT 
0^  Cjmr^Rin,  GHM'^T.) 


I 


$. 


II 


NARRATOR 
Ten  decades  of  Prowth     (POTNTTNn  TO  THT'.  t^OOK)     recorded  here.     And 
with  what  a  little  handful  it  all  started. 

A  handful,  yes.     But  they  belonged  to  our  ancient  breed:   -  ^"^^^^^^^"^ 

the  Ivric  of  tbe  psalmist.     So,  a  place  thev  must  have,  for  prayerlui 
meeting  as  Jews  - 

NARR ''TOR 
A  home  -  ^e  it  p--r  so  humble  -  for  their  Torah   .    .    . 

THF.Y  ARE  BOTH  DRKSSr^D  IN  P^RTOD  ATTIRR.) 

NARRATOR  ^.       , 

in  eiphteen  sixty-one  it  was  —  what  a  fateful  year  for  our  natxon. 

be  reasonable.     It's  not  enouph  that  we  lived  all  this  once, 
nust  re-live  it  all  over  arram? 

I'm  afraid  so,  yes. 

^^     g^i^   3i (TO  >n.  FRl^.nFlWLD)     We've  got  to  live  it  all  over 

apain.  He  insists. 

Ai  ai,  ail  Ach,  th^se  Shaarey  7.edek  people  -  a  hundred  vears  later 
they're  still  so  intenso  abont  their  shul. 

(TO  NARRATOR)  But  look,  Mr.  uh  -  uh,  what  is  vrur  nam^,  Please? 

NA.RRATOR 
Epstein.  David  Epstein. 

vR.  BTR^^BAn^•  _    .  , 

■n     'A  TTr^c+^nn       ^ TOTT\]T'TKrT>     Let  Fie  See  —  David  Epstein,  David 
cigar-maker  who  lives  on  Conpress  near  St.  Antome? 


NARRATOR 


That's  rißht,  I  f^uess. 


M 


6. 


iR.   BIRiviBAIJIu 


Ai,  ai,   ai!      (TOM.   FRIEDErn-^ü) )     Can  you  imagine?     This  is  Epstein»s  great. 
great  grandsonl  * 


(A3TCUNDED)     Aber  nein! 


hR.  FRIEDENüALD 


Aber,   yahi 


MJt.  BIRMBAIU'! 


Lonnervjetterl 


Im.  FRIFDEI^!1'/ALD 


HR.  BIRNE  Ami 


(TO  NARRATOR)     And  to  think  that  I  was  personally  at  your   great-grandf ather » 
circumcisionl 


ä 


I:R.    ERIFDrMi  ALD 
(TO  NARRATOR)     Well,    I  must  say:    -  so  handscme  as  you,   your  great  great  grand- 
father  is  not»     But  of  course  vdthout  a  beard  I  never  see  him.     And  also,   his 
cigars   -  you  must  excuse  me,   please  -  -  but  those   cigars  he  makes   I  don»t  like. 

MR.   BIRJ\TBAIIl4 
The  cigars,   Herr   Friedenwald,  are  not   importantj     V.^hat   is   important   is  the   time! 

If  we  ncw  have   to  live   this   over  again,   let»^  at  least,   please,   gct  straight ^ 

on  the  time.      Eighteen  sixty  one  it»s  not.     It»s   only  eighteen  sixty.     There 
IS  still  no  Shaarey  Zedek.     And  we  are  still  all  mcmbers   of  th:    Bethel  Society. 


i.R.   FRIKDEM'.ALD 
(ANGRILY)     Yah,  yah  -  but  in  Bethel  we  now  have  so  many  reforms 
ideas  they»re  bringing  over  from  Germany,   -  I  teil  you,    it's   a  « 


-all  these  new 


t 

* 


m.   BIRNBAIM 
That»s   the    Point l      (TO  NARHATOR)     Right  ncw  we  are  on  our  way  to  a  Bethel  Board 
meetingl     And  a   love  feast  it  won't  bei 

(MR.    FRIEDEM'.ALL  AM  MK.   BIRNBAUM  STAuT  ..ALKING  TO/iRD  THK   LIFT.      BUT  THEIR  JOINTS 
A.^^   STIFF  /iMD  THFY  FINL  LCCQmOTION  SOI/IEV. li/^T  DIFFICIILT.     AFTrR  A  FW  STF.PS:    ^^   ) 

Is'R.   BIRMBAllI 

Ai,  ai,   ai,   after  nearly  a  hundred  years   of  sleep,    one  needs  a  kleine  massaee 
of  the  joints. 

(BLACKOUT  CN  STACE  ^f  EXTiN^^ÜCn  ANL  BRIIGE  liUSlC   FCR   A  IvICIv^NT.      TH^^N  FADE-IN  OF 
LIGHT  ON  LI  FT  SIDE   OF  STAGE-EXT  N3I0N  R   VFAio  A   GROUP   CF  SIX  I86O  JRt  S     SOilE 
TRADITI0NALI6T3,    OTH  kS   KEFCRf.lERS,    STANLING  aR(  UNL  A  TABLE,    WFSSRS     FRIFDEN^'.'aLD 
'.NL  BlRNBAUiv'l  AMONG  THiiiM.      THEif^    IS  A   GR  ilT  D^  AL     F   EXCIT^D  AD-LTBBING  B^FOKF 
AND  DURING  TH^-    FADE-IN) 

FIRST  TRADITIONALIST 
(AT   LEFT  SILE  OF  TABLE,    POINTING  ANGIflLY  AT  A  RFFCR^/fFR  v/HO  IS  STANLING  AT  RIGHT 
SIDE  CP  TABLE)     Radical  opportunistsi     That 's  what  you  are,  you  reformersl 
Huh,  reforml!     Chutzpah!      .ho  are   you  to  reform  our  sacred  traditionl     How  dare 
you  to  tamper   with  the  -  -   l 


7. 

FIRST  hEFch/.^ilR 
Ach,   you're  jiJst  fanatics!      That»s  what  you  are!     Reactionariesl     V/e've 
^ot     to  have  changesi     How  eise  can  we  keep  ou"   faith  alive  in  a  non-Jewish  world? 
I  teil  you,   you're   nothing  but  fanatics i 


S^:CO^]D  TRADITIONALIST 


Now   just  a  raoment  -  II 


FIRST  TRADITIONALriT 
You  call  US   fanaticsl     It*s  you  who  are  fanatics!     For  c hange,   c hange,  change! 
Soon  there»ll  be  nothing  leftl     You're  not  just   adapting,   adjusting,   evolvingl 
You're  diluting,    deleting,   slashingl     Tearing  out  the  very  heart   of  traditioni 
You're   endangering  the    very  foundations   of  Judaism! 

SFCOML  RKF>'R]:FR 
Vtot!     You  dare  say  that  to  us? 

FI^^ST  W  FOi^f'-^^H 
It's  you  who  are  threatening  Judaisml     Holding  back  the  forces   of  progress   and 
enlightenment l 

3TCCNE  R^F^^RMFK 
You'd  reduce  cur  synagogue  to  an  empty,  rausty  museum! 

FIRST  TRADITIONALIST 
You  liell     That»s  an  impudent  lieil     l.e're   just  as   opposed  to  muinmifying  our 
faith  as  youl     But  we  want  to  keep  alive  our   Jewish  traditioni     You're   out   to 
kill  iti 

FIRST  H^FCRiVR 
WhatI     How  dare  you  impugn  our  motivesl 

(OV  RLAPPING  THIS   LAST  SPEECH,   TH^-RF    IS   A  iFLANGF  OF  AD-LIBßFD  ANGRY  FXCLAiMTIONS 
BY  ALL  THF  B'THFL  BOARD  WIB  RS.      DURING  THIS   -  A  BUCKOITT   •..  A  hO^ilFNT   UTiR, 
FADE-IN  OF  LIGHT  AT  RIGHT  oIDE  OF  STAGE-EXT^i^NSION  RFV)  ALS  MFSSRS.   BIRMBAW'I  mB 
FRI^' LEN'.-.ALD  AGAIN. ) 

hU.   BIRNBAIJJ^ 
(TO  NARi.ATOR  AW  R^TH)     So,  my  friends,    I  ask  you:     who  can  live  -  let  alone 
pray  -  in  such  an  atmosphere?     Schrecklich  1     A  break  must  comel     It  must  l 
Ri^t,   Friedenwald? 

MR.   FRIFDENvALD 
Natuerlichl     Of  courseJ     Ganz  gewiss l 

MP.   BIRNBAUM 
So  we  shall  now  play  fast  and  loose  a   little  with  tirae.     It  is  now  eighteen  sixty- 
one.     Yah.     The  last  time  we  held  in   our  arms  the   sefer  Torah  was  recently  when 
we  marched  about  Bethel  Society  for   Simchas   Torah,     The  next  tirae,   in  a  moment, 
will  be  for   the  dedication  of   Shaarey  Zedek,     For   that  Simchas  Torah  —  I  teil 
you,  it  was  not  such  a  simcha.     It  marked,  in  fact,  the  breaking  point«     Yah, 


IM 


I 


Itl 


8. 

kIK.   FRirDF.H-ALD 
And  now  -  (SIGHS  SMU)     ach,  such  a  bitter  year  is  this  I86I  for  our  country. 
Yah,   a  himdred  years  from  now  they  will  still  read  and    talk  about   it. 

i.R.  BIHHBAni.i 
Yah,  yah,   torn  with  civil  strife  is   our  land  now.     The  cry  of  the  enslaved  for 
freedom,    -  ai,   ai,   ai,    -  hovv  it  pierces   the  heart  of  those  whose  forbears  endured 
slavery  in  ancient  Egypt. 

tiK.    FRI' DFr.^  AID 
And  to  US   Jews,   who  know   so  well  the  value  of  unity,   this    secession  of  states  - 
this   tearing  apart  of    the  nation  -  it  is   terrible,   terrxble. 

MR.   BIRNBAUM 

And  so  now  -  in  this  fateful  year  of  eighteen-sixty-one,  —  against  a  —  hovj 
do  V  ou  call  it?   -  -  a  tapestry-  against  a  bleeding  tapestry  of  the  national  anguish, 
-  norJh  aJaiL;  south,   -'brother  against  brother,   -  (FRCh  OFFSTAGk  THE,  SOI-MLS 
OF   A  CHORUS  SINGiriG  "00  DC'N  IviOSRS" )  -  and  the  slaves  singing  out  their  tearlui 
chant  for  freedom,    ~  we   come  -  a  mere  seventeen  of  us,   to  dedicate   our  little 
svnagoßue  true  to  the  traditions   of  our   fathers.     Cnly  a   little  roorn  it   is,    - 
asSy  little  room  above  Sherer's   Drug  Store.      (.  ITH  T^NDFE  PRIDE)     But,   ny 
dear  f r iend  s ,  v^hen  we  put   our  sacrod  Torah  scrolls   in  the  ark,    that  shabby  room 
will  be  touched  by  the  Finger  of   God.     And  when  we  kindle  the  Ner  Tamid,    that 
room,   I  promise  you,  will  be   illumined,    u'rrmm,  with  such  beautyl 

(kS  THi'  SINGING  CF  "GO  DO.N  .CSES"  CONTINIIES,  T..0  GrR  AN  JTv.:S  OF  I86I,  WAELm 
SkT'LLCAPS  ANL  PRAY'R   SHAV'LS   ANL  GARRYING  SCROLIS  OF  THE  LAV.",   FNTER  THE  STAGE- 
imSION       i-    reo,     THE  RIGHT,   ON',  FROh  THE  L'  FT.     AS  THEY  STAND  NT  AR  TO  VfflERE 
ThSeNTe'ed;   ONE  OF  THFt,  CHANTS,   AGAINST  THF  CHORAL  SINGING  OF  "GO  lOOT  TOSES" , 
THE  \.'CRD3  FECkI  PSAUJ  II8:    "PIS-CHOO-LEE  SHA-A-REY  T3EDEK!") 

MF.   DIRNIAIIH 
(wUIETLY  ÜITh  FEELING)     "Gpen  to  me  the  gates  of  righteousnessi     I  will  enter 
them  and  giv^   thanks   unto  the   LordI" 

(THT    CHORAL  SINGING  OF  "GO  LOV'N  ,,0SE3"   FADES  OUT  SLCVILY.     THE  CURTAINS  OF  THT 
STAr,r  PROPER  OPFK  PART  '.  AY.      THE  T-."  0  JF.l.^S  Bi^ARING   THE  SCROLLS  AFPROACH  THE    ARK 
STU™EOTSL?       FHF,N  THEY  AR     STANiING  SILE-BY-SIDE  IN   FRONT  C.F  IT,   THEY  PUCE 
?S  ScSs  S'tHE  aTIk  AT  TH;    SA.r   TIMF.     THI^I  mR.    FRIEDEKn  AID   KINLU'S  THE  NrR 
TAMID  AS  HF  ylllETLY  H^CITRSj 

ivi..   FRIEDEN'  ALD 
"Thy  Word  is  a  lamp  unto  my  feet  and  a   light  unto  my  path". 

fAMF  THEN     AS  A   PSADl  IS  CHaNTED  IN    IJNISON,   UTK   wUII':T  FEhVOR,   BY  THT'  PQUR  MEN 
BEFOH™'  Irk!  THECüklNS  CLOSE  SLOV.LY;     THE  LIGHTS  ON  'fHF  STAGE-EXT.N3I0N 
FADF  OUT;      THF   LIGHT   FADES   -  IN   ON   NARl.ATCH  AND  RUTH.) 

NARftATOR 
So  that  was  the  modest  beginning. 


IW 


9. 


RITTH 


Out  of  such  a  deep  conviction  it  started.     Such  a  Sharp  clash  of  views.     Seems 
Strange  ncvj ,  dcesn»t  it?     Bethel»s   been  such  a  staunch  friend   of  our  shul  through- 
out  all  the  years  since. 

NARi^TCR 
It  certainly  has.     But  what   happened  had  to  happen.     And  Shaarey  Zedek  -  well, 
I  can  visualize   so  clearly  its  brave  and  dedicated  steps   forward  in  those  early 
years.     Hov^   it  ~ 

(DURING  THR  LAST  DOZEN  FCRDS,    THEriK  IS  A  FADE-IM  üF  SOFT  SOilNDS  OF  DAMCE-MU3IC 
TYPIC.X  OF  THE  1860' s  -  A  WALTZ,    PTRHAF3,    OR  A  POLKA  -  AMi    THF    RI3F   OF  LIGHT 
ON  THERIGHT  SIDE  OF  THF  S  TA  GEHEXT  "NSION,   Rl'iVFALING  ffi.   blRNBAÜId) 

m.   BIRNBAM 
(TO  NARRATCR  äND  RTITH)     'Vell,   my  friends,   still  around  I  am.     You  know,  when 
ycu  re-live  the  bygone  years,   very  fast  they  go  -  yah,   like  in  a  dream.     So 
it  is   now  already  eighteen-sixty-severu     And  that  music  you  hear  -  it  is   from 
the  Simchas  Torah  ball  we  are  givinf^  for  the  benefit  of   our  Congregation  Shaarey 
Zedek.     And  speaking  of  our  congregation,   -  ai,   ai,   ai,   -  such  thmgs  have 
been  happening,  you  v/ouldn»t  believe  it.    YJithin  three  months  after  we  dedicated 
our  shul,   back  in  eighteen-sixty-one,    our  membership  increased  -  over   one  hundred 
percentl     Can  you  imagine?     Our  membership  siwelled  -  to  thirty  sixl     ^^at? 
-You  don't  believe   it?     So  ^^hat  will  you  say  when  I   teil  you  that  the  very 
next  year,   eightfjen-sixty-four,  \^e  grev/  -  to  sixty-three  membersl     And  not 
^^  that,    -  but   the  very  same  year  we  dedicated  a  new  synagogue   -  in  a  converted 
colored  church  on  Congress  and  Antoine  Streetsi 

(AT  THIS   POINT  TH^'   COfTAINS  OPEM  OM  THF  STAG^^  PROPER,    RFVr^ALING  I/lR.   AML   mS. 
RCßßNBAUM  AND  Tl'.'O  OTH  R  COUPLI.S,    IN  P'MOL  ATHRT,    DaNCING.      THF  STAG^  PROPER 
IS  FULLY  LIGHTED  ANL  THE  ARK  IS  CCNCFAUD  BFHIND  A   SGRI'.FN.  ) 


MR.    BIRNBAira 

(UPON  SEEING  I.iR.    ANL  MRS.   RCSENBAUM)     Look,   my  friend  Rosenbaum,  enough  have 
you  danced  already  vv'ith  your  charming  wifel     I«lrs.  Rosenberg,  may  I  have  the 
pleasure? 


MRS.    ROSENBAM 
Thank  you,  lir.  Birnbaum.     But  only  if  first  you  teil  that  Ur .  and  Mrs.   Future 
dovvn  there,   ~  I've  heard  you  talking  to  them,   ~  you  raust  first  teil  them 
some   of  the  other   things  we  are  proud  of  at  Shaarey  Zedek.      (SHE  l/HISF.RS  IN 
HIS  EAR.) 

MR.   BURNBAUf. 
Ach     yah     of  ccursei      (TO  NARFiATOR  AML  RIT'H)     We  also  have  already  at  Shaarey 
Zedek  a  women's   auxiliary  to  help  the  widows  and  orphans,    -  and  —  my  wife, 
she   shouldn't  hear  me  say  this   ~  but  Mrs.  Rosenbaum  here   -  they  say  she  makes 
the   finest  cakes   of  anybody   for  their  meetings.  Yah. 

^iPS.    ROSENBATM 
(UÜGHING  IMBARASSED)     Ach,   but  no,   this   isn't  truel      (THEY  START  DANCING 
tS^R.      AFT-R  A  Cöl'PLT    wF  STT.föt  THFY  STOP  SO  TH/iT  HE  CAN  SPEAK  10  NARRATOR 

ANL  Rl/Tg  AGAIN.) 


10. 


•b 


m.  BIRNBAUl-i 
Also,  we  have  organized  already  a  Bikui'  Cholim  and  a  Chevra  Kadisha  for  relief 
of  the  sick  and  families   of  the  departed.      (AGAIN  THEY  DAiCE  A  COUPU^:  ÜF  STEPS, 
ANL  THi^N  STOP  PCR  HB./!  TO  3PEAK:)     And  schools   for  childrfm  of  our  members  we 
have  also  started.     And,   I  promise  you,  many  other  fine  things  are  yet  to  come. 

(AS  THTY  mSlW  DAMCING,   THE  CURTAINS  CLOSE  ON  THF.  STAGR  PROPTR.) 

NARRATCR 
Yes,  many  other  very  fine  things  are  yet  to  come. 

(DÖRING  THESE  LAST  v.'CRDS,   JUDY,   IN  HT^R  PAJAiYiAS,   ^  ALKS  IN  ATJL  STANDS  NEAR  HER 
PARENTS . ) 

RllTH 
(SEVERELY)     JUDYI2     VvTiat  are  you  doing  down  here? 


Can  I  have  a  peach? 


No. 


JUDY 


RLTTH 


JUDY 


An  apple  then?     Apples  are   good  for  youl 

NARmATOR 
Judy,  you  get   right  upstairs  and  go  to  sleep. 

JUDY 
I  can't  sleepl     I  keep  thinking  about  that  Shaarey  Zedek  story. 
teil   it  to  me.     It's  mean, 

RUTH 
You're  not  thinking  anything  of  the  kind.     Get  upstairs  without  another  word. 


And  you  vjon't 


JUDY 


(STARTING  to  LEAVE)     Oh  - 
in  the  story  now? 


Eighteen  sixty-seven. 


-  0.   K,     (oTOPS  N'AR  EXIT)     How  far  along  are  you     - 


NARRATCR 


JUDY 


Huh 


?     Gosh,   at  this   rate  you» 11  be  up  all  night.      (SHE  EXITS). 


NARHATCR 
She's  right.     So  let's   take  a  leap  in  time   now.     To  -  uh  -  let's  see  -  about 
-eighteen  seventy-six. 

(A  GANTCRIAL  CHANT  IS   HEAkD  AS  FRCM  A  DI3TAMCE.      FADE-IN  OF  A  SPOT  AT  CENTER 
OF  STAGE-EXTENSIUN  Rf'Vr  ALS  TH^   T..C  CCMuFNTATORS  IN  TH'  IR  ROBES.     THE  CHANT 
CONTINIF.S  SOFTLY  AS  BACKGROUNL  FOR  THEIR  3PFAKING:  ) 


11. 


GIRL  I 
Opcn  yc  t  morc  widely 
thc   arms  of  thc  gatcsl 
For  thcTL   is  growth  of  nccd 
to  bc  mctl 

GIRL  II 
Somc  with  anger 
say  nol 

GIRL  I 
Others,  with  zeal, 
say  ycsl 

GIRL  II 
And  thc   no  and  thc-  yes 
hold  stubbornly,   - 
and  th:rc   is  a  parting 
of  paths« 

GIRL   I 
Shaarey  Zcdek 
dwindles  to  thirty  and  fivc, 

GIRL  II 
But  thcsc  havc  thc    strength 
of  hundrcdsi 

And  thcy  build  with  zeall 
Thc  h^ads  of  thc    gates 
arc  liftcd  highl 

GIRL  I 
But  Problems  mount  higher 
than  thL  walls; 
and  thc   gates  remain  shut 
to  tht    builders. 

GIRL  II 
But  thc  day  shall  comc 
whcn  thc    home  newly  built 
on  thc  place  of  the   old 
shall  welcome  thc  Hallowed  Scrolls. 

(FADE-OUT  ON  THE  TVJO  GIRLS.) 

NARRATOR 
Uell,   thc  gates  three  years  latcr,    still  remain  shut.     The  new  building  still 
can't  be  occupied.     The  future  of  Shaarey  Zedek  looks  dark  mdeed. 

fON  TFF  lAST  FEW  WO  vDS,  FADE-IN  OF  LIGHT  ON  STAGE-EXTENSION  RE^/LAIS  m.   BIRNBAUM 
S  ICCH  AGED  IN  APPEARANCE,   BUT  STILL  VIGOROUS  IN  SPIRIT.) 


12. 

m.    BIRNBAUM 
(TO  N/iRRATOR)  Dark,  you  say?  No,  David  gpstcinl  You  have  my  word  for  it,  my 
boyl  Huh,  darkj  Look,  you  sce  hcre  this  light?  By  tuming  a  little  black 
thing,  -  I  did  it  myself,  -  thc  light 's  onl  Elcctricsl  Beüides,  -  ach,  such 
a  wonderful  world,  -  ( POINT  IMG  TO  PHONL  ON  vfaLL)  -  you  sec  this  thing  here? 
I,  my  fricnd,  can  hcar  another  Yehuda  talk  two  milcs  away  -  and  hc  hcars  me  - 
evcry  word  -  in  German  ovcnl  Two  milos  away  and  I  can  hcar  all  his  complaints 
about  Shaarcy  Zedek  just  likc  hc  was  h^rc  in  thc  rooml  Such  an  inventionl 
The  telephoncl  So  what  I  say  is:  -  if  cur  Hcavenly  Father,  praiscd  be  His 
Name,  will  givc  the  goyim  power  to  work  such  miraclcs  likc  thc  electric  light 
and  thc  telephone,  why  shouldn't  He  hclp  us  hcre  in  Shaarey  Zedek  to  use  their 
new  shul? 


(FROM  OFISTAGE,  SOUNDS  GF  AN  EXPLOSION) 


m.   BIRNBAIM 


iJhat's  that? 


ms.    ETRNBAUM 
(SHRIEKING,  AG  SHE  RÜSH'  S  IN)     V^hat  was   it? 

(THLIR  GRi\NDSO'^%   SAUL,  EOTTRS  l  ITH  OLD-FAS^^  i  ONED  BICYCLE) 


(TO  SAUL)     Vhat  happened? 


I  don't  know« 


MR.    BIRNBAU rl 


S/^UL 


(TO  m.   B.)     Call  VTeizenkornl 


MRS.   BIRNBAUM 


{m.    BIRNBAUM  RUSHES  TO  PHONE  AND  TURNS  BELL-RINGER) 

mi.    BIRNBAUM 
(INTO  FHONE)     Hallol      (TO  SAUL,   VIHILE  VIAITING)     So  where  were  you  again  with 
that  bicyclü? 


Down  on  ^voodward  Avenue, 


Woodward  again l 


SAUL 


ms.   BIRNBAUM 


MR.    BIRNBAUM 
(INTO  PHONE,    IMPATIENTLY)     Hallo,  please   alrcady]      So  answer  schonl     An  explo- 
sion  it  wasl      (TO  SAUL)     On  Uoodward  again l 


SAUL 


Oh,   grandpal 


MRS.   BIRNBAUM 
Ycsterday  i^s.  Helfman  said  she   saw  you  driving  at  least  thirteen  milcs  an  hourl 


I»l 


13. 


m.   BIRMBAUN 
(TO  SAUL)     You  know  the  spccd  limit  is  elcvcnl      (INTO  PHONE)     Hallol    ••..• 

Ach  Gott,   cndlichl     Givc  mc  i'ir.   Ifeizenkorn,  plcase.     It»s  a  hurryl ^^^hich 

Ueizenkorn?     How  many  arc  thcre?..  .Hallol      (TO  SAUL)     A  speed  maniac  you  arel 
(IMTO  PHONE)     Hallo,  ^fcizcnkorn?     VJhat  was  that  cxplosion?...Don» t  I  knovj? 

Of  course   I  don't  knowl     ^Ihy  would  I  ask  you? IJhat??     Ai,   ai,   ai,   all 

(TO  HIS  WIFE)     Shaaruy  Zedek's  new  building ruincdU      (HL  H/NGS  UP  PHOMI.  AND 

SITS  DG^N  SHATTERED.) 

ms.   BIRNBAUM 
(COLLI .CT ING  HERSELF  AFTlü  /    SEVTRE  BLOlO     You,   my  husband,  may  sit  and  mope. 
I've  got  work  to  do • 

(SHE  STARTS  TO  Li  AVE) 

i'IR.  BjRNBAüM 
(TO  HIS  ^IFE)  So  whcrc  arc  you  goine? 

MRS.  BIRNBAUM 
You  havc  maybe  forgottcn?  Today  wc  goto  collect  moncy  -  our  auxiliary,  They 
have  got  to  havc  food  and  clotiiing  and  bcds  -  these  ncw  iinmigrants.  They  belong 
to  US.  So  novj  WC  go  from  door  to  door  to  door,  tili  we  gct  enoughl   (SKE  TAKr:.S 
A  COUPLE  OF  aDDITIONAL  STIPS  TG  ARDS  EXIT,  THEN  1.T0PS  TO  m:)     A  shul  wc  may 
not  havc  right  now.  But  thc  work  of  Shaarcy  Zedek  must  go  onl 


(SEE  EXITS) 


Yes,  Sarahl  It  mustl 


MR,  BIRNBAUM 


(BUiCKCUT) 


And  thc  work  did  go  on. 


N/iRR/vTOR 


RUTH 


And  they  got  thc ir  shul  too.     i/asn't  it  about  cighteen-eighty-four,   that  by 
such  heroic  efforts  they»d  dcublcd  thcir  mcmburship? 

NARRATCR 
Bought  back  thc  shattcrcd  building  and  rcstorcd  it. 

RUTH 
And  then  -  onc  proud  and  memorablc  day  in  eighteen-cighty-six 

(FROM  OFFSTAGE  COME  SOUNDS  OF     THE  GHi\NTING  IN  EWGLISH  OF  "OPEN  TO  ME  THE  GATES 
OF  RIGHTEOUSNESS"  AMD  SPOT  FADES-IN  ON  CENTER  OF  GURTAINj     THEN  THL  CURTAIN 
OPENS  PART-^fAY  REVEALING  A  TRUSTEE  OF  SHA/iRlY  ZEDEK  PACING  THL  AbDIENCE. 
REHIND  HiM  THE  TORAH  SCROLLS  AR]     IN  THE  ARK  AND  THE  NER  TAillD   IS  LIGHTED,      IJHEN 
THF.  BRIEF  CHANT  IS  öYRy  THL  TRUSTEE,  VfEARING  SKULLC/P  AND  PRAYER-SHAIJL,   SPEAKS:  ) 

TRUSTEE 
(IJITH  OUIET  DIGNITY)     This,   my  dcar  friunds,   is  an  hour  of  proud  fulfillment;   an 
hour  rieh  in  rcwards.      Instcad  of  abandoning  hopc,  wc  dccided  to  makc  yct  another 
effort. 


lli. 

TRUSTEE  (continued) 
The  fruits  of  that  effort  are  visiblc  today.     Cur  congregation  has  its  first 
truc  home. 

(FROM  OFFSTAGT.,  A  CHORUS  BRIi,/-KS  INTO  AN  F.XULTA1^1T  HYM;     THE  CURTAIN3  CLOSE.  ) 


(TRYING  TG  RECA  LL)     And  novj  - 
gatcs  open  wide  -  what  ncxt? 


RUTH 
let's  sce   -  vjith  a  homc   of  its  own  and  the  new 


NARi.^ATCR 
Well,    through  the  gatcs  thcy  go  now  from  sanctuary  into  the  larger  world,   to 
extend  the    influence  of  Shaarey  Zedek, 

RUTH 
Hclping  to   shape  communal  projccts,  you  mean? 

NAR.^\TOR 
And  to  furthcr  philantbrDpic  activity  throughout  the  city,     Shaarey  Zedek  Relief 
Society  joined  with  Beth  El  and  othcrs  to  f  crm  the  United  Jewish  Charities  of 
Detroit. 

RUTH 
That  was  in  eighteen-ninety-f  ive,   wasn't   it? 


MR  ATOR 


Uh  huh. 


I 
I 


RUTH 
And  I  guess  that  rcally  marked  the  beginning  of  Jewish  Community  Organization 
in  Detroit. 

NARliT^TOR 
Right.     And  by  the   way,    in  that  same  year  the  Hebrew  Free  Loan  Association 
was  started. 

RUTH 
And  a  leading  member  of  Shaarey  Zedek  had  a  big  hand  in  that,   didn't  he? 

NARf(ATOR 
Just  as  other    members  did  in  establishmg  a  Talmud  Torah.     That  was  in  eighteen 
nincty-eight.      (FROM  CFFSTAGE  COIIL:  SOUNDS  CF   OLD-FASH lOMED  AUTO  HONKS  AND  MOTORS) 
And  now  we  take  arüther   leap  in  time  and  —  do  you  heaij  what  I  hear? 

RUTH 
Uh  Huh...A  new  kind  of  music  filling  the    air.     Those  grand  fanfares  announcing 
the   Start  of  the  twentieth  Century  and  proclaiming  the  vast  growth  of  Detroit. 
The  auto  honksl 

NAR>{ATOR 
And  can't  you  sce  those  pioneer  speed  demons  advancing  along  Woodward  Avenue 
with  sputterinf   chutzpah? 


15. 

(FADE-IN  OF  LIGHT  ON  STAGE -EXTENSION  REVEALS  M.   GOLDFiHB,   h^,  A  JEW  OF 
FJIST  EUROPEAN  ORIGIN,  T/JEARING  A  LONG  DÜSTER,   GOOGLES  AND  A  GAP  WITH  VISOR. 
HE  IS  PACING  VITH  ANGRY  IMPATIENCE.     AT  STAGE  RIGHT,   STANDS  THE  FRONT-END 
OF  A   SIIUUTED  OLD-STYLE  AUTOMOBILE,   vjith  LEGS  OF  JOE  GOLDFARB'S  Tl^NTY- 
YEAR  OLD  SON  PROTRUDING  FROH  UNDER  THE  GAR,  ^IHICH  HE  IS  TRYING  TO  xREPAIR.) 

MR.  GOLDFARB 
Again  it  don't  gol  Huh,  an  automobilcl  Always  it  won't  gol 

JOE 
(FROM  UNDER  THE  GAR)  Can  I  help  if  it.'happcned  to  stop? 

MR.  GOLDFARB 
Happcncd  to  stop??  Stopping  is  its  natural  State l  An  automobile  you  had  to 
buyl  And  with  my  money  yctl  Huh,  autol  Means  auto  go  but  don'tl  Oy,   and  so 
late  I  am  already  for  thc  Board  mectingl  An  auto  that's  got  prejudice  against 
mo ving l 

JOE 
(W.Öy    DÜRING  TI^E  LAST  SENTENCE,  HAS  GOTTEN  OUT  FROM  UNDER  THE  CAR)  It  goes 
quite  oftenl  Even  you  gct  rheumatism  once  in  a  while  -  and  you're  human, 
(HE  STARTS  ^/ORKING  oF'RADIATOR  Ol  CAR) 


MR.  GOLIFARB 


Thank  you,  for  the  compliment« 


JOE 
(STOP''ING  ^'ORK)  Now  listen,  papa,  you  know  how  the  city's  grown;  how  it's 
all  spread  out  now.  Ue'vc  got  to  have  an  auto  to  get  around,   (HE  RESUMES 
VJORK  ON  Gi\R) 

m.   GOLDFARB 
Huh,  city's  grovml  \Jhy   has  it  grown?  Why  are  hundreds  thousands  more  pcople 
here?  The  automobilei  That's  whyl 

JOE 
(l>/HILE  ^JORKING)  So  that»s  not  good  for  our  business? 

m.   GOLDFARB 
IJho's  talking  about  our  business?  Stick  to  the  subjectl  Try  cranking 
againl  Oy,  I  got  to  gct  to  Shaarey  Zedek.  It»s  already  late  for  the  Board 
mectingl  Always  thcy're  starting  meetings  right  on  time  thcrcl  Huh,  auto- 
mobiles l  Such  a  nice  fricndly  little  city  it  wasl  And  now  -  a  meshugena 
metropolisl  A  wildcrness  on  whecls  at  20  milcs  an  hourl  So  crank  againl 

(JOE  CRANKS  CAR  AGAIN.   SOUNDS  OF  ilOTOR  FROM  THE  CAR.) 


1 


m.   GOLDFARB 
(RUNNING  TCl^ARD  AUTOMOBILE)  Therc  it  goesi   (I'IOTOR  STOPS) 
such  an  important  mectingl  I  gotta  get  therel 

JOE 
(VJHILE  IJORKING  ON  CAR)  Hhat»s  so  important  about  it? 


Oy*  oy,   oyl  And 


What's  so  important,  he  asksl 
Beaubien  and  St.  Antointl 


16. 

MR.   GOLDFARB 
We're  voting  on  a  new  shul  building  -  at 


What?    Again? 


JOE 


VJhat  do  you  mean  "again"? 


MR.   GOLDFARB 


Another  building? 


JOE 


m.   GOLDFARB 
So  thc   city  hasn't  grown?     vre  don't  have  fivc  thousand  Jews  here  now?     Our 
Yehudim  -  they  ain^t  moving  to  the  north?     IJho  wanted  automobiles?     VJe  got 
to  have  a  new  Site   (JOE  CRAMKS  GAR  AGAIN)     wc  got  toi 

(SOUNDS  QF  AUTO  L-IGINE  f.TARTINC) 

JOE 
(AS  m.   GOLDFARB  RUSH^  S  OVT.R  TO  GAR)     Come  on,   Ict's  get  to  that  meetingl 

(BUCKOUT) 

NARilATOR 
Well,  the  vote  was  takcn.  And  on  the  f  irst  day  of  March,  nineteen  hundred 
and  three  ~ 


RUTH 
The  new  building  becarne  what  it  was  made  to  be. 

(FROM  OFFSTAGF  COr^E  SOUNDS  OF  A  CANTOR  CHANTIMG  "OIEN  TO  ML  THE  GATES  OF 
RIGHTEOUSMESS" .  THEN  FADE-IN  OF  LIGHT  AT  CENTER  OF  STAGE -EX TENSION  REVEALS 
THE  Tl^O  C0I#1ENTAT0RS  STANDING  AGAINST  THE  CURTAIN  SIDE-BY-SIDE.   THE  CHANTING 
IS  RLDUCED  IN  VOLUME,  AND  AGAINST  IT  THE  COI#ENTATORS  110 VE,  ONE  SLIGHTLY 
TO  THE  LIlFT,  ONE  SLIGHTLY  TO  TH':  RIGHT,  TO  OPEM  THE  CURTAIN  ABOUT  FCUR  FEET; 
AMD  THEN: ) 

GIRL  I 
The  opening, 
yet  more  widely, 
of  the  gatesi 

GIRL  II 
Ltt  the  practiced  eye 
of  fantasy 
paint  tho  scenel 

GIRL  I 
Bearded  ülders, 

holding  aloft  thü  Holy  Scrollsl 
Behold  them  advancing, 
with  proud  and  prayerful  steps. 


17. 

GIRL  II 
Till  thc  Scrolls, 
likc  crowned  and  bejewelled 
monarchs  of  thc  truth, 
rest  against  the  vclvct  wall 
of  thc  Ark. 

GIRL  I 
And  onc  among  the  cldcrs, 
with  a  hand 
proud  and  loving, 
kindles  thc  light  enduring, 

GIRL  II 
The  gates  of  righteousness 
are  open  anew; 
and  once  again 
a  house  has  become 
a  hallowed  place 
of  Jewry. 

(FADE-OUT  OF  CHANT  AIID  OF  LIGHT  OM  STAGE-EXTEMSION  AND  CLOSING  OF  CURTAIN. ) 


But  how  many  there  were, 
-  who  wouldn't  enter  the 


NARRATOR 
Yes,  the  new  gates  of  righteousness  werc  open, 
the  youngcr  gcneration,  -  products  of  America, 
gates,  -  who  were  apathetic,  cven  resistant  -- 

RUTH 
V7ell,  that,  as  I  recall  it,  was  due  to  things  bcing  done  according  to  European 
patterns  the  immigrant  gcneration  was  used  to  - 

(OPENING  OF  CURTAIN  REVEALS,  OM  STAGE  PROPFE,  MRS,  GOLDFARB  SEATED,  SD^JING, 
AND  JOE,  HER  SON,  BRUSHING  HIS  SUIT  IN  PREPARATION  FÜR  A  DATE) 

IIRS.  GOLDFARB 
(SIGHING)  Oy,  a  mother's  hcart  you'll  break  alrcadyl  I^  o\m   sonl  Likc  a 
goy  -  ever  since  you  got  that  autol  NevLr  go  any  more  to  shull  All  you  do 
is  crank,  crank,  crank,  honk,  honk,  honk  -  like  a  meshugener  on  V/oodwardl 
But  to  Visit  God,  like  a  good  Jew  - 

JOE 
Oh,  maraa  -  I'vc  ^Id  you  alrcady;  thc  auto's  got  nothing  to  do  with  it. 
I  don't  go  to  shul  bccausc  I  don»t  undcrstand  those  scrmons  in  German  and 
all  the  - 


i 


ms.   GOLDFARB 
Nu?  So  you  don't  undcrstandl  IJhat  for  a  reason  is  that?  Suppose  you  can't 
understand?  You  don't  trust  the  rabbi?  You  think  hu 's  maybc  saying  somcthing 
bad?  Something  you  shouldn*t  hear? 

JOE 
Oh,  of  course  notl  But  what's  the  good  if  I  don't  understand?  I  don't 
know  what  most  of  thc  Hebrew  mcans  eithcr« 


GIRL  II 
Till  the  Scrolls, 
likc  crowned  and  bejewelled 
monarchs  of  thc  truth, 
rest  against  the  velvct  wall 
of  the  Ark. 

GIRL  I 
And  onc  among  the  eiders, 
with  a  hand 
proud  and  loving, 
kindles  the  light  enduring. 

GIRL  II 
The  gates  of  righteousness 
are  open  anew; 
and  once  again 
a  house  has  become 
a  hallowed  place 
of  Jewry, 


17 


(FADE-OUT  OF  CHAMT  AIID  OF  LIGHT  ON  STAGE -EXTENSION  AND  CLOSING  OF  CURTAIN.  ) 


But  how  many  there  were, 
-  who  wouldn't  enter  the 


NARiiATOR 
Yes,   the  new  gates  of  righteousness  werc  open. 
the  younger  gcneration,   -  products  of  America, 
gates,   -  who  were  apathetic,   cven  resistant  ~ 

RUTH 
Well,  that,  as  I  recall  it,  was  due  to  things  being  done  according  to  European 
patterns  the  Immigrant  generation  was  used  to  -  ^tuop^dn 

(OPENING  OF  CURTAIN  REVEALS,    ON  STAGE  PROPFJ^,   MRS.   GOLIFARB  SEATED,   SEl^JING 
AND  JOE,   HER  SON,   BRUSHING  HIS  SUIT  IN  PREPARATION  FOR  A   DATE)  ' 

liRS.    GOLDFARB 
(SIGHING)     Oy,   a  mother's  hcart  you'll  break  alreadyl     i^  own  sonl     Like  a 
goy  -  ever  since  you  got  that  autol     Nevcr  go  any  more  to  iEriT~All  you  do 
IS  crank,   crank,   crank,   honk,   honk,   honk  -  like  a  meshugener  on  Woodwardl 
But  to  Visit  God,    like  a  good  Juw  - 

JOE 
Oh,   mama  -  Itve  ^Id  you  already;     the  auto's  got  nothing  to  do  with  it. 
I  don» t  go  to  shul  bccausc   I  don»t  understand  those  sermons  in  German  and 
all  the  - 

ms.   GOLDFARB 
Nu?     So  you  don^  understand»     What  for  a  reason  is  that?     Suppose  you  can't 
understand?     You  don»t  trust  the  rabbi?     You  think  hc»s  maybe  saying  sol^m 
bad?     Soraething  you  shouldn»t  hear?  ^  ^»omeTining 

JOE 
Oh,   of  course  notl     But  what»s  the  good     if  I  don«t  understand?     I  don»t 
know  what  most  of  the  Hebrew  means  eithcr« 


m 


18. 


ms.   GOLDFARB 
You  are  telling  me  to  my  face,  -  my  own  son,  -  that  you  -  ? 


I'IR.  GOLDFARB 


(ENTLRING)  Hallo, 


MRS.  GOLDFARB 
Here,  you  take  himl  He*s  your  sonl 


MR.  GOLDFARB 


So  what's  the  trouble? 


ms.   GOLDFARB 
Trouble?  He  won»t  go  to  shul  because  the  rabbi  speaks  in  Germanl  Especially 
f or  him  the  rabbi  should  speak  yct  in  Englishl 


MR.  GOLDFARB 


He 's  rights 


ms.   GOLDFARB  AND  JOE 
(OVERLAPPIMG,  AMZED)  What??  You  mean  to  say  -  ?? 

IIR.  GOLDFARB 
So  waitl  I'm  explaining  •••  last  night  the  Board  meeting,  -  oy,  so  late 
I'm  Coming  home  I  didn't  ha\ü  a  chance  to  teil  you  — • 

ms.   GOLDFARB 
Teil  me  what?  That  our  son  should  be  a  goy  and  not  go  to  shul? 

MR.  GOLDFARB 
I  didn't  say  — 

MRS.  GOLDFARB 
That  OUT  rabbi  -  like  anybody  on  the  strect  -  should  preach  yct  in  American? 


Wait,  wait,  Sarah,  listen». 


VJhose  side  are  you  on? 


MR.  GOLDFARB 


MRS.  GOLDFARB 


MR.  GOLDFARB 
(WITH  RI5ING  IMPATIENCE)  So  listen  alreadyl 

MRS.  GOLDFARB 
Who's  not  listening??  All  the  talking  you  do  and  teil  mc  to  listenl 

MR.  GOLDFARB 

(YELLING)  Alrightll  Enough  alreadyl l Last  night  -  at  the  Board  meeting, 

our  new  president  of  Shaarey  Zedek  -  u*mmm,  such  a  f  ine  man  -  Mr.  Saulson  - 
William  Saulson  -  a  wonderful  man  -  a  chochem,  -  great  ideas,  -  and  with 
eyes  they  are  looking  way  off  into  the  future,  -  a  man  who  has  big  hopes 
f or  our  religion  in  America  — 


j 


19. 


I 


MRS.   GOLDFARB 
And  he  says  our  son  shouldn^t  go  to  shul? 


JOE 


VJhat  did  he  say,  papa? 


MR.  GOLDFARB 
He  says  our  congregation  should  engage  an  English-  speaking  rabbi  that  can 
appeal  to  the  young  people  by  speaking  in  their  own  tongue.  He  says  - 
this  fine  I^Ir.  Saulson  -  that  he  is  worried,  -  worried  that  the  young  generation 
we're  losing  because  our  s.rmons  are  in  German  and  what  we  have  is  too  imich 
like  in  Europe  instead  of  America, 


Hurray l 


(TO  JOE)  Schweig,  yoül 
American? 


JOE 


ms.  GOLDFARB 
(TO  MR.   GOLDFARB)     So  now  our  religion  must  be 


JOE 


Did  Moses  talk  in  German? 


MRS.  GOLDFARB 
So  who's  talking  about  Moses?  It»s  about  our  rabbi  we»rc  talkingl 

MR.  GOLDFARB 
Mama  dear,  on  this  point,  I  am  sorry  to  say,  your  logic  is  weak« 

ms.   GOLDFARB 
(TO  MR.  GOLDFARB)  And  you?  You're  as  bad  as  your  sonl  Like  a  reformer 
you  talkl  It's  no  longer  enough  now  that  a  rabbi  should  be  a  learned  man. 
He  naist  also  stoop  down  and  explain  himsclf  in  American. 


m.  GOLDFARB 


Sarah,  darling  - 


MRS.   GOLDFARB 
Me  you  will  pleasc  not  darling 1     Huh,  weak  I  aml 


Sarah,  darling  or  no  darling, 
it  will  be. 


MR.  GOLDFARB 
don't  worry.     Just  wait  and  you' 11  see  how 


(BIACKCÜT  AMD  CL03ING  OF  CURTAIN) 


And  Sarah  did  see  - 


RUTH 


NARRATOR 
She  did.  And  she  changcd  her  mind.  Oh,  it  took  time.  Plenty  of  it.  But 
eventually  —  well,  take  that  Saturday  morning  f ive  years  latcr,  The 
Sabbath  service  at  Shaarey  Zedek  has  just  concluded  and  now  just  outside 
the  synagogue  — • 


20. 

(ON  THE  LAST  FI\^  WORDS  A  FADE-IN  OF  L^GHT  ON  THE  STAGE-EXTENSION  REVEALS 
THE  THdEE  GOLDFARBS,  EACH  ^flTH  A  PRAYER-BOOK  IM  HAND,  WALKING,  ONE  BEHIND 
THE  OTHER,  FROH  STAGE  RIGHT  TG  STAGE  U:FT.  THEY  SPEAK  IJHILE  V^LKING.   THEY 
COME  TO  A  STAND  WEN  THEY  REaCH  CENTER.) 


MRS.  GOLDFARB 
U'nuTunm,  such  a  wonderful  sermonl  Beautifuli  Every  word,  beautifull 

m.   GOLDFARB 
(STILL  GENTLY  RIBBING  HER)  Even  -  in  English? 

ms.   GOLDFARB 
Nu?  So  why  not?  Like  Vm  always  saying,  a  great  man  like  Moses  -  so  he 
wasn*t  also  what  you're  calling  it?  -  a  Linguist?  So  how  did  you  like  it 
Joe?  Close  you  listened.  I  saw  you. 

JOE 
I  thought  it  was  a  good  sermon,  mama.  I  learned  quite  a  bit. 


m.   GOLDFARB 
I'm  telling  you  -  what  he  said,  the  rabbi  -  about  justice,  - 
have  Said  it  better  myself.   (LOOKB^G  DOV'N  AT  THE  NARRATOR) 
our  leader  now  is  Rabbi  Hershman. 


I  couldn't 
Uh  -  you  know. 


Who  are  you  talking  tc,  papa? 


Yes,who? 


JOE 


MRS.  GOLDFARB 


MR.  GOLDFARB 
Who?  To  the  future,  of  coursel  l^.   Futurel 

(MRS.  GOLDFiVRB  AND  JOE  LCOI96IGNIFICANTLY  AT  EACH  OTHi  R) 

JOE 
(CHUCKLING)  Oh,  I  see.  So  does  he  care,  this  I^.  Future?  Is  he  interested? 

MR.  GOLDFARB 
About  our  shul  he  carcsl  About  Shaarey  Zedek  he »11  listen  evcn  f ifty  years 
from  now.  Correct,  ^ü^.  Future? 


NARRATOR 


Correctl 


^(MRS.  GOLDFARB  AND  JOE  LOOK  DOW  AT  NARilATOR  IN  AKAZEMENT) 

ms.   GOLDFARB 
Oy,  I  heard  tool  So  if  also  I^  mcshugah  let  me  say,  Mr.  Future,  it  has 
happened  like  I  always  said:  - 


Kuh,  like  she  always  saidl 


MR.  GOLDFARB 


tu 


20. 

(ON  THE  LAST  FI^'E  WORDS  A  FADE-IM  OF  L^GHT  ON  THE  STA GE -EXTENSION  REVEALS 
THE  TH^EE  GOLDFARBS,  EACH  ^flTH  A  PRAYER-BOOK  IN  HAND,  WALKING,  ONE  BEHIND 
THE  OTHER,  FROH  STAGE  RIGHT  TO  STAGE  LIFT.  THEY  SPEAK  I-IHILE  V^LKING.   THEY 
COME  TO  A  STAND  TJHEN  THEY  REaCH  CENTER.) 

MRS,  GOLDFARB 
U'mmmm,  such  a  wonderful  sermonl  Beautifull  Every  word,  beautifull 

m.   GOLDFARB 
(STILL  GENTLY  RIBBING  HER)  Even  -  in  English? 

ms.   GOLDFARB 
Nu?  So  why  not?  Like  Vm   always  saying,  a  great  man  like  Moses  -  so  he 
wasn't  also  what  you're  calling  it?  -  a  Linguist?  So  how  did  you  like  it 
Joe?  Close  you  listened.  I  saw  you. 

JOE 
I  thought  it  was  a  good  sermon,  mama.  I  learned  quite  a  bit« 


MR.  GOLDFARB 
I'm  telling  you  -  what  he  said,  the  rabbi  -  about  justice,  - 
have  said  it  better  myself.   (LOOKPri  DOV^N  AT  THE  NARRATOR) 
cur  leader  now  is  Rabbi  Hershman. 


I  couldn't 
Uh  -  you  know. 


JOE 


Who  are  you  talking  to,  papa? 


MRS.  GOLDFARB 


Yes,who? 


MR.  GOLDFARB 
Who?  To  the  future,  of  coursel  T-fr.  Futurel 

(MRS.  GOLDFARB  AND  JOE  LCOK/6IGNIFICANTLY  AT  EACH  OTHi  .R) 

JOE 
(CHUCKLING)  Oh,  I  see.  So  does  he  care,  this  I^.  Future?  Is  he  interested? 

MR.  GOLDFARB 
About  our  shul  he  carcsl  About  Shaarey  Zedek  he »11  listen  evcn  fifty  years 
from  now.  Correct,  Mir.  Future? 


NARRATOR 


Correctl 


(MRS.  GOLDFARB  AND  JOE  LOOK  DOW  AT  NARRATOR  IN  AMAZEMENT) 

ms.  GOLDFARB 
Oy,  I  heard  tool  So  if  also  I^m  mcshugah  Ict  me  say,  Ifr.  Future,  it  has 
happened  like  I  always  said:  - 


MR.  GOLDFARB 


Kuh,  like  she  always  saidl 


i 


21. 

MRS.  GOLDFARB 
If  you're  having  scrmons  in  English  so  the  young  people  they  can  understond, 
then  they*  11  come  to  shul  regulär  like  my  son  here.  Every  Shabbos  my  Joe  comes» 


MR.  GOLDFARB 
So  as  I  was  telling  you,  I^.  Futur e,  -  our  rabbi  now, 
man  he  is,  our  Rabbi  HJSrshman.  And  a  great  scholar,  - 
Talinud,  -  a  wonderful  leader  f  or  our  congregation. 


-  u'mminm,  such  a  finc 
deep,  learned  in 


MRS.  GOLDFARB 
And  such  a  kind  man,  too  —  how  he  talks  to  you  quiet,  friendly. 


-  the  Sunday  school  already 


MR.  GOLDFARB 
And  such  things  already  he 's  doingl  Ai,  ai,  ai, 
he's  re-organized  - 

JOE 
And  hc's  started  a  Young  People's  Society  tooi 

MRS.  GOLDFARB 
Surel  My  son,  Joe,  he's  a  membcr.  Also  the  rabbi  he*s  set  up  a  Kadimah 
Society, 

JOE 
And  don*t  forget  the  Detroit  Branch  of  the  Zionist  Federation  he  organized  too, 

m.   GOLDFARB 
Of  course,  that  alsol  And  othcr  things  tool  A  f ine  man,  I  teil  youl 
Forty  years  yet  he  should  be  our  rabbil 

(FADE-OUT) 

NARx^TOR 
And  for  forty  years  he  was  their  rabbi,  as  we  well  know.  Did  he  marry  your 
parents  too?  — — 


(THOUGHTFULLY)  Sure 
weren't  they? 


RUTH 


,They  were  a  fruitful  time,  those  forty  years. 


1 


NARiiATOR 
But  difficult  too  —  füll  of  turmoil  and  growth.  Just  picture  that  f irst 
decade  of  the  new  Century;  the  Jews  of  Europe  crying  out  across  the  seas; 
open  to  US  the  geltes  of  refugel 


RUTH 


And  America  answering  the  cry  - 


(FROM  CFFSTAGE  COPiE  SOUNDS  OF  A  CHORUS  SINGING: 
»»GIVL  ME  YOUR  TIRED,   YOUR  POOR, 
YOUR  HUDDLED  MS  -ES  YEARNIMG  TO  BE  FREE; 
THE  ^\/RETCHED  REFUSE  OF  YCUR  TEEMING  SHORE. 
SEND  THESE,   THE  HOMELESS,   TElf^EST -TOSSED  TO  m, 
I  LIFT  MY  lAMP  BLSIDE  THE  GÜLDEN  DOOR,") 


I 


22, 

RUTH 
And  they  came, 

the  stricken,  the  homeless,  the  bereft  - 
close  to  a  million  Jews,  - 
they  came  from  afar 
across  the  thishhold,  to  the  earth 
of  freedom. 

And  many  settled  in  the  city 
of  Detroit« 
And  by  nineteen  hundred  and  tcn  - 

(FADE-IN  OF  SPOT  AT  LEFT  SIDE  OF  STAGE -EXTENSION  REVLALS  AN  OFFICER  OF 
SHAAREY  ZEDEK,  STANDING  AT  A  LEGTERN  AND  FACING  THE  AUDIENCE:) 

OFFICER 
Gentlemen,  our  congregation  is  in  a  critical  Situation,  and,  if  I  may  say  so, 
a  bitterly  ironic  Situation.  Shaarey  Zedek  -  the  gates  of  righteousness  - 
these  are  the  Biblical  words  we  proudly  bear  as  our  name,  Yet  now,  when 
our  f ellow  Jevjs,  newly  arrivcd  from  overseas,  come  to  our  synagogue  and  say: 
"open  to  US  the  gates  of  righteousness  that  we  may  entur  and  commune  with 
God,"  -  we  are  forced  to  reply:  ''alas,  dear  friends,  the  gates  must  remain 
closed,  for  we  have  no  room  for  you,  our  f ellow  Jewsl"  Gentlemen,  this 
intolerable  Situation  must  be  corrected.  Cur  membcrship  has  quadrupled 
in  five  years.  Ife  now  havc  two  hundred  f  amilies  in  our  ranks.  We  have 
outgrown  our  present  building.  Ve   darc  not  turn  away  any  of  those  who  wish 
to  worship  with  us  and  to  have  us  teach  their  children.  We  must  havc  now 
largcr  and  more  commodious  quarters.  And  the  proposed  site  at  the  corner 
of  Willis  and  Brush  Avenues  is  ideal  for  our  purpose.  It  viill  serve  the  needs 
of  our  congregation  for  generations  to  comel 

m.   GOLDFARB 
(SUDDENLY  APPE/^.RING  IN  SPOT  AT  RIGHT  SIDE  OF  STAGE-EXTENSION)  Huh,  for 
generations  to  comc,  he  saysl  Just  wait  and  seel 

(BLACKOUT) 

NARR/lTOR 
VJell,  we  know  tha'D  Mr.   Goldfarb's  skcpticism  was  vcry  well-founded« 


RUTH 


We  certainly  do. 


NARRATOR 
Howevtr,  the  propcrty  at  VJillis  and  Brush  was  bought. 

RUTH 
.  Yes,  but  five  years  passed,  didn*t  they,  before  the  dedication  of  the  new 
building? 


NAE'iATOR 


That's  right.     And  mcanwhile  — 


(CURTAINS  OPEN  ON  STAGE  PROPKR  TO  Rr.VEAL  m.  AND  I^S.   GOLDFARB  SEATED.      SHE 
IS  SEl^ING;     HE  IS  READING  THE  NEVJSPAPER.) 


23. 

MR,  GOLDFARB 
(READING)  H'mmm  —  big  newsl  It  says  here  1%.  Ford  has  announced  five 
dollars  a  day  f or  a  minimum  wage  scale« 

ms.   GOLDFARB 
Nu?  So  it's  good  for  the  Jews  or  bad  for  the  Jews? 

MR.  GOLDFARB 
For  business,  it»s  goodl  And  the  city,  ai,  ai,  ai,  thousands  more  workers 
will  come  here  to  livcl 


ms.   GOLDFARB 


¥ 


< 


i 


And  the  shul? 


MR.  GOLDFARB 
The  shul?— so  what's  with  the  shul?  I»m  talking  about  Mr,  Ford  and  she  is 
bringing  up  about  the  shull 

MRS.  GOLDFARB 
VJhat  I'm  asking,  -ou  understand  very  clear.  The  new  shul  -  it's  going  to 
be  big  enough  now?  And  the  neighborhood  still  right? 

MR.  GOLDFARB 
Look,  mama,  pleasel  Fine  it»s  going  to  be  -  the  new  shull  Finel  Bigl 
Plenty  bigl  -  and  the  neighborhood  perfcctl  Everything»s  wonderfull 
It  ain*t  even  f inished  yetl  Don*t  make  worriesl  For  generations  to  come 
is  this  buildingl  That»s  what  they  saidl  Black  on  white  they  said  itl 

ms.   GOLDFARB 
You  saw  at  the  meeting  last  night  the  plans? 

MR.  GOLDFARB 
I  saw,  I  sawl  Beautifull  Italian  Renaissance, 

ms.  GOLDFARB 
Italianll  Pur  shul??  Goyish??  A  Jewish  building  we  couldn't  have? 

MR.  GOLDFARB 
i%ma,  pleasel  With  architecture  you  are  not  enlightened, 

ms.  GOLDFARB 
VJhat  are  you  talkdngl  You  mean  to  say  -  ? 

MR.  GOLDFARB 
Columns  also  we'll  havel  From  Vermont  marblel  Greek  columnsl 


MRS.  GOLDFARB 


Greekll  Oyl 


(BLACKOUT.  CURTAINS  CLOSE.  BRIDGE  MÜSIC) 

IJAiiRATOR 
Yes,  Mrs,  Goldfarb,  the  columns  Greek,  the  style  Italian  Renaissance,  And 
yet,  the  building,  as  you  rightly  wished  it,  -  the  building  deeply  Jewish. 


2U. 


RUTH 


And  on  the  f ifth  day  of  December,  in  the  year  nineteen  hundred  and  fifteen, 
you  were  there  to  see  how  it  all  happened  — 

NARRATOR 
(VISUALIZING  ms.   GOLIFARB)  You  remembcr,  Mrs.  GoldCarb?  The  beautiful 
music?  And  the  moving  addresses  by  Rabbi  Franklin  of  Beth  El  and  our  own 
Rabbi  Hershman? 

RUTH 
And  what  prouder  participant  than  i^lr.  Simon  -  "D.W."  they  called  him 
affectionately  -  beloved  presidcnt  and  one  of  the  great  f igures  of  Shaarey 
Zedek  -  looking  on  with  the  benign  smile  of  a  devoted  father. 

fDURTNG  THE  LAST  irORDS,  TKERE  IS  A  FADE-IM  OF  A  CAMTORIAL  CHANT  FROM  OFFSTAGE. 

2  A^cSaNySg  IT^^^^  OF  LIGHT  ON  STAGE-EXTEMSIOM  RFVEALS  THE  T^IO 

SSEm?Sf™!€  STAGING  AT  EITHER  SIDE  ÖF  THE  GENTLR  SPLIT  IN  THE  CLOSED 
CURTAIN.) 

GIRL  I 
A  house  illumined 
by  the  flame  cnduring; 

GIRL  II 
A  house  shaped  and  hallowed 
by  the  transf iguring  presence 
of  Torah; 

GIRL  I 
A  house  richly  ornamented 
by  the  mighty  letters 
of  the  Lawl 


GIRL  II 
This  house 
a  Judaic  sanctuaryl 

fAS  THE  COM^COTATORS  MOVE,  ONE  TO  THE  RIGHT,  THE  OTHER  TO  THE  lEFT,   THE 
rURTAINS  OPEN,   RE^ra^.LING  A  MIDDLE-AGED  JEIJ,  l^RING  A  TALITH  AND  SKULLCAP, 
HOLDING  A  TORAH  SCROLL  AND  PACING  THE  ARK;     AT  HIS  SIDE  A  JE^HSH  YOUTH 
SIMIIARLY  ATTIRED;     WO  OTHER  JE\^JS,   ON-    TO  THE  RIGHT,   THL  OTHER  TO  THE 
LEFT  OF  THE  ARK.) 

MIDDLE-AGED  JD/-J 
Open  to  me  the  gates  of  the  Ark, 
that  I, 

with  loving  hands 
may  place  in  its  fresh  abode 
the  Scroll  of  Torah. 

(THE  JEIJS  AT  EITHER  SIDE  OF  THE  ARK  OPEN  ITS  DOORS,     THE  MIDDLEWVGED  JEV^J 
TURNS  TO  FACE  THE  JEWISH  YOUTH  AND  SPEAKS  TO  HIM: ) 


25. 

MIDDLE-AGED  JOT 
Dear  child  of  my   son:  this  precious  gift  entrusted  to  me  by  my  fathers 
before  me,  I  place  here  for  you  and  for  all  who  shall  from  you  descend. 
Here  shall  this  Sacred  Scroll  be  unfurled,  to  f  lood  your  consciousness 
as  a  living  mural  of  the  truth.  And  thus,  in  the  quickening  heart,  in  the 
nurturing  raind,  shall  our  heritage  be  conserved.  And  thus  alone  shall 
this  which  is  a  house  become  a  Judaic  sanctuary, 

(HE  PLACES  THE  SCROLL  IN  TJ:ffi  ARK.   THEN,  AFTER  RETURNING  TO  THE  SIDE  OF  THE 
YOUTH,  HE  SAYS  TO  OME  OF  THE  OTHER  WO   JEWS:) 

MIDDLE-AGED  JEW 
Kindle  now  lanp  enduring  that  the  child  of  my  son  shall  know  the  path  of 
the  Lawl 

(THE  lAMP  IS  KINDLED.  AND  THEN  THE  SINGING  OF  A  PSALM  IS  ACCOMPANIED  BY 
THE  CLOSING  OF  THE  CURTAINS  Ai^  A  FADE-OUT,) 

NARRATOR 
(TO  RUTH)  You  know,  so  far  we»ve  been  thinking  of  Shaarey  Zedek  primär ily 
in  local  terms  -  as  guardian  in  one  place  of  a  living  tradition.  But 
actually  it  was  already  part  of  a  larger  f orce,  -  a  nation-wide  force,  in  fact 

RUTH 
You  mean  the  United  Synagogue  of  America? 

NARtATOR 
Exactly.  To  help  keep  our  Judaic  tradition  perenially  nourished  and  re- 
freshed  as  a  kind  of  fruitful  garden  throughout  the  idiole  land« 

RUTH 
Actually,  Shaarey  Zedek  was  one  of  the  United  Synagogue« s  first  supporters, 

wasn't  it? 

NARiATOR 
It  certainly  was.     And  it's  continued  to  play  a  dominant  role  in  the  Or- 
ganization to  this  very  day, 

RUTH 
And  speaking  of  being  part  of  a  larger  force,  wasn't  it  about  now  that 
something  world-shaking,.? 

(FROM  CFFSTAGE  COME  BOOMING  SOUNDS  CF  FAR-OFF  GUNS) 

NARRATOR 
Yes,  a  time  rccorded  in  the  heavy,  dark  type-face  of  tragedy  on  pages 
stained  with  blood.     Nineteen  seventeen.     Our  nation  at  war* 

(ON  THE  UST  FEIJ  WORDS  THEKE  IS  A  FADE-IN  OF  AN  INSTRUMENTAL  VERSION  OF 
»»OVER  THERE"  FROM  OFFSTAGE) 

RUTH 
And  Shaarey  Zedek  became  a  throbbing  center  of  war  relief  activity  - 


¥ 


26. 

(CURTAINS  OPEM  TO  REV]:AL  OM  STAGE  PROPER, SEV^RAL  WOMEM,   ffiS.   GOLDFARB 
AMONG  THEM,   MKING  BANDAGES,   ETC.,   FOR  THE  ^^AR  EFFORT.) 

ms.  GOLDFARB 
(SIGHING)  Yah,  yah,  "over  there,  over  there"  -  all  our  thoughts  they  are 
now  over  there  with  our  boys.  You  heard  again,  Mrs.  Cohn,  from  your  Ralph? 

iHS.  COHN 
Yes,  I  had  a  nice  letter  yesterday.  Evtrything  is  alright,  thank  God. 
He  got  the  sweater  and  was  vcry  pleased. 

1>1RS.  RAPHAEL 
You  heard  about  the  Phillips?  Their  boy,  Herbert? 

lES.  ABRAHAM 
Please,  don't  mention  itl  Terriblcl 

MRS.  GOLDFARB 
Ai,  ai,  ai,  —  I  teil  you,  not  one  night  am  I  sleeping.  V/orry,  worry  -- 

imS.   RAPHAEL 
l^Jhat  do  you  hear  from  your  son,  Mrs.  Goldfarb? 

ms.  GOLDFARB 
So  what  should  I  hear?  So  far  is  everything,  thank  God,  alright.  Every 
day  I'm  praying.  So  what  can  you  do?  I^m  saying  to  my  husband:   look,  papa, 
liice  they  sing  in  the  song,  our  boy  Joe  we  didn't  raise  for  being  a  soldier« 
But  still  he 's  making  the  world  safe  for  democracy,  thank  God,  and  already 
he*s  important  -  a  big  officer  -  the  second  lieutenant  -  only  one  ahead 
of  him  in  the  armyl  Soon,  please  God,  the  war  will  be  over  and  then  he »11 
come  back,  my  Joe  -  -  -  Ai,  ai,  ai,  -  to  make  the  world  safe  for  democracy l 
So  teil  mc,  Mrs,  Abraham,  the  world  -  they  wouldn't  make  it  even  safer 
without  shooting? 

(BRIDGE  I^SIC  AS  TI'E  a^RTAINS  CLOSE) 

NARRATOR 
And  then,  f  inally,  one  day  in  nineteen  eighteen  —  (FROM  OFFSTAGE  COÄ 
SOUNDS  OF  CHEERING  CROl'DS)  -  the  guns  are  silenced.  Cheering  millions  all 
over  the  world  grect  the  return  of  pcace, 

RUTH 
And  then  -  then  comc  the  nineteen  twenties.  And  with  them,  in  Detroit, 
a  new  explosion  of  prosperity, 

•(FADE-IN  OF  LIGHT  OM  STAGE-EXTENSION  RFVJA.LS  MR.  km   mS.  GOLDFARB,  BOTH 
MÜCH  OLDER  THAN  ^JHEII  T^JE  FIRST  MET  THEM,  BUT  STILL  QUITE  VIGOROUS.  THEY 
ARE  BOTH  SEATED,  HE  READING  A  }»JSPyiPER,  SHE  K^^ITTING. ) 

MR.  GOLDFARB 
Ai,  ai,  ai,  look  what  it  says  herel  By  the  last  statistic,  the  automobile 
production  herc  is  exceeding  four  million  unitsl  Four  millionl 

MRS.  GOLDFARB 


' 


Nu? 


27. 


MR.  GOLDFARB 
And  a  half  million  more  people  living  herel 


ms.   GOLDFARB 


So? 


MR.  GOLDFARB 
So,  she  saysl  Don«  t  you  sec?  (TO  MARRATOR)  You  know,  i^.  Futurt,  my  wife 
she  don't  understand  fron  such  things.  (TO  MRS.  G. )  Prosperity  -  ±V  s 
booming  outl  Cur  Jews  hera,  -  they  are  not  on  the  move  again?  VJe  are  not 
living  in  this  Twelfth  Street  area  now  too?  Our  young  people  -  they're  not 
drif ting  away  already  fron  the  shul?  Attendance  at  our  Services  now  is 
not  poor?  Can*t  you  see? 


See  what?  No  riddlcs,  plcasel 


MRS.  GOLDF/JIB 


!^^.  GOLDF.^B 


It*s  going  to  get  worsel  Kuch  worsel  The  handwriting  its  on  the  wäl  of 

Shaarey  Zedekl  Anothcr  new  shul  we  got  to  havel  Just  what  I  said  six 

years  ago  when  they  dedicated  that  building  to  serve  us  for  generations  to  comel 

(JOE  AND  HIS  BOY  AARON  ENTER.  AARON  IS  DRESSED  AS  A  BOY  SCOUT.  THE  GREETINGS 
OVEiUAPO 


Hello,  mamal  How  are  you,  papa? 


Hello,  grandma,  grandpal 


JOE 


AARON 


MR.  /IJD  I'ES.  GOLDFARB 


Hallo,  hallo l 


MRS.  GOLDFARB 
(TO  AARON)  Come  kiss  grandma,  darlingl 

(AARON  GOES  TO  i^S.  GOLDF-'RB  AI^JD  KISSES  HER.) 

MR.  GOLDFARB 
(TO  A/JION)  Nu?  So  how  gocs  with  our  Boy  Scout?  (TO  NARRATOR)  That  reminds 
me,  my  friend  - 

Ai-.RON 
(TO  JOE)  Who's  grandpa  talking  to? 


JOE 


To  Mr.  Future 


AARON 
Who?  (LOOKING  SIGNIFICANTLY  AT  JOE)  Oh, 

MRS.  GOLDFARB 
Grandpa  is  suffering  a  little  from  imagination.  It's  harmless. 


28. 
m.   GOLDFAltB 
(TO  mR^^ATOR)  My  grandson  hure,  Aaron,  he  bclongs  now  to  the  Boy  Scouts. 
He  are  having  alrcady  in  Shaarey  Zedck  two  troops  Boy  Scouts,  also  Cub  Scouts, 
Campfire  groups  f or  girls  - 


ms.   GOLDFARB 


Also  Blue  Bird  groups  - 


I'IR.  GOLDFARB 
Blue  Birds  also.  Thank  you,  mamal  (TO  NARRATOR) 
they»ll  Icarn  to  be.  It»s  good  -  all  vcry  goodl 

AARON 
Granc^a,  did  you  hear  the  latest  song?  (SINGS) 
we  havc  no  bananas  to-dayl" 


So  maybe  good  Citizens 


"Yes,  we  havc  no  bananas; 


A  song  you're  calling  that? 


Meshugal 


I^.  GOLDFMB 


ms.  GOLDFARB 


im.  GOLDFARB 
From  bananas  they  sing  which  they  don»t  have.  And  what  they  arc  dancing? 
The  Nashvillel 

JOE 
Not  Nashville,  papa,  It's  the  Gharleston. 

m.   GOLDFARB 
So  what»s  the  diffcrence?  Tht  South  is  the  Southl 


(THEY  ALL  LAUGH) 


JOE 


Well,  dad,  it  looks  like  we»re  going  to  have  a  new  building. 

iüR.  GOLDFARB 
Huh?  (TO  MRS.  G.)  Nu?  So  what  did  I  teil  you? 

(TO  JOE)  So  go  on,  go  onl  (  TO  NARRATOR)  You  see,  Mr.  Future,  my  Joe,  he 
is  now  on  the  Board  of  Shaarey  Zedek.  (TO  JOE)  Nu,  so  teil  me  alreadyl 

JOE 
Well,  the  Board  feels  weWe  just  got  to  have  a  new  synagogue  building,  with 
increased  capacity  and  improved  facilities.  Whcn  the  question  of  cost  was 
raised,  Judge  Keidan  said  - 

m.   GOLDFARB 
(TO  NARRATOR)  U'mmm,  such  a  wonderful  man,  Judge  Keidan l  One  of  cur 
trr-patpstl  Down  in  history  he»  11  go  yetl  Brainsl  Gharacterl  A  grea 


greatestl  Down 


great  leaderl 


29. 


JOE 


He  Said  -  let's  see  -  I  have  it  herc  in  the  minutes,  -  yes,   here  it  is.  He 
said:   (READS)  "It's  the  duty  and  responsibility  of  Shaarey  Zedek  to  have  an 
adequate  synagogue  with  a  suitable  social  and  educational  ccntcr.  If  what  is 
needed  can  be  gotten  for  f our  hundrcd  thousand  dollars,  well  enough,  If  not, 
Ict  US  spend  seven  hundi^ed  and  fifty  thousandl  In  this  question  it  is  vital 
that  the  Congregation  refrain  from  taking  a  narrow-minded  stand," 

MR.  GOLDFARB 
Good,  good,  goodl  VJith  Judge  Keidan  I^m  agreeing  absolutelyl  Only  this  time, 
please,  make  sure  the  shul  is  plenty  big  and  also  maybe  —  on  wheels?? 


(BUCKOUT) 


RUTH 


And  so  -  we  come  closer  to  the  building  we  know  and  love. 

NARRATOR 
Right.     In  nineteen  twenty-five,   they  buy  the  prcsent  Site  of  Shaarey  Zedek 
at  Chicago  Boulevard  and  Lavrbon.     Hope  soars  like  a  bird.     The  future   is  rieh 
in  promise.     And  all  of  the  — 

(ON  THE  LAST  FOUR  1T0RDS,   THLRE  IS  A  FADE-IN  OF  SCUNDS  FROM  OFFSTAGE:    -  AN 
OMINOUS  ROLL  OF  TYMPANY  i'ITH  A  SUCCESSION  OF  DISSONANT  CHORDS  LIKE  SHARP  STABS 
OF  PA  IN ) 

RUTH 
Waitl      (TO  THE  SOUNDS  DESCRIBED  ABOVE  A.iti  ADDED  SOUNDS  OF  A  GRUMBLING,  ANGRY 
CROWD)     There  are  bitter  ycars  still  to  bridge.     Years  of  destitution  and 
despair  for  millions  of  Americans.     The  era  of  depression. 

(DURING  THE  LAST  FOUR  ^TORDS,    THE  CURTAINS  OPEN,   REVEALING  ON  THE  HALF-LIGHTED 
STAGE  PROPER,   THREE  FIGUKES,    THEIR  BACKS  TO  THE  AUDIEMCE,    STANDING  A  FE^-J  FEET 
APART.      ON  A  PIERCING  CHORD,   MALE  BEGGAR,    STANDING  AT  RIGHT,   TURNS  TO  FACE 
AUDIKMCE  AND  SPEAKS  TO  AN  IMGINARY  PASSERBY:-) 


I^^ALE  BLGGAR 


Brother,  can  you  spare  a  dime? 


(A  PIERCING  CHORD,  ON  V.IHICH  A  MIDDLE-AGED  APPLE -VI', NDOR,  STANDING  AT  LEFT, 
TURNS  TO  FACE  AUDIENCE  AND  SPEAKS  TO  AN  IMAGINARY  PASSERBY:) 

APPLE -VENDOR 
Buy  an  apple,  lady?  Don*t  forget:  an  apple  a  day  keeps  the  doctor  awayl 

(A  PIERCING  CHORD,  ON  HHICH  AN  AGING  ^,^0^'M,  STANDING  AT  CENTER,  TURNS  TO  FACE 
AUDIENCE  AND  SPE/iKS  BITTERLY:  ) 

AGING  ^'?OMAN 
All  my  life  savings  wipcd  out  like  that  (S'^APS  FINGERS)  over  nightl  Huh, 
that  bank:  -  thick  stone  walls  and  heavy  iron  doorsl  What  good  were  they  to  me? 
What  am  I  gonna  do  now?  What  can  I  do? 


1 


ip 


30. 
mLE  BEGGAR 
No  Job,  no  savings,  nothing l  And  not  the  glimmer  of  a  prospectl   (TO  AN 
imoiMRY  PASSERBY)  vjhat's  that?  No  monopoly  on  hard  luck,  you  say?  Sure, 
sure,  I  know«  It's  me  times  fifteen  million.  But  look,  that  grand  multiplica- 
tion  don't  fill  my  kid»s  bclliesl 

(FROM  OFFSTAGE  COIC  SOUNDS  OF  A  I4ARCHING,  GRUffiLING  ANGRY  CROl  JD,  LOUD  FOR 
A  MOMENT  AND  THEN  DQ-fN  IN  VOLUIC  AS  BACKGROUND) 

APPLE-VENDOR 
Listen  to  them  -  hungry,  joblcss  Americans  -  marching,  protesting,  riotingl 
The  whole  country  one  great  big  panorama  of  stagnant  plentyl  The  whole  economy 
frozen  -  frozen  stiff  as  a  boardl  Paralysis  -  that's  what  we*ve  gotl  The 
World* s  greatest  and  most  spectacular  cock-eyed  paralysis l 

(SOUNDS  OF  CROT.T)  SI-IELL  AS  CURTAINS  CLOSE.  THEN  AFTER  A  MOMENT  OF  SILENCE:) 

RUTH 
How  in  the  face  of  all  that,  could  Shaarey  Zedek  possibly  muster  the  courage 
to  go  ahead  with  such  ambitious  building  plans? 

NARRATOR 
Well,  they  were  forced  to  rnakc  a  good  many  drastic  revisions  of  the  plans. 

RUTH 
Drastic  revisions?  How  in  heck  did  they  ever  manage  to  gct  the  building  up  at  all? 

NARRATOR 
Well,  one  f actor  that  helped  enormously  was  the  really  inspiring  and  indomitable 
leadership  of  Louis  Gordan  as  president. 


RUTH 


Yes,   I  know.     But  still  - 


NARMTOR 
And  don't  forget,   Ruth,   above  all,   the  devotion  of  our  people,   -  let's  not 
overlook  it,   -  it»s  not  just  a  matter  of  patting  ourselves  on  the  back,    - 
there's  been  something  very  special,  through  all  the  years  about  the  spirit 
of  Shaarey  Zedek. 

(BRIDGE  mSIC.     FADE-IN  OF  LIGHT  ON  STA GE -EXTENSION  REVEALS  A  GRCUP  OF  FIVE 
SHAAREY  ZEDEK  12IADLd3  IN  A  SEMI-CIRCLE.     AMONG  THEM  IS  JO^  GOLDFARB.      THE 
OTHl.RS  HA  VE  NO  SPECIFIC   IDENTITY) 

ONE 
Of  course  we  necd  the  new  building  nowl     I've  certai  nly  been  behind  itl 
Solidly  behind  itl     From  the  very  startl     You  all  know  that.     But,   great  scot, 
there's  a  limitl     Look  at  the  State  of  things  to-dayi      In  the  face  of  conditions 
now,    I  think  our  peoplc  have  rcsponded  magnif icentlyl     They'vc  shown  great 
dedication]     Many  havc  raade  considcrable  sacrifices.     But  we  can»t  expect 
the  impossiblel     Let»s  face  itl     We  can»t  get  the  moneyl     We  can»t  get 
matcrialsl     We  can»t  get  the  —  l 

(OVIRLAPPING  THE  lAST  FEl'J  WORDS  THERF/ts  AN  EXCITED  AD-LIBBING  OF  THE  XJHOLE 
GROUP)     . 


31. 


(HOLDIMG  UP  HAND  FOR  SILEWCE)  Gentlemen,  pleasol   (THEY  BECOI€:  SILENT)  Let 
me  say  this:  -  it  takes  no  special  talent  or  zeal  to  realize  a  project  when 
all  the  conditions  are  favorable,  -  vjhcn  cvcrything  is  easy  and  agreeable. 
I  am  not  a  phrase  monger,  gentlemen.  I  teil  you  these  obstacles  are  hcre 
not  to  obstruct  us,  but  to  test  our  mettle,  our  faith,  our  conviction,  our 
dedicationl  I  myself  am  ready  to  double  the  sacrifice  I  ask  others  to  makel 
And  I  urge  you  to  do  likewise.  VJhat  we  achieve  in  the  face  of  these  terrible 
odds  will  be  of  inf initely  greater  import  and  value  than  it  otherwise  could 
possibly  bc.  Gentlemen,  this  is  a  solemn,  a  sacred  responsibility  that  we 
have  assumed.  He  dare  not  f alter.  Our  new  building  devoted  to  the  Service 
of  God  has  got  to  be  completed  despite  all  handicaps. 


THE  OTHERS 
(OFRLAPPING  EACH  OTHIR)  I  agreel  You  can  count  on  mel 
We»ve  got  to  finish  the  jobi   (ETC.) 


We  must  go  aheadi 


The  responsibilities  werc  dis- 


(BUCKOUT) 

NARRATOR 
Vfell,  as  we  know,  the  sacrif  ices  were  madel 
chargedl  The  building  was  completedl 

RUTH 
And  f  inally,  -  how  often  have  I  heard  mother  and  dad  describe  it,  -  f  inally 
the  great  day  came  -  on  January  tenth,  nineteen  thirty-two  —  (FADE-IN  OF  SOUNDS 
FROM  QFFSTAGE  OF  CANTOR  S  INGING  "OPEN  TO  TIE  THE  GATES  OF  RIGHTEOUSNESS"  • . ) 
when  the  new  Shaarey  Zodek  that  we  know  and  love,  you  and  I,  was  dedicated« 
Every  seat  in  the  vast  sanctuary  f  illed  — 

NARRATOR 
And  among  those  present,  our  stcadfast  friends  of  Temple  Beth  El,  to  share 
in  the  scrvice,  as  they've  always  shared  in  all  the  great  experiences  of  our 
congregation» 

RUTH 
And  in  that  great  gathering  -  permeating  it  all,  somcthing  very  special  and 
wonderful  ~ 

(DURING  THE  UST  FKJ  WORDS,  FADE-IN  OF  LIGHTS  ON  STAGE-EXTENSION  REVEALS 
THE  WO   C0M1ENTAT0RS,  ONE  STANDING  AT  THE  RIGHT  SIDE,  THE  OTH^R  AT  LEFT  SIDE 
OF  THE  EXTENSION.  THEY  SPEAK  AGAINST  THE  CONTINUING  SOUNDS  OF  THE  CANTORIAL 
CHANT.) 

GIRL  I 
The  opening 
evcn  yet  more  widely 
of  the  gates, 
that  there  may  enter 
a  mighty  family  of  Jews, 
to  be  united 
in  communion  with  God, 


32. 

GIRL  II 
Each  to  be  quickened  and  nourishcd 
by  the  experionce 
of  all  othcrs; 
and  togethcr, 
a  mighty  Choral  voice 
cxaltcd, 
a  unitcd  arm  of  compassionate  strength. 

GIRL  I 
To  do  the  will  of  God. 

GIRL  II 
To  advancc  the  fulf illment  of  all  menl 

(AS  THE  CANTORIAL  Cmm  CCNTINUES  ATTD  THE  COItlENTATOi^S  EXIT,   OME  AT  LEFT, 
THE  OTHr.R  AT  RIGFT,   THE  aiRTAINS  OPEN  TO  REVEilL  THE  ^^OLL   STAGE  PROPER  — 
THE  ARK  GONGT  ALED  -  -  FILLT^D  ^ITH  SEf.TL.D  FAMILY  GROUPS  -  HUSB/ilMDS,  WIVES,  AMD 
CHILDREM,    -  ALL  FACIMG  THE  AUDEMCE;     AMD  IN  THE  FIRüT  RO-,   MR.   AND  IvIRS. 
GOLEFARB  -  VERY  ÜLD  Na/,    -  JOL  GOLDFaRB,   HIS  BOY  AND  HIS  WIFE.) 

MR.  GOLDFARB 
(AGAINST  THE  FAINT  BACKGROUMD  OF  THE  CANTORIilL  CHANT)     How  good  it  is,    in 
this  bcautiful  new  shul,   that  we  can  be  together  now,   my  whole  family,   scated 
side  by  side.     That  we  who  lovc   each  othcr,   can  also  now  pray  together.      It 
is  good  —  very  good. 

JOE 
Out  of  this  -tragic  time   in  our  land,   there  arises,    -  firm,   tonic,   beautiful,   • 
this  monument  to  the  Jew' s  faith  in  life,   his  faith  in  the  future  of  America, 
his  faith  in  the  Judaic  sanctuary  as  a  medium  of  communion  and  consecration, 
his  faith  in  God  as    ühc  source  of  being.     To  this  sickly-glazed  era  of 
paralysis,    our  sanctuary  Stands  as  a  vibrant  and  a  challenging  answer. 

(FÜLL  CHORAL  SOUNDS  OF  A  PS/lLM,  ACCOr'IPANI^.D  BY  CLOSING  OF  THP.  CURTAIMS. 
BUCKOUT . ) 

NARiiATOR 
V/ell,   the  new  gates  werc  open  wide  alright,   but  the  deadly  time  persistcd  - 

RUTH 
And  many  of  our  membcrs  so  hard  hit  thcy  just  couldn't  meet  their  financial 
responsibility  to  the  congregation.     Pretty  dismal  days  they  werel 

NARRATOR 
And  then  -  then,    a  light  appeared.     A  new  light  of  leadership  to  put  a  fresh 
glow  in  the  hearts  of  our  membcrs.     That,   of  course,   was  Isaac  Shetzer,   the 
new  President. 

RUTH 
Inlhat  a  wonderful  pcrson  he  must  have  beenl     Dad's  spoken  of  him  so  often. 
He  must  have  had  a  really  cxtraordhary  personal  f  orce  - 


( 


II 


n 


33. 

MARRATOR 
And  a  grand  bona-fide  human  warmth  -  judging  from  all  the  stories  they  teil, 

and  a  kind  of  irresistible  loving  zeal  for  Shaarey  Zedek.  That»s  how  he 
was  able  to  do  so  much  to  revive  morale  in  those  dark  days.  Larger  nurabers 
of  people  started  flocking  to  our  doors  to  become  members, 

(FROM  QFFSTAGE  COI^  3CUNDS  OF  A  CHORUS  SINGING  A  HEBREl^  SONG.  LIGHT  FADES-IN 
ON  STAGE-EXTENSION) 


RUTH 


And  speaking  of  morale,  — 


(WO  WOMEN  AND  ONE  MAN  EWTER,   EACH  HOLDING  A  CUP  OF  COFFEE  AND  A  PIECE  OF 
CAKE) 

MISS  SOPRANO 
(ABOUT  US)     Cuf,  I»m  all  sung  outl 

ms.   ALTO 
(ABOUT  UO)  Me  tool  (TO  MR.  TENOR)  Teil  me,  tenor-man,  is  this  your  first 
time  here? 

m.   TENOR 
Very  first,  It's  really  great  funl  You  have  these  songfests  every  vjeek? 

MISS  SOPRANO 
Every  Saturday  night,  regulär  as  clockworkl 

ms.  ALTO 
They' VC  been  going  on  for  months  nowl  (TO  MR.  TENOR)  You  sing  goodl 


MR.  TENOR 


VJell,  Caruso  I*m  notl 


MISS  SOPRANO 
So  that's  bad?  He^s  first  tenor  with  the  angels  now.  You^  thank  God,  are 
alivel  Your  s  inging 's  0*KI  Look  at  mel  Am  I  Jeanette  MacDonald?  But  we 
have  funl  That's  the  big  thingl 


MR.  TENOR 


You  certainly  get  a  good  crowd. 


r^S.  ALTO 
That's  why  we're  meeting  here  at  the  Statler  now» 
I  get  you  another  piece  of  cake?  - 


And  I  teil  you,  -  uh,  can 


MR.  TENOR 


No,  thank  you 


MRS.  ALTO 
I  teil  you,  we  Shaarey  Zedek  song-birds,  not  only  do  we  make  big  gorgeous 
Sounds,  -  but  we  also  put  away  more  coffee  and  cake  than  the  whole  Metropolitan 
Opera.   (HOLDING  UF  COFFEE-CUP)  L'Chayiml 


m 


* 


3I4. 

(BIACKOÜT  AND  SIMJLTANEOUSLY  A  LOUD  BURST  ÖF   CHORAL  SINGING  FROM  OFFSTAGE; 
SINGING,  AFTER  A  FEir  SECOMDS,  IS  RIiiDUCED  IN  VOLUME  TO  SERVE  AS  BACKGROUND  FOR:) 

NARRATOR 
And  these  song-fests,  -  well,  they  startcd  just  as  an  outlet  to  lift  the 
spirits,  but  they  f  inally  led  to  congregational  singing  as  a  part  of  the 
synagogue  Service, 

(A  RUMBLING  3CUMD,  AS  OF  THUNDER,  OVERUiPS  AND  FBIALLY  BLOCKS  OUT  THE  SINGING) 

RUTH 

That«s  right.  They  did.  But  then  —  Listen!   (THEY  BOTH  LISTEN  FOR  A  M0r4ENT. 
THEN; )  Sounds  from  across  the  sea,  -  •  sombre,  terror-f illed  sounds,  - 
that  overshadow  not  only  our  innocent,  joyous  singing  here,  but  even  the 
troubled  chant  of  millions  of  American  families  still  on  relief .  Listen  — • 

(FADE-IN  OF  A  SPOT  AT  RIGHT  SIDE  OF  STA GE -EX TENSION  REVEALS  THREE  REPRESENTATIVES 
OF  EUROPEAN  JEl'JRY:   ONE,  A  FALE,  Tl^O,  FELIALE,  THREE,  FEMLE,  THEY  FACE  THE 
AUDIENCE  VfHILE  SPEAKII\IG:) 

ONE 
V/hat  you  hear  is  the  modest  beginning 
of  a  diabolic  thunder 
of  hatel 

Tl^JO 
A  new  edition,  — 

poisened  gutturals  bound  in  brown,  - 
a  new  unlimited  edition 
of  the  ancient  offense. 

THREE 
The  Nazi  terror:  - 
joy  through  torturel 
Raw  lust  for  the  agonized  starel 
Minds  f  ired  to  new  heights 
of  fiendish  inventionl 

ONE 
The  blood  shrieksl 

T\'JO 
The  flesh  crics  outl 

THREE 
Savage  fury  spruads  like  a  plague l 

ONE 
The  rampart  and  the  wall  lament 
and  a  cry  rises  in  the  night. 

(THE  CONTINUING  SOUNDS  OF  THUNDER  S^^JELL  FOR  A  MOMENT,  PUNCTUATED  BY  PIERCING, 
DISSONANT  CHORDS,  DURIMG  VJHICH  A  FADE-IN  OF  SPOT  AT  THE  LEFT  SIDE  OF  STAGE- 
EXTENSION  REVEALS  5  METERS  OF  SHAAREY  ZEDEK:  A,  MALE,  B,  FEIALE,  C,  I^LE, 
D,  MALE  TEI  NAGER,  E,  FEMAIE  TEENAGER.) 


B 
My  peoplc,  my  people 
bereft  - 


35- 


The  gates  of  compassion 
we  opcn, 

that  thc  succoring  band  of  our  heart-warmth 
may  reach  you. 


The  gates  of  kinship 
we  open, 

that  you  may  come  to  us 
and  share  our  life. 

(SOUNDS  OF  THUNDER  S^CLL  AND  CULIilNATE  IN  SEV.:  RAL  SHATTLRING  BIASTS,   DURING 
THE  Sl/^/ELL,  BOTH  GRCUPS  STAND  TENSELY  LISTENING.   ON  THE  BLASTS,  THE  I^iEMBERS 
OF  THE  EUROPEAN  GROUP  AT  RIGHT  TURN  ABOUT  TO  FACE  UP-STAGE,  THEIR  BODIES 
CONTRACTED  AS  THOUGH  SUDDENLY  STABBED.   THOSE  IN  THE  SHAAREY  ZEDEK  GROUP  AT 
LEFT  TURN  AWAY  IN  ANGUISH  TCt^RD  DOl  ,'N  LEFT.  THEN  AGAINST  SUCCESSION  OF 
FATALIST IC  DRUMBEATS: ) 


OFFSTAGE  MLE  VOICE 

The  relentless  frenzy  mounts  and  evcr  mountsj  Murders  multiply: 
to  hundred  of  thousands  to  millionsl  Two,  —  three,  —  four,  -- 
six,  —  six  millions  of  our  people  —  murdered. 


thousands, 
five,  — 


(SEVhRAL  SHATTERING  DRUMBEATS  UNDER  A  PIERCING  DISSONANT  CHORD  V7}]ICH  SUGGESTS 
A  GRY  OF  PAIN.   THEN  THERE  ARE  3  SECONDS  OF  SILENCE.  AND  THEN,  AGAINST  THE 
PUINTIVE  SOUNDS  OF  A  FARAl/AY  FLUTL,  "WO"  TURNS  SLOX^Y  TO  FACE  THE  FRONT  AND 
SPEAKS  VERY  QUIETLY:-) 

T^^FO 
Here  lies  an  unknown  Jew, 
hushed  and  x^rithered 
in  a  namelcss  little  grave, 
a  careless  hollow 
in  the  bomb-scarred  earth, 
Here  lies  an  unknovm  Jew 
who  is  six  million  unknown  Jews, 
de  ad  - 

all  of  them  dead,  - 
killcd  f or  a  crime, 
a  heinous  crime,  - 
the  crime  of  holding  in  their  heart 
the  Torah  and  the  living  faith 
and  in  their  pulsing  blood 
the  proud  heredity 
that  r Caches  back  through  time 
to  write  the  shaping  word  of  God,  - 
the  mandatc  and  the  chord  of  hope 
that  gave  humanity  to  men. 


(' 


36- 

WO  (CONTINUED) 
This  was  their  heinous  crime 
and  thcy  paid, 
all  of  them  paid  the  price, 

E 

(T,a.TH  TOUCHING  QUIETNESS) 

These  were  my  people  — 

and  now  thcre  is  silent  earth« 

The  breath  of  the  song  is  spent, 

the  streng  arm  withered 

the  great  heart  stilled, 

B 

All  the  glad  striving, 

and  the  love,  the  burning  hope  — • 

all  the  will  to  goodness 

and  the  high  Vision 

and  the  firmness  of  feet  upon  the  earth; 

all  the  hundrcd  graces 

of  the  hand^  the  eye,  the  voice,  the  heart 

that  conspire  to  make  the  rairacle 

of  man  — 

all  this,  I  say  — . 

the  wonder  and  the  glory  of  a  lif  e 

multiplied  to  six  million  working  dreaming 

loving  praying  struggling  children  of  Israel,  - 

shrunk  now, 

shrunk  to  the  meagre  tenancy 

of  a  little  nameless  hollow  in  the  bomb-scarred  earth< 


(THE  CFFSTAGE  FLUTE  COMTINUES  FOR  A  COUPLE  OF  I1EASURLS  ALONE.  AND  THEN:-) 


4 


f 


Be  assured,  0  beloved  dead, 

we  shall  not  falterl 

Your  legacy  is  written  as  a  living  mandate 

in  our  heart, 

D 
From  your  mar tyr dorn 
we  have  taken  increasod  devotion 
to  the  cause  f or  which  you  gave 
the  last  füll  mcasure 
of  devotion« 

A 
What  can  WC  do,  - 
one  congregation 
though  large  in  numbers 
and  strong  in  zeal,  - 
what  can  we  do,  - 
it  may  Justly  be  asked  - 
to  answer  the  enormity 
of  your  sacrifice? 


37. 


¥ 


A  (CONTINUED) 
Our  most,  alas,  is  s  o  little,  - 
yet  that  little 
in  the  measure  of  spirit 
can  be  much, 

B 
3e cause  of  you, 
we  of  Shaarey  Zedek, 
a  Unit  of  de die at cd  strength 
within  the  surviving  family 
of  Israel, 

face  our  common  purpose 
with  quickened  vigor, 
with  a  deeper  gift  of  seif. 


Cur  Kaddish  f or  you,  our  fallen  kinsmen, 
is  and  shall  remain 
not  of  the  hallowed  x^rord  alone 
but  a  Kaddish,  as  well, 
of  consecrated  action« 

B 
Modestly,  vcry  modestly, 
but  with  zeal  re-kindlcd, 
we  are  trying  now, 
we  shall  go  on  trying 
to  cnrich  and  revitalize 
the  pattern  of  our  Jewish  living. 
Behind  the  naked  calendar 
of  our  little  dates  and  deeds 
is  a  largeness  of  warmth 
and  the  vibrant  f orce 
of  a  new  resolve, 

A 
Here  then  are  fragments 
from  our  record  of  re-aff irmationl 

(BUCKOUT  OF  VJHOLE  STAGE -EXTENSION.      BRIDGE  IIUSIC  FROM  OFFSTAGE.     AFTER  A 
FEIaF  SECONDS,  FADE-IN  GF  LIGHT   ON  STAGE -EXTENSION  REVEALS  A,   B  AND  C  STANDING 
SIDE  BY  SIDE  AT  RIGHT;      D  AND  E  STANDING  SIDE  BY  SIDE  AT  LEFT.     THERE  IS  A 
SPACE  CF  AßOUT  8  FEET  BET^fEEN  THE  TVO  CROUPS,     A  CHALLENGING  CHORD.     THEN:) 

C 
Jewish  Education  for  Adultsl 

(DüRING  THESE  UST  vrORDS  CüRTAINS  OPEN  TO  A  VTIDTH  OF  ABOUT  h  FEET,   REVEALING 

A  MALE  TEACHER  STANDING  IN  A  LIoTENIMG  ATTITÜDE  AT  A  LECTERN  FACING  THE  AUDIENCE, 

BEHirJD  HIM  IS  A  1-IHITE  SCREEN  OR  DROP.) 


i 


fl 


VOICE  OF  AN  UNSEEN  STUDENT 


May  I  ask  another  question? 


Certainly. 


TEACHER 


38. 


VOICE 
VJell,  what  would  you  say  is  the  really  distinctive  attitude  of  Judaism,  as 
to  the  nature  and  value  of  human  lif c  on  earth? 

TEACHER 
(CHUCKLING)  Well,  that's  a  pretty  large  question  to  answer  in  the  Short 
time  at  our  disposal  right  now.  But  (SKRIOUSLY)  there  is  one  point  I  should 
like  to  emphasize  at  this  time:  -  according  to  Judaism,  the  earthly  life"Tf 
man  is  not  inherently  bad;  it  is  not  irrevocably  tainted  with  sin.  We 
believe  that  life  on  earth  is  potentially  good;  that  it  is  perfectible. 
It  is  no  mere  penitent  prelude,  tiptoeing  guiltily  tox>rard  eternity.  (AS  THE 
CURTABIo  CLOSE)  Moreover,  in  the  tradition  of  our  faith  there  is  a  healthy 
and  wholesome  and  joyous  view  of  the  — 

B 
That»s  from  a  course  at  our  Adult  Jewish  School,  started  in  thirty-three. 
It  offers  courses  in  Hcbrew,  Bible  and  history  to  our  adult  members. 

(A  CHALLENGING  CHORD) 


¥ 


Then  our  Hen's  Club  for  discussion  and  divcrsionl 

OFFSTAGE  MALE  VOICE 
(EXCITEDLY)  Just  look  at  the  economic  factors,  that«s  alll  Any  sane  business 
man  can  see  that  Hitler  can»t  lastl  He  can»t  last  six  monthsl 

(A  PEUNGE  OF  EXCITED  CFFSTAGE  VOICES:) 


He 's  right l  You're  crazyl 
Ridiculousi  Etc. 


OFFSTAGE  VOICES 
I  agreel  Nonsense l  I  give  him  f ive  yearsl 


(DURIMG  THIS  PIEUNGE,  CURTAIMS  OPEN  h   FEET,  Rl-.VEALING  CHAIRl^N  AT  LECTERN, 
POUNDIMG  WITH  G/iVEL  AND  YELLING: ) 

I'JEN'S  CLUB  CHAIRMN 
Gentlemen,  pleasel  Let»s  have  some  ordert  (FACIHG  Wm  LEFT)  Mr.   Seligsonl 

CONTRA  ST  ING  FALE  VOICE 
I  say  that^s  dangerously  wishful  thinkingl  Hitler 's  got  big  financial 
backingj  And  don't  you  forget  itl  What's  more,  he 's  got  a  powerful  hold 
on  the  masses  of  the  — 

(ON  THE  LAST  UORDS,  CURTABIS  CLOSE  QUICKLY.  THEN:) 

A 
Yes,  that  was  from  a  vigorous  session  of  our  Men's  Club,  re-organized  in  thirty. 
three,  for  interchange  on  Jewish  and  general  issues  and  for  social  programs 
as  welll 

(A  CHALLENGING  CHORD) 


i 


¥ 


Cur  Consecration  for  girlsl 


E 


39, 


(FROM  CFFSTAGE  COm   SOUNDS  OF  A  LYRICi^.L  WORDLESS  CHANT  SUNG  BY  A  GIRL,  DURING 
W1C¥   THE  CURTAINS  OPEN  8  FEET  APART.  3  TELNAGE  GIRLS,  ATTIRED  FOR  CONSECRATION, 
ENTER  THE  STAGE  PROPER.  THEY  ARE  FÜLL  OF  THOUGHT.  THEY  SPEAK  NOT  SPEECHILY  AS 
IN  A  FORi'iAL  SERVICE  BUT  RATHER  AS  THOUGH  THEY  ^^^ere  GROPING  TO  FORMJLATE  ATO 
CONVEY  HONESTLY  THEIR  RTAL  FEELINGS) 

GIRL  I 
This  building  -  these  walls  •  this  beautiful  sanctuary,  -  I  don't  know  -  I 
guess  I  can't  put  into  words  just  what  it  means  to  me,  But  somehow,  it  always 
gives  me  a  very  special  kind  of  grand,  xvarm  feeling,  —  like  something  that's 
really  mine,  Like  at  home.  A  place  where  I  belong, 

GIRL  II 
I  feel  that  too,  But  lots  more  besides.  And  right  now,  it  seems  that  all 
the  things  we»ve  learned  and  done  here,  -  all  the  experiences  we»ve  had,  - 
well,  it»s  just  as  though  they»re  all  coming  together  in  a  climax  now. 

GIRL  III 
And  that  they're  all  surnmed  up  in  what  we  see  right  here.  That's  how  I  feel. 
(POINTING  TO  THE  NER  TAiIID)  The  Ner  Tamid  -  it's  not  just  on  the  wall  up 
there.  Somehow,  it's  inside  of  me  too,  -  glowing  in  the  heart  like  a  sort 
of  flame  of  faith.  And  lighting  up  the  mind's  highway,  too,  so  one  knows 
which  route  to  take  in  lifc, 

GIRL  I 
And  Torah  -  what  a  tremendous  thingl  Just  think  of  it:  one  Scroll  of  parchment 
less  than  half  the  size  of  me.  And  yet,  therc  it  is:  the  whole  of  creation, 
the  mighty  drama  between  God  and  the  people,  the  immense  sweep  of  the  exodus— 

GIRL  III 
And  God's  Law  of  Life  -  the  grand  design  for  living. 

GIRL  II 
So  what  does  this  Consecration  of  ours  really  and  truly  mean?  It  means  this:  - 
here  are  the  things  we'vc  come  to  know  and  revere  and  love.  VJell,  we  now 
resolve  to  cherieh  them  and  to  make  them  an  even  larger  and  deeper  part  of  our 
lives. 

GIRL  I 
And  including  not  only  the  laws  of  living,  but  the  wisdom  and  humanity; 

GIRL  III 
Yes,  and  the  feeling  of  the  sanctity  oi  existence; 

GIRL  II 
And  the  challenging  voice  of  justice; 

GIRL  I 
And  the  vision  of  men's  brothcrhood. 


And  the  beauty  of  ritual. 


GIRL  III 


uangfcMttf^iiiiirfffitui  ■■  Mrnioriwatiti- 


.1  4^x««.r>«^it9«MI 


MI 


Uo. 

GIRL  II 
And  let's  add  to  that  -  our  people  —  so  brave  and  so  God-rooted  and  so  dedicated 
through  all  the  annals  of  their  anguish. 

GIRL  I 
T^/hat  we  know  of  Torah  is  still  so  little,  -  so  very  little.  And  what  we  now 
resolvG  is  that  it  shall  be  more  and  more  until  the  whole  of  it  is  unfurled 
on  the  screen  of  our  mind  in  Images  that  can  nevcr  fade. 

(REPEAT  OF  TFE  W0RDD:SS  CHAMT  FROM  OFFSTAGE  AS  THE  CURTAINS  CLOSE.) 

E 
That  was  a  reflective  prelude  to  the  ceremonial  which  is  to  come:  the  Con- 
secration  for  girls,  inaugurated  in  thirty-four. 

B 
Through  a  deeply  affecting  Service  our  young  daughters  cross  the  threshhold  to 
Jewish  womanhood  vjith  a  firmer  and  more  vibrant  sense  of  dedication. 


(CHALLENGING  CHORD) 


Our  young  children  learn  Hebrewl 


A 


(CURTAINS  OPEN  TO  REVEAL  ON  THE  STAGE  PROPER  YOUNG  IIRS.   MICHELSON  BRUSFING  A 
DRESS,  AND  HER  T^^O  CHILDREN,   BEN,   8,  AND  SARAH,    9,   TALKING  TO  MCH  OTHER.  ) 


ß^"^  w^y  won't  you  lend  it  to  me? 


SARAH 


BEN 


BecausG  it's  —  becausc  I  ~  (SUDDENLY  CHANGING  EIS  fllND)  -  oh,  well,  - 

O.K.,  -  but  f irst  -  (SPEAKING  CONFIDENT TALLY  IN  HEBRE\^/)  -  first  you  teil  me  where 

the  Hershey  chocolates  arel 


(IN  HEBRE\^/)  They're  in  the  ~ 


SARAH 


l^iat  are  you  two  conspiring  about? 


ms.   MICHELSON 


(GUILTILY)     Oh,  nothing  - 


BEN 


ms.   MICHELSON 
Sarah,  what  did  he  say?  You  teil  me  this  instant! 

S/vRAH 
Oh,  he  just  asked  mc  where  you  hid  those  Hershey  chocolates, 

MRS.  MICHELSON 
What?  H'ipmm,  I  see  that  IVm  going  to  have  to  study  Hebrew  too. 

(CURTAINS  CLOSE  QUICKLY) 


c 

Students  in  our  Congregational  Hebrcw  School,  formed  in  thirty-three  for 
children  six  through  ten, 

E 
And  needless  to  say,  what  our  young  Hershey  chocolate  addict  did,  does  not 
exenplify  the  purposes  for  which  the  children  are  taught  Hebrew  there. 

(5  CHALLEMGING  CHORDS  IN  SÜCCES3I0N,  ON  ^JHICH  A,  B,  C,  D,  AND  E  MOVE  TOTIAJRD 

A  CENTRAL  POINT,  TO  FORM  A  STRAIGHT  COMPACT  LINE  IN  FROK^T  OF  THE  CLOßED  CURTAINS, 

AND  FACE  AUDIENCE.  THEN:  ) 

OFFSTAGE  MALE  VOICE 
Morris  Adler  joins  the  Congregational  f amily  of  Shaarey  Zedek  as  assistant 
rabbil 

B 
And  here  are  but  a  few  -  a  very  few  of  his  many  initial  achieveraents: 

(CKALLENGING  CHORD.  THE  FOLLOV/ING  SPEECHES  ARE  GIVEN  IN  THE  VIGOROÜS,  RAP ID- 
FIRE MANNER  OF  ^EwS  FLASHES) 

D 
Midi-week  school  for  children  enlargedl 


(CONTRASTING  CHALLT.NGING  CHORD) 


Adult  Institute  rc-organizedl 
(CONTRASTING  CHALLENGING  CHORD) 


A 


E 


Requirements  for  Consecration  raisedl 
(CONTRASTING  CHALLENGING  CHORD) 


Michigan 's  Conservativc  Congregations  organizedl 

(CONTRASTING  CHALLENGING  CHORD) 


{ 


B 


Backing  of  Jewish  Theological  Seminary  strengthened  and  systematizedl 


(CONTRASTING  CHALLENGING  CHORD) 


D 


Congregational  support  of  Zionism  further  intensif iedl 

(CONTRASTING  CHALLENGING  CHORD) 


Identification  with  many  communal  ~  l 

(A  SHATTERING  BLAST  FOLLOIED  BY  AN  OMINOUS  RUOTLING  OF  THUNDER;) 


12 


OFFSTAGE  MLE  VOICE 
Nineteen  forty-onel     America  at  warl 

(B  TAKES  STEP  FORT/AftD  AiID  THEN  SPEAKS  UITH  QUIET  INTENS ITY:) 

B 

That  which  started  against  the  Jew  has  engulf ed  the  world  in  furyl 

(C  TAKES  A  STEP  FORWARD  TO  THE  SIDE  OF  B  AND  THEN  SPEAKS  QUIETLY:) 


It  is  good  to  know  that  Shaarey  Zedek  plays  its  füll  part  in  the  cause  of 
freedom, 

(D  TAKES  A  STEP  FORWARD  TO  THE  SIDE  OF  C  AND  THEN  SPEAKS:) 

D 
Husbands,  fathers,  sons  from  hundredsof  our  f amilies  are  part  of  the  armed 
forces, 

(E  TAKES  A  STEP  FORIMD  Tu  IHL  SIDE  OF  D,  THEN  SPEAKS:) 


Our  synagogue  a  bee-hive  of  war  relief  activity. 


And  through  the  harrowing  long  years  of  anxious  waiting,  of  suff ering,  of 
bitter  sacrif ice,  Shaarey  Zedek  serves  as  a  reservoir  of  f aith,  as  a  builder 
and  sustainer  of  morale  - 

B 
And  then  -  then,  at  long,  long  last  — • 

(A  TRUMPFT  BUSH,   FOLLOT\/ED  BY  V7ILD  CHEERING  OF  CROVfDS.  AFTER  A  MOMTJMT,  THE 
CHEERING  IS  REDUCED  IN  VOLUIC,  TO  .ERVE  AS  A  BACKGROUND  FOR  THE  FOLLOWING, 
SPOKEN  IN  RAPID  SUCCESSION  TOiTH  I'IGH  EXCITEI^IENT) 


Victoryl 


The  war  is  overi 


Fighting' s  donel 


Peace,  peacel 


D 


A 


E 


(FADE-OUT  OF  CHEERING  CROTOS.     THEN:) 


B 


(WITH  DEEP  FEELING)  And  in  hcarts  of  desperate  innocense  -  millions  all  over 
the  world  -  thcre  sing  as  a  fervent  hope  these  ancient  Hebraic  words:  - 


(AGAINST  THE  OFFSTAGE  CHANTING  OF  THE  SM 
SPOKEN  IN  ENGLISH:  ) 


li3. 

ITORDS  IN  HEBRE^'/,  THE  FOLLO/aNG  ARE 


OFFSTAGE  MALE  VOICE 
"And  they  shall  beat  their  swords  into  ploughshares,  and  their  spears  into 
pruning-hooks;  nation  shall  not  lift  up  sword  against  nation;  neither  shall 
there  be  war  any  more", 

B 
And  now  -  what  days  of  joy,  -  our  men  come  home  from  the  warl 


And  with  them,  a  Jewish  Chaplain  of  the  United  States  Army,   who  had  served 
indef atigably  in  far-off  lands,  - 


And  in  October,  nineteen  hundrcd  and  forty-six,  that  very  chaplain  was  the 
subject  of  an  announcement  — 

( CHALLEIVTGING  CHORD) 

OFFSTAGE  miE  VOICE 
Ladies  and  gentlemen,  we  have  the  honor  to  announce  the  unanimous  election 
of  Morris  Adler  as  Rabbi  of  Congregation  Shaarey  Zedek, 

(STRONG  BRIDGE  lUSIC,  vTIIICH  AFTER  A  FB'   MOTES  IS  REDÜCED  IN  VDLUME  AS  BACKGROUND 
FOR: ) 

D 
And  now,  a  great  new  upsurge  of  plans,  programs  and  projectsl  Shaarey  Zedek 
moves  yet  further  forward  in  fuKillment  of  its  solemn  committment, 

(BRIDGE  MJSIC  S^'ELLS  FOR  A  MOMENT  A'JD  THEN  FADES  OUT,  AS  LIGHT  FADES  IN  ON 
NARii^ATOR  AND  RUTH) 

NARRATOR 
And  now,  let's  hurdle  another  few  years  — 

RUTH 
Which  brings  us  smack  face  to  face,  once  again,  with  that  fond  old  familiär 
image  on  the  streetÄl 

/   NARRATOR 
Yep,  that  great  big  horseless  covered  wagon  - 

RUTH 
Filled  i^ith  chairs  and  tables  and  cartons  and  trunks  in  close  embrace  - 

NARRATOR 
The  moving  vanl  Another  diift  in  populationi 


RUTH 


Once  again  our  Jews  arc  on  the  movcl 


ii 


Uli- 

(OM  THE  UST  FElf  l'ORDS,   THE  OPKNING  OF  THE  CURTAINS  REVEALS  YOUMG  MS.   BORNSTEIN, 
AN  Al^ffiRICAN-BORN  JEl^ffiSS,   PACKING  LINENS  IN  A     CARTON) 

MS.   BORNSTEIN 
(CALLING  TO  HLK  HUSBA^]D  OFFSTAGE)     Dan,   get  the  rest  of  those  things  out  of 
the  basementl 


OFFSTAGE  MALE  VOICE 


O.K. 


MRS.  BORNSTEIN 
The  moving  men  will  be  here  any  moment  nowoe.And  be  sure  to  take  do-wn  the 
mezuza  carefully«  Lon't  bend  itJ 


OFFSTAGL  MALE  VOICE 


I  won't. 


ms.  BORNSTEIN 
(WHILE  PACKB^G  HURRIEDLY)  Our  lovely  old  mezuzal  For  generations  an  heirloom 
in  the  family  and  it^s  gctting  all  worn  out  from  being  put  up,  taken  down,  put 
up,  taken  down.l  I  teil  you^j  being  Detroit  Jews  over  the  years  has  certainly 
been  a  moving  experience^ 

(DURING  THE  LAST  FFU  WORDS,  AP^Y,  MRS.  BORNSTEIN» S  12  YEAR  OLD  DAUGHTEK,  ENTERS 
VJITH  ARI4S  FÜLL  OF  HER  (Jm   BFLONGITIGS) 

MRS.  BOKNSTEIN 
(Il^PATIENTLY)  Now  what  are  you  doing  with  those  things,  Amy? 

km 

Vm   going  to  pack  them  in  that  aar  ton!. 

I^S.  BORNSTEBI 
Just  put  them  down  here  6  I-ll  pack  them« 

AMY 
(PUTTING  THINGS  DOViN)  O.Kc   I  thought  I  was  supposed  to  practice  being  self- 
reliantl 

MRS.  BORNSTEIN 
This  is  no  time  to  practice c  We're  movingo 

Am 


Mother^,  I-ve  just  been  wondering-,  - 


MRS.  BORNSTEIN 


Don't  -  we  haven't  timeo 


AMY 
No,  this  is  scrious  -—  Now  that  wc^re  going  to  be  living  way  up  in  the  north- 
west,  how  are  Phil  and  I  going  to  get  to  Hebrew  school?  Gosh,  it's  so  far  away. 


MRS.  BORNSTEIN 
(l'JHILE  PACKING)  Don»t  worryl  Something  will  be  worked  outl 
are  plenty  of  others  in  the  same  fix  as  we  are« 


After  all,  there 


'^WNW&i,. 


AMT 


U5. 


But  what  can  be  done? 


MRS.  BORNSTEIN 
Look,  where  there's  a  will,   there's  a  wayl     For  about  ninety  years  Shaarey 
Zedek's  been  acting  as  though  she  invented  that  sayingl     She'll  find  a  wayl 

(CURTAINS  CLOSE  QUICKLY) 

NARRATOR 
And  as  vre  know  vcry  well,   Shaarey  Zedek  did  find  a  wayl 

RUTH 
Naturallyl     The  new  Branch  Building».     And  how  f inely  equipped  it  is  for 
school  and  youth  activities. 


NARKATOR 
And  just  where  it  ought  to  be  too,  ovcr  there  at  Seven  Mile  and  Lesurel 


RUTH 


And  remember  the  dedication? 


NARRATOR 
Let's  See,  -  In  October,  fifty-threc,  wasn»t  it? 

RUTH 
Correct.  But  was  that  the  end  of  cur  concerns?  Ah  no,  indeed, 

NARRATOR 
I  can  still  hear  those  worried,  far-sighted  words:  - 

OFFSTAGE  miE   VOICE 
The  future  must  not  lind  us  unpreparedl 

RUTH 
And  so,  once  again,  determination  is  transmuted  into  deed.  In  January,  nineteen 
f ifty-four,  our  congregation  buys  a  tract  of  land  on  Northwestern  Highway  - 

•   « 

NARRATOR 
To  be  ready  -  as  they  said  -  for  future  necds. 

RUTH 
You  know,  Dave,  when  we  look  back  over  all  these  years  since  the  war,  it's  ~ 
well,  it's  hard  to  say  just  where  our  own  story  ends  and  Shaarey  Zedek' s 
begins  —  and  vice  versa.  They're  really  so  interwoven,  aren't  they? 
And  it  seeras  to  me,  that  our  lif e  within  the  larger  life  of  the  shul  has 
been  getting  better  and  better  year  after  yearl 

NARRATOR 
And  why?  Because  that  larger  life  of  the  shul  has  been  so  dynamicl   Its 
texture  ever  being  furthcr  enriched;   its  ränge  of  influence  evcr  being 
furthcr  broadenedl  A  drama  of  growth  toward  fullness  of  experience, 
quickened  and  inf ormed  by  tthe  eternal  values  of  traditional  Judaisml 


RUTH 


li6. 


Little  wonder,   then,  that  in  —     I  think  it  was  April  of  nineteen  f  ifty-f our- 
we  of  the  Shaarey  Zedek  family  spoke  our  heart: 

(DÖRING  THE  UST  5  yJORDS,  FADE-IN  OF  LIGHT  ON  LEFT  SIDE  OF  STAGE-EXTENSION 
RLVEALS  A,   B,   C  OF  FORMER  SCE^E:) 


(READING)     In  accordance  with  a  resolution  unanimously  adopted  by  the 
membcrs  of  Congregation  Shaarey  Zedek  at  its  92nd  Annual  Meeting,  Itorris 
Adler  is  invited  to  serve  as  rabbi  of  the  Congregation  f or  the  rema Inder 
of  his  life, 

(SOUND  GF  AN  OFFSTAGE  FLUTE  PUYING  A  TENDER  i'#:LODY  AS  Bi^CKGROliND  FOR  THE 
FOLLG  JING : ) 

B 
Those,  dear  rabbi,  are  the  official  words.  Behind  them  is  the  warmth  of 
our  loving  regard  f or  you  - 


As  dedicated  and  dynamic  leader  of  our  congregational  lifel 


As  eloquent  spokesman  for  Judaic  valuesl 

B 

As  illuminating  teacher,  rieh  in  scholarshipl 


As  Jew  of  broad  Vision  and  creative  purposel 

A 
As  friend  of  heartening  warmth  and  compassionate  under Standing. 

(FADE-OUT  OF  LIGHT  ON  STAGE-EXTENSION) 

NARRATOR 
You  know,  Ruth,  you  spoke  bef ore  of  it  being  hard  to  say  just  where  our  own 
Story  ends  and  Shaarey  Zedek» s  begins.  Well,  somctimes,  I  find  it  dUTicuTt 
to  say  Just  where  Shaarey  Zedek» s  story  ends  and  the  Community» s  story  begins 
they'rc  so  interwoven,  too  -  — — -_^_ 

(ON  THE  LAST  FOUR  WORDS,  THE  LIGHT  FADES-HJ  ON  RIGHT  SIDE  OF  STAGE-EXTENSION 
TO  REVEAL  MRS.  BORMSTEIN  SB-ilNG,  AMY,  (NOW  THREE  YEARS  OLDER),  SPRAl.rLED  OUT 
READING,  AND  SIM,  AGED  9,  OGCUPIED  ^^ITH  A  CONSTRUCTION  TOY) 


SIM 


Mother  -- 


Yes,  dear? 


ms.   BORNSTEIN 


sm 


Last  night  I  heard  unclc  Sol  say  that  Shaarey  Zedek  is  a  mother  of  presidents. 
How  in  heck  can  a  shul  be  a  mother?  That  don»t  make  sensel 


'1-  '  Tr-jKPi**' 


li 


U7. 


AM 


(LOOKING  UP  FROM  HER  BOOK)     That's  a  f  igure  of  speech,  sillyl     A  Metaphorl 


SIM 


A  what? 


ms.  BORNSTEIN 
A  f igure  of  speechl  You»ll  learn  all  about  that  later  in  school 


But  how  can  a  -  ? 


SIM 


AM 


It  just  means  our  shul  is  like  a  mother  of  presidents,  -  in  some  way  or  other 


In  what  ways? 


SIM 


AMT 


Itra  not  surc.  In  just  what  sense  did  uncle  Sol  mean  that,  mother? 

MRS.  BORNSTEIN 
Simply  that  an  unusually  large  number  of  important  organizational  leaders 
in  Detroit  and  elsewhere  are  persons  who  were  raised  m  Shaarey  ZedeK  — 
and  that 's  because  our  congregation  develops  such  positive  attitudes  of 
interest  and  loyalty  and  dedicated  service  in  its  people. 

SIM 
Then  maybe  Pm  gonna  bc  a  big  shot  president  some  day  too? 


You  probably  will>  dear. 


ms.   BORNSTEIN 


SIM 


And  you  mean  to  say,  that 's  going  to  make  Shaarey  Zedek  rrgr  ma  too? 

•  *  km 

Oh,  you're  absolute ly  hopeless. 

MRS.  BORNSTEIN 
H©ts  lust  being  smarty^leck.  Aren't  you,  Sim?  •..  I  think  there's  something 
eise  that  uncle  Sol  meant  too,  Amy.  And  that's  the  broad  spirit  of  our 
shul   It  encourages  its  members  to  get  out  and  serve  the  whole  Community. 
Shaarey  Zedek  teaches  that  nothing  Jewish,  nothing  truly  American  is  allen 
to  our  hearts.  And  so  it's  really  much  bigger  than  itself .  It's  so  im- 
portantly  involved  in  so  much  outside  its  own  walls. 

'  SIM 

I  don't  know.  But  I  don't  think  I  wanna  be  president  of  the  United  States. 


AMY 


That's  easy 


:  don»t  run.  But  why  not,  if  the  country  really  needs  you' 


SIM 


It's  Washington.  So  far  away  from  everybody. 


U8. 


Fly. 


Say ,    that ' s  an  idea 


AI^ 


SIM 


AI1Y 
l'd  think  it  ovcr,   Sim.     YouWe  still  got  time.  . 

(AS  ms.    BORNSTEIN,  Am  AND  SIM  CONTINUE  TO  BE  OCCUPIED  ^JITH  BUSINESS, 
LIGHT  FADES  OUT) 

RUTH 
You  know,   Dave,   this  rclation  of  Shaarey  Zedek  to  the  outside  world,    - 
like  being  the  mother  of  presidenis,    -  this   isn»t  just  a  onc  way  thing.     She 
gives,   but  she  also  gets,     Think,   for  example,   of  all  the  new  educational 
ideas  and  techniques  that  she 's  taken  from  the  larger  world  and  made  her 
own.     That^s  why  our  religious  school  is  a  first-rate,   modern  Institution. 
Progressive  methodsl     Highly  trained  professional  teachersl     Up-to-date 
facilities  and  all  the  restl 

MARRATOR 
That»s  very  truel     And  it's  not  just  a  matter  of  borrowing  new  ideas.     She 
thoroughly  digests  them  so  they  re-invigorate  our  tradition;     keep  it  warm 
and  alive. 


RUTH 
It*s  more  than  a  mere  hospitality  to  the  modern  —  it's  a  hunger,   a  bona 
fide  hunger  for  any  and  all  frcsh  inf luences  that  can  deepen  and  intensify 
and  broaden  our  experience  of  the  Judaic  heritage, 

NARr^TOR 
And  what  finer  exam]:)le  is  there   of  this  give  and  get  than  our  interchange 
with  Israel,     Yes,   the  membcrs  of  Shaarey  Zedek  have  been  priviliged  to  de 
their  sharc  in  helping  to  sustain  the  new  nation,     But  how  greatly  have  we 
been  enriched  by  Israeli  inf luences • 

RUTH 
I  often  try  to  feel  the  füll  impact  of  what»s  happening  in  Israel,   - 
Jewishness  emerging  once  again  as  a  total  pattern  of  existence,   free  and 
fully  flowering.     For  us  it's  like  some  powerful  spiritual  vitamin  giving  new 
force,   new  pride,   new  creativeness  to  our  experience  here  as  Jews«      (SHE 
PICKS  UP  A  BEAUT3JUL  NEMORAH  FROM  ISRAEL  AT  UFR  SIDE,  AND  RIilG.  RDS  AND 
CARESSES  IT  V^ITH  AFFECTIONATE  ADMIRATION)     Sometimes   I  pick  up  this  lovely 
menorah  of  ours  from  ovcr  there;     and  I  look  at  it  very  closely  and  wonder- 
ingly  and  try  to  think  of  all  that  lies  behind  it  and  of  what  was   in  the 
mind  of  the  artist  when  he  made   it. 

(DURING  THE  UST  lli  ^.  ORDS,    THE  FADE-IN  OF  LIGHT  ON  THI   LEFT  SIDE  OF  THE 
STAGE-EXTENSION  PcF.VEALS  AN  ISRAELI  ARTIST  HOLDING  THE  SAMP:  FORM  OF  r«1EN0RAH 
Ia/HICH  RUTH  HELD.      SEATED  NEAR  HIM  IS  RACHEL,   A  YOUNG  AMERICAN  JEl^ESS.      AS 
HE  CONTEMPLATES  AND  F0NDU:S  THE  MENORAH,   HE  S.PEAKS,   QUIETLY,THOUGHTFULLY: ) 


I 


ISRAELI  ARTIST 


Yes,    it's  good,    I  think. 


U9. 

R/iCHEL 
Oh,  you»re  being  too  modest.     It»s  bcautiful  -  very  beautifull 

ISRAELI  ARTIST 
VJell,   let»s  say,   at  any  rate,   it's  honest,   -  mine. 

RACHEL 
You  haven't  any  idea  how  deeply  your  work  is  appreciated  over  in  America. 

ISRAELI  ARTIST 
That  is  because  it   is  a  fresh  realization  of  our  tradition  through  the  medium 
of  the  new  Jew  -  (HE  SiilLES)   -  two  thousand  years  young  we  are;    -  there  is  a 
kind  of  —  how  can  I  say  it?  —  it's  a  sort  of  füll  creative  union  of  the 
old  and  new  inside  of  us  here  that  quickens  and  guides  the  shaping  force  of 
the  craftsman's  hand.     And  what  we  make  - 

RACHEL 
You  send  to  us,  your  kinsmen  across  the  world,   -  like  this  fresh  form  of 
the  immemorial  branches  of  consecratcd  light,   so  beautiful,   so  right.     And, 
you  know,   this  spirit  of  Israel,   -  the  vcnerable  new,   the  richncss  of  time 
and  tradition  re-lived  modernly,   -  the  majestic  sweep  of  history  carried 
forward  now  in  a  new  burst  of  creative  vigor,   -  this  spirit  voiced  in 
heartful  song,   enacted  in  vital  dance  -  (FROM  BEHIND  THE  CLOSED  CURTAINS  C/-N 

BE  HE/\kD  the  B^GIMING  OF  "MAYIM,    I1/\YIM"   SUNG  BY  A  GROUP  OF  TEENAGERS) 

all  this  has  reached  us  and  activated  us  in  our  far  away  shul  in  distant 
Detroit.     Hcar  our  s inging  of  your  songsl     An  echo,  you  think?     No,  my 
friend,   a  vibrant  antiphony,   a  grand,   gladful  answer  of  affirmationl     They're 
our  songs  now  tooi 

(SINGBIG  OF  "MAYIM,   imiOT»  SliELLS  TO  FÜLL  VüLUIlE,  AS  THE  CURTAINS  OPEN  TO 
REVEAL  A  GROUP  SINGI^tg  A^^  DAflCING  i^TIH  GREAT  ZEST.     ^^EN  THE  END  OF  THE 
SONG  IS  APPROACHING,   THE  CURTAINS  CLOSE  AND  THERE  IS  A  BLACKOUT.     THEN  LIGHT 
FADES-IN  ON  NARR/.TOR  AND  RUTH) 

NARRATOR 
VJell,   we're  Coming  dose  now  to  the  climax  of  our  story  - 

RUTH 
The  rounding-out  of  volume  one,    -  think  of  it:   -  ten  decades  of  growth  - 

NARR/iTOR 
A  füll  Century  of  creative  Judaism.     And  now  that  we'rc  — 

(SUDDENLY  MR.   BIRI^ffiAUM  APFLARS  IN  HALF -LIGHT  ON  THL  RIGHT  SIDE  OF  THE  STAGE- 
EXTENSION.     HE  INTERRUPTS  NAR-ATOR: ) 


I 


Pardon  me,  my  good  fricnds, 
SURPRISE.)  Yes,  yes,  I  uh 
something,  h'mm? 


m.   BIRNBAUM 
(DAVID  km   RUTH  LOOK  UF  AT  MR.  BIRNBAUM  IN 
I  ha VC  come  back  -  to  ask  you  for  a  little 


NARRATOR 


VJhy,   certainly< 


50. 

m.    BIRNBAUM 
For  you,  pleasc  to  remembcr,    I  woke  up  aftcr  nearly  eighty  years  of  sleep, 
(SIGHS)     Yah,   and  all  those  troublcd  days,    -  for  you   I  re-livcd  them  all.     So 
now,  you' 11  maybe  do  for  me  this  little  favor  in  return,   h'mm?     Teil  me, 
my  dear  young  friends,    -  (^'ITH  TOUCHINGLY  TENDER  CONCERN)     nearly  eighty 
years  have  passed  since  I  left  thc   earth  -  how  -  how  it  is  now  with  our 
Shaarey  Zedek? 

(THE  NARRATOR  AND  RUTH  ARE  BOTH  DEEPLY  TGUCHED.     AFTT K   IN  INSTANT  OF  SILENCE, 
NARRATOR  SPEAKS) 

NARRATOR 
It  -  it  is  good,   Mr.   Birnbaum.     Oh,   different.     Very  different,  you '11 
find  it  in  some  ways.     But  in  the  deep  heart  of  it,   in  the  eseentials  -  the 
same.     Thcre,    I  think,   we've  stood  firm  and  faithful.     Here   -  -  (HE  HANDS 
A  PICTURE  TO  1^.   BIRNBAUM)     here   is  a  picture  of  our  present  sanctuary. 

(M.    BIRNBAUM  LOOKS  AT  THE  PICTURE  AND  RLCOILS  IN  AMZEMENT) 


Ai,  ai,  ai,  ai. 


MR.  BIRNBAUM 
-  look  at  thisl  But  the  sizei 


Over  a  thousand  seats  there 


must  bei  Did  all  the  goyim  of  Detroit  become  Jews  to  join  Shaarey  Zedek? 

NARRATOR 
(CHUCKLING)  Detroit  is  a  city  of  millions  now,  Mr.  Birnbaum.  And  we  are 
a  large  Kehillah.  From  six  hundrtd  to  a  thousand  of  our  people  occupy  those 
pews  every  Sabbath  morning,  to  participate  in  the  vibrant,  richly  meaningful 
Judaism  that  is  Shaarey  Zedek. 

RUTH 
And  you  should  see  the  sanctuary  on  our  High  Holy  Days,  I-Ir.  Birnbaum.  Every 
seat  takenl  And  the  majesty  of  that  mighty  throng  united  in  devotionl 

I^.  BIRNBAUM 
(SHAKBTG  HIS  HEAD  FROH  SIDE  TO  SIDE,  IN  ^^ONDERMEInTT)  Ai,  ai,  ail  Think  of 
it,  -  from  seventeen  of  us  when  we  started,  -  little  more  than  a  minyan  - 
in  that  shabby  room  above  the  drug-store,  -  -  to  all  of  thisl  Ai,  ai,  ai,  ail 

(FROM  BEHIND  THE  CLOSED  CURTAINS  COME  SOUNDS  OF  BOYS  CONDUCTING  A  SABBATH 
SERVICE) 

NARRATOR 
And  what  is  most  heartening  is  the  ever-increasing  number  of  young  people 
among  our  worshippcrs.  And  how  could  this  be  without  the  —  listenl  (MR. 
BIRNBAUM  LISTENS)  Four  Youth  Congregations  with  four  to  five  hundred 
attending  every  Sabbath. 

MR.  BIRI^IBAUM 
(1-fITH  QUIET  ITONDERllENT)  I  -  I  cannot  believe  my  earsl 


I  fl 


RUTH 
Our  children  learn  early  to  love  Shaarey  Zedek.     And  be  part  of  it.     Deeply, 
joyously  part  of  it. 


51. 

(CURTAIMS  OPEN  TO  REVEAL  A  GROjP  OF  YCUMG  BOYS  CHANTING  PART  OF  THE  SERVICE, 
MR.  BIRNBAUM  LOOKS  AND  LISTENS  INTENTLY.  WHILE  THE  SERVICE  IS  STILL  IM 
PROGRESS,  THE  CURTAINS  CLOSE. ) 

MR.  BIRNBAUM 
(SHAKING  HIS  HEi^D  IN  irfONDERICNT)  It  is  beautiful  ...  wonderful.  And  teil 
me,  how  do  they  learn  to  "daven"  so  finely? 

NARRATOR 
We  have  quite  an  ambitious  music  program,  Mr.  Birnbaum,  to  train  our  young 
chazzanim  and  our  youth  choirs. 

RUTH 
But  behind  that  and  more  basic,  I  think,  is  our  vjhole  educational  System. 

MR.  BIRNBAUM 

i-Jhat?  An  educational  System  yet  you  have?  Hah,  think  of  itl  From  our 

kleine,  little  cheder  to  a  systeml  Ach,  such  changes,  such  big  c hange st 

So  when  do  they  Start  with  this  System  -  the  children?  How  old? 


NARIIATOR 


At  threel 


MR.  BIRNBAUM 
Threel i  Ach,  donnerwetterl  No,  no,  no,  no,  -  this  I  don*t  seel 
they  learn  at  three?  Babies  they  arel  Mere  babiesl 


1/Jhat  can 


RUTH 
It»s  a  nursery  school,  I^r.  Birnbaum,  from  ages  3  to  5»  And  then  for  the 
"graduates"  - 


(CHUCKLING)  Graduates,  yct  tool 


MR.  BIRNBAUM 


I 
I 


RUTH 
We  have  a  Kindergarten.  Also,  in  summer  there»s  a  day  camp  for  children 
5  to  10.  And  then  our  systcmatic  schooling  and  other  activities  continue 
right  on  up  through  high  school. 

NARRATOR 
And  there,  Mr.  Birnbaum,  in  studying  such  texts  as  the  Prophets  and  selections 
from  the  Talmud,  they  have  classes  conducted  entirely  in  Hebrew  — 

(DURING  THE  UST  SPEECH,  CURTAINS  OPEN  ON  A  GROUP  OF  TEENS  ^^TH  THEIR  INSTRUCTOR 
AD  LIBBING  QUIETLY  IN  HEBREV/.  THEN  THE  FOLLailNG  DIALOGUE  IN  HEBREl.T:  ) 

TEACHER 
And  what  would  you  say  is  the  theme  of  Hosea? 

STUDENT  A 
Well,  I*d  say  it's  the  idea  of  God»s  love. 

STUDENT  B 
VJhich,  of  course,  distinguishes  it  from  Arnos,  where  the  emphasis  is  on 
strict  justice l 


52. 

TEACH^-R 
Yes,  and  now  what  would  you  say  regarding  the ? 

(ON  THE  UST  SPELCK  TKE  CURTAINS  CLOSE) 

m.   BIRNBAUM 
Ai,  ai,  ai,  better  they  speak  Hebrew  than  I  speak  English.  I  teil  you, 
like  music  does  our  ancicnt  tcngue  sound  on  the  lips  of  the  children.  Wunderbar, 
wonderful  it  isi 

RUTH 
It  night  interest  you  to  know,  Mr.  Birnbaum,  that  last  summer  these  youngsters 
went  to  Eretz  Yisroel  on  a  pilgr Image  - 


-  this  -  pilgr Image? 


m.   BIRNBAUM 
ü'mm,  vcry  f  inel  But  pleasc,  my  dear,  what  -  what  was  this  - 
I  don't  understand  — 

RUTH 
Oh.  ^^fell,  the  pilgrimage  was  one  of  the  Visits  of  our  high  school  students 
to  Israel  that  Shaarey  Zedek  has  introduced  as  part  of  its  educational  program. 

m.   BIRNBAUM 
(IN  WONDERMENT)  Ach,  yah,  -  think  of  itl  Tsk,  tsk,  tskl 

NARR/iTOR 
But  look,  Ruth,  Mr.  Birnbaum  has  bcen  away  a  long  time.  He  docsn't  know  - 
about  Israel,  ^ihat^s  happened,  I  mean. 

I'E,  BIRNBAUM 
I  don't  know  what  has  happened  with  Israel??  My  dear  young  friend,  -  so 
ImportantT^so  great  was  that  news,  -  about  the  new  State  of  Israel,  that  they 
couldn't  keep  it  f  rorr.  Yehudim  even  where  I  uh  —  am  making  my  home  now.  ^ 
Ach,  such  a  simcha  there  was,  -  you  have  no  ideal  (l/ITK  A  SIGH)  Yah,  in 
my  day  Jews  went  to  Erctz  Yisroel  mostly  to  die.  Now  they  are  there  to  livel 

RUTH 
And  your  old  congregation,  Mr.  Birnbaum,  through  all  the  years  it»s  been  a 
zealous  charrpion  of  the  movement  to  bring  the  Jewish  nation  back  to  life. 

MR.  BIRNBAUM 
(IJISTFULLY)  Yah,  yah,  -  Eretz  Yisroel  ....Yah,  born  too  soon  I  was,  my 
friends....And  now,  our  youth  from  Shaarey  Zedek  -  they  go  to  visit  Israeli 
Wonderful  it  is,  -  wonderful... But  teil  me  something:  -  alright,  our  children, 
our  youth  —  them  to  keep  interested.  But  what  is  happening  when  they  gct 
grown  up??  WherTthey  are  füll  of  business  and  family  and  all  the  other  things? 

NARRATOR 
Well,  by  that  time  Shaarey  Zedek  has  become  a  pattern,  a  cherished  pattern 
of  their  livcs.  It»s  not  only  that  it  mcets  deep  spiritual  needs  and  provides 
such  warm  f ellowship  and  a  sense  of  belonging.  But  there  are  likewise  so 
many  challenging  responsibilities  to  dischargc  and  there »s  such  a  great 
richness  of  absorbing  things  to  do. 


^S,tl 


53. 

(FROM  OFFSTAOE  SOUNDS  OF  A   TYI«0^^f  ORCHESTRA,   VIA  RECORDING,  FADE-IN  AND 
CONTINUE  bOFTLY  UNDER  THE  DIALOGUE) 

NARRATOR 
Now  take,  f or  example,   -  well,   listen,   - 

(FOR  A  MOriENT  MR.   BIRNBAUM  LISTENS   INTENTLY.     THEN: ) 

m.   BIRNBAUM 
U'mm,   beautiful,   beautifull     Uh  —  where  —  where  is   it 
are  playing? 

NARHATOR 
That  orchestra  is  made  up  of  our  membersl 

I4R.    BIRNEAUM 
You  -  you  mcan  -  our  Yehudim  here   in  Shaarey  Zedek 
actually  making  symphonic  music  now? 


—  I  raean  -  who 


-  our  members  -  they  are 


RUTH 


That's  correct. 


MR.   BIRNBAUM 
Ai     ai     ai,   ai  -  such  things  to  hearl     And  when  I  recall  the  troubles  we 
tad  getting  that  kleine,   liUle  orchestra  to  play  for  dancing  at  our  Sxmchas 
Tor ah  Balll 

RUTH  . ^        . 

we  also  have  a  chess  club  and,   oh,    so  many  other  activities  -  cultural, 

social,  philantbropic  — 

(mv  mSlC  FADES  OUT.     A  YOUNG  hqMAN,   BELU,   ENTERING  THE  STAGE-EXTENSION 
S  nvi     CROSSE     IT  TO^ARD  RIGHT,   RE^DING  A   BOOK  AND  UUGHING  LOUDLY. 

GROSSES  IT  TOWARD  LEFT.     THE  TWO  YCUNG  VJOrEN  STOP  AT  OENTER.     AS  THEY  APPROACH 
EACH  OTHER:) 


Hi,  hon,  what's  so  hilarious? 


IDA 


BELIA 


This  book  .  just  got  it  out  of  the  libraryl  On  Jewish  humorl  Funny  as  the 
dicke nsl 


IDA 


No 


kiddingl     I'd  like  to  read  it.     lJho»s  it  by? 


BELU 


(SHOaNG  IDA  THE  BOOK)     Ausubel.     Just  listen  to  this  — 

IDA 
Honey,   I  can»tl     Havcn»t  got  a  minutel 

BELU 
VJhere  you  headed? 


5U. 


IDA 


Library  tool     Wanna  get  hold  of  that  ncw  biography  of  Henrietta  Szold.     Gotta 
give  a  papcr  on  it  for  Hadassah« 


(BELU  CROSSLS  RIGHT) 


BELLA 


IDA 


Be  seein*  yuhl 

(IDA   GROSSES  U.FT  AIID  EXITS) 

I1R.    BIRNB/^ÜM 
(TG  BELU  AS  SHE  PASSES  HIH  ON  RIGFT  SIDE  GF  STAGE-EXTENSION)     Pardon  me, 
young  lady,    -  this  Library  you  mentioned,   -  I  couldn't  help  overhearing  you,   - 
this  Library  where  they  have  books  of  Jewish  intercst,   -  wouid  you  mind 
teiLing  me  where   it  is? 

BELLA 
Oh,   that»s  at  our  synagogue,     Shaarey  Zedek, 

m.    BIRNBAUM 
You  -  you  mean  •  Shaarey  Zedek  -  it  has  a  Library  -  a  real  Library? 

BELLA 
Oh,   surel     Terrificl     Thousands  of  booksl     They  say  it»s  got  one  of  the 
finest  colLections  of  Jewish  works  of  any  congregation  in  the  country. 
Books  in  Hebrew,  Yiddish,   English.     Magazincs  and  records,   too.     And  children's 
books.     WonderfuL-     And  any  Jewish  person  can  take  out  books.     You  don't 
even  have  to  be  a  member  of  Shaarey  Zedek, 

MR.    BIRNBAUM 
But  I  am  a  member.  That  is,    I  —  I  was  a  member  —  nearLy  a  hundred  years  ago. 

BELLA 
(STARTLED)     Huh?     (INDULGRNTLY)     Oh  —  Oh,    I  see.     V/elL,    it  was  nice 
speaking  to  you, 

(BTUA  RESUrCS  HER  GROSSING  TO  THE  RIGHT.      MR.   BIRNBAUM  LOOKS  AFTER  HER, 
SHAKING  HIS  HEi\D.     AS  BELLA  APPROACHES  THE  RIGHT  EXIT,   SHE  BUMPS  INTO  SAM, 
JUST  ENTERING.      SAH   IS   IN  ACAl^lPING  OUTFIT,  UITH  KNAPSACK  ON  HIS  BACK) 

BELUV 
Hi,   lumberjack  Saml     VJhere  you  all  headed  for? 


To  our  annual  Kibbutzl 


Your  what? 


SAM 


BELLA 


SAI4 


Our  Kibbutzl  Our  annual  Kibbutzl 


55. 


BELIA 


Now  wait  a  minutci 
colony  in  Israel. 


I  thought  a  kibbutz  was  a  kind  of  cooperative  farm 


SAM 


That's  right.  But  this  here  is  something  eise.  A  group  of  us  from  Shaarey 
Zedek  —  you  mean  to  say  you've  nevcr  heard  of  it? 


Neverl  So  do  me  somethingl 


BELIA 


SAM 


Well,  this  group  of  us  -  we  go  up  into  the  country  for  a  few  days,  -  it's 
a  retreat  -  and  under  Rabbi  Adler 's  leadership,  we  study  and  discuss  things 
and  have  cultural  activities  and  a  good  relaxing  time.  It's  wonderful. 

BELLA 
Oh,  well,  we  gals  havc  that,  tool  Sure,  the  same  sort  of  activityl  Only 
we  call  it  The  Kallah.  So  you  see,  Sammy  boy,  it  isn't  just  a  man's  world 
at  Shaarey  Zedek  after  all. 

SAM 
It»s  a  kid's  world  tool  You  know,  I  suppose,  that  the  Junior  Congregation 
has  a  Kibbutz  Koton  now  at  Camp  Tamarack? 

BELLA 
Well,  I  knew  there  was  something  or  other  - 

SAM 

Yeah,  it  was  started  in  195U.  And  now  it's  a  regulär  annual  event. 


(AS  SKE  RESUI^S  HER  CROSSING 


BELLA. 
Terrific  •••  Well,  I  gotta  get  movin» • 
RIGHT)  So  longl  Have  funl 

SAM 
(RESUMING  HIS  CRCSSING  ILFT)  Thanksl  So  longl 

BELU 
(STOPPING  AFTER  A  FE!J  STEPS)  By  the  way,  -  since  you're  so  cultural,  how 
come  we  don't  see  you  at  our  Institute  of  Adult  Jewish  Studies? 

SAM 
Oh,  I  used  to  attend  regulär ly.  Surel  Took  Hebrew  and  currcnt  events.  But 
lately  I  just  havcn't  been  able  to  makc  it. 

BELU 
Vm   taking  history,  Hebrew  literature  and  a  coursc  on  liturgy.  Well,  gotta 
gol  So  long,  you  Michigancr  Kibbutznikl  (SHE  EXITS  RIGHT) 


SAM 


(EXITING  LEFT)  So  longl 


B/^Jl  liirZVAH   I 


I'm  sorry,   sir. 


m.   BIRNBAUM 
So  teil  me,  my  boy,  from  where  are  you  Coming  with  those  books? 

BAR  MITZVAH  I 
Oh,  I  just  had  my  lesson  -  at  Shaarey  Zedek,  You  see,  I'm  going  to  be  bar 
mitzvah  there  next  Saturday. 

m.   BIRNBAUM 
Ach,  so?  That  is  very  fine,  yah, 

(DURIHG  THE  lAST  SEVEN  '.'CRDS,  BAR  iITZVAH  II  ENTLRS  FROM  RIGHT,  AS  HE 
GROSSES  TO  THE  RIGHT  SIDE  CF  MR.  BIRNBAUM  AT  CENTIi^,  HE  GREETS  BAR  MTZVAH  l) 


Hi,  Benl 


Hi,  Phill 


Gee,  you  f  inifshed  already? 


üh  huhl 


BAR  MITZVAH  II 


BAR  MITZVAH  I 


BAR  ilTZVAH   II 


B^^.R  MITZVAH  I 


Gosh,    I  must  be  latel 


BAR  MITZVAH   II 


MR.    BIRNBAUM 
(TO  B/iR  MITZVAH  II)     You  are  going  also  f  or  your  lesson,   my  boy? 


56. 

(FOR  A  MOICNT,   MR.   BIRNBAIM  STANDS  ALOm-.  ON  THE  STAGE-EXTlsNSION,   SCRATCHING 
HIS  HEAD  IN  BEl'TILDERM^NT ) 

m.   BIRNBAUM 
I  --  I  just  uh  —     I  can*t  grasp   it  all  —  I  — 

(BAR  MITZVAH   I,  A  BOY  OF  13,   ENTERS  FROM  LEFT  AND  GROSSES  Ta^JARD  RIGHT. 
AS  HE  APPROACHES  m.    BIRNBAUM  AT  CEMT^R:) 

BAR  MITZVAH   I 
Pardon  me,  sir,   do  you  have  the  right  time? 

MR.   BIRNBAUM 
The  right  time?     What  time  is  right,   my  boy?     I  -  I  don^t  know.     I  am  sorry. 
The  year  -  if  I  remember,   -  the  year,   it  should  be  1961,  yah,   the  century-mark 

of  Shaarey  Zedek.     Yah,   that  is  clear.     But  the  day,   the  hour  -  I  don't 
know.     I  am  a  little  confused.     You  must  excuse  me. 


BAR  I4ITZVAH   II 


Yes,   sir. 


u 


f 

m 


BAR  MTZVAH  I 
(TO  MR.   BIRNBAUM)     Phil»s  gonna  be  Bar  Mitzvah,   too, 


Ach,   so?     How  soon? 


Next  Saturday,  sir« 


Next  Saturday? 


MR.  BIRNBAUM 


BAR  i  JTZVAH  II 


m.   BIRNBAUM 


57 


Sure. 


BAR  iilTZVAH   II 


But  not  at  Shaarey  Zedek? 


MR.   BIRNBi^.UM 


BAR  MITZVAH   II 
(CROSSir>K}  TO  LEFT,  AS  BI\R  MITZVAH  I  GROSSES  TO  THE  RIGHT)     I'Jhy  not?     That's 
where   I  belong, 

MR.    BIRNBAUM 
(TO  BAR  MITZVAH  l)     But  you   said  you  are   going  to  —  (TO  BAR  J^TZVAH  II) 
and  now  also  you  ~  both  on  the  same  day  at  the  same  shul?? 


That's  right,   I've  gctta  go. 
long,  Ben. 


BAR  MITZVAH   II 
(RESUMIMG  GROSS  TO  ir,FT)     Lxcuse  me,  sir.     So 


BAR  nITZVAH  I 
Be  seein«   yuh,   Phill      (BAR  iilTZVAH  II  EXITS  LLFT.     BAR  MITZVAH  I  SPEAKS  TO 
MR.   BIRNBAUM)     You  see,   it»s  like  this,  sir:    -  it  got  to  the  point  in  Shaarey 
Zedek  where  the  number  of  thirteen  year  old  boys  in  a  year  was  greater  than 
the  number  of  Sabbaths.     So  what  could  they  do?     They  couldn^t  go  on  having 
only  one  bar  mitzvah  on  a  Sabbath.     So  now  we  have  what  they  call  dual 
b'nai  Mitzvah. 


MR.    BIRNBAUM 
(BEl'JILDERED)     Yah,   -  yah,    I  -  I  see. 

BAR  MITZVAH  I 
And  now,   if  you»  11  excuse  me,   1*11  be  running  along. 

(HE  RESUICS  CROSSING  RIGHT  A^^D  EXITS) 

'm.   BIRNBAUM 
Thank  you,  my  boy,   -  thank  you  and  God  bless  youl     (HOLDING  HIS  HEAD  IN 
TROUBLED  ^^ONDERME^NT)     Ai,   ai,   ai,   ai,   ail 

(FROM  OFFSTAGL,   VIA  RECOHDING,    COME  SOUNDS,    VJ.RT  SOFTLY,   OF  THE  OPENING  OF 
RAVTX'S  "DAPHNIS  AND  CLOE",  AS  BACKGRCÜND  FOR  A   R/lPID  SUCCESSION  OF  OFFSTAGE 
VOICES.     AS  m.   BIRNBAUM  HEARS  EAGH  VOICE,   HE  LOOKS  AND  MOVES  SLIGHTLY  IN  A 
DFFERENT  DIRECTION  AS  THOUGH  TRYING  TO  LOCATE  THE  SOURCE  OF  THE  VÜICE:) 


_r  ^s'-i'jTTWwm"  '■!t"v,i"»y-'*-'«/7^rirT^-»- 


58 


Sermons  in  Englishl 


Family  seating     in  sanctuaryl 


Consecration  for  girlsl 


Congregational  singingl 


Vigor  of  Men's  Clubl 


Influenae  of  Israeli 


HOF/N'S  VOICE 


MAM'S  VOICE 


GIRL»S  VOICE 


WOMN'S  VOICE 


MAN»S  VDICE 


GIRL»S  VOICE 


Support  of  Seminaiyl 


Mother  of  Presidentl 


WOFAN^S  VOICE 


IWPS  VOICE 


(AS  MR,  BIRNBAUM  PUTS  UP  PIS  HAND  FÜR  SIIENCE  AND  STARTS  TO  SPIiAK,  THE  VOICEB 
AND  MUS IC  CEASE) 

I'IR.  BIRNBAUM 
(QUIETLY,  l^TH  A  KBiD  OF  BE^^ILDE;'£D  ELATION)  No,  no,  my  dear  friends,  please, 
no  morel  Too  füll  already  is  this  old,  old  heart  of  minel  Vcry  happy  I 
am,  yah,  yah,  and  proud,  very  proud  and  happy,  •  but  more?  ~  No,  no,  I  - 
I  could  not  grasp  any  more.  Think  of  it  all  -  how  wonderful,  -  a  shul,  - 
(MITH  A  TENDERLY  LOVING  GESTURE)  our  little  shul,  -  a  great  synagogue  now, 
where  one  thousand  Jews  ~  one  thousand,  mind  you,  worship  Almighty  God 
on  the  Sabbath.  From  seventeen,  -  a  kleine  handful  at  the  Start  ~  to  one 
thousandl   (SIGHING  IN  VIONDER^ENT)  Ai,  ai,  ai,  ai,  —  and  all  these  grea^ 
additions  and  developments,  -  and  please  make  no  mistake,  this  is  what  they 
are:  additions,  developments,  not  reformsl  The  reforms  I  am  still  against, 
yahj  yah,  just  like  in  the  old  days  at  Beth  El.  But  here,  what  we  havc,  yah, 
it  is,  you  know,  likc  a  tree,  -  a  tree  which  Starts  very  small,  and  then 
as  it  grows  biggcr  and  bigger,  there  are  more  and  more  blossoms,  more  and 
more  fruits«  But  all  these,  —  they  come  naturally  from  the  heart  and  the 
fibre  of  the  original  little  sapling.  The  congregation  of  the  youthl  And 
the  lifelong  education,  -  from  infancy  to  old  age,  for  everybodyl  And  then 
that  library  with  all  the  fine  Jewish  books,  ai,  ai,  ail  And  the  communal 
singing,  and  the  nursery  school  and  the  kindergarten  and  the  high  schooll 
And  then  Hebrew,  -  ach,  yah,  how  they  are  speaking  it  just  like  a  living 
languagel  And  those  pilgrimages  to  Eretz  Yisroel  and  also,  yah,  these  are 
fine  too,  -  the  men's  club,  the  orchestra,  the  chess  club  and  all  the  many 
other  thingsi  Together  I  am  seeing  them  in  my  mind  like  -  how  do  you  call 
it  again?  —  like  a  tapestry  —  likc  some  rieh,  btautiful  tapestry  ~  all 
held  together  in  one  grand  design  by  the  threads,  by  the  streng  and  sanctifying 
threads  of  our  sacred  tradition...  .(HE  PAUSES  FOR  A  MOMENT  TO  THINK  REMINISCENTLY, 
AND  THEN: )  Yah,  yah,  Kinder,  -  all  so  f ar,  f ar  away  from  that  shabby  little 


59. 

m.   BIRNBAUM  (CONTINUED) 
room  above  the  drug-store,  where  we  startedl  ---And  yet,  -  yf'»-^^^ 
spirit  of  our  people,  it  is  the  same:  -  their  strong  and  loving  devotionj 
their  pride  in  the  past;  and  their  holding  firm  to  our  blessed  herxtage, 
vah,  it  is  all  the  samel  No  thinning  out  has  there  beenl  There  is  only 
more  and  more  of  what  was  best  in  the  beginning.  The  Ner  Tamid  -  is  xt  not 
still  the  same  unfailing  light?  And  the  ScroUs  of  Torah,  are  they  to« 
not  the  same,  still  unfolding  the  Law  of  Life?  And  our  Gates  ofRighteousness, 
yah,  yah,  much  bigger  are  they  now  and  more  impressiye;  still  they  open 
^th  the  same  loving  warmth....But  now  -  bigger  yet  they  surely  cannot  be, 
our  gates,  and  no  more  widely  can  they  openl  Yah,  it  is  already  as  much 
as  it  can  bei  And  I  have  seen  it.  All  of  it  have  I  seen,  and  for  it  I 
thank  ^Iraighty  Godl....And  so  now,  my  dear  young  friends,  I  must  leaye  you. 
(SIGHING)  I^  heart,  -  it  is  so  füll  and  I  must  go  back  to  ny  long,  long 
sleep.  (HE  STARTS  TO  WALK  OUT) 


Do  stay  with 


NARRATOR 
Wait,  Mr.  Birnbaum.  (M.   BIRNBAUM  STOPS  AND  FACES  NARRATOR) 
US  a  few  mimtes  longer,  please! 

RUTH 
(TO  NARRATOR,  TAKING  FIS  ARM)  Dave,  is  it  really  fair  to  detain  our  friend? 

NARRATOR 
But  I  think  he  will  — 


(BRIGHTENING  UP) 
really  inportant 


MR.  BIRNBAUM 
You  mean  it»s  -  it«s  something  special 
-  about  our  shul? 

NARrlATOR 


-  something  eise 


Something  veiy  important,   I  think, 

MR.   BIRNBAUM 
ImTYi  A  SWEi.T  GLEAMING  SMILE)     So  for  what  are  we  waiting?    Who  is  tired? 
For  sleep,  my  de^ir  friends,    I  have  quite  an  inpressive  schedule  ahead  of  me^ 
So  go  ahead,   go  aheadl 

NARRATOR 
VJhat  we«vc  achieved  is  but  one  memorable  milestonel     Our  goal  is  growth  • 
evcr  a  deepening  inward,  ever  a  reaching  further  and  more  fully  ou^ward  - 
both  without  limit  evcr.     Our  destiny  is  a  progression  of  preludes  that  can 
never  end« 

m.   BIRNBAUM 
Yah     vah,  of  course.     I  was  only  ovcrwhelmed  by  so  much  all  at  once.     You're 
right.     Always  was  it  so  with  us  from  the  very  beginning-     This  is  the  spirit 
of  our  shul. 

NAHRATCR 
ile  have  a  vision  of  hope  to  share  with  you,  dear  friend,  bef  ore  you  leave  us. 

(VROn  OFFSTAGE  COM:  SOUNDS  OF  AN  UNACCOMPANILD  FLUTE  PIAYING  THE  CHANT  OF 

SeN  ?o^  the  GATES  QF  R  IGHTEOUSNESS'S  miU.  AT  THE  SAME  TIM.  THE  COMI^IENTATORS 


'AI 


S^j. 


60. 

APPEAR     ONE  AT  THE  lEFT  SIDE,  THE  OTHER  AT  THE  RIGHT  SIDE  ÖF  THE  STAGE^ 
KCTENsioN.     THE  FLUTE  MÜSIC  CONTINUES  AS  A  BACKGROJND  FOR  THEIR  SPEAKING:) 

GIRL  I 
Soon  there  shall  arise 
a  new  Shaarey  Zedek 
to  saf eguard  the  old 
and  to  f oster  its  furthcr  growth, 

GIRL  II 
The  tabernacle  of  tradition, 
alive  in  cur  hearts, 
we  shall  bear  lovingly 
toward  a  new  abode, 

GIRL  I 
There  shall  be  an  opening 
full-way 

of  loftier  and  yet  wider  gates, 
that  the  rays  of  Hallowed  light 
from  within 

may  reach  still  farther 
outward; 

GIRL  II 
An  opening  full-way 
of  loftier  and  yet  wider  gates, 
that  freshness  in  wisdom, 
new  beauty  and  use 
may  enter 
in  richer  measure 
to  nourish  tradition, 
and,  in  turn, 
by  the  Flame  of  Torah 
be  sanctif ied; 

GIRL  I 
An  opening  full-way 
of  f ar  yet  broader  gates 
that  more  and  ever  rncre 
of  the  people 
may  comc  to  dwell 
in  the  Lord's  House 
to  make  within  its  walls 
a  hallowed  way  of  lif e, 
rieh  and  rounded, 
for  the  length  of  days. 

(FROM  CFFSTAGE  COME  TRUMPLT  SOUNDS,  HIGH  AND  CHALLJ-NGING,  SUGGESTING  A  SHOFAR, 
THEN,   OVERLAPPING  THE  SÜSTAINED  FINAL  NOTE    OF  THE  TRUMPLT:) 

OFFSTAGE  MA.LE  VOICE 
Open  side  the  gates 
of  the  heart. 


»«««< 


!<.' I^*'  : ;  i 


il 


61. 


I 
I 
f 


OFFSTAGE  MAIE  VOICE  (CONTINUED) 
that  the  high  chant  of  truth, 
sounding  here  anew, 
may  enter,   - 
to  f  lood  your  days 
with  a  joyful  awareness, 
and  to  yield  within  you 
the  cooling  shade, 
the  branch  ever  fruitful, 
the  beauty  and  the  rooted  strength 
of  the  tree  of  lifel 

(FROM  THE  REAR  OF  THE  HALI-,   COME  THE  JUBILAMT  SOUNDS  OF  A  CHORUS  SINGING:) 

CHORUS  (SINGING) 
"Lift  up  your  heads,  0  ye  gates, 
and  be  ye  lifted  up,  ye  everlasting  doors, 
that  the  King  of  Glory  may  enterl" 

(AS  THE  SINGING  CONTINUES,  A     PROCESSIONAL  ADVivNCES  FROM  THE  BACK  OF  THE  HALL, 
DQ'TN  THE  CENTI.R  AISLE  TOl'JARD  THE  STAGE.     FIRST  COME  THE  ELDERS  QF  THE  CON- 
GREGATION,  HOLDING  THE  TORAH  SCROLLS:     BEHIND  THEI^I  THE  I^IFÜBERS  OF  THE  CHORUS, 
FOLLQ-fED  BY  CHILDREN,     VJHEN  THE  MIRCHFRS  REACH  THE  STAGE,   THEY  MOUNT  THE  STAIRS 
AND  FORI^  A  TABLEAU,  HALF  AT  THE  LEFT  SIDE  (F  THE  STAGE-EXTENSION,  HALF  AT 
THE  RIGHT  SIDE  OF  IT.     THE-?E  IS  A  MOr»TT  OF  SILENCE,     THEN,   MR.  BIRNBAUM, 
STANDING  AT  CENTER,  EIS  AGED  HEAD  RAISED  vflTH  PRIDE,   SPEAKS  WITH  QUIET  FERVOR: ) 

m.   BIRNBAUM 
"Open  to  me  the  gates  of  righteousness;     I  mll  enter  thera,  and  give  thanks 
unto  the  Lordl" 

(THE  CHORUS  SINGS  THE  SAME  VFORDS  EXULTAInITLY.     AND  THEN  AS  THE  SINGING  OON- 
TINUES,  THE  CURTAB'.S  OPEN  SLöWLYi     THE  ELDERS  BEARING  THE  TORAH  SCROLLS  THERE* 
UPON  MOVE  TO  THE  ARK,  PL/VCE  THE  SCROLLS  THEREIN  AND  RETIRE.     THERE  IS  A  MOMENT 
OF   SILENCE.     AND  THEN,   m.   BIRNBAUM,   STANDING  ALONE   IN  FRONT  OF  THE  ARK, 
SPEAKS  QUIETLY  WITH  DEEP  FEELING,  FACriG  THE  AUDIENCE:) 

MR.    BIRNBAUM 
Out  of  a  seed  -  a  modest  seed 
a  Century  ago 
has  grown 

a  mighty  guardian  of  the  tree 
of  life, 

(A  BOY  COMES  TO  THE  SIDE  CF   M.  BIRNBAUM,  AND  LOOKING  UF^ARD,   SPEAKS:) 

A  BOY 
"Open  Thou  mine  eyes 
that  I  may  behold  wondrous  things 
out  of  Thy  Lawl" 

(AS  AN  ELDER  CF  THE  CONGREGATION  RAISES  HIS  ARM,   THERE  IS  A  FADE-IN  OF  THE 
NER  TAHID.     FROM  ÖFFSTAGE  COME.  SOUNDS  OF  A  WORDLESS  CANTORIAL  CHANT  SUNG  BY 
A  BOY.     AFTER  A  FEW  NOTES,   IT  BECOl^S  BACKGROUND  FOR  THE  FOLLOWING:) 


I 


i 
I 
■ 

■ 
■ 
■ 


A  BOY 
(SPEAKING  OUIETLY  ^.  aTlI  FERVOR  AND  LOOKING  UP^jARD) 
my  feet  and  a  light  unto  my  path." 


62. 


"Thy  Word  is  a  lairp  unto 


(MR.   BIRl^JBAUM  QÜIETLY  INTONES  TKE  " SHEHECHEYONU"   BLESSING  IN  HEBREl^I.     THEN 
HE  SPEAKS   IT  i 'ITH  DEEP  PERSONAL  FELLING  IN  ENGLISH:) 

MR.   BIRNBAUM 
"Blessed  art  Thou,   0  Lord  our  God, 
King  of  the  Universe, 
who  has  kept  us  in  life, 
and  hast  preserved  us, 
and  enablcd  us  to  rcach  -  this  season," 

(A  CHORUS  BURSTS  INTO  A  rilGHTY  PSALM  OF  EXULTATION.      THIS  PSALI^i  y^Y  EITHER 

BE  RENDEPED  LIVE  BY  TFJ-    CHORUS  ON  STAGE  OR  Pi^iEo^iNTED  BY  1€ANS  OF  PHONOGRAPH  IC 

RPICORDING.      IN  THE     LATTLR  GASE,    IT  IS  SUGGESTED  THAT  USE  BE  MDE  OF  THE 

GRE/T  CHORUS  "OUR  GOD  OUR  CREATOR",  FROM  ERNEST  BLOCHES  SACRED  SERVICE. 

AS  THE  SINGING  STARTS,   THE  PEOPLL  AT  EITHER  SIDE  CF  THE  STAGE-EXTENSION  MOVE 

II^'ULSIVELY  TO^^^ARD  MR.    BIRIWUM  AND  THE  BOY  AT  CENTER.     VJHILE  THE  PSALM 

IS  STILL  IN  PRCGRESS,   THERE  IS  A  FADE-OUT.) 


«<tw 


THE  END 


I 


■ 


THE  CHARACTI.RS 


I 
I 
■ 

I 

■ 


David,  the  Narrator,  an  American-born  Jew  of  38; 
Ruth,  his  wife,  an  American-born  Jewess  of  about  32; 
Judy,  their  daughter,  aged  8; 
The  Commcntators,  2  girls  in  their  latter  teens; 

I^.  Birnbaum,        ) 

"~"         )  2  middle-aged  German  Jews  01   loöO; 

Mr,  Friedenwald, ) 

U  Board  Members,   (male)  of  Beth  El  Society  in  I86O; 

First  Reformer 
Second  Reformer 
First  Traditionalist 
Second  Traditionalist 

$  Dancers,  at  186?  Simchas  Torah  Ball:  3  males,  2  females,  all  non-speaking; 

Mrs>  Rosenbaum,  a  middle-aged  German  Jewess  of  1867; 

Mrs,  Birnbaum,  a  middle-aged  German  Jewess  of  1878; 

Saul,  18  year  old  American-born  grandson  of  the  Birnbaums  in  I878; 

A  Trustee  of  Shaarey  Zedck,  middle-aged  in  I886; 

Mr,  Goldfarb,  of  East  European  origin,  aged  U5  at  start  of  20th  Century; 

Mrs,  Goldfarb,  his  wü'e,  of  East  European  origin,  aged  U2,  at  start  of 
"  20th  Century; 

Joe  Goldfarb,  their  son,  20  years  old,  at  start  of  20th  Century; 
p^^   Off icer  of  Shaarey  Zedek,  American-born  Jew,  aged  UO  in  1910; 
A  Middle-aged  Jew,  in  1915; 

A  Jewish  Youth  of  13,  in  1915,  his  grandson,  a  non-speaking  role; 
Two  Jewish  Males,  in  1915,  non-speaking  roles; 

3  Jewish  Women,  in  1917:- 

"^         Ws.  Cohn,  UO,  American-born  Jewess; 

Mrs.  Raphael,  50,  of  East  European  origin; 

Mrs.  Abraham,  55,  American-born  Jewess; 

Aaron  Goldfarb,  son  of  Joe,  about  9  in  the  1920« s; 

3  Figures  of  the  Depression,  in  1929; 
'        Male  Beggar; 

Middle-aged  Male  Apple-Vcndor; 
An  Aging  VJoman; 


• 


I 

■ 
■ 


• 


■ 
■ 


THE  CHARACTERS  (CONTINUED) 

U  Leaders  of  Shaarey  Zedek>  (male),  around  1930; 

Family  Groups  f or  1932  Dedication  Scene,  approx.  5  wen,  5  wives  and  10 

children,  all  non-speaking  roles 
and  dispensable,  if  necessary; 

Wife  of  Joe  Goldfarb,  for  1932  dedication  scene^  (nonnspeaking  role),  but  in- 
dispensable along  with  other  menibers  of  Goldf arb  family; 


Miss  Soprano,  about  US  ) 


Mrs,  Alto,  about  UO 
Mr,  Tenor,  about  U5 


) 
) 
) 

) 


in  1933 


3  Representatives  of  European  Jewry,  in  the  Nati  period;  1  male,  2  females; 

$  Representatives  of  Shaarey  Zedek,  in  the  Nazi  periodj  2  male  adults,  1  female 

adult,  1  male  teenager,  1  female  teenager; 

A  Male  Adult  Education  Teacher,  in  1930» s; 

ifen's  Club  Chairman,  in  1930» s; 

3  Consecration  girls,  (teenage),  in  193U  or  1935; 

Mrs,  Michelson,  a  young  American-born  Jewess; 

Sarah,  her  daughter,  aged  9; 

Ben,  her  son,  aged  8; 

Mrs>  Bornstein,  a  young  American-born  Jewess; 

Ajry,  her  12  year  old  daughter; 

Sim,  her  9  year  old  son; 

An  Israeli  Artist,  (male); 

Rachel,  a  young  American  Jewess; 

Several  Boys,  conducting  Youth  Sabbath  Service; 

Teacher  of  Teen  Class,  in  Hebrew; 

Student  A,  Student  B,  her  pupils; 

5  Other  Students,  (non-speaking  roles); 

Bella,  an  American-born  Jewess; 


Ida,  an  American-born  Jewess; 


■^r 


'■•i--^^^.* 


I 


THE  CHARACTERS  (CONTINUED) 

Sam,  an  American-born  Jew  of  U$; 

Bar  Mitzvah  I^  a  13  year  old  Jewish  boyj 

Bar  Mitzvah  IIs   a  13  year  old  Jewish  boy; 

In  Final  Processional  and  Tableau: 

blders  Ol'  the  congregaiion  (non-speaking) 
Singing  Chorus  (Shaarey  Zedek  Centennial  Chorus) 
Children  (non-speaking) 
The  Boy. 


1 


Morris  Adler,  Rabbi 
Irwin  Grdner,  ass't  rabbi 


(^on 


^re^i 


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Sk 


aate 


¥ 


^edek 


TYLER  B-2B2B        (SCHDDL  OFFICE:   B94-26D6) 

CHICAGD    BLVD.    AT    LAWTDN    --    DETROIT   6,    MICHIGAN 


BRANCH     SCHODL:     W.     SEVEN     MILE    AT    LESURE 


DIAMOND     1-4411 


Jacob  H.   Sonenklar 

CANTDR 


\21^  ■'IDID  ■**2  \^^^ 


March   29,    1962 


OFFICERS 

ABRAHAM     SATDVSKY.     PBEBIOENT 
DAVID     M.     MIRO,     VICE  •  PRESIDENT 
LDUIS     BERRY,     TREABURER 
SAMUEL     C.     KDVAN,     SECHETARV 

BOARD    OF    TRUSTEES 

CHARLES     AQREC 
DR.     ALBERT     J.     ALTMAN 
DR.     HARRY     BALBERDR 
MRS.     DAVIS     BENSON 
MANDELL     L.     BERMAN 
GERSDN     B.     BERNSTEIN 
ABRAHAM     BDRMAN 
WALTER     L.     FIELD 
EDWARD     FLEISCHMAN 
JOSEPH     QENDELMAN 
IRWIN     GREEN 
I.     MURRAY    JACOBS 
MORRIS     KARBAL 
ABE     KATZMAN 
HY    A.     ICE  I  DAN 
DR.     SAMUEL    KROHN 
LOUIS    H.     LUCKOFF 
GEORGE     C.     PARZEN 
MAURICE     S.    SCHILLER 
ROBERT     STEINBERQ 
HARVEY    L.     WEISBERQ 

PAST    PRESIDENTS 

LOUIS     BERRY 

MORRIS    H.     BLUMBERQ 

HARRY    COHEN 

ROBERT     MARWIL 

HON.     CHARLES     RUBINER 

HYMAN     SAFRAN 

HARRY    M.     SHULMAN 

DR.     LEONARD     SIDLOW 

ABRAHAM     SRERE 

MAURICE     H.     ZACtCHEtM 

EXECUTIVE    DIRECTOR 
HOWARD     DANZIQ 

EDUCATION 

ELI     GRAD,     DIRECTOR 

JACOB     EPEL,   SEXTON 

LEONARO     BARUCH,     YOUTH     OlRECTOR 


Cott0r^0att0n  ^liaareg  Z^ek 


5621 


]g 


UUtl 


Mr.  Jerome  Bayer 
739  W.  186th  Street 
New  York  33,  New  York 

Dear  Mr.  Bayer: 

Enclosed  please  find  the  program  of 

last  night 's  Performance  -  I  thought  you'd 
want  to  have  this,  too,  for  your  files.   This 
Winds  up  the  puhlicity  of  "The  Shaarey  Zedek 
Story."   I  hope  that  you  have  heen  receiving 
our  Recorders  every  week  and  that  the  releases 
meet  with  your  approval.   There  has  also  heen 
considerahle  puhlicity  in  the  general  press. 

I  saw  the  Performance  last  night  and 
I  am  happy  to  teil  you  that  the  execution  of  the 
Pageant  did  justice  to  the  script.   I  am  sorry 
you  were  unahle  to  he  personally  present  as  I  am 
sure  you  would  have  heen  quite  pleased. 

With  kindest  personal  regards,  I  am 

Sincerely, 


l^i^fi^ 


iSE 


EG :  ffll 
Enc . 


Eli  Grad 
Educational  Director 


^ffUlaUd  witk  the    UniUd  J^^na^o^ue   of  America 


Morris  Adler,  Rabbi 
Irwin   Groner,  ass't   rabbi 


c 


onareaauon 


r^9 


tu 


Sk 


aare 


¥ 


^edeK 


TYLER  B-2BZa        (SCHDDL  OFFICE:   894-2606) 

CHICAGO    BLVD.   AT   LANATTÜN    -  -    DETROIT  6,    MICHIGAN 


BRANCH     SCHDDL:     W.     SCVEN     MILE    AT    LESURE 


DIAMDND     1-4411 


\2i^  nDUJ  "*2  Alma 


March   29,    1962 


Jacob  H.   Sdnenklar 

CANTOR 

Reuven   Frankel 
associate   cantor 


OFFICERS 

ABRAHAM     SATDVSKY,     PRESIDENT 
DAVID     M.     MIRD,     VICE  •  PRESIDENT 
LDUIS     BERRY,     TREASURER 
SAMUEL     C.     KDVAN,     5ECRETARY 

BOARD    DF    TRUSTEES 

CHARLES    AQREE 
DR.     ALBERT     J.     ALTMAN 
DR.     HARRY     BALBERDR 
MRS.     DAVIS     BENSDN 
MANOELL     L.     BERMAN 
GERSDN     B.     BERNSTEIN 
ABRAHAM     BDRMAN 
WALTER     L.     FIELD 
EDWARD     FLEISCHMAN 
JOSEPH     GENDELMAN 
IRWIN     GREEN 
I.     MURRAY     JACOBS 
MORRIS     KARBAL 
ABE     KATZMAN 
HY    A.     ICE  I  DAN 
DR.     SAMUEL    KRDHN 
LOUIS     H.     LUCtCOFF 
GEORGE     C.     PARZEN 
MAURICE     S.    SCHILLER 
ROBERT    STEINBERQ 
HARVEY     L.     WEISBERG 

PAST    PRESIDENTS 

LOUIS     BERRY 

MORRIS    H.     BLUMBERQ 

HARRY    COHEN 

ROBERT    MARWIL 

HON.     CHARLES     RUBINER 

HYMAN     SAFRAN 

HARRY     M.     SHULMAN 

DR.     LEONARO     8IDLOW 

ABRAHAM     SRERE 

MAURICE    H.     ZACKHEIM 

EXECUTIVE    DIRECTOR 
HOWARD     DANZIQ 

EDUCATION 

ELI     GRAD,     DIRECTQN 

JACOB    EPEL,  Sexton 

LEONARD     BARUCH,     YOUTH     DlRECTOR 


0iiM0»0atian  0i;aar«y  Zriirk 


UHU 


Mr.  Jerome  Bayer 
739  W.  186th  Street 
New  York  33,  New  York 

Dear  Mr.  Bayer: 

Enclosed  please  find  the  program  of 
last  night 's  Performance  -  I  thought  you'd 
want  to  have  this,  too,  for  your  files.   This 
Winds  up  the  puhlicity  of  "The  Shaarey  Zedek 
Story."   I  hope  that  you  have  heen  receiving 
our  Recorders  every  week  and  that  the  releases 
meet  with  your  approval.   There  has  also  heen 
considerable  puhlicity  in  the  general  press. 

I  saw  the  Performance  last  night  and 
I  am  happy  to  teil  you  that  the  execution  of  the 
Pageant  did  justice  to  the  script.   I  am  sorry 
you  were  unahle  to  he  personally  present  as  I  am 
sure  you  would  have  heen  quite  pleased. 

With  kindest  personal  regards,  I  am 


EG:HH 
Enc . 


Eli  Grad 
Educational  Director 


.^ffiiiaUd  wltk   in»     lAnlUd  ^f^na^ogug   of  .^meri 


menca 


Oamuel  Kronn,    U.JJ.O.,  i'^l.O, 

1009   David  BroJericL  T« 
Detroit    26,    luicnirfan 


ower 


March  :-'9,  1962 


Mr«  Jerome  H.  Bayer 

739  W.  186 th  Street  apt.  6  C 

Nevj  York  City  33,  N.Y. 

Dear  Jerry; 

The  procluction  wari  x^onderful.     I  h^^ve  been  gettinp:  many 
phone  calls  and    l.he  consens^is  is  that  this  is  onc  of  the 
f inest  things  that  Sh-^arey  Zedek  his   ev.ry  produced. 

}fy  heart-felt  thank^;  for  a  T-:onderful  sc^^ipt.     My  bent 
regards  and  hope  everything  is  wel]-  with  you. 


Samuel  Krohn 


SK/f 


CT 


ihe  shaarey  zedek  centenn/al  commitbcd  przsznb 


mßjmzm 


€toin€  Uvcr 


TECHNICAL  PSK^cyOK  FRANK  WURTj^MITH 

ms.  NATHAN  5HÜR 


March    27 th  ^    28 th,    1962 


Aaron  DeRoy  Theatre 
Jewish  Community  Center 
IS  100  Meyers  Hoad 
Detroit  21,  Michigan 


CAST 

(in  Order  of  appearance) 

Epstein  Family  -  David   SHELBY  NEWHOUSE 

Ruth    MARIETTE  SCHWARTZ 

judy    JAN  WINER 

Mr.  Birnbaum     RUBIN  WEISS 

Mr.  Friedenwald  DR-  THEODORE  MANDELL 

First  Traditionalist  DR.  EDWIN  SCHNEIDER 

Second  Traditionalist  JULES  DONESON 

First  Reformer  MAX  SOMBERG 

Second  Reformer  FRANKLIN  SIDLÖW 

Mrs.  Birnbaum MRS  •  HENRY  BERRIS 

Saul  Birnbaum  ROBERT  MOLAVER 

Trustee  MANUEL  ZECHMAN 

Mr.  Goldfarb RALPH  BERNSTEIN 

Joe  Goldfarb  DAVID  HERMELIN 

Mrs.  Goldfarb  MRS.  LOUIS  TATKEN 

Vocalist  MRS.  SAMUEL  SHETZER 

Qff icer  MAX  SOMBERG 

Youth  NEIL  ZECHMAN 

^^rs.  Cohn MRS.  PHILIP  BORNSTEIN 

Mrs.  Raphael  MRS.  FRANK  REISMAN 

Mrs.  Abraham  MRS.  NATIIAN  LEWIS 

Aaron  Goldfarb  FRED  MOLAVER 

Male  Beggar   MANUEL  ZECHMAN 

Apple  Vendor  DR.  THEODORE  MANDELL 

Aging  Woman  MRS.  MAURICE  SCHILLER 

Board  Member  I  Jl^^LES  DONESON 

Board  Member  II  MAX  SOMBERG 

Board  Member  III  FRANKLIN  SIDLOW 


Mr.  Tenor  FRANKLIN  SIDLOW 

Miss  Soprane  MRS.  HENRY  BERRIS 

Miss  Alte  MRS.  FRANK  REISMAN 

Teacher  ^R.  EDWIN  SCHNEIDER 

Adult  Student  MRS.  MAURICE  SCHILLER 

Consecratlon  Girl  I  JAN  BERRIS 

Consecration  Girl  II  KAREN  KAHN 

Consecration  Girl  III  ELAINE  FRIEDMAN 

..  ^  ,  MRS.  PHILIP  BORNSTEIN 

Mrs.  Michelson  

g^^^jj    TERRY  WISHNETSKY 

.  STEVEN  PARZEN 
Ben  

Mrs.  Bornstein  MRS.  HENRY  BERRIS 

DENISE  BARON 

Amy  

c.^  DAVID  KROHN 

bim  

Synagogue  Spokesman  FRANKLIN  SIDLOW 

Hebrew  Teacher  JULES  DONESON 

Student  A  STEVEN  PARZEN 

Student  B  SHELDON  LEWIS 

j^^         JAN  BERRIS 

„  ,  -  MRS .  FRANK  REISMAN 

Bella  

...  MANUEL  ZECHMAN 
Sam  

Bar  Mltzvah  Boy  I  ^^RVIN  ROSEN 

Bar  Mitzvah  Boy  II  MICHAEL  BREYER 

^  Boy  NEIL  ZECHMAN 

CREDITS 

Sim's  Antique  Shop.  Detroit  Historical  Museum,  Mr.  Js.  -'^^  ^J^,«:';^^ 
Brown,  Borenstein's  Book  Store,  Reichl  Hair  Goods  Manufacturers , 
Grinnell's,  Crowley's,  Esquire  Flowers. 


STAFF 

*   •  +o«  +  o  +«  Mr.   Wiirtsmith  JULIAN  LEFKOWITZ,  JAY  ROSENTHAL, 

Assistants  to  Mr.  Wurtsmith  ü^^^^^  SIEGEL,  MANUEL  ZECHMAN 

Lighting  BOB  BENYI 

Sound  Effects  AL  MURDOCK 

Organist  TOM  MONTGOMERY 

Make-up  ALAN  HANDELMAN 

Make-up  Assistants  -S-  ™/--- 

^   ^  MRS.  JULIUS  MESKIN,  MRS.  JAY 

Costumes  ROSENTHAL,  MRS.  ROBERT  SIEGEL 

^,   ^   ^  MRS.  JOSEPH  ROSEN,  MRS.  THEODORE 

Wardrobe ÖLENDER,  MRS .  ALBERT  ALTMAN, 

MRS.  HARVEY  WEISBERG 

„   .  n^«r.c  MRS.  LOUIS  SHIOVITZ 

Hand  Frops  ^^  MANUEL  ZECHMAN 

Prompter  ^^'    SIDNEY  WINER 

rr^  ovo+  m    Phai  rmen  MRS.  THEODORE  MANDELL 

Ticket  Co-Chairmen  ^^   bERNARD  BREYER 

^^  ,  JOSEPH  CANTOR,  AL  JOFFE,  JOSEPH 

C*^°^^  SIEGAL,  JACK  ROSBERG,  ABE  SILVER, 

GEORGE  RICHTER 

Cholr  Directea  By  ^^k^^JT'  "^^^  ^'''"^ 

A.vlsor.  C0».ittee  T.II^^mS^^pS'pS.TaS" 

FROHMAN,  HAZZAN  JACOB  SONENKIAR, 
HAZZAN  REUVEN  FRANKEL,  RABBI 
IRWIN  GRONER,  HARRY  COHEN, 
HOWARD  DANZIG 

Poster  Art  Work   MISS  MARY  APPEL 


SYNOPSIS  OF  SCENES 

THE  TIME:        The  Present 

THE  PLACE:       Front  Of  David  Epstein 's  Home 

Flashback  Scenes 

1860  A  Congregation  is  born 

1861   Synagogue  Dedication  Scene 

39  Michigan  Grand  Avenue  (Now  Cadillac  Square) 

1879  Explosion  in  Shaarey  Zedek  Synagogue 

1886  Synagogue  Dedication  Scene:  Congress  &  St.  Antoine 

1900  Goldfarb  Automobile  Scene    * 

1903  Goldfarb  Living  Room 

1908  Goldfarb  Family  Walking  Home  After  Sabbath  Service 

1909  .  '. "The  New  Colossus"  -  Vocal  Selection  by  Mrs .  Samuel 

Shetzer 

1910   Synagogue  Anni'«,l  Meeting 

1912   Goldfarb  Living  Room 

1915  Synagogue  Dedication  Scene:  Willis  &  Brush  Streets 

1917  World  War  I  -  Our  Women  Roll  Bandages 

1921  Goldfarb  Living  Room 

1929  Depression  Era 

1930  Synagogue  Board  Meeting 

1932   Family  Seating  In  Synagogue 

1933   Song-Fest  Social 

1933   Adult  Institute  Class 

1934   Consecration  Scene 

1936   Our  Young  People  Speak  Hebrew 

1950   Membership  On  The  Move 

1954   Tribute  To  Our  Rabbi 

Back  To  Present 

Bornstein  Living  Room 
Youth  Sabbath  Service 
Hebrew  Class 
Library  Scene 
Kibbutz  Scene 
Bar  Mitzvah  Scene 

FINALE!      The   entire   cast. 


THE  SHAAREY  ZEDEK  STORY  which  you  will  be  witnessing  this  evening 
is  the  last  of  the  major  celebrat  ions  tnarking  the  Cent  ennial  year 
of    our    Congregat  ion' s    existence .  The    process  ion    of    the    years    will 

pass  before  you  and  you  will  glimpse  the  events  and  persona  1 i  t  i  es 
which    are    part    of    our    history .  It    has    been    a    Century    of    rapid 


ihe  shaare/  zedek  centenrwal  comm'itbcn  przs(znts 


change    and    momentous     t  r  ans  format  ion 


Rut     t he    years    are    1 inked    t o- 


gether    in    coherence    and    gr  andeur    by    a     faith    and    a    comm  i  tment     from 
which    we    have    not    depar  t  ed ,     and    by    the    renewal     of    ded  icat  ion ,     Service 
and    loyalty    which    every    generat  ion    has    success  ively    re  f lected .     These 
are    our    great     strength.        Hearing    high    these    noble    t  r  ad  it  ions    and 
sharing    deeply    in     the    devot  ion    of    our     forebear  s ,     we    march     forward 
with    grat  itude    and    conf  idence    towards    the    second    Century 


'-^L^ 


Rabbi  Morris  Adler 


A  WORD  ABOUT  OUR  DIRECTORS 


BURTON  WRIGHT  -  A  briiliant  and  highly  versatile  artist,  Mr.  Wright 
has  acted  and  directed  in  Chicago  with  the  Shakespearean  Globe  Thea- 
tre,  American  Art  Theatre,  the  Repertoire  Group,  Federal  Theatre  and 
Actors  Company.   Since  Coming  to  Detroit  he  has  been  seen  in  such 
populär  productions  as  "The  Solid  Gold  Cadillac,"  "The  Fourposter," 
"The  Glass  Menagerie,"  "Night  Must  Fall,"  "Bus  Stop,"  "Three  Men  On 
A  Horse,"  and  many  others.   He  has  produced  and  directed  over  4,000 
Shows  of  diversified  formats  at  Station  WWJ.   Drama  crltics  have  con- 
sistently  hailed  the  complete  comprehension  and  fine  sensitivity  re- 
flected  by  Mr.  Wright's  dlrectlng. 

FRANK  WURTSMTTH  -  A  widely  acknowledged  versatile  artist,  Mr.  Wurt- 
sraith  has  served  as  technical  director  of  the  Globe  Shakespearean 
Repertory  Theatre  and  of  the  Catholic  Theatre  of  Detroit.   He  is 
responsible  for  the  highly  imaginative  and  creatlve  settings,  Stag- 
ing and,  lighting  for  the  television  department  of  Wayne  State  Uni- 
versity.    He  was  stage  raanager  at  the  Great  Lakes  Exposition  in 

Cleveland  and  Facilities  Manager  of  WWJ-TV  for  six  years.   He  de- 
signed  and  staged  plays  for  a  number  of  local  groups  including  the 
Jewish  Community  Center  Theatre,  Temple  Beth  Fl  Players,  and  many 
others . 


mßßmim 


l>]fJ(totn€  hiyer 


f 


T^MNfCAl  PmcTOK  FRANK  WÜHTj^MITH 

ms.  NATHAN  5HÜH 


March  27 th  ^  2Sth,  1962 


Aaron  DeRoy  Theatre 
Jewish  Community  Center 
18100  Meyers  Road 
Detroit  21,  Michigan 


CONGREGATION 

i  M  M  M. 


SHAAREY 


J^ECORDER 


n^lD  "^  V\T\^ 


ZEDEK 


5621  ^— 1^  5721 

CENTENNIAL  YEAR  | 

1861  1961 


Afflliated  wifh  fhe  United  Synagogue  of  America 
DETROIT,         MICHIGAN 


Vol.  XXXII 


Friday,  March  9,  1962  -  Adar  (II)  3,  5722 


No.  28 


^-/i./y^.//^/////~^^^/^/////^///^^^^^//-^^^^/'/^'--^^^>^^^^^^^^^^^^'"^^^ 


\        t 


PEKUDE 

Friday  Evening,  March  9th 6:00  o'clock 

Saturday  Morning,  March   10th 9:00  o'clock 

BAR  MITZVAH 

The  Congregation   extends  slncere  congratulations  to  WILLIAM,   son   of 
Mr.  and  Mrs.  David  Levin,  who  will  be  calied  to  the  Torah 
in  ceiebration  of  his  Bar  Mitzvah. 

RABBI  ADLER  WILL  PREACH 

Rabbi  Irwin  Groner,  Hazzanim  Jacob  H.  Sonenklar  and  Reuven  Frankel 
w'll  officiate  with  the  Choir  directed  by  Dan  Frohman. 


YOUTH   SABBATH   SERVICES 

Children's  Service  -  Main  Schoo!  Building  -  Room  304       10:15  o'clock 

Intermediate  Congregation  -  Small  Prayer  Room 10:00  o'clock 

Tikvah  Congregation  -  Tikvah  Chapel  -  Room  302 9:45  o'clock 

Junior  Congregation  -  Kate  Frank  Chapel 9:45  o'clock 

Hazzanim:   James  Satovsky,  John    Harvith  Ba'al   Krlah:   Marvin    Rosen 

Proyer   for   Gov't:    Rachel    Dann  Sedrah    Resume:    Nancy    Golden 

Haftorah  Resume:  Terri  Edelman 


1 

I 

! 

I 

! 


^//M///^M/^//7777^- 


^       ^     .,,,,,,,,,,,,,,,,,,,,,^,,,,,,,,,,,........^^^^ 


Page  Two 


Recorder  of  Congregafion  Shaarey  Zedek 


May  I  Have  A  Word  With  You? 

by  RABBI  MORRIS  ADLER 


/  siep  aside  th'is  week  fo  offer  the  hospital'ify  of 
this  Space  fo  a  dose  and  percepilve  friend,  Dr.  Ira 
Eisensfein. 

THE  RISKSOF  BAR  MITZVAH 

When  a  boy  becomes  Bar  Mitzvaih  it  is,  natur- 
ally,  an  occaslon  for  much  rejoicing  in  the  family. 
Yet  paradoxically  it  is  also  the  occasion  when 
some   of  our   most   cherished   purposes   are   jeopar- 

dized. 

The  first  possible  victim  is  the  chiid's  education. 
Of  course,  we  wish  to  make  of  the  day  something 
outstanding,  memoroble  and  significant.  On  the 
other  hand,  when  we  give  tbis  occasion  the  wrong 
kind  of  emphasis  the  child  is  tempted  to  regard  it 
^as  the  climax  of  his  training  in  Judaism.  He  "gradu- 
ates"  from  the  staitus  of  Student  and  becomes  an 
alumnus.  Yet  we  don't  want  to  make  becoming  Bar 
Mitzvah  a  casual  and  unimportant  event  either.  The 
difficult  course  we  must  follow  is  that  of  avoiding 
either  extreme.  If  we  are  not  carefui  we  can  jeopar- 
dize  his  Jewish  schooling. 

The  second  possible  victim  is  the  chiid's  sense  of 
values.  In  school  we  try  from  the  beginning  to  in- 
culcate  the  power  to  discriminate  between  what  is 
important  and  what  is  trivial,  between  the  good  and 
the  merely  glittering.  Then  comes  the  Bar  Mitzvah 
party,  ond  so  often  it  neutrolizes  all  that  the  school 
has  attempted  to  teach.  A  formal  dinner  with  Cock- 
tails, at  which  much  money  is  spent  impressing  the 
guests  with  one's  capadty  to  spend  money,  influen- 
ces  the  child  to  believe  that  ostentation  is  better 
than  modesty,  and  that  money  spent  on  elaborate 
entertainment  is  better  than  noney  spent  on  books 
or  charity  or  the  Syagogue.  Of  course,  some  fami- 
lies  manage  to  use  their  funds  wisely,  to  include  both. 
But  the  fact  remalns  that  the  extravagnt  party  does 
not  help  the  child  to  understand  clearly  the  values 
which  the  school  and  ostensibly  the  parents  prefer. 

The  third  threat  is  to  the  Service  at  the  Synagogue. 
When  relatives  and  friend«.,  who  do  not  generally 
attend  the  Synagogue  except  for  such  occasions, 
converse  loudly  during  prayers,  visit  and  kiss  each 
other  conspicuously,  sit  with  arms  folded,  not  even 
glancing  at  a  prayer  bock,  carrying  large  bundles 
of  gifts  and  otherwise  desecrating  the  atmosphere 
of  worship,  they  certainly  do  not  add  to  the  dignity 
and  significance  of  the  service. 

It  is  the  responsibility  of  parents  to  see  to  it  that 
when  their  children  attain  the  age  of  Bar  Mitz- 
vah, they  do  not  ollow  the  occasion  to  do  more 
härm  than  good. 

—Rabbi  Ira  Eisensfein 


PORTION   OF  THE  WEEK 

Exodus  XXXVIII,  21  -  XL,  38 

The  concluding  section  of  the  Book  of  Exodus 
describes  in  loving  detail  the  final  stages  of 
the  construction  of  the  Sanctuary.  When  the 
work  had  been  completed  the  "giory  of  the 
Lord  filled  the  Tabernacle."  The  Tabernacle 
served  as  a  center  of  worship  and  devotion 
until  the  Temple  of  Solomon  was  built  in 
Jerusalem. 


Television  Program  to  Feature  Scenes 
From  "The  Shaarey  Zedek  Story" 

Brief  dramalic  highlights  from  "The  Story  of  Sha- 
arey Zedek"  will  be  featured  on  television  and  radio 
on  Sunday  morning,  March  18th  from  9:15  a.m.  to 
9:30  a.m.  The  program  will  be  carried  simultaneous- 
ly  by  WJBK-TV  (Channel  2)  and  WJBK-Radio  (1500 
on  your  dial). 

The  9:15  a.m.  to  9:30  a.m.  program  seen  and 
heard  every  Sunday  morning  under  the  general 
title:  ".  .  .  To  Dwell  Together"  is  sponsored  by 
the  Culture  Commission  of  the  Jewish  Community 
Council  of  Metropolitall  Detroit.  The  brief  scenes 
from  "The  Story  of  Shaarey  Zedek"  selected  for  pre- 
sentation  on  these  programs  will  provide  our  mem- 
bers  and  friends  just  a  glimpse  of  the  moving  and 
memoroble  presentations  of  our  Congregation's  out- 
standing  past  scheduied  for  Tuesdoy  and  Wednes- 
day,  March  27th  and  28th  at  8:30  p.m.  in  the  Aaron 
DeRoy  Theatre  of  the  Jewish  Community  Center. 

Mesdames  George  Parzen  and  Nathan  Shur,  co- 
producers,  announced  that  Mrs.  Samuel  Shetzer, 
whose  rieh  and  beautifui  singing  voice  is  widely 
known  in  our  Community,  has  joined  the  cast  of 
"The  Shaarey  Zedek  Story."  In  addition  to  those 
previously  mentioned  in  this  column  the  following 
are  also  members  of  the  cast:  Mrs.  Philip  Bornstein, 
Mr.  Bernard  Breyer,  Mr.  Jules  Doneson,  Mrs.  Diane 
Lewis,  Dr.  Theodore  Mandell.  Mrs.  Maurice  Schiller, 
Mr.  Manuel  Zechman,  Miss  Denise  Baron,  Mr.  Mi- 
chael Breyer,  Miss  Elaine  Friedman,  Miss  Karen 
Kahn,  Mr.  David  Krohn,  Mr.  Sheldon  Lewis,  Mr. 
Fred  Molaver,  Mr.  Robert  Molaver,  Miss  Barbara 
Parzen,  Mr.  Steven  Parzen,  Mr.  Morvin  Rosen,  Miss 
Jan  Winer,  Miss  Terry  Wishnetsky  and  Mr.  Neil 
Zechman. 

Tickets  for  the  presentations  of  March  27th  and 
March  28th  at  $1.50  each  are  available  at  both  the 
Main  Synagogue  Office  and  the  Branch  Building 
school  Office.  Members  and  friends  are  urged  to 
secure  their  tickets  immediately. 


Recorder  of  Congregal 


Sisterhood  ''Kifchen  Aid"  Lunchcon 
Wednesday,  March  14th 

Planning  for  Sisterhood's  Kitchen  Aid  Luncheon,  to 
be  held  in  the  Social  Hall  on  Wednesday,  March  14, 
Oft  12:00  Noon,  has  shifted  into  high  gear  as  the 
dale  for  this  truly  magnificent  event  draws  near. 
Under  the  direction  of  Vice-President  AArs.  Julius 
Meskin  and  Luncheon  Chairman  Mrs.  Maurice  Schil- 
ler, all  committees  are  completing  elaborate  pre- 
parations  for  what  promises  to  be  the  most  beauti- 
ful,  the  most  colorful,  and  certainly  the  most  in- 
tertaining  luncheon  ever  before  given  by  Sisterhood. 

Outstanding  as  the  feature  attraction  of  the  after- 
noon  will  be  Miss  Anne  Wilson,  American  ballerina 
and  choreographer,  who  will  present  "The  Ballet 
Story",  a  Visual  history  of  ballet  and  the  dance 
from  the  sixteenth  Century  to  the  present  day.  Miss 
Wilson  presents  a  series  of  vignettes  in  costume,  il- 
lustrating  the  history  of  ballet  and  the  dance,  which 
she  describes  simply  to  the  audience.  Her  technique, 
grace,  and  charm  have  endeared  her  to  audiences 
throughout  the  country  and  have  earned  for  her 
"rave"  reviews.  Her  appearance  on  this  occasion 
will  be  a  delightful  and  memorabie  experience  for 
the  Luncheon  guests. 

Rabbi  Morris  Adler  will  greet  the  group  and  other 
participants  in  the  afternoon's  fcstiviies  include  both 
Mrs.  Morris  Adler  and  Mrs.  Irwin  Groner. 

The  Kitchen  Aid  Luncheon  theme  is  also  the  basis 
of  a  most  novel  and  striking  decor  being  executed 
by  Decoration  Chairmen,  Mrs.  A.  C.  Hamburger, 
Mrs.  Alfred  Rosen  and  Mrs.  Abe  Satovsky  and  their 
committees.  An  entirely  new  setting  has  been  plan- 
ned  for  this  year's  affair,  and  no  Sisterhood  mem- 
ber  will  want  to  miss  this  mos'  exciting  and  stimu- 
lating   afternoon. 

With  ticket  sales  to  be  limtied  to  four  hundred, 
Ticket  Chairmen  Mrs.  Hyman  Safran  and  Mrs.  Ben 
Mossman  expect  a  complete  sell-out,  as  has  been 
the  case  in  previous  years,  and  urge  all  members 
to  purchase  their  tickets  immediately. 

Other  committee  chairmen  include  Seating,  Mrs. 
Gerald  Barsky,  Mrs.  Felix  Green,  Mrs.  Erwin  Korn- 
wise  and  Mrs.  Leo  Weiner;  Publicity,  Mrs.  Baer  Kei- 
dan;  Souvenir  Book,  Mrs.  Leonard  Baron,  Mrs.  Morris 
Baron;  Luncheon  Arrangements,  Mrs.  Abe  Katzman, 
Mrs.  Meyer  Shugerman,  Mrs.  Aaron  Friedman;  Hos- 
tesses,  Mrs.   Harold  Berry,  Mrs.   Harvey  Snider. 

Attention!  Porents  of  U.  of  M.  Students 

Our  Annual  Ann  Arbor  Reunion  will  take  place  on 
March  29th.  We  urge  all  parents  of  University  of 
Michigan  students,  to  send  us  their  nomes  and  ad- 
dresses,  so  that  we  can  extend  to  them  an  invita- 
tion. 


SEND  YOUR  RESERVATIONS  IN  FOR  - 
Young  Married  League's 

"PURIM  MASQUE  BAL" 

Saturday  Evening,  March  17,  8:30  p.m. 

IN  THE  SYNAGOGUE  SOCIAL  HALL 

Music   under  the  direction   of   Dick  Stein   — 

will   highlight  a  festive  evening   of 

Cocktails  —  Doncing  —  Petite  Büffet 

Mail   your  check   for  $10   per  couple   to: 

Mr.  and  Mrs.  Mickey  Nemer,  19424  Robson, 

Detroit  35,  Mich.  -  BR.  3-5686 

Black  Tie  Optional 


Welcome  New  Members    D\S*an  D^^ri 

We  welcome  the  following  additional  new  mem- 
bers and  their  faimilies  into  the  Congregation.  We 
hope  they  will  become  o  port  of  our  Synagogue's 
life  and  fully  participote  with  us  in  our  activities 
and  endeavors: 

Mr.  and  Mrs.  Irving  Bensmon  ond  children,  Bren- 
da,  Michael  and  Carol. 

Mr.  ond  Mrs.  Herbert  Freedland  ond  daughter, 
Karen  Elise. 

Mr.  and  Mrs.  Jerome  Kelman  and  children,  Mark 
E.,  Jay   Robert  and  Michael    Lory. 

Dr.  and  Mrs.  David  Schwortz  and  son,  Michael 
Alon. 

Dr.  and  Mrs.  Murray  Shekter  and  daughter,  Jaan. 

Mrs.  Rose  Yackness. 


Synogogue  Directory 

Synagogue  Phone  —  TYler  8-2828 
Rabbi:   Dr.  Morris  Adler,   Res.  TOwnsend   8-2919 
Assistant   Rabbi:    Irwin    Groner,    Res.   WEbster    1-0456 
Hazzan:  Jacob  H.  Sonenklar,  Res.  TYler  6-8844 
Hazzan:   Reuven   Frankel,   Res.   TOwnsend  9-3747 
Executive   Director,   Howard   S.    Donzig,   LI.    1-8045 
Educational    Director:    Eli    Grad,    Res.    Diamond    1-4070 
Sexton:  Jacob   Epel,   Res.   TOwnsend   8-2513 
Youth   Director:   Leonard   Boruch,  Res.   UN.  4-7629 
President   —    Abraham    Satovsky 
Vice-President  —   David  M.  Miro 
Treasurer  —   Louis  Berry 
Secretary   —   Samuel   C.   Kovan 


Recorder  of  Congregafion  Shaarey  Zedek 


Sisferhood  "Kitchen  Aid"  Luncheon 
Wednesday,  March  14th 


Page  Three 


Planning  for  Sisterhood's  Kitchen  Aid  Luncheon,  to 
be  held  in  the  Social  Hall  on  Wednesday,  March  14, 
at  12:00  Noon,  has  shifted  into  high  gear  as  the 
date  for  this  truly  magnificent  event  draws  near. 
Under  the  direction  of  Vice-President  Mrs.  Julius 
Meskin  and  Luncheon  Chairman  Mrs.  Maurice  Schil- 
ler, all  committees  are  completing  elaborate  pre- 
parations  for  what  promises  to  be  the  most  beauti- 
ful,  the  most  colorful,  and  certainly  the  most  in- 
tertaining  luncheon  ever  before  glven  by  Sisterhood. 

Outstanding  as  the  feature  attraction  of  the  after- 
noon  will  be  Miss  Anne  Wilson,  American  ballerina 
and  choreographer,  who  will  present  "The  Ballet 
Story",  a  Visual  history  of  ballet  and  the  dance 
from  the  sixteenth  Century  to  the  present  day.  Miss 
Wilson  presents  a  series  of  vignettes  in  costume,  il- 
lustrating  the  history  of  ballet  and  the  dance,  which 
she  describes  simply  to  the  audience.  Her  technique, 
grace,  and  charm  have  endeared  her  to  audiences 
throughout  the  country  and  have  earned  for  her 
"rave"  reviews.  Her  appearance  on  this  occasion 
will  be  a  delightful  and  memorable  experience  for 
the  Luncheon  guests. 

Rabbi  Morris  Adler  will  greet  the  group  and  other 
participants  in  the  afternoon's  fcstiviies  include  both 
Mrs.  Morris  Adler  and  Mrs.  Irwin  Groner. 

The  Kitchen  Aid  Luncheon  theme  is  also  the  basis 
of  a  most  novel  and  striking  decor  being  executed 
by  Decoration  Chairmen,  Mrs.  A.  C.  Hamburger, 
Mrs.  Alfred  Rosen  and  Mrs.  Abe  Satovsky  and  their 
committees.  An  entirely  new  setting  has  been  plan- 
ned  for  this  year's  affair,  and  no  Sisterhood  mem- 
ber  will  want  to  miss  this  most  exciting  and  stimu- 
lating   afternoon. 

With  ticket  saJes  to  be  limtied  to  four  hundred, 
Ticket  Chairmen  Mrs.  Hyman  Safran  and  Mrs.  Ben 
Mossman  expect  a  complete  sell-out,  as  has  been 
the  case  in  previous  years,  and  urge  all  members 
to  purchase  their  tickets  immediately. 

Other  committee  chairmen  include  Seating,  Mrs. 
Gerald  Barsky,  Mrs.  Felix  Green,  Mrs.  Erwin  Korn- 
wise  and  Mrs.  Leo  Weiner;  Publicity,  Mrs.  Baer  Kei- 
dan;  Souvenir  Book,  Mrs.  Leonard  Baron,  Mrs.  Morris 
Baron;  Luncheon  Arrangements,  Mrs.  Abe  Katzman, 
Mrs.  Meyer  Shugerman,  Mrs.  Aaron  Friedman;  Hos- 
tesses,  Mrs.   Harold  Berry,  Mrs.   Harvey  Snider. 

Attention!  Porents  of  U.  of  M.  Students 

Our  Annual  Ann  Arbor  Reunion  will  take  place  on 
March  29th.  We  urge  all  parents  of  University  of 
Michigan  students,  to  send  us  their  names  and  ad- 
dresses,  so  that  we  can  extend  to  them  an  invita- 
tion. 


DON'T  MISS  THIS  GALA,  EXCITING  EVENT! 

SISTERHOOD 
KITCHEN  AID  LUNCHEON 

Wednesday,  March  14,  12  noon 

CALL  FOR  YOUR  TICKETS  TODAY! 

Mrs.  Maurice  Schiller  —  Lincoln  7-0092 

Mrs.   Hyman   Safran   —  Townsend   5-8224 

Mrs,   Ben  Mossman  —  University  4-0273 

LtMITED  NUMBER  OF  TICKETS  AVAILABLE  -] 


Shaarey  Zedek  Day  Camp  Will  Hold 
Reunion  on  Sunday,  March  18th 

Summer  fun  will  prevail  at  our  Branch  Building  on 
Sunday  afternoon,  March  18th  no  matter  what  the 
temperature  outside.  On  that  afternoon  our  day 
Campers  will  relive  some  of  the  enjoyable  experi- 
ences  of  last  summer's  camping  season  and  get  a 
glimpse  at  the  exciting  plans  in  störe  for  the  forth- 
coming  summer. 

Mr.  Samuel  Milan,  Director  of  our  Day  Camp,  on- 
nounced  that  the  reunion  will  begin  at  2:30  P.M.  and 
end  ot  4:00  P.M.  Mr.  Milan  has  extended  a  cordial 
irvitation  to  all  of  last  year's  campers,  their  friends 
and  prospective  campers  to  join  in  the  reunion.  De- 
tails of  the  outstanding  program  planned  for  the 
reunion  will  follow  in  next  week's  Recorder. 

Mrs.  Harold  Noveck,  Co-Chairman  of  the  Camp- 
ing Committee,  reports  excellent  progress  in  the  plan- 
ning of  new  programs  and  activities  for  the  Coming 
Camping  season  and  in  the  selection  of  a  mature, 
experienced  and  highly  qualified  counselling  staff. 
Proirity  is,  naturally,  given  to  members  of  our  Con- 
gregational  family  in  the  selection  of  staff. 

Our  Day  Camp  accommodates  children  from  the 
age  of  5  to  11.  Members  and  friends  interested  in 
providing  their  dhildren  with  an  outstanding  Dey 
Camp  experience  are  earnestly  urged  and  cordially 
invited  to  bring  their  children  to  the  Day  Camp  re- 
union on  Sunday  afternoon,  March  ISth,  at  which 
time  ample  opportunity  will  be  provided  to  meet 
many  members  of  our  Day  Camp  staff  and  to  ob- 
tain  further  information  about  our  Camp  program. 


Worth  Pondering 

"Synagogues  are  supported  by  dues.  In  most 
synagogues  the  dues  are  graduated  in  size  accord- 
ing  to  the  desire  and  the  ability  of  the  member  to 
give.  Yet  there  is  one  important  way  in  which  we 
are  all  alike.  The  duty  to  be  present  at  the 
Service  is  uniquely  democratic.  The  richest  cannot 
bring  more  than  himself  nor  the  poorest  less.  Our 
presence  is  our  'sacred  silver  coin'  with  which  gift, 
we  are  all  equal.  If  we  did  this  equal  duty  of  atten- 
dance,  the  impact  of  our  religion  would  be  grand, 
and  powerfui  in  every  department  of  our  life." 

—  Rabbi  Solomon  ß.  Freehof 

Moies  Chetim  Appeal 

One  of  the  finest  and  most  meaningfui  aspects 
of  the  Passover  season  is  the  remembrance  of  those 
in  need.  Every  year  our  Community  has  been  gen- 
erous  in  contributing  to  the  Moies  Chetim  Organi- 
zation of  Detroit/  whose  function  is  to  provide  the 
necessary  food  for  those  in  need  for  properly  ob- 
serving   the    Passover   Holiday. 

With  the  approach  of  the  Holiday  (the  First  Seder 
is  Wednesday,  April  18th),  the  thoughtfulness  and 
generosity  of  this  Congregation  will  help  to  increase 
the  grants  this  yeor. 

All  contributions  should  be  sent  to  Mr.  Harry  Shul- 
man,  President,  Moies  Chetim  Organization  of  De- 
troit, Inc.,  2641  Woodstock  Drive,  Detroit  3,  Michi- 
gan. (This  contribution   is  tax  deductible). 

Coming  B'nai  Mitzvah 

March  17,  1962  -  JEFFREY,  son  of  Mr.  and 
Mrs.  William   Hoffman. 

March  24,  1962  -  MARTIN  JAY,  son  of  Mr.  and 
Mrs.  David  Mattes. 

March  31,  1962  -  DON  JOEL,  son  of  Mr.  and 
Mrs.    Irwin    Green. 

April  7,  1962  -  MICHAEL  ALAN,  son  of  Dr.  and 
Mrs.  Marcus  Sugarman. 

April  7,  1962  -  JEROLD  M.  LEVINE,  son  of 
Mrs.  Joshua  Horwitz. 


In  Memoriam 

Congregation  Shaarey  Zedek  extends  heartfelt 
sympathy  to  the  family  of: 

NATHAN  KAYE,  father  of  Mrs.  Louis  (Jeanne) 
Freedman. 

May  the  God  of  Mercy  sustain  and  strengthen 
them  in  their  sorrow. 


Page  Four 


Recorder  of  Congregafion  Shaarey  Zedek 


Calendar  of  Congregational  Events 

Saturday,  March  lOth  —  Junior  Con- 
gregation  Cultural  Luncheon  —  Social  Hall 

—  12:30  p.m. 

Sunday,  March  llth  —  LT, F.  Meeting 
Branch  Building  —  2:30  p.m. 

Wednesday,  March  14th  —  Sisterhcod 
"Kitchen-Aid"  Luncheon  —  Social  Hall — 
12.30  p.m. 

Saturday,  March  17th  —  Young  AAarried  League 
"Purim  Masque  Bai"  —  Social  Hall  —  8:30  p.m. 

Sunday,  March  18th  —  Day  Camp  Reunion  — 
Branch  Building  —  2:30    -    4  p.m. 

Monday,  March   19th  —  Fast  of  Esther. 

Tuesday,  March  20th  —  Feast  of  Purim. 

Wednesday/  March  21  st  —  Shushan  Purim. 

Wednesday,  Mardh  21  st  —  Men's  Cub  Program 

-  Social  Hall  -  8:30  p.m. 


Tuesday  and  Wednesday, 
March  27th  and  28th  —  "The  Story  of 
Shaarey   Zedek"   —  Jewish   Community 
Center  —  8:30  p.m.  —  Tickets  $1.50 


SCHEDULE  OF  DAILY  SERVICES 

Week  of  March   ll^h  —  March   15th 

Sunday     8:30  a.m. 

Monday    and   Thursday    7:30  a.m. 

Tuesday,  Wednesday  and  Friday  „_  7:45  a.m. 

Daily  Mincha 6:15  p.m. 

Maariv 6:30  p.m. 

Saturday  afternoon  Mincha 6:00  p.m. 

Kindle  your  Sabbath  lights  no  later  than  6:16  p.m 


Todah    Rabah   —  r\21  mm 

PULPIT  FUND  —  In  Memory  of  MISS  BARBARA  MARKS,  sister 
of  Mrs.  Joseph  Warren,  by  Mr.  and  Mrs.  Irving  Rollinger.  In 
honor  of  Wedding  Anniversary  and  new  home  of  MR.  and 
MRS.    IRVING    FELDMAN,   by   Mr.    and    Mrs.    Irving    Rollinger. 

HERSHMAN  LIBRARY  FUND  -  In  Memory  of  MRS.  BELLA 
GARFINKEL,    by    Sarah    R.    Wilner. 

BRAILLE  FUND  —  In  Memory  of  OSCAR  GOSSMAN,  by  Mr. 
and  Mrs.  Sol  King;  MRS.  BOBROF,  by  Mr.  and  Mrs.  Irving 
Miller;  ABRAHAM  C.  TIGAY,  by  Mr.  and  Mrs.  Joseph  Snider; 
Marking  Yahrzeit  of  beloved  Father,  LOUIS  GOLDBERG,  by 
children    Bessie    and    Herman    Cohen. 

TORAH  FUND  -  In  Memory  of  BELLA  GARFINKEL,  by  Mr. 
and  Mrs.  Walter  Field;  RUDOLPH  GOLDMAN,  by  Mr.  and 
Joseph  Barenholtz;  SIDNEY  BARSON,  by  Dr.  and  Mrs.  Davis 
Benson,  Mr.  and  Mrs.  Tobias  Füller;  Marking  Yahr- 
zeit of  Mother,  GERTRUDE  BORIN,  by  Mr.  and  Mrs.  Joseph 
Deutch;  In  honor  of  Bar  Mitzvah  of  EDWARD  KEIDAN,  by  Mr. 
and  Mrs.  Milton  Prag;  Recovery  of  daughter,  GAIL  HOPE,  by 
Mr.  and  Mrs.  Joseph  Honeyman;  75th  Birthday  of  HYMAN 
KEIDAN,  by  Mr.  and  Mrs.  Eli  Benstein;  Speedy  recovery  to 
ESTHER  BERRY,  by  Mr.  and  Mrs.  Eli  Benstein;  Contribution  by 
Mrs.    David    Bernstein. 


>^ 


Yahrzeit  — •l!^^^:^-« 


The  following  v/hose  Yahrzeit  v/ill  be  observed  from  March 
lOth  thru  March  16th,  will  be  read  at  the  Services  on  March 
lOth. 

Nathan  Berger,  Jacob  ßoxman,  Harris  N.  Brodie,  Bessie 
Carlstein,  Anna  Chiniiz,  Abraham  Cohen,  Moiton  Cohen, 
Joseph  Davidson,  John  H.  Davis,  Charles  Dunitz,  Abraham 
Falk,  Samuel  Fishman,  Abraham  Frankel,  Jacob  Freemas,  Anne 
Golden,  Jacob  Golomb,  Sarah  Sifra  Hamburger,  Aaron  Jack- 
son, Eve  Kanat,  Henry  Katz,  Shirley  Krim,  Moses  Henry  Lam- 
port, Rabbi  Samuel  Zelman  Landau,  Sam  Leff,  Abraham  Ler- 
ner,Anna  Levine,  Ben  Zion  Levine,  David  Levy,  Ivi  Linden- 
baum, Zoodick  Milinsky,  Rachel  Mona  Modell,  Robert  Morrison, 
Martha  Orley,  Anna  Perlmuter,  Edward  J.  Rismann,  Max  Ro- 
senzv/eig,  Jacob  Sarasohn,  Minnie  Schechter,  Simon  Schiff, 
Henry  Schubiner,  Joseph  Schweitzer,  Louis  J.  Seil,  Bessie 
Luckoff  Shriro,  Mary  Shuman,  Morris  Silverman,  Joan  S.  Simon, 
Max  Snider,  Samuel  Steinman,  Mordecai  Stall,  Samuel  Stone, 
Jacob  Wechsler,  Toby  Weinstein,  Aaron  Weiss,  Moses  P. 
Winkelman. 

"May  the  Memory  of  the  Righteous  Endure  os  a  Benediction." 


SHAAREY    ZEDEK    RECORDER 

2900    W     Chicago    Boulevard 
Detroit    6,    Michigan 


Second  Class  t^aii  Privileges 
Aufhorized  at  Deiroif,  Michiga 


PUßUSHED  WEEKLY 


April  6,  196: 


Rabbi  Bernard  Segal,  Executive  Director 

United  Synagogue  of  America 

3080  Broadway 

New  Yorl:  27,  New  York 

Dear  Rabbi  Segal:  

I  thought  you  raight  be  in'feeVested  in  an 
unforget table  experience  cur  Congregation  was  pri- 
rileged  to  have  on  TReaday-  and  Vednesöiiy  evening, 
Maroh  27th  and  28tb  Vhen  ^Tie  Shaarey  Zedek  Story" 
wrltten  for  ua  by  m.   Jerotoa  H.  Bayer  was  presented 
to  an  overflow  capacity  audience. 

I  am  certa^^ikat  of  the  many  major  events 
presented  i«  cmmectlgn  with  our  Centennlal  year» s 
celebratiOÄS,  tb«  Performance  of  »The  Shaarey  Zedek 
Story"  bWa  proven  tbe  moat  memorable  one.   I  am  en- 
cloaing  a  oopy  of  tUe  current  issue  of  our  Synagogue 
Recorder  in  whlch  i^ibbi  Morria  Adler  reviewed  the 
ßcript  und  Performance  far  better  than  I  can  poaaibly 
liope  to  do« 


Vith  klndeet  personal  regardfl,  I  am 


Sincerely» 


EG:HH 
Enc. 


Eli  Grad 
Educational  Director 


Dr.  Morris  Adler,  Rabbi 
Irwin   Grdner,   ass't   Rabbi 


L^onai^eaation     ^h 


aare 


^ 


^edeh 


TYLER  B-2B2B         (SCHDDL  DFFICE:    B94-26D6) 

CHICAGO    BLVD.    AT    LAWTDN    -  -    DETROIT   6,    MICHIGAN 

BRANCH     SCHDQL:     W.     SEVEN     MILE    AT    LESURE      -    -      DIAMOND     1-4411 


JACDB    H.    Sdnenklar 
CANTDR 

Reuven  Frankel 
asbdciate  cantdr 


DFFICERS 

ABRAHAM     SATDVSKY.     PRESIDENT 
DAVID     M.      MIRO.     VICE  -  PRESIDENT 
LOUIS     BERRY,     TreabureR 
SAMUEL     C.     KOVAN,     BECRETARY 


\21^  ■'"\D113  ■''2  \V<T\^ 


April    6,    1962 


BDARD    DF    TRUSTEES 

CHARLES     AQREE 
DR.     ALBERT     J.     ALTMAN 
DR.     HARRY     BALBERDR 
MRS.     DAVIS     BENSON 
MANDELL     L,     BERMAN 
BERSDN     B.     BERNSTEIN 
ABRAHAM     BORMAN 
WALTER     L.     FIELD 
EDWARD     FLEISCHMAN 
JOSEPH     QENDELMAN 
IRWIN     GREEN 
I.     MURRAY     JACOBS 
MORRIS     KARBAL 
ABE     KATZMAN 
HY    A.     KEIDAN 
DR.     SAMUEL     »CROHN 
LOUIS     H.     LUCKOFF 
GEORGE     C.     PARZEN 
MAURICE     S.    SCHILLER 
ROBERT     STEINBERG 
HARVEY    L.     WEISBER3 

PABT    PRESIDENTS 

LOUIS     BERRY 

MORRIS     H.     BLUMBERQ 

HARRY     COHEN 

ROBERT    MARWIL 

HON       CHARLES     RUBINER 

HYMAN     SAFRAN 

HARRY     M.     SHULMAN 

DR.     LEONARD     SIDLDW 

ABRAHAM     5RERE 

MAURICE     H.     ZACKHEIM 

EXECUTIVE     DIRECTDR 
HOWARD  S.    DANZIG 

EDUCATIDN 

ELI  GRAD,  DIRECTOR 

JACOB  EPEL,  SEXTON 

LEONARD  BARUCH,  Youth  DircctOR 


Con^re^otuin  ^Iraartjj  JUhik 


Mr.  Jerome  H.  Bayer 
739  ¥.  186th  Street 
New  York  33,  New  York 

Dear  Mr.  Bayer: 

Thank  you  very,  very  much  for  your  kind 
words  of  April  2nd  -  I  am  enclosing  a  copy  of  a 
note  I  am  mailing  this  morning  to  Rabbi  Bernard 
Segal,  together  with  a  copy  of  a  current  issue  of 
our  Synagogue  Recorder.    I  thought  you'd  be  in- 
terested  in  Rabbi  Adler» s  review  which,  in  my  esti- 
matCj,  represents  rather  faithfully  the  reaction  of 
all  who  attended  the  Performances.   You  have  every 
reason  to  be  very,  very  proud  of  your  contribution. 

As  for  your  question,  no  scenes  were  actu- 
ally  cut  although  there  was  some  recasting  with  sev- 
erai  transitions  (including  the  interludes  providing 
the  philosophy  of  the  piece  and  the  scene  regarding 
the  six  million  fallen)  provided  by  the  narrator 
rather  than  in  actual  scenes. 

Dr.  Krohn  had,  indeed,  received  your  let- 
ter  in  time  for  the  Performance  and  your  warm  gesture 
was  very  much  appreciated  by  everyone  concerned. 

I  hope  that  your  living  theatre  project 
is  progressing  satisfactorily.   It  is  certainly  a 
marvelous  idea  which  merits  all  possible  Cooperation. 

With  kindest  personal  regards,  lam 

Sincerely, 


i;g:hh 

Ilnc. 


Eli  Grad 
Educational  Director 


^fhuaUd  witli   tke    United  J^^nafo^ue   of  ^t 


menca 


T 


Kjr,  q^ffyi  C,f  ^m:S30U3II:^3 


«  chroniol«  far  tiis  otago 


by  - 


j2soii..  B^vr^i 


of  the  f  oundina  o^ 


Detroit 
1961 


I 


3Ua3.J32;Q^f§  1^  ,I^0DUa2ZQIT 


Thls  pleoe  Is  so  daslsnod  as  to  instiro  siaooblmossi 
oontlnoity  oncl  ov©rall  ofrootlvoness  \d.tii  tho  almp- 
last  of  raoilltlos« 


In  tho  ßlvau  cireii^isitaiioös  iio  uso  of  soonory  Is  oon- 
toiaplated» 


lliimeroua  dovicoa  hav©  b^eii  oriployod  to  reduoo  tiiö 
niir^ibor  of  oliaracters  roquirad  to  unfold  tho  oent- 
ury-l03aG  story  ox  thö  ooi-igregatloa«     Thö  nuiabor  of 
aotoim  to  bo  used  luay  bo  groatly  roduced  by  varlous 
moans;  « 

(1)  In  ^lany  inatancos  ono  aotor  may  play  as 
laawy  as  wiiro©  oharaotorSf  with  ohangos  Ixi  period  coa- 
tmio  oiid  roako-up  i^or  dixforontlatlon, 

(2)  ilany  non-3poaivir¥^  pex»3ona^©3  included 
for  ojCfact    (o.g.  tweuty  in  tixo  1/2^  dodioation  scono) 
oaut  11'  noco&sapy>  bo  elii-ilxiatod. 

(3)  orrsta^o  voicos  oaii  bo  rooordod, 

Goupotont  baci:sta^,6  holp  isJLinporatlve  to  handle  the 
aizablo  iiuubörs  oi  porsons   to  bo  involvod^   to  Insupo 
qulcic  costuno  aiid  uÄlio-up  olmn^;es,   oto» 

In  tho  oascö  o£  Crox^i-ian-Jowiah  anc   Jast-  Tupopoan  Jov^'ish 
cloaractora,   attoupt  should  b©  raado  to  roaiiao  syapath- 
otioally  tlio  distinocl/u  Tlavor  of  thoii»  apooch,   throu^h 
quality  of  infleotion  and  cortaln  mlnirol  su^ostions 
of  dlatortion  in  apoooh  soxmds,  wlthout  ovor  allowinß 
tbßia  üo  d^conorato  iiito    'dialoci;  "   vviiich  iiay  üö  offen- 
sive. 


liusic  and  3ound  Effoctai.    ^ 

It  Is  peooriBuondcd  that/^offstaco  lausio  and  aoiind 
offoots  bo  rocordod  oxi  tapo  axid  tlmt  a  i^eally  ooau- 

fetont  and  rosponsiblo  ^)or3on  be  in  oliai*ce  of  rocor- 
ation  and  uso  of  ^^apo  alTToHoaraala  and  porfopi^ianoos. 
lloöb  pooplo   wViO  ovm  tai>o  ixjcoi^dors  ostoou  tlio;.iaelv03 
^'öxporta**.      nio/  oan  bo  a  prodiGal  wastc   of  tiiio  and 
oxiergy.     Vi/hat  is  worso^  thoy  can  ruin  a  ahow. 

A  ooiuj>otont  niuaioiaii  wlio  la  at  horie  In  Jö«l«h  lit\ir- 
l^ioal  imalo  and  also  soriev/hat  faniliar  with  .toorloan 
poriod  itiuaio  ahould  bo  rocruitod  to  aoloot  and  arrango 
tliO  raualc  and  to  3:H:)hoar3o  it# 


\ 


1* 


3' 


otmd  orfeofcs  siiolx  aa  tho  noiaoa  of  arowds^  war^ 
oto»  are  reoordod  oa  i^ocorda  avollablo  at  tlio  pub- 
lic llbrary  mid  at  3Ceiq  radlo  statlona* 


Colorfulnßsa  Xu  ooatinüöß  ia  eap^oially  ii.4>orfcant 
lu  vlöw  or  th0  nim-^uaa  of  &0exmv7m     nlty^Wf  an  aofcor 

l3  to  play  ttro  or  moro  part«  oovsrlrtg  Alff aront 
porlod»,  0a»e  aad  rapldlty  of  olmiigo  xixa&t  ho  taköa 
Into  considuratlon  in  cliooslx^c  the  ooatumos. 


HoquiTCd  efractö  are  all  nlraplc  to  obtaln*     A  aimll 
pox^tatolo  diBTil:^  boai'd  aliould  bc  torrowod  al05ig  vdth 
a  nunbor  of  «pots«     Light  OU00  will  he  nm^voxm  but 
rerj  slisplo  to     carry  out# 


? 


>»s 


1. 


(oirr  OF  T'm  miEBi^s  goms  30uiid3  qf  a  'rRiiiPi:;^,  iiiaii 
my  GEALLLmaim,  smo^^Tim  Tm  iibalizatiok  of  ä 


14^.  .  •»*"  -  -M...  -.4- v»--?».^--4«^.f «»»««« ^iw> »»»i       iif         '■ i,i.i.-.iiwi.r     |i.iii^..  ■'».■!    .ii.l|iMiii. <m ■■.!■■■ f~p..,...i.. ^      ..ii.„.ii... ■ I'l 

imiir-  il-ui  :r-      '''■■ ^ ■-   ,.....«.„  .A»^^..-i.m.  ■■■«.»»..»i-ii' i..w»j.f.«.>-.w.-.^.»~».»..<—^i^j4~-— -«—'"■•"— ~'-^"f*""'* '■'"  '"* ^ 


V, 
i 


w'-f^-  ^m*A*<tmmm\m 


\ 


OVSRLAl^PB»  SIE  PIHilL  li'^LD  IICW?.^  OF  THE  THUMPai',  A  ROLL 
OH  OTiHVAni  37A:H?3,  TII-J^I  A^AXIIS?  TIIC  OOHTFinrnTa  ROLL  I 
IIEAHT)  All  0I??3Si\SH  LIALJ  7ÜlCiJ  Si^^AIIIIia  m^:MIU£l) 


C 

O 


^'Opeii  to  lae  the  gatos  of  righteoiianosal 
tiiöia  and  civo  tliar-ks  \mto  tlio  LordT* 


I  will  ontor 


r^   IlflK)  EXÜLJAin?  SIxiailia  OF  TItJ  SKC- 


f^ir 


(A  PULL  CHOiiUa  DÜH3_ 

diro  ILVLP  OP  P3ALM  llö,   B'-GEJimiG  V/ITn  TII^  WOaOS   "i'I3- 
CHOO-LE!  SM-A-iTiÄ'  TSSDi^ä-U"     A3  Tm  SlilGIlJa  3Ti\na?3,   PilD:-> 
IH  OP  LKJHT  OH  STAHiS  lil  PSOUT  OP  'i^ILi  3T.\a.J-^Ti::iiaiOII 
K^  ja£.  TIIE  HAimATOH,   DAVID,   All  Ail^aiC.lU-BOIG  JIJ.'/  OP 
3O,   SEATIJD  OK  TIEi  S'x'AI.lJ,      IL.  13  HOLDDÄJ  A  lAXiiA  BOOK 

Aim  13  Lisriani»  driiahiljc  to  Titi  mxjsic,    sjai-jd  a2  ms 
DJPT,  iaii'?2nja,  is  iiis  -.vip.:.,  tütii,  about  32.    mid  to 

ira  L^'PT,    i'LAx-llfö  ;;IT:-I  A  TOY,   13  'filSIii  Ö  T-i^U  ÜLD  DAÜGflä- 
Tiüi  JirOY.     A3  fEd  OIIOHAL  SIIKJrJG  PADIiS  ?0  ..  :13L:,   HUTII 
rjRIJ3  to  PACB  T;E  HAaii\i'OH  iU©,   oLlILIlK},   S-?J.iK3  rü  IHil:) 

RUTH 
A  dlno  for  yotir  dreaa»  Davol 

H/iJjR/lTOl! 
H»iBa?      (TIEN  SUAPPIlia  OUT  OP  1113  aSVERY)     Oh~  Oh, 
I  uh  —  I  was  juat  tMnklns  «-   (nroiOATEia  1113  BOOK 
HB  13  HOLDIHC})     about  th©  book.     Just  fialshod  roadlng 
lt. 

JUDY 
(LOOimai  UP  PROH  IJSH  TOY)     A  story-boolc,  daddy? 


R 


HAiüi^vron 

U'rBita,  yo  -  es.  In  a  aonao,     But  a  triie  atory.     A  graat 
Jevdah  sfcory,  -  a  groat  ^toörioan  atory,  -  and  really  - 
otxr  stolry  too. 


y 


2. 


\ 


JüDC 


ijT 


Q^ara??    Xott  a^an  nt  »rQ  Ja  *►*? 

IhsA^u  rights     Ana  It  goas  back  a  oantiiry  •  a  «ßiolo 

llonr  Xosr^  Is  tämt? 

Öcfcö  hi;ac«3r0ä  yeara«     36,500  daya» 

do»li,  -  but  yafu^3?o  ö0fc  t?iat  old,  ara  ymi,  dadiüyi 

HAHtTlTOa 
Stet  quit«!  Juily,  »©•     IHit  In  thla  atory  tiaar©  apa 
5  gomimfeloM  af  otflf  fa^ly«    You  aoa,  it«a  tl3ö  Ma« 
toa?y  of  OUT  ay^iagOßiJ^» 


Oh  •*•  3haaa?oy  3adak# 


JÜDST 


Bavo  you  loamt  yat  tsimt  that  iiai^io  aoana? 


'ZbatU  rlsht« 


S4!!EüP03 


HÜTH 


And  ncwr,  Jutty#  2SEi  ^  3rfLg!it  HP  and  gat  x^ady  for  badi 


a?all  laa,  daddy« 


I  wanua  li^ar  tha  atory« 


HARHATOH 
Hot  nowi  **ar#     ycru  haard  laothax»*     0<x»  and  klaa  ua 
ßood-ölghtt  aad  than  risßxt  \ipatalra  Üka  a  good  glrl* 


But  I  ^1 


JTOJf 


ROTH 


^ 


Coma  alc»jg  now,  Judy.     Bo  arsiaanta« 


1 


\ 


Oh  —  O.K.   {I3??3IKJ  El"«!, )     3ood-nlght,  daady. 

NA.1RAT0H 

■  1 1     Iä 

(Kisaim  nun)    cJood-aiaJitt  motlt^rt 

FJJSB 
öood-nlglit,  doar» 

(JÜITi  STAATS  SKTHim,  TllM  STOPS  AND  TT«»  TO  «fS  ROTH) 

Can  I  hmro  a  eoolclo  ürst? 


Alrlslit 


D^Et 


ROTH 
I^t  juat  0000  jaliid  yout 


ROTH 


ttD^  don't  fomtt  to  brush  you:^  toothl 


(EXITllO)     I  wMi't* 


jur^ 


HAHRATOR 

(LOOimö  AI*  JtilJy  A3  si^  L:JA?:r:}  -ono  ^.ay  nhßni  know, 
cmr  UttXo  Jivly,  hm  muoh  thls  (IHDICAi'Iir>  -Ollu  BOOi:  lli 
13  IIOLDIIK})     rOÄlly  ic  bor  «tory  too, 

•  '  mmi 

It  Is  Ä  wonrterful  rooo?»d,  IsnH  It?     I  Unialiod  roadix^ 
It  y5ot02*day#     Juat  tliiakt  Dava :  •  througji  all  that 
oenteury  «•  losig  prooaaaion^  o£  mxrn  and  aoonoinlo  orlaes 
and  aooial  uplioavala  and  aclentUla  advoncoa  and  all 
tbo  lUKjborloaa  othar  fcoHios  of  laajor  oiiax^sOf  that  grand 
old  ahal  of  oxxn  hm  otood  faat  and  Hi^a  aa  a  bastion 
of  Uvlx^  JxidalcBTif  ^  raalstlnö  all  tl>.o  liu»oo  of  thoao 
gontool  airona  of  ailutliail 

HARHA'fOli 
(aOLIlK»)  You  know,  darllrief  v^ion  you  talk  aboiit  Shaaray 
/lOdek.  you  \vax  absolute ly  pootic,     But  lt»a  fcruo  - 
what  you  aay.     It  has  atood  fast  ar^  fina^     Ana  yot, 
xiavar  axiaou^ibixig  to  starjiiation  olthar» 


If» 


\ 


l 


RTJfTH 
«mt»s  iä»  ^5olnt|  '"^at  ÖO03  It  roally  nftOJi  to  oon-* 
cervo,  -  to  rialatalt:^  a  traditlon?     la  It  to  iTusaai- 
tt  is^mt'a  haiidoct  down  fco  iis?     ro  Impd^n  it  Into  a 
fossil?     Hol     It  i^Wixn  to  k0öp  fcl:^  trailtion  alivo 
witliin  US  and  x'^opond  v^ololioarfcodly  to  it«     And 
tbÄfc  JMana  it««  bound  to  bo  ©xpoaod  to  wimt  wo  aro 
«8  parfc  of  th0  nodom  ti^orld:  to  ba  s'irox^t.lionod 
mwm  and  iVeahly-eoloirocl  by  tlja  f^roos  of  liucian 
P2;»or,»oas  tlmt  ai^o  allvo  wltc-dn  xis* 

.ind  t^mt»3  ppoolscly  u^mt^o  !iapponod  in  «SÄaroy 
And  tiiat^a  wliy  tlils  lilofcoa^äi  ia  sueU  a  xnaOTlfloont 
ohzH^iiolo  of  growth*     k  giwAli  not  jußt  in  ai^o  but 
In  aubstonoo* 

(A  ^'^ISfAHT  CA!TTOniAL  CIL;:!?  13  h::a2D  FIIOI.:  oppaT^:.:, 
A3  Tir::  PA!>">'n!  CP  A  SPOT  !?:WSALS  TIT^  CCL3^IKfin?AT0H3 

(2  aiHLs  ATi;i:i:3)  iü  PtAlH  HOD^s  CP  niar^  oolllji:  11- 
TAHY  aoLOR3)  OT.ümi.i'i  5:>i^^DY-3iD..  AX  TiK  a:::iir:^i 

aiiAin?t  \7i?ii  ASC0M]^\iiTn^3  ariAi^mc  isoy..^  :^rp3  appho* 

OIHL  I 

T!ie  oponii\3^  «► 

rddoly  ond  ovor  noro  v/idoly^ 

or  tli0  c^^öa, 

that  novo  miä  ovoz'  noro 

naj^  ontop^  « 

to  IcnotT  t!i0  ciiilöIrontnE 

and  tha  warath 

of  tho  !n.Q^M  o^d^Irli>g 

that  lö  ?ora''i« 

aiHL  U 

o;>onirc#  • 
iridcly  ood  o^^-or  r,o:c^  T/ldnly, 

of  tho  gat00, 

tliat  tl)0  pays  of  hallowod  lirjlit 

fi*au  wltlaln 

iMy  roao'i  outuai^d 

farthor  ytt  and  farfchor, 

to  lllwil:^io  tlio  Ufo  of  tho  landt» 

The  oponlng,  - 

v/idoly  and  ovcr  ::opo  ;7i(!oly, 

of  tho  :;;r*tes^ 

that  ft^aJimaas  In  wiadom^i 

»VW  beauty  and  uao 

aEMQT  0nter^ 


\ 


QTRL  I   (ocmt*d#) 
fco  nourlah  tradttion 
miäg  in  twpn^ 

üj  tim  SIMM  Qt  i'orah 

iftkAfc  bO':;au  aa  a  sanotma 

la  DeaojK^  at  last 
a  wMy  o£  111*0  9 
3*1  oh  and  rour^if^^ 

OLiL  I 

^Ith  fulli^fta  aöd  \mlty  OJf  bdins^ 
witliiii  tbö  larnoi»  patt;oi»n 
of  tiiäö  larid* 


<k^ 


,     PAD...-OI/r  OF  CAirrClIAL  CxüL'?,) 


BAIülA^Oa 
T«a  d«oado«  »f  sjwrth     (?üIiJi'EKJ  TO  TTir;  BOOK) 
reoordod  hör«,     AikI  with  wimt  a  llttlo  haiidful  It 
all  stasrbedl 

A  hA2idful|  y^^«    amlk  titQj  l^^lQi^od  tu  CAir  aiioiont 
U3;»0adl  ^  xx)iia^L\^m*B  af  roi'oa^  b^ariiiiß  in  tlmlr  hoai*fca 
fclio  pjK>photio  wurcl,  onc!  on  cliolr  üim  tlxo  lyrio  of 
tli0  psaliAlat»     So,  a  plao©  tib^y  nuat  havo,  Toi»  p3Pay- 
•x^ful  1^1041  bix^  as  J0wa  • 

A  hota^  -  b#  it  over  oo  tioisibla  •  for  thoir  Jorah  ••« 

(DoniEKJ  nir:  UiSr  2  >     ohbs,  Liarrr  ?ad;3  iit  io  low 

OH  niafSP  SID'.^  OP  &i}Mj  ^^^  M610U  AÜD  f  iAj  kIDDL^Aa::D 
a^UAH  JiMS  Oi»  lii6U  Mm^  FfiO;!  xaOlß?  AHD  a^Oi   AI* 

JOa  All!)  HOTH*     MHt   DIHiBAWl  Emm^  FlilS?,   POIXOWKD 

B3f  iE.   «ili::D.3T.7ALD^      Kl^^jy  AM  Böl?H  WHia^./-  l!^      ^^lOD 

AT  Pin  j. ) 

Häämmm 

In  alghtoon  sJUty^ona  it  waa  «m»-«  liMl^  a  fatoful  year 
Tor  o\ir  nationi 


6. 


\ 


m.  BIHKPAIJ!! 

but  If  jrou  dofi»t  laJnd  — <►  <>  so  IntfOnöely  ai*o  you 
3*0coll©otinc*  th©  imst^  that  JfroRa  naarly  a  i^^^iolo 
oontiiry  of  sXoop  you^vo  oa:iplataly  atsralconod  no« 
Look|  ay  friende,  b«  roeoonablo^     It'c  not  onoudb 
that  ire  llyo<!  all  thls  ono0#  ••  now  wo  nuat  P0-Ilv6 
It  all  over  agaln? 


I*iii  afx»ald  so^  y^o» 


H/jaPJUTOR 


.U#  ait  ai (TO  iCi.  i^aJD^o.kLD)     üü»v©  got  to 

Uvo  It  all  ovor  a^aln.     B»  laölsta* 


AI,  alf  all     itfii  thoso  ^>5aaapey  ::ad0l;  pooplö  -  a 
hxandred  yearn  later»  tboy»T?o  3t5.H  30  Intenso  sibout 


ruaß^iat  plaasia? 


MR,  BIIlüBAtBi 


Ipatoln*     Davl<5    paüaln* 

m.   DlilHP.AtflÄ 

Il'iraa^  David  3p3toln.     (i'HIllimo)     Tjjfc  xao  000  *►- 
yiio  llv3t  on  CoiTgrosd  x^ar  ott  Antoiiw? 


'rhat»ö  rl?:5htt  I  gudss 


KAiiiaToa 


1^«  BUiUDAÜIi 
M,  al,  all      (TO  Wlt  FRI-Tr>?*filWAt;^)     Oan     you  Inioslno? 
im»  Is    ipstoln^ö  graatt  si'aai;  tp;:*aadaa:ij| 

(äSTOXHXjJD)     Aber  aolnl 


Aber,  ya?it 


Do 


ttax'l 


!©♦  BriHBAUK 


t   MI8BSÜWALD 


^  wt.  TßrmBAm 

W  HAamflPöR)     A»d  to  thini:  t!mt  I  was  paroonally  at 
your  graatgrandf ath»r  •  0  olrotnclalonl 


7. 


I 


i 


aaur»e  witiiöub  a  a«i>ax'*d^I  riovoa*  »©a  lüHT"  .Uid  also, 

Hhat  Is  iB^partaat  1»  tlw  thmt     If  v^  i:K>w  mve  io 
llvu  ^ia  avöi»  a^4Üai,  I0  w  ^  a  "' at  lotißfcji  pleaao,  got 

It»s  oixLy  ei:!:Uta0a  aixtY#     TJ^js^iw  le  ötTH  no    .aaaroy 
i^adoH»     jtiüuti  iw^  ap0  nrÄix  all  üÄribars  or  t'-^  Ijetlial 
Sociöty« 

tWKaiLr)     talit  yah  •  uuü  In  Boiihöl  w^  naw  l^a/o  so 
®any  rofos^as  •  all  tli^ao  mtm  Idaaa  t"oy«ro  !>riri:ix3ß 

ovor  froLi  uox«uariy,  -  I  l»^3tl  you,   it*Q  a  —  l 

Zbat»«  tim  polntl  ,,  (iu  MAiUUTOH)     Rl&ht  aw  w©  aro 
0»  our  way  to  a  Bötol  aomrü  ju^oatlngl     And  a  lova 

3?iB  L.:?]?,    BOT  nmm  joiiirs  aiie  s^m*  aihd  msi  Piiro 

AI»  al»  ait  iiTfcar  aaarly  a  iTwntlrod  yoare  of  slaep^ 
O330  2»ads  a  kldlxi»  iaaosacr^  of  tlia  juints, 

(BMOKOXK'  01:  a2Aai3*iXP.3ßI0B  AHD  BRItX}^  KU3IC  POR 

Ä  uoHiffi?*    •nr-::^  Rm^m  op  lioiit  011  i^äipi?  sid    of 

ST.UV  ::i?lJII3IüH  uJV.j\L3  A  Or^üV  Oi?»  3IX  XÖ6O  J-^i3p 

.\ao:i}  s:r  ::•    m.     i-  -  aa^w  d^j^u.  of  swoiTi^ü)  ad 


R  :iPO^^ 


1^,7  imAlSmOITALIST 

(A2  L ;i^  3im3  Ol?  !i?ABL"i;t  pciifriib  Amvn^  at 

leii  iiio  lo  sr^itiiDiiß  XU  aiairr  siDiü  of  rAi^Lt.)    ;iadioai 

oppwtuxdatöt     2bÄt«a  »Iiat  yau  apat  you  rofoiioax^al 
Itiih,  2»a:?oi^uU     CIiuu '.i>ali|       ho  aeo  you  to  2^foi?ia  our 
aacpad  ti»adii;loni     Bow  daro  you  to  tas^x^x»  wiui  fcho  — I 

AÄh,  yoi«ro  j'oat  flMddoai   i!lia\;«3  wlmü  you  ai»a| 
Rsactimmriasl     ^^^vo  fgot  to  havo  onat^gaii     aow  olaa 
oan  wa  kaap  oui»  falth  uHVa  In  a  no:>-J#irf.ah  iforld? 
I  toll  yqu  you^ra  nofehlng  but  fanatia»! 


8* 


Haw  Jiiftt  A  ;:ia^i02Xt  -  i  t 


mHOOm  !PliM>I?ICIlALl3? 


s^ 


>aal     1*»«  y0i;i  isiio  «pre  faimtleal 
lAftel    You^r^  noi  Just  «düpfel; 'iba  «<ljtiitixigt  #v0lyii«t 


1w  obangt« 


»outM  dilnMisEMto  dslt^laog^  eljusMqsl     rMsrlx«  mA  «bd 

vaa-y  haart  of  fekdltionl     Y0U«M  0ödÄr^i»rli«  ^*^  ^«Py 


■»».-.        .-t,      ^^ 


/»J»: 


■•i^tH' 


^U*da«dueo  oiv  synaso^uo  t^  at)  «Qi^ttr«  uua^  «itmmt 


PIH3T  TRÄDITI0MLI3T 
Ito«  Holt  1!hat*g  aa  isipu(3»nt  XiolJ      »'v&  Just  «s 
oppoMd  to  «»«ir/lnß  9UI*  f«i.th  eui  youi    But  «• 
to  ko»p  allw  4»a'  Jo«i&«.x  yrücUmcKol    XCHi'zw  out  t»o 

FZH37  iiliPOätü^i 
OP  AD-UBiÄ'»  A'öia  _:.CrXäASIOH';  3X  ALL  UIK  :\'.TniäL 

BOAHD  Mä^B-sia»    lomim}  tiiis  -  a  BLAdooirr  •••  a  uo» 
lijirr  LAEiiii,  PAJJ  -in  OP  Liaiii'  Ai'  aiaifi?  aiD^  op  staöj« 
sxrüaöiüj  .;-Vii.u.:j  fiÄisiui,  DEWiurr'  ahd  toiüd  .Tr/iALD    - 
AaAiN« 

itho  0«n  Ilvo  «>  l#t;  aloiio  pmt^  <*  in  »uoh  an  atstoiipliftre  ? 
!W.od0nimlä? 


»'«.■Ikf«- 


5o  w#  ghall  now  plegr  ^^t  axMü  loMo  ft  llttlo  wlth 

t5j[g».     It  Is  ncT'^  oljhtaon  öi:  ty-caaa«     Y1ä!i#     Ä>©  last 
tlia«  vpo  hold  In  OUT  aareas  titjD  saror  *i?opah  ims  y(»aantly 
wx^n  m  marabod  abaut  läathal  Soolatj  for  ^Üüiohaa  IHirah« 
JCh»  iMttct  tlm.  In  a  laaaant*  will  ba  for  tlia  dadloatlon 
of  Sbaaray  «Sodak«     For  that  Slnahaa  ToMh  «-*  I  tsU 
yoUi  It  was  nat  s^ish  a  aJüialm«     It  suoHk^dt  in  faott 
iikm  broalclng  polnt«     Yah# 


i~y6l  fdr  oup  eountxyt    YUsf  a  bundb 
tiMgr  vlU  «tiU  9—iä  m&  Ulk  gbottfe 


,..H 


t  lIlB  I       J^»  Jljl. 


BZ3BBAW 

Stfi«  ytfh«  ««nft  «i«h  «Ivli  ttviM  i«  «»  UaA^nov. 
•m  997  of  ti»  «aslAvvd  ftw  ftevedom«  •  «i«  «l*  «1« 
hov  it  pdcroaa  tha  haart  of  thoaa  aboae  f<»4}aa>« 
azkduvad  aljcravy  in  anaiwi*  %|pt« 


^  PRI3DEHWALD 

Ai^  «o  ua  Swn,  iriio  kno«  M  «all  tha  valua  of  urd^, 
«lila  aeaMäl«n  «f  a««tot  •  ttalt^taavli«  «pavt  of  «ha 

HU  Bias&'iuii 

facA  »o  Toam  «  in  thla  fataful  yaar  of  alghtaaz>>alxty^ 
an».  —  agalnat  *  •*  ha«  «a  fou  tmXl  U?  —  a  tapaatry* 

♦  agaiaat  %  blaadlx«  «apaatnr  aif  «ba  iwftlocial  ansulsii« 

•  iiov«b  Miilaaft  aouth«  •  brolhar  agalaat  b»othar,  • 

(FmxK  ^vstÄäü  fBE  «Harm  09  a  ohobus  sukumo  "oo  do^ 

HOSiS")    •  aad  «ba  alavaa  ainslzie  out  tlwlr  taarful 
ahant  for  Acaedam*  •»  «e  91x00  •>  a  soera  aevmitoan  of  us« 
to  «tdio«»a  »aar  mua  ainagoßua  tania  to  «ba  tmidltiana 
•f  «UV  fMteva.    Only  a  Utila  Mon  it  ia«  •  a  ahabby 
Unu  yoatt  ülMva  Staavar*«  orug  stova.     (WI1<H  7S1IDB5 
psn»)    Bull»  wr  aa«r  fManda«  «haa  «a  polt  «ttr  aa«»ad 
foerah  Mvalia  in  th«  ark,  that  ahab1»r  pooui  will  bo 
touobad  by  tha  Pli««r  of  Ood,     4nd  dbea  «i  Idndla  tba 
Bar  üteaid.  that  rooa»  I  woaisa  you«  «111  ba  iUinindd« 
tt*nai«  «ivi  auaih  baau^t 

<A3  TEüi  aimXK}  OP  "00  OOWK  li03£n*'  OOHXZMTTJS,  TVO  3».'H. 
MAN  JSNB  OF  iÖol«  WäARIKI  SflTOLLOAPS  AND  PRAX3B  SIIAWL'? 
ÄKD  OAIUnCIlKl  SOaOLLa  OP  THE  L/IW,  WfBR  TM  Sf AS  i^SiCtl3l- 
3Z0Ü,  ONS  9B0K  7H2  BIOÜT»  0S8  FfiOll  7HS  LüVT.     AS  311:13: 
SSAIID  HiilAH  fO  VIläBK  CSiS^  aatSS^.  mn  QP  Td-M  (HW.IT2, 

mAiS3T  Tm  ommL  »imwa  or  "oo  down  MOSi^»**,  tm 

■0003  PBfiiS  iSALM  UÖt  "l'ia^OHOOwL-^  3BA*Ä»a^Y  VSimuSI  ") 

(QüZ^an^  WXZIT  PSSLIHa)     "Opan  to  aia  tha  gataa  af  risht» 
aouamaal.I  will  «Unk»  «bam  aad  giva  tlMsdca  unto  tba 
Lovdi" 

(«a  OHOiUI.  SJDKlIifö  OP  "OO  OCäH  IIDS-J3"  PADM3  OUf  Sl^tif- 
Ur*     'flLi  OOHTAIHSO?  m.  SfAßr;  !'aOj;'Sl  OFSM  P.\aT  iVAY. 
TH.;  ?.?0  J.AVS  BiWtEÖ  'M-i  aOHÜÄLa  AJPPROAOH  Ttlii  ARl 
SIMÜLTAH^USLY.     miM  TSSI  Ul^  ^irAÜDIlfö  3ID->B2'-SIDiä 
IM  PauOT  OP  IT,  TUSi"  PMOiJ  Tili  aCROLI^  IN  T'^  :  .MiK  AI 
TOB  SAÜi  TiaJ,     IHEH  «K.  PRI^iÖBÄALD  KINDLii.  ^M  SSR 
TAKID  A3  II ;  TJI-'-XPLY  R^JCIiVS! 


■^ 


lOi 


tk    VA        A.><^ V-^-''Vii£»a 


iVt       >~?SiM^" 


ar-  -  .--^  -n    r?r»rf  T-r-rr^ 


w.»,- 


cmss  vmfOR,  m  tm  soihi  »m  bbk«e  sa^i  Mm,  irm 

ROTH»  ) 

HASRATOa 

Oitii  of  watß^  a  dtap  «dEnrlatlon  It  «tarbod.    s-oah  a 
Sharp  alaah  ef  via««.     S««as  stx^ma  zww,  doesn^t  It? 
BatheX*»  baaa  auah  m.  ataunoia  firlaoä  of  our  shuX 
^arougjNyut  «II  tiba  jeava  ainaa»  , 

9AR3AiP0H 

It  ©ertmiiily  !»»♦     atfc  lAÄt  hÄi>p«»d  hmA  %o  happen. 
And  Shattrtj  Z^ätk  ^  mtX^  1  wa  rtmmXXw  00  eltiirlx 

(ülEiiai  IHC  'LäSJ  DOiwH  d^f^ßg  fmSF,  13  A  PADJ^IH  OF 
SOFT  SOtJBDÖ  OP  DAHOS^mSlO  ITPIOAL  OP  Tffll  »öOtfi  ^ 
A  WAI/ra^   P3lR&P9t  OH  A  ?WSA  m  ASD  7IB  HX3£  QF  XiX9lt7 
Ol  «HB  RiaHr  3I0S  OP  HS  S1?A0-:^H?Ci?iffl3I05^  ilSfSALIl» 

«a*  BiFjJBAmi) 

MBj  BinnBADK 
(fO  lARRAfOH  AWD  RtTTH)     «Olt  «ar  tHmOm^  itm  «rotm 

►  3r«ö#  Uli  xn  I 


ifairt^ 


a  drafBEu    3o  it;  io 


»aldjqg  af  our  aai3ex»agatlant  ^  al»  al»  alt  «» 

^.  ^ui£»t8  haw  b««n  happanl]:«!  you  woul<!n»t  ballovo 

it*     vß^mxi  thraa  »oatba  aftar  wo  dadloated  our  aliul^ 
baok  in  ai^taaiMU^tynamt  our  oMibaraliip  loox^aaed  « 
m^v  Qom  hmOxmä  paraantt     Oan  joa  Imagim?    Our  laoubo 
ahip  wmXlmi  «  tu  thirty  oixi    MiatT    rmx  «ontt  boUov^ 
it?     30  what  wi  UL  you  aay  wtmx  I  tall  you  that  tlao  ve 


naxt  y»ay^  aiglitaaz^aiac^f ooTf  wa  grow  *.  to  aixtywtiü^a 
mBmWf    AnA  not  oniy  matu  ^  tout  tho  vorr  nma^Q  yoar 
wo  doAlcatad  a  r>ay  synagosUi^  <*  in  a  convertad  oolorod 
ahmuh  an  Ooi^roaa  and  Aniolno  strootat 


3JU 


WS  fHlS  POEf?  Tm  OUnTAIlCT  Q?.m  oh  TIL^  3TÄCI2  PROPER, 
EI       :  :lö^  ATTIRÜ,  UAHÖIHI,     TOi  3TAa: ;  ?nOFSR  13  FÜLLY 

LioiiTi^  iUiD  m.:  Aim  13  aoiKJ3&L3D  Dsiiiin)  Ä  3a:t.:3i, ) 

IiSU  BZEiMQAlAI 
(ÜPOS  33SBO  m,  ABD  HE5.  SO^HIffiAtBI)     Look,  8^  frf.«ad 
ao00nibajm,  emwiBäi  have  you  äax»oA  aljwajdty  wlfch  yoq9 

.  you  ^Äl&ine  fe^  tbiBBif  —  you  «uit  timt  teil  tliMto  öooö 

(3E.:  mnSiV'aa  IN  HI3  BAR.) 


^  BHt  BIüHBAIlB 

Adhg  jwh,  of  00Ur#et      (TO  SAlUUTOa  i\KD  nOTl!)     11^  al^O 
hav0  alread^  at  Shaawy  2dd0k  a  i^sonen^a  muxUXary  to 
hdXp  fcb/^  wXhomB  Wä  «mamt  •  and  —  riy    wiLC^,   »1^ 
ahouldiitt  liaar  »©  »ay  xjhl«  •-•  bwfc  l^ra^  Sosoribaa?.  1101*0  • 
biiay  »ay  «li©  maI:oa  tlio  fliiaat  aakoö  of  axa^ody  for  tMij 
aM»atliig8^  ya}i« 

URS''      HOSrtüB.l'JT'l 
(LAlUniHC/  'IKB.yUSSia))     Aoh«  but  2£t^^»  i«^**  *=^^J 

'  ifasy  3*0?  30  WAH  ie  c/j?  a:  iir.  ?o  iLiiiairoH  Am)  airni 

ACJAB?) 

jCUo«  «•  hivt  orgAniiea  «iMadbr  a  Bikur  Cbolija  (mA  a 
Ohairra  Kadiaha  fto»  ralief  of  tbd  ilelt  asod  families 

AiiD  ?insf  3T0?  ?oa  mu  ?o  g.":::ak;)    and  aohooi«  fw  0I1II- 

dron  of  aar  mmsibwn  va  ba^o  also  ataz^tad«    And»  I  pa^o- 
Mia«  ycMi«  macr  olhar  jtlM  tdilns^  ^^^  9^^  ^^  ^^^^^ 


Yo»,  laaiajr  otimv  vyr  fix»  thlngs  aiHJ  yot  to  ooc», 

(iJüailO  THSSR  LAST  vTOaDS,   JUDfJf,   IH  S^Jl  i'AJiiaA3,  WiOlS 
IH  AHD  STAHDä  BEAR  Hü2l  Pia3HT3,) 

BUTH 

(3  VSRSSar)     JUTäTII    '^loat  «ap«  you  dolng  down  h0vi 


9m  I  hnr*  a  itteoh? 


JT3D7 


i2. 


j*?  ^?'  *"j "    "u*^ 


IIO* 


aii!2H 


iTOTf 


411  9m^  tih^nl    awsAmb  mpm  3004  tm?  youl 

Judty  A  you  g«t  rtei^t  iipötidr«  «afl  so  to  1 


ii  * 


't 


(STAaTHIO  TO  Ji^Jm)     <&  ^  O.SU      {3tOP3  8843  MT2) 
Em  f  ar  aloiic  are  you  -  In  thd  atory  now? 


ElßlitMn  3lxt^«»««fttu 


SASBAÜTQä 


jüosr 


..■^■^ 


ia  «JUM  AMI«     2^  - 
ii#a  •*  abtut  ti^taan  amfm^lsf^&ixm 


azBL  z 

Ofan  70  t  ^01^  widaly 
tOsa  axtoa  ot  isim  gataai 

rlä^a^  If  gx^^tih  a(  x^a4 
ba  itMiti 

aiRL  II 

3aQia  wlth  ajQigar 
aay  aal 

cuauEi  z 

aay  yoal 


'^a 


'JM 


a4#   1^' 


4r 


>m 


-,.-  ..»  +^Tfc  ■« 


i,"-  ■    « 


aiRL  II 

AnA  idi»  »o  «id  to0  yts 

dZäL  X 

<|iiiiidPL»9  to  tshirlfy  «ad  ^ir«*t 

dZHL  IZ 
1H|  ti^M  bffd  ih0  «trength 
dr  hundredsl 
ilnd  thoy  build  id.th  aaall 

ox^  liXtad  lil^il 

O^ZIlXi  I    /\ 
Dut  problotai  utoimt  hl  gbtr 

and  th#  gatoa  x*araala  slxut 


) 


■■\"f' 


Ar  1' 


':* 


^^        ^^ff^^K^^^lfS  ^Kr 


^0i 


oiaL  n   '"^' 

Bot  feh^  day  ohall  oon» 

wlian  tl:ui  hämo  iMwXy  biillt 

ou  tili  jpl^iT'^  ddp  bh6  oXd 

almUL  wdloa^e  tl)d  lifiLllo\?«d  Scrolla» 

{VArnrnQ^  OB  Tip  T^O  SIELS« } 

lolX^  tht  gate«  tliree  years  lator^  atlll  x^miftLn  ohut« 
«P  3hM«>»7  ^Mfife  Xooks  do^k  ludeod« 

(OS  THB  LAST  FI2W  WOHDS,   PAn&^IK  OP  LIQTn?  OH  3!PAS1>-JSX- 

2fl5isioH  ßiar^äAL3  ia«  Diaidira  t^^jqt  linaK  Aa::n;  lu  app^^^ 

BT»  37ILL  1I30HOI3:3  IS  SFIHir*) 

T.v.  1-..  Eai#  3iiiiinAUij 

(TO  HAHRATOa)     Owk^  you  fl«y7     Ito,  David  ^)it0ln|     |tou 
h«re  ny  Tiord  for  it^  tty  boyl     Huh*  diu^kl     Ix>ok.  you  »m 


bMP  «noibiftr  ITs^aoda  Ulk  i»wo  lalXt«  «roy  •  «nd  he  Isears 
am  •  »YAnr  «ux»d  -  in  (j^namR  ov«u|     Two  %3llo&  omo^  and 
Z  Mn  h«ar  «Ol  hU  otWUxHt«  «bdut  ohOAPOy  3d<3o:c  lust 
Uko  Im  ««a  imv  Ia  fclM  yooml  nutfi  an  Sinrantlont    flh» 
t#Xoiihon(i|     3o  L-Äiftb  I  *a/  1»!  -  If  our  Itoftiraiily  Pathop, 

P(wd»«a  b9  HU  H«aa,  wni  giv«  tj»  goy^^^^PSü»  *?.*;^L 

lAqr  ähouldn't  iBs  holp  üb  horo  In  ahaar^y  2»<Sok  to  use 


lamMKWSStK:.:. 


2i{- 


I 


(mOll  OPPST.lSn,   S0U1©3  05^T&  3XPL0SI03) 


?flmt»s  tlmt?! 


mu  BIHlffiAUM 


ms,  BIRHBAUM 
(SHRUaaiKJ,  A3  311..:;  rusil«  n*)     v/hat  waa  It? 

(TH2TR  aHAJID-lOH,   SAUL,   iJiHfiSHS  WITH  0rj)i?.43iII01ErD  BICYGLE) 

m»  BimiBAUM 


(TO  3 AUL)     Vllhat  Imppanad? 


X  den*t  know. 


S-IHL 


ms,  BIRKBAU» 

(TO  HR,  B.)      Call  W»lzenl:ornI 


■  * 


(m.  BniBADM  RüSHSS  TO  IHOHfc  AHD  OTÄ5  B...IiI>RIxia.:a) 

m*  BIiyJBAUM 
(IIJTO  PHONS)     Ilallol      (TO  SAUL,  vVHILE  WAITIKJ)     So  whare 
you  agaln  wlth  that  bloycle? 


SAUL    „ 


l©St  BLilEAÜIJ 
iloodvwpd  againl 

m.   BIRHBi^ULi 
(IHTO  PHOIE,   IlL  ATI31JTLY)     Hallo,  ploaae  alraadyf 
So  ansver  sohonl     An  exploslon  It  wasi      (TO  SAUL) 
Voodwa9d  agalnl 


Ca 


Qih#  gpan^pal 


SAUL 


ms»  Bipjffiiiuij  ._ 

Yeatarday  Mri,  QGiIflaan  aald  ab»  aaw  you  drirlng  at 
Xeaat  thlortaan  lollaa  an  hourl 

(TO  SAUL)     You  know  tho  spaad  llmlt  la  alayonl      (lOTO 
PHOHK)     Hallo J   ••••  Aoh  aott,  andllchl     Glvo  mt  I5r» 
Waiaenkom,  ploaaa»     It««  a  hupryl   •••  \jhJLoh    Walaon«» 
körn?     How  laany  are  tliore?*,»  ilalloj      (O^C  OAÜL)     4 
apood  manlao  you  ar©|      (IllTC  PHCHi^')  Hallo,    »Tölzankom? 
Vfiiat  was  that  e::ploaion?»*«   Don't  I  knov/?     OT  oovirs© 

I  don«t  kno\;J       liy  woiad  I  ask  you? ILliat?? 

Alt  al,   al,  all      (TO  ins  WlPr?)     Sliaarey  20dok«a  new 
bullding  -—  rulnadJJ      (HS  HAUOS  U?  PHOHE  AIID  SITS  DOWN 


"IM 


US«  BIHm4tBI 


'WM^ 


i«  BIHiiEA3l 

Xöu  bÄve  »myta»  f Wi5i>i^<Nm?     fCKday  we  go  fco  taUUiot 

to  US«     So  nuw  «d  go  fjpoia  do<w  lio  doai*  fco  thKWPf  tili  ir© 
tot  02W#ll      (iiHic:  '^AKi^  k  OOUHd^  OF  AI^X7I0MilL  3f ^iFS 

iMtro  idglifc  now.     I^t  tiio  wocrk  of    ^xmaro/  .^adöK  uujii;  go  oiil 


(SHrJ  ÄKS) 

Y089    >arari|     It  iAumtl 
(BMÖKOÜT) 

And  tho  w03ri£  dld  go  Oü» 


m.  BIHH&AUii 

HARHATOn 

mm 


^  i.^.Vi3«; 


1/«-* 


Ann  tl-^y  got  bhoir  ohul  ioo«     ^Jmjmn  ib  iibout  olgiitdon 
IÜ^^«»fo\ix^t  thAt  by  ouoii  boroio  offorta  tiioy»d  do\iblo< 

tJitaip  ufe^tbopöhip  •  *i 

HARKAffOa  «  t^ 

Bouoht  boiok  tb»  fiJbtattorod  bulldlx^  aod  i^oatörod  It» 


RWi 


i 


^vo^ißii 


Oisnty«»oix  «^ 

tPaoii  OFWSTAac.  ooii£  sousDa  op  teu^  ohaätiiö  im  ^islish 

OP  '^Ovm  TO  Kl.  BS  fAStES  OP  HKMflfJaOIBHiiSS^«  AHD  3i^01? 
PADii^^-IH  ÜN  Oäarr..;?  dp  lUHTalHl    iTiJM  Kiii  GUI^rAIK  0.  OC 
fART-WAY  R  W  ":ALIII5   ^  THUUl'i^ .  v/P  JHAilTt^T  ilKDi.^  PAOIS» 
WB  Am)I...;j  .♦     BSHIHD  HIB  Wi^  3?0iiAIi  SCHOLL.^  AIv^  IH  KB 
MK  AHD  iSi»  mm  lAMID  IB  UJ^^iBi:^.     \uiäi  mi^  W81^  Cmk^'2 
13  CViäi.   TWi  'PHIÖ^J^,  WiiA^iülO  ajtfüLLOAiJ^  AIR>  i^mX^MSHmL, 
3FKAKS  Sf 

(?aKI  vrailil?  OiaHiri)  rida,  »y  do«p  frioxKlAt  iö  an  hour 
of  proud  fulfilLaout}  aiA  iiour  jpIoIi  In  rawardn«  Inatoad 
of  aübaiidönii:»  ii*)vo  t  «•>  cU»oi<iad  to  juialca  yot  anotliar  affort« 


■  f 


) 


taiSSTi^  (oontixftaod) 
ffptiStlliian  hu  Itw  flawt  tera»  taan»» 

THE  oraarniBs  ol€»s,) 


(7mm  70  K89AU.) 
ö£  xfea  owa  wid  %htt 

^^^^  ^Bp^P"*^  1^^*(l^^"^         ^MiPmi^PM  ^^^p^^^F 


gOTH 

And  MV  **  l#l!^^9  M>9 

nur  i^lN^i  ^IWA  vldto  < 


>y 


Biljping  to  shape 


nVPH 


isdf  ; 


HAHRATOa 

to  tmm  Htm  XbaXtmd  JMdah  mmantUm  0t  D»tvolt# 


'1^1 


WTta 


c 


'*  ! 


xSx  hub« 


HtWH 


.  .  ;<^'  .'.  -),    ".,  .•  '     »    ■»►»*  .      :»,   » 


And  I  fUim  «hat  vMlly  »«fieiM  |h»  btgtnyitng  «f  Itwlih 


llARRÄl?Oa 
aight»  AM  ter  tliü  miyi  in  ttiat  mbü  ytar  tha  llabxw»  FrcKi 
Loan  i\«9oeiA%lon  vas  «tMttHMkl# 

-.-.^^  IWTH 

Aiil  a  l#«dii|g  ttWiMr  ^  3hMff«3r  Z#dak  had  m  big  liand  In 

thmtt  OidnH  hut 

«Tuftt  M  oühmr  mmä^rn  dld  in  ^«tabliahlag  a  Talmud  Torah« 
^£ha«  vaa  In  aigh«#0n  tdxmlif^i^tAm     (mm  owmumE  (XMe 

SOTTODB  OF  OLDPilSmOH  3>  ATITO  IK>HK3  ARB  MOTORS)     And  »ow 

wi  take  anothar  laap  In  tixa»  and  •<»  do  ;fou  h^ar  what  I 
haar? 

Vh  huh««*  A  nav  kind  of  muaio  tilüng  ti30  alr*     üSioaa 
grand  fanf araa  «raiotinolns  tim  atart  of  tlia  timntlotli 


17. 


-  «>' 


\r    ^  ^ 


ROfH  (oontlimMil)  * 

äM  9mH  fon  um  «boa«  pAmoM»  wvmi  ämaam  ttdrtmli»   ' 
tOmi  ^ncwAmvi  tamxKm  «ith  «puttaring  tfba;^p«b? 

<FABiS.ni  QP  UBlfp  OB  STilÖS-SJtnHSlOH  HtV  äÄM  m,  OOui. 

PA.'ffi,  !j5,  A  JU7  Q?  ISASa?  ISOROPEAH  OaltJIH,  V?j:^1ISa  A  LOi» 

DosTsa,  ooooma  ähd  a  c&i^  wrra  yisoH*    he  is  pach»  wtki 
ABoaar  xmpaszbbcü»   Af  ts^ä/m  mat»  &S6saß  vm  ntmn?»  jhd 
Ol»  A  aimuam  oukstkle  AOToatsefeB,  wiro  Lms  op  jos, 

OOLOPARSiS  !«ßai!».Y3Äl^  OLD  3ÜH,   FHCOTJDIlia  mOli  UiJDl'2Ei  THE 

CAii,  is/aiöii  HE  13  'zan.m  i»o  espaih,) 


AI««srs  it  v<m*te 


HR«  QfOIiJJfAnB 

«Ol 

los 

(n»Hf  DHDSR  TH  .  CAH)     C«n  I  hitlp  tf  it  haifljmndd  to  atop? 

MR.  QOU^MB 

(o  stop??    Stapi^jag  Xm  ita  «Attiral  «tat«! 
iutkuabil»  yva  ha4  to  boji     And  «Ith  xay^  ocmey  yett 
iMi»  «itel     H»a8i0  «ttfcft  ge  but  don*«l     07,  and  «o  lat« 
I  «a  Alr«a(^  for  tßöTWwd  aMtii«;!     An  «uto  thatU 
30t  £«?«Jhidl#9  agalnst  ocnrlagt 

«TOS 

(wiro,  0CJHI1»  nie  last  asirraawa,  has  ovsTm  out  Fa(at 

19DSR  TBS  8AD)      It  gO«8  <SUit«  <tftMn|      Wrosi  TOU  ,r^t 

rti«tta«tl«3  oiM«  l3a  a  «hlU  -  anS  y<m*v0  toBffiu     (SB*!" 

STARTS  v;ORKIlW  OH  SADIATOH  OP  OAUT  

m,  QGLTßPAim 

ftmok  jcm«  foa»  th»  «MrapUsiemb* 

JOE 

(STOPPKRJ  w?ffi)    Bdw  UBtwj,  pa^,  yoa  Imxm  how  thirf 
•ity«8  i5P«W3f  ixm  It««  aU  «ppaad  out  oam,     w©»va  got  to 
ixave  aa  «uto  to  gat  aipound«     (EE  asSCMES  WOHK  OH  CAa) 


aoLap.\HD 


iai.1,  oity«8  sisjumt    Hg  lias  It  grwm?     rflor 
^owaaadi  awra  pooplTlfirao?    Tb»  autotioSlIi 


>  hujidvads 
That'a 


J03 


(WBOCIJS  Y70SKI!»)      30  ^i«t»B   I»t  ßOOd  f09?  OUJ?  btUllnss»? 


I 


''<iMli 


•■-■• 


ri 


IS« 

m*  OOLDFAHB 

Statins  «••tti«!  9i^  on  iOsm  «bü^l    HUh*  «atcoMfbUUisl 
Su«h^««  fH^ndl;  lltbX»  «Itiy  It  «Mi    And  nem  -  « 
tvsüita&um  ^Hvopaäl«!    A  iiilAivn»aB  on  «!)A«]ji  *t>  20  nU«t 
an  heurl    so  «aNttäc  «sainl 

(JOS  CRi4HK3  CAR  .4SAIH,     S0Ü3IX3  OP  MOTOR  HlOli  THH  CAil.) 

r/?0P3)     Oy,  Oy,  Oyl    And  mttfit  an  li^poptant  owifctngl 


ftillLi 


m  OH  (SAB)    itiilsia  00  ioportant  al>out>  It? 


m,  OOLESP'AIIB 

's  ao  Itapogg^antst  ^  Mkol     M*x«  vi 
bulXdlns  •  At  BtlEdblon  «oA  St«  Anl 


vihat?  Agala? 


9Qiü 


KR«  (HMEiOPAHB 


US 


Sil  täio  oity  haBn*t  srovn?    Wo  dMi*t  banra  flve  thoiuiand 
Jotm  hör«  now?     Oi»  Ytimdln  •»  tbery  «ln«t  aiovlqg  to  IOm 
northf     v'Au>  vantod  «ufean6bila«?     .^  gote  to  hava  a  na« 
alta      (JOiü  ClUMIl  OAR  A£MJK)     «•  S^T^l 


(SOOM»  OP  AUTO  saKJIN      :?AWIi») 

JOS 

(A8  m»  QOLTvnm  mjsias  ovbr  to  oar)    Garn  m«  xatu 

S«t  to  that  ooatlnsl 

(BLACKOUT) 

HARil.\Töa  ^ 

Will,  th»  Vota  «ika  taktm«    Ana  on  tho  flxvt  day  of  Hax^^ 
MLnatoan  huadrad  «nd  thr««  <— 

ITOPH 
TfeM  aav  Ixalldlnf  baossaa  «hat  It  was  nada  to  ba« 


X'^i 


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fÜMI  ÜPMMl  COn;^  3QTJHD3  QP  A  CUTTOll  mmSJm  "Or^ 

rm  5HA33TIS3  lü  RSDU(J3D  II!  70UMj,  ASD  AOAIlöf  F^  T'^I^ 
LY  TO  fil :  RIOCT,  «0  0?ÄI  tÜS  Cfüüi'AIH  ilBOOT  FOuS  Fiä^fl 

9IHL  II  ^ 

QT3L  I 
holdlz^  aloft  tl30  Ilolsr  30TOll8t 


m' 


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aniL  II 

liko  orovoid  and  boJotMlXad 
of  tho  tvk« 

aiüL  I 

Atta  PQo  a^aox;ig  th0  eldox^Sj 
vlth  a  hand 
Iiroud  aod  lairl%f 
kindl«0  th»  liglib  #iidurlng# 

aiRL  IZ 
1910  gataa  ot  rl^bti^niimss 
(KtQ  opsa  anevi 
and  onca  a,£;alii 
a  luyuae  hM  baaoua 
a  haUoved  plaoo 


i  1» 
japiiatf 
'^-'  -ladt 


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I4IIRAS0R 
Itütt  tha  naw  gatas  of  x*lghta9U0Xiaaa  «M«  opaa« 
But  ho»  aaany  thex^  i/oi^«  «»  tiMi  youngor  ganaratlon»  • 
produotft  of  itaiai'iaa^  •  wt)o  vouldn*t^  sx^tar  tha  gatoat  ^ 
\«ho  woro  apathatlot  avan  raalatont  »<» 


20« 


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Woll,   timtt  aa  I  rocoU  It,  was  4ui©  feo  t: 
donyö  aocorilißg  to    .tjropean  p«.tti«m»  th©  to 

(KJLDI'\'13B  3.JkTED,  SS?!!»,  AHD  JO^,   Hffi  SOS,   BH03III110 

ms  3UI'?  ht  PH  "PAnATioH  F03  A  rmi:) 


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*  ISIliIOl)     Ojr,  a  BK>th0r«s  heai't  you^ll  break  ali*#«Äy| 
■Ör  mm  tsaal     J^^^®  ^  «<^  *  ^^^*  •«100  you  got  tlmt  autol 
HwwHgo  «ay  lÄW«  to  ahull     All  ymt  do  1»  orattk,  croric^ 
cTEHk,  lionk^  boi&:,  hoxili:  -  lUco  a  la^shiasener  on  ;7ooarfardl 
Bat  ta  yl»ifc  Ood,  llk#  a  good  Jew  •• 


jros 


«&' 


^ft.^ 


*  (Ax0  iMma  •  I^ve  told  you  alai^adyt  tb©  axito^a  got  notlilmg 
to  do  wlth  it#     I  d<»iH  go  to  $hvX  booaime  I  dim't  undoi^ 
ataxid  thoaft  aaa^tnona  iu  Oanaan  a;ad  aXl  tb&  • 

BU?     So  you  domVt  undorstai^l     Tftiat  for  a  reaaon  la 

ixodorstatKl?  You  don't  truat 


r>iqf>pöaSywi  oan^t 
►bl?     :^ou  tlilnk  Ho* 


tlmt  ?  ,«««-..^ 

thö  xmbbl?"    :^ou' tlilnU:  lio^s  ciöjbo  aa^'^lus  aaootMi^  b&d? 

awiathli^  you  ahoulda^t  hoor? 

Joe 
Oh,*  q£  couraa  öoti     But  ^mt^ö  tba  ^oo<a[  If  I  don»t 
undoratand?    I  don^t  knom  lAmt  atmt  ac  Vbß  Hatowa 
nioana  althar« 

You  aro  talUnc  ^m  to  r^iy  faoo^^  -  v^  own  aonj  *•  tliat 
you  •  ? 


id«)i 


(.:3I2,an33)     Hallo* 


m.  aoLD?A.Ti3 


Hara,  joii  talre  lüiaj     Ila'a  ycny  sonl 


So  \s(Imt*a  tha  t2*oubXa? 


^.  OOW^AM 


ISwUbla?     Uß  won't 
lu  OortaanJ     Japo 
ytt  la  laigUahl 

Sata  rii^^t« 


o  to  abul  bdoauüo  tlia  rabbl  ai^aka 
for  him  tha  rabbl  ahould  apook 


mu  OOLDPA:» 


jt^ffliff-mwiiwiiii 


a. 


(cr/i2 


0  «miti     Vm  SQcpj 
nootlrvjt  -  <yr,  m  lato 
a  ohanfta  to  toll  ymx  — 


:;d)     ttuit??     You  i2Ȁja  to  3ay  -  ?? 

m«  dOLDRlSB 
•  #t  Xast  night  thd  Doard 
^n  oarArrr  hono  I  dl<!n*t  Imvo 


Toll  ]» 

SO  to 


j:^ 


I  Aidttiti  807  •"• 


MR3,  OOLDsPAilB 

j|7  SSia«  ouop  «oa  fliouXd  \f  a  goy  «»1  a>k 


m,  QouwAim 


aas,  ooLix^A.© 

Tlmt  oux*  robbi  -  Ulf»  an^tod;/  on  tßw  i 
P3W««h  jpot  in  ibaori(Mui7 


«alt* 


;jt* 


Bhoso  slda  are  you  on? 


m3*  (JOLDi?AHB 


•  CK)I 


(maf  ill^iua  IIIfAVI  .Iia  .)     30  Hat«»  ilraadyl 


ükI 


URS*  aOUMfAaB 

•10»«  not  llatQulr«  f  ?     AU  öia  talkii«  you  do  and 
tau  m  to  ilatoni  ,  ^  "^^ 

ipuutr»;     ^JiBi|mtn    ^ojj^  alpaadi  a  I Laat 

ni{^ht  ^  at  %ha  Board  ueotIiit>^  aar  «©"bt  pjroaidöat  of 
3haav0y  iikidak  ^  u'yßii%  aui^  a  flm  iiaan  ^  lar«  SauXaoci 
llXlan  aanilaatt  m  a  vondarl\il  «aa  «  a  oliooha:^^  «» 
G?.^oat  Idoag,   -  and  wlih  ©yas  ui^y  ara  loolclx^  way  ofj 
into  Ui0  ;futu3?^p  •  a  ^ma  irfbo  baa  big  hopaa  for  oisr 
x^2Ji«iMi  in  Anariaa  ^ 

Ana  Im  aaya  aw  aa»  ali&uXte^t  o^  ta  afauif 


''^^  äiä  ^^  Mar»  papa? 


jros 


■■'^*   i^rt   T^rfiTÄ»  f^:*  imr^ 


^^  m#  ffOLDPAHB 

m  aur«  our  aaqgragatiaii  ahauld  an^aga  an  iSogliab» 
apaaiom jpabbi  tliat  aan  appoal  to  tha  ymix^  paopla 

oy  apoakln^^  In  thoir  own  ton^uo.     Ho  aays  ^  tMa  fina 
lir«  Saulaoji  •  that  ba  la  woj-ida*,  •  worrlöd  tlmt  Uia 
youns  gonaamtlon  wa»ro  lo^aing  baoanaa  our  Mi^nouB  axm 
iaatS3*0f*5jjS**  wa  bava  ia  too  lauoh  lika  in  .JuxKipa 


■    -  X 


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s^ 


'SßSi. 


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So  nou 


Dia  r? 


taük  in  §SSSS^S? 


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w^tpo  tiüLkizigl 


liKisa  <toar,  on  t^s  point,  I  aia  soi?ry  to  «ny,  your 


Äftrah,  darUi::^  •• 


MEt  OK.L0?AaB 


Ui  you  «HX  plAaaa  not  darliiagt     ifuh^  woak  I  oaat 

Ma#  aoi»DPAafi  % 

Sarahs  dsrliDS  (Uf  jcjO  darlingf  «  dem' t  «wvy«    JTuat 

(BLAOKOGT  ANO  OLOSIi»  0?  OUIfrAlS) 


AnA  Shurah  j|yj[  att  «» 


nimi 


3bi  4ia#    &xA  sim  ahüns^^'  bor  ali3d*     Qh«  1«  took  tiaM, 
nianby  of  lt#     But  eirant\iaLly  «»•  woU«  Mka  that  Sat^ur« 
day  oorxilii^  flva  yaara  lator,     'i!Lia  3abbath  aorvioo  at 
3haax*ay  .:adak  haa  juat  aonaXudad  and  nmi  Juat  outalda 
tha  ayaagoguo  -* 

(OB  Kia  LAS'r  w/ü  woau*^  a  rximmvn  op  liohp  ok  «is 

OHBR,  rooM  sTAOxi  aiaia?  «u  i^sAa^  i*^;^*?.    tjiji'  sjpeas: 
wxu  wALom^    tHsr  «oiu^  2q  a  asASD  wHia{  fssr  skaou 


„jjymggH 


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jvery  word,  bfiaiitifull 

....   .  ist«  dOUMPilRB  .  vj..^...,^, 

(ssiu.  (^muM  äXmtm  r^)    ..:vm  •  in  ^iqgii^?    ' 

^  m  UUm^ji  l«t?    So  hom  41<S  you  IHm  it^  Jo«?    CCUm 

JOS 
a  bit« 


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HR,  00Lt>?4HB 
I*M  feelllxig  you  •>  vib.Q,t  he  a&ld,  the  3*&bbl  »  oboiut 
jiMtloo,  -  I  couldu't  hav«  aaid  It  botuer  i-jjB»lt, 


Ym»  «ho? 


JOS 

JUB,  (K)IJ]£»AH5 


Kl,  30LD?Ari3 

(im,  ÖOLDKVTg  #P  .JC -  LOOK  aiCÖiUlflÄOTLY  AT  a\CH 

(OHDOKLIIK})     Oh«  I  SM«     Sa  4M8  tad  eart^  this  Urt 


ibout  ow  a 


Ca3i:*iHi0t  I 


ho  003*031     ilbout  r>hjduwoj  Uodak  b0^11 

muRAsm 


(iffiSt  aOLWAi®    l!II>  JOS  I^K  DOWH  AT  !IA:1HA?0R  IH 


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I  l»«rcl  tool     Sa  it  $Xb0  lip  iMshugah  Ist  8»  9«y^ 

•  P^ituMy  it  imm  hm^p^iiscl  XlS?  I  always  sold:  •» 


■'^^aamummm 


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If  yotitiin  hftvlne  •#sr4cm8  lii  ^il^lx  »o  tha  yoiii:^ 


Aadl  0uab  a  idLnd  msca^  too 


hcm  ho  talks  to  you 


tbd  ouada;^  eohool  alri^ad;;^  bfi^s  i^«»<(^«gd.aad  « 

JOS 

Suroi    ^r  MO«  Joon  l^U  a  nao&ftMMt^«    Ala6  tl}^  3:*«l3ibi 


JOiiJ 


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ttt  oauraam  ibat  iJUioi  ^mä  otiwr  thlns»  toot  A  il» 
fiiÄHi^  I  t^ll  youl  PöJrty  ;^^^ari»  yt^'  hö  tf lOoLfl  bo  o:ar 
irabbll 

lURIi\TOR 

And  r»  jpcrirty  y^ar«  hu  jjgyj^  thalr  n^bi«  a«  w  »ll 


8DTI3 


(iniOtlllIBTOJ:jr)     3ure  ^^»^   i'hay  uaro  a  füniltful  ti^t 
tlioaa  foJb:»tiy  y^ai^Sf  ^^'oraa^t?  fci«y? 

JJut  dlTflaolt  feoo  —  fall  of  toruioll  and  gixwfch* 

Jiiat  yiotu3?#  thttt  fli»öt  dtaad»  of  tlio  rxaw  oanturyi 
tot  J<iv9  of    Mropö  oi^"li^  out  acro08  tlio  Mas:  oi>«n 
to  iia  fch©  gata«  of  wifu^l 


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(PROM  opiPSTAor:  cok;  sousDß  op  Ä  CHonin  -^sriKiiHSj 

«X4IM  io  ü  mxilwi  Jeast  • 
they  0jBi[|si>  xvais  aTor 

AaÄ  by  lünatoan  hundror?  and  tan  ^ 


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(J0ntl^rs®n^  oiß»  oa2\i2?cr»atlQn  1ä  iü  a  orltleal  altixatloasu 
a»dt  It  I  luaj^-  saj-  ao,  9l  bittatOy  li-onla  »Ituatloa^ 
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oirorsmui^  toae  to  qw?  ßyaögoijud  and  wyt*^  opea  fco  us 
tho  ^t#«  of  rtLghtoousrioaÄ  a'iat  'äb  may  eutor''  and  eorsauni 
^th  (>od,  •  w  aw  ro3t*o#<l  to  wplj-;  •  alo«,  döor  ftrlondB^ 
tho  gmtos  snuit  »mmin  clooad*     th»  ym  havo  no  t^oom 
tw  ywu  om^  C&Him  Jowsi     GkjatiaijoiA,   tida  l^itolo- 
x»abla  aituatlou  immt  b«  co2^ruotHöd#     Oxtt»  Wdönl>erö.l\lp 
haa  quadimplod  In  tiro  ywtra^     ^  siox?  liava  fcro  huödrtd 
r»3ilu#9  In  OMBP  xwitqi,     vfe  ^ara  outgrown  our  ps^aanb 
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maii  to  waa;'»liip  wito  ua  ancl  fco  h^va  us  taaoli  tijöir 
a)ill^j*an*      7e  musfc  }vx7b  novr  larr*or  cLnd  ü;or^  oa^yjdXovm 
^JK^ara»     Aad  tei^  propoaoc!  altli  at  tl»  <M3«aoi^  or 
^.ma  axid  läniah  Avonuös  ia  idoal  fop  aar  piarpoaa, 
It  WLIX  aosrva  fcha  noada  of  our  aozm^ogAtloii  fox* 
ßönot^atlona  fco  otximi 

W^Bar  API  lAaim  i»  5^p5?  ap  ^113^  nm:  0?  s's.vii?. 

5*^psiOjr)     üah^  fos?'  ßdnaac'atlana  fco  etrio,  he  aa:,Til 
•uat  walfc  and  af^a| 


«t  jüiif  I  i.i  I  w  .1  ■mMmätttttMmtä 


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SAIIttlDR 


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h&s  acöWUDC'^«:!  Tlvo  dall44i*a  a  day  fax*  a  ixliit^uLi  wag<i 


:ao\40Äiibda  ao«»  wu^'kox^a  wjJLL  ao-ie  liöre  ta  live| 


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barliood  still  ri^litt 


hoor^  porfootl       .Var/t]ii:\;> 


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rttio^u  to  0teS  ta  tTHT^TTÄr^jT^S^^a  ^t  th«y 
»Aldi    Blaote  oxi  Kblto  ttiÄv  ®^d  itl 


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r  OoUvKm»  tXM  wtt^tX  hacft    Pr«a  tiummA  ««vbl*! 

(BL4aK0UT«     CrUHTAlHS  CLOUS«     WimB  ISOSIO) 

ÜAütAlTOIil 

Iteiiaa  RwoaliMU»»«    Ant  yf%.  «tat  builtii«»  aa  jou 

rofB 

Aad  Ott  tlw  firth  «üy  «r  DtuMüiiig  in  «h*  ^Mor  aizw« 
IMMMA  taunftrad  «al  firte*«a«  70U  wn«  thnw  to  •••  how 
i^  *U  hapiMiwd  — 

t    (fXSTflÜ^xaci  »IS,  «(nJVARB)     Yott  tmma^'t,  »«,  Öold- 

f«i%T    9h*  \moaMJNX  «Mi«?    Anfi  tb»  omvIi»  mMr^nw** 
l»y  Rrifctoi  ^walOin  «f  B»tl«a  and  «or  •«&  Ri£bi  Birth»  * 
mmca 

nURi 

"D«W3    tämy  eaUad  hin  «jCrMtlomUly  »<-  b«l0T«d 
pr««idwifc  «ad  «n*  ttf  «h»  foe—k  titfXf  «f  SfaMUP^y 
1   Z«d^  •  lo«klns  «n  «ith  ^em  b«ntcn  fcill«  of  «  d»« 


(Doiin»  nr,2  l*s9  iiiuioi»  «bis  is  a  pao^j-ik  op  a  oamt- 

«UAL  0IL\8T  PRO»  OPPSZAdiS«     TtIHN  ACaOM?AinaiX}  ZI?» 
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fNMUKJHTAlORS,   OH  :  'JTAilDIJfO  AT  ^TBÜR  3IDK  OP  TIU 
BPLIT  IH  SIi2  0L03JD  OUÄPAIH,) 


T^^^WB 


4  hCRIM  lillHltllffHi 


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(A3  TH£  C0M1C3ITÄTOH3  MOT^,   0H4  Ü?0  Mi;  RIOOT,   Klä  OTH52! 

J  J>V,  WI^ASn»  Ä  TALTHI  AIQ)  3ibLLa4F,  RQKMBt}  &  TOIUH 
SCHOU.  AHD  mumO  TRlä  ABK|  AS  Ulä  SIDIS  A  J  .  I:;H  ^fOurH 
SIIilLUJLY    äT^I  ;-*D;  föO  OTHSa  JBIIIS,  Cfflil  TO  !I!S;ä  SKJOT, 
THÜ  Crms  TO  fHS  LSPr  OP  fBB  ABC«) 


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0|Mm  Im»  flu  tbt  est#s  itf  tht  «riHn 

wllfljp    Xa 

lAtii  IMUMf  huMi 

(KE  03^3  AT  ^amm  SID:J  OF  m>  AHK  OPEH  ri?3  DOOHSt 
AHO  SFKAKJ  TO  fflOfl) 

B&ar  ehiXd  odT  lagr  scms    ttilji  iKMaloun  gilt  raAmuitod 
to  aü  bgr  »  fmlmra  btif«»0  Mit  X  »Iaqni  ter»  f^  )r<ou 
and  tm  aXl  lii»  iMU  fMm  ym.  (tommmA^    Btro  «faidl 
thla  Saor^d  3r^iXl  ba  unfurlod,  to  flood  y  oiu»  oonsoloiui« 
noaa  aa  a  liTlm  j^uraX  of  tba  truth«     And  thua^  In  tba 
qulgtaiiAiH  hüM%t  ^  IdMi  msxi^vmim  n&xiit  «ta&X  «nr    ^ 
hiixdtMii^tMi  MMNMnNNl^    And  tbia  «lOM  ahaXX  täbla  iMah 
l3  a  bouaa  b^oci2)0  a  Jurlaio  aanotuas^y« 

(lu  rußm  vm  scfaoLL  ih  üfHS  aibc^    fssSp  aftbh  Karoa^ 

Hll»  TO  SHE  3ID .  QP  KE^  XDOT!L   m^  3AX3  TO  m^  OP  ^HB 

KlndXe  now  iwm  anftuorlr^  that  the  ahild  a(f  w  aon 
ahaXX  loaow  tha  path  of  Ihf»  Lawl 


f.-]ng'*wr^i-'Vyi'<^>^?n'^<W[w  >>'*nrf  tits,',r?ft^-rti'iry-i>ti!ttaM—a 


29» 


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"im.  I  liÄd  a  nie«  XotWr  nstttnlur»    UnKrythias  U 
•Ixia^M  «bade  ood.    at  «M  «tai  mmtiiM»  «nd  ««a  vorsr 

TOm  hs«3fd  aboub  tb»  Phllllpat     iiieir  boj»  Barboxt? 


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AX^  «I9  aif  «o  I  ««11  7  «tt  »  net  oae  niMitt 

ms,  RAPH&EL 

»w«  «»  Txau  hMW  AMBt  Tfm»  §m^  mm*  (MAet 


tlri^tib, 


I  h*«z>?    3e  far  io  evopy  tMng, 


M     ^        n?»B  tw  &7  lD«b«nli  look«  p«pa«  Uta»  thoy 
oSng  la  mm  ftm,  9»  1»QQr  Jae  we  ttteH  ««Im  tm 
beli^  A  Mildi«ii     But  uiäJJ.  h»ts  loaidJK  «h»  «orld 
trat«  f^ne»  «onMmwTt  Abasie  Ck>d«  «oA  «lawauibr  ho*f  2bk 
pavtent  «  «  M«  «itioar  •  tte  — omd  lliSaMafc  <* 
«Oy  «n»  ahMd  <xf  hiu  in  tha  «apT^äSaSTpSSSae 
Oad.  th»  «nr  «111  be  onv  «ad  tb»n  lie*ll  oobio  book« 
x|f  Joe  *  «  .  Alt  «ij  •!«•%•  aaloa  tiho  iiurld  safo 
£to>  teaaora«7|     So  «all  aa»  ^k««  AlMpahaia,  tha  «arid  • 
ttaay  w>vada»t  taalca  It  avun  aafor  «ithov^t  ahootii^? 

(BRIOTi:  MÖ3IC  A"  «KTS  CTCTAHn  CTÄS3) 

ilM  ^öani«  fiaally.  on»  da?  In  xiiz»teon  oi<^tooQ  <— 

(MlOa  OKPJT.^..  COMii:  3ÜÜHD3  OF  OiL-*JitIlß  C^ioü) 

-  tha  guoa  «w  allauoad.    CEbaarb«  adlliana  all 
Ovar  tb»  «nod  sveat  tha  rotum  o?  paüoo. 

AM  tnan  •  thaft  ddrar  tha  ninataoa  twantios.  And 
«ith  tlMRa«  in  Datwaltn  a  xmm  «yploalon  of  prosparlty« 

^äm»n  0?  Lian?  OU    :T.VJI>-i2CEHGI0H  HLV.J;äL3  MR.  Airo 
«3,  OOLDPAIIB,  BOnr  liüOH  OLDER  HIÄ»  iVIE^J  V7ü'  PIliST  HOT 
^2^,  Bt?r  GTILL  41T37I?  V1GK>R0Ü3,     miST  .UtE  DOTH  Sk:ASES>t 
HB  RH,\DrHO  A  E^'iVSPAFll,   SSB  KHITTJBXJ» ) 

^. P».«if  lOok  «iMl  it  aaya  har«|  Br  tha  laat 
atatlatlo,  tha  «utonoblle  OTOduotlcoi  have  la  ax* 
•wdlng  f  our  lainian  unltwl    ,22HE  »^AUmt, 


/tutfliawtWMi 


<i<^'*HP 


'i 


Mö? 


,'»'ip». 


ins»  3QZiDI^AIIB 


AXid  a  Mtf  ig^,^tf«ii  laflVt  DMQd^d  Ixvll^  b03?0l 


3*t 


JOS«  CH&IFAID 


W9   m':^:'.<?:7ii:'^:) 


Sali  kaMff  Ikft  F^xtusptf  sigr  idf^  aba  d<mtt  vsxOßTi^tmä 

booolisg  otili    ^ir  J0ti^  hü^Q^  •>  tho?  oro  not  cm  tehd 
wrv^  r^^'^alat    ^/e  m»«  nß'i  Uvirn  In  thlß  r^oUrtÄ  3t# 
a3«oa  i¥>w  feoo?     Oijr  jmxQß  vmamA  •  IfhDj^po  not  drlJP- 
4iiilS  «mgr  alapnadijr  ft?<n  wm  tßsxCLt    Alrtp»nda»tiNi  at  cur 
3dx*vli»00  i»3w  it  not  poor?    Cü&^t  Tou  so«»  7 

BW  4  aOLDFAüB 

tf»  on  t^  woJLi  or  ml^s^oT  ^^eao!:!     *jiothi»i*  1:0^  shdül 
aij»  i^^lcated  tömt  b^Mluc  to  aei*«^  vis  far  gwiEM 

(jo^  ium  HI3  BOY  utm  mam*   aaiiov  x3  sr 

A 

Bsllo,  mocwl     ^tom  aam  j9«i 

4AR0a 


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tl«Of  «taS  TO  IRSt  90L!3fAm5  i\ll!?  KI'.I!«  »Hj 


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(fO  JOa)     W!Mt,  .«;vtia4^ 


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(70  H^TRAfoa)    1^  fgmaämm  h&jß^m  Am^oa^  hm  }^lm^u 
now  to  tbö  Boy  3aouta«     iM  «p©  hairlx^g  alj*©a<^  In 
32ma2«ey  i^odel:  t;i»o  troQlMi  Boy  ^aout^t  aLso  Gm  aoomtit 

ifia»  GOUOfAHB 
Alao  Blui«  BiJBHi  s^^OUl»«  w 

q4mA  ^  all  iNKry  g«odJ 

Am<m 

4  aone  you>w>  oaULlziG  that? 


n 


lÄ0llU^ 


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lihat  th^y  aro  daxuilaigt    *£b^  ÜMixvlXXet 

JOB 


(Vnr  ALL  LMXifi) 


JWt 


biaiiairg^ 

loh?     (IfO  ms»  ö»)     2üT     SO  t&iimt  did  1  t©H  you? 

(70  JOK)    So  ga  02^  ga  «a    (70  &\aa/vi*oa)    you  000» 

V«  PutuTOn  >>Qr  Joot  no  la  now  cm  tha  l>aard  of  3haa7«y 
^d^«     {TO  JOi.)     lAi^  80  toU  m  alr(5udy| 

JOS 

7<ilX^  UM  Bo«9d  iMlo  wt^yo  Ju«t  £;ot  to  hart  a  mph 


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JOfi  (oontlnuod} 
«snaßOßue  btiiiaing»  ^^^  inoaponOTd  oapaolty  and  ii 
I»Wd  ftwillU©».     v^jiKi  «»  <i!U»ttti«n  oi'  oo«t  was 

go  yotl     Bäpolnal     f3imraot«a?l    A  gyoat  l@adoz>i 

I»  »aiA  •  !«*♦•  •••  •  f  hwr«  it  h«M  In  ä»  ainuta»,- 
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and  Mspamimil^  oT  3hMWKr  Z«Me  to  Iwv»  «n  «i^    , 
ouato  «nMtteei»  iälAi  «  «dÜMbU  aoaial  and  aAioationiil 
oent««'*     IT  «feiafe  la  t^adoiaan  b«  gofctaa  for  foui'  huad- 
pod  isbouaand  doUara»  w»U  «nsu^u    ■^joot,  l»t  ua 
apmtd  a«r«i  Iniwtea«  «od  flfttjr  t!«WM»adl    la  ttAa  quoa» 
tion  i«  1«  »tfeal  te**  tha  0w«W8*b*«n  wtfiwln  ftw« 
taldi«  a  nawOMMoSoda«  aUadU^ 

la,  GOLDFAiB 
Oood«  KOOd»  goodi     v/lth  #0«%«  Kaidaxi  i«a  asoali^ 
abaoiulaljrl    0»Äy  «hU  tlaa»  plaaao,  »«äiaawH»  tha 
aisxa  U  jJUnfty  Uß  and  alaa  Mijba  —  oß  3&eSitV 


(BMSSOin?) 


aura 


«  bulXdtog  «0  loxw  and 

reUöit»     In  ntmtoaa  taontiyllyo*  fehoy  buy  ttw  presont 
aiUe  of  Shaopay  5»doic  at  OSjiaago  Ba«a9vax>d  aivl  lAWton« 
iiopo  aoara  likt  a  bl»d,     ai»  firtw«  !■  vUäi  in  yorvaiaa, 

A|td  «m  of 


(OH  TH-l  I»13T  fOUa  WORD^»  TH^B  18  A  PADS.»  OP 

3(W1D3  ii"!«»!  OFfSf AOiSI  •  AB  QiäXtKfOa  ROLL  OF  TCiPABI 
WIOT!  A  OTCOSiSIOH  OF  DI3S0HAOT  OHöilDÜ  LIKiJ  SiiÄIlP 
3SABS  0?  .All*—) 

HDTH 

«dtt  (k)  m  j  aouiDß  DLiioaiD-iD  abovs  Aaü  adixjd  aoüiroo 

OP  A  (SRUHBLUß,  AiKJiO:  oaoWD)    2h«po  ara  bitter  yoara 
atlU  t«  brldga.    taara  of  daatl1ratl«tt  and  daapai» 
fw  BdlUa»  of  iMiri«a»a#    3b«  ara  af  dswaaaian. 


(BöMBID  1?iU  LAST  POtlH  W0BD3  Klü  OTHTAIH3  Oi»!!»,  W^ 
VäÄLIlO  OH  ?HJ  HilLPWLiaHTHD  STACIr:  PnOFSa.  TISKiJ 

TOiiXR  BÄCaC  W)  THJ  AUDISIOEi,   STASDOO  A  Fi^ 

if  ÄiailT,  CTnH3  'iJO  I'.C  .  AUDIKHO;.;  AHD  3P-w\K3  fO  AS 


FEJüIUil,  4.-. 


mm 


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9m^$  iM&sr^    Dontt  twiipilt  «a  astpl« 


(i)PZl3iaX!D  (^IID.  0^  9BX0H  Aü  AOZU!}  ' /Ol! 


faMEfy  Imü  40Viii    ifimto  i#^  mora  thoy  to  sid? 


) 


;  12 


Bi>  J4ib«  no  MortzKui*  »otbinsl    And  n*^  the  stlissaSäp 
ttuit?    lo  niKii^^li'  «81  Imatd  tx^sk^roia  man    Sw^m 

beUJUst 

imm  QvmTAßz  omz  souiidg  op  a  maonimt  aRrasLii» 

AKSHI  CaOSD.  LOÜD  POB  A  UDXi  JIT?  .\BD  !Pm2ff  ÖOTÜI  IS 

APiiö-raiDOH  -* 

psratoatlr^^«  a^lotlngl     2m  x6mX&  oomitry  01:10  grcmt 
big  pttncKrwia  of  stuMcwo^  idldatyl     Stio  «bol#  taaiWiSj 

•poataauLiir  «»oiMqrfNI  paaralyiltl 


(30tJir>3  OP  CaOlTD  SüffiaX  AS  OOIWAIHa  ÖL03 

A  miLm  OP  aiL^ci^i) 


^2^ 


wrm  APtSR 


SM  la  Ihil  mä  «t  all  thati«  eouid  Shaaro:?  2;0dak 
posa ibly  i»x8t«4^  tha  tüiwago  to  ga  ahaad  «dth  sua 

wilt  thoy  mm  forood  to  iaokö  a  good  laanar  dpaat 
Wwlalona  oinSEii  plana  ♦ 


-'■^ 


MfiaiMHit 

Iha  bulldli^ 


Wim 


■«Ml 


msRXsm 

tmitfijftng  «nt  inAtnilMbl,«  l««da»Qhip  of 
««dm  as  px<oaideali* 

mw«  Z  icnow.     Bul;  stiXl  • 

And  oBatib  ttvig&Um  9vXk%0  i^ow  aUL  tb(  gif  <l>l8ii  #f 
«w  yyStog  *  l«i*a  ncns  oravloaii:  it«  «•  it*a  not  ^t 
a  statt«»  «f  pattlztg  «uraalvaa  oai  tho  baok.  -  thare*a 
baen  aotaathlng  v^srj  apoaial.)  thspovigh  all  tlioi  /aara 

<BEI1»H  MJ3Z0«     MüDBi>ZS  OP  LZOIl?  OH  SfMä^KKTBaiSIO»  ^ 
mV^dALä  A  C}?»}liP  0?  7IVE  SRAAA^  Z;i29iX  LkleLni^J  PJ  A 

9mL-^maiä,   Asxsm  Tarn  u  jos  oolth^arb.    -phe  otb^sis 

HA/iä  HO  SFJOIFIO  IDaKITY) 

iMüCSQrBIba  iMhlni  itl     StfUdtjr  Mhina  itl     !¥<»  t;h0 
ir«7  sta^l    Ycm  mXL  knom  that«     Bali  grMt  0006« 

In  tte»  fM#  0f  0<mAltlcm8  aavi  I  tiitiak  aar  p<iopl4» 

a9dloatlan|    Uugr  h«ri  «•!#  «aMldema»!»  M«afloea« 
3ut  M  mbH  «qpMt  Ite  ljqpMsi%l#i    tiMU  fM#  Itt 

{OTmurnm  tel.  last  9l^  wohj»  phbrs  13  ah  Mxsroa) 


\~ 


(?!!S^  Bi^OflB  SIL.:Ln?)     iMt  im  Qoj  chl&i  •  it  fcaicoa  no 
apoolal  taloisfe  or  scmü.  to  roaU^t^  a  projaot  wh^n  all 

eiuiy  az)d  agpr#o«SbXo#     I  wi  not  a  piiraaa  laong^p«  g^ntlo*» 
£^£u     I  toll  70U  th§ao  «t>atadX08  aro  liopo  not  to  ob- 
atzn^t  lajsji  but  to  toat  our  mattlOf  cair  faltlit  our 
ocmvlotlon^  mv  AadloatlanJ     I  tsyuQlf  um  r^ady  to 
doublo  t^iA  aaoyilloo  I  aak  obbnm  to  x^uiOcol     Ax^  I 
Ui>:<s»  you  to  do  likdwl^o«     V«hat  wo  aolilova  in  th0  faoo 
of  tlioao  torrlblo  odda  will  bo  o£  Infliiltoly  gx^ii^ator 
i^^porb  and  valxa^D  than  It  otbanlao  oould  pooaibly  bo# 
OonbXeinon»  thla  ia  m  oolokant  a  aaorod  roaponaiblXlty 
that  wa  ixavo  aomasood»  W»  daro  zx)t  foltor«     ütax»  now 
bxilldii^ir^  dcrroto^^  to  tlio  uörvioo  of  God  Ima  got  to  b# 
eouplot  d  doaplto  all  handloaiMi« 


mm 


ama 


1 


,  J 


j6« 


HE  0KCS13 


msmsaa. 

will,  •»  Vi  ^anWi  iäm  sMviflMMl 
o<npl«tM)d| 


»•lisl    !Ebi 


auCT 

Äod  llnall^t  ^  bo^  ojfteoa  hsciro  I  hodrä  jaotheor  and  dad 
«97  ImiUu  zdL]i»t»€Nm  tehii^H»«^  '*-*'     (FADi^ZH  09  30UHDS 

2odok  lOmt  «9  1010«  a&d  Icnro«  ywi  md  I»  m^  dm^Uoktoä. 

HAiCi\TOa 

!;^esiplo  Bdtl^fil^  t0  ilmM  In  tho  t^i^ia^^  aa  timy^r^ 
«SLwajii  shiir^d  in  all  Um  g^sA  oxpariiizio^d  of  oi:p 

aXJTH 
And  In  tehat  gvMt  gathftidi«  «  pMiMaMne  It  §Xl$ 


GEiL 


/'.  ai«v^ 


mma  yit  iivxm  iddaly 
of  täte  SiktMMt 
thai»  thoif«  BMiy  antra» 
a  rdi^ity  faimlly  of  Jcmö^i 
to  be  imlt0d 

oinL  II 

lüaoh  to  bo  qixlokonad  and  xKnfiri.sh0d 
by  tlia  oäqparlenoa 
odT  all  othDra} 

A  zolMiiy  ahoval  yoioo 
fnaliady 

a  tmit#d  wm  of  oOKiipaaaionato  •tx^aqgth« 
■to  do  Vtm  will  Qf  God» 


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J7i 


QXm*  z 

aZBL  II 
Ute  advmuao  tsliM  tKCUtiXIaamA  <^  ^%^  smt 

Q?m  to  ssrsAL  vm  hqols  ssäs^  fropjsr  »» 'sm  am  goii> 
0J::4i>^  -  ••  sraifm  wue  3.!;i^'£>  Ryjxuf  (moüPa  •  Ha3B.'UiD3, 


IH  l'lß  PIR3?  aOl?,  Hl,  AHB  lÜS-  aOIÄwiHB  -  VSK^'  OLD  30W, 
•  JOi:  aOLEä?Aaö,  HIS  üOX  /uCJ  IxI.3  -HPii) 


law  ßood  Ifc  ISt  in  this  l>cMWitlful  nöi/  »iiul,  thiat  w# 
ean  be  togottisöa*  ivomm  kqt  «hole  fnoiily»  t^omtml  cldo  by 

tK^otliiöi»*     It  Is  {^ood  -^  vw^    good# 

faith  in  liJP»^  his  fmith  in  «hd  tutuvo  Qt  .imrloa^ 
hl»  f  aitäi  in  tim  JHOmXü  «aaertmwr^  as  a  xmiXvga  ot  Mn-> 
minian  a»ft  oonptwvMUaKu  his  faith  in  Ood  rus  tho  »ourao 
of  baii^*     To  trJL»  »iokl; 
0ur  «anotuary    atm^^^tdsi  aatTibrant 


^^^v4r(4 


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(RIX  CIIOa.lL  SOUIIDJ  0?  A  PS/iLüt  ACÖ01IPA1TII3)  B3f  CL03I1I3 

ltell|  tlio  nmt  gate«  wwk)  op&n  wldo  airiclitj  but  tha 
deoidigf  tiiao  p^rsiBt^d  *• 

And  lapriQr  of  aar  i.^^«i>era  ao  hwA  hit»  tihe^  Jvxat  oouXdn^t 
a:y>ot  tl«9lr  JClnAnalaX  smffimsiblUtjr  Ih»  mi0  eat^pc-ogiitti« 
frdtty  dia2w:i  digri  tshay  «aret 

HAPJUTOR 
And  tben  ^  tlmn«  a  liglit  «npMMNl*     A  n0v  light  of 
loaditis'afaip  te  pu6  a  tp^mh,  fpjom  in  tl:»  haarta  of  ouj? 

pa?0aidont» 

^  BOTH 

Ihat  a  von<larfxL  ix>raoin  ba  ouat  Imva  baonl     Dad'a 
•Vo^on  of  ixLii  ao  ortan,     Bi  mmb  hav^a  had  a  x^ally 
iKtraordinaary  pmnKKial  f  coraa  •» 


■MÜ 


ü 


3Ö. 


tlhl*  lovißg  »«a  f<OP  lha«w»y  Söa«li.  JSiftt«»  üow  1»^ 

WM  ahXt  to  do  to  smjoh  iso  rovlvo  ooskj-ü  !n  tlioso    ^ 

(jiu.«l:  doys»     Lap?sar  wuäiljdjps  oi*  pooplo  atac?to<!  floolilijg 


11.23::  r/  aOil».      LlWrF/u). iJ-CI  Üü  ^.ri33-3T.3ISI0!I) 

lfm  wauii?  AHD  OHE  rm::    rr:'':;-',    .x3:i  noLiMir!  a  vj? 

OF  COPP-:::.  ASD  Ä  BI..C.,:  OF  CA--  ,; 


.*l.  •«'••Ö»*f    V    V     »"  ' 


toCSS  SOHIAUO 
(ABOUü?  !f5)     (Xrf,  l«»  all  mme  outi 

(AECL1?  ?.k5)     m  tsoof     (TO  ra,  TöSOl)     5*11  a»,  töna(p-Ma, 
18  thio  your  flrafc  tiao  t*»»>? 

'/*py  «j?«t#    »»■  xwMaiy  GSHjÄt  fuxil    Tau  !«ro  ttiow 

i 

litS«  AL70 
You  filx^  gooclj 


gy^ 


HRt  ^^'StföH 


S0?H.\1T0 


So  that«a  bad?     Ütim  fix^t  tano^^  wlth  tl^tö  aa\;©lö  ncm* 


Äj*^ 


uTnol     Axa  I  Joa»tt#^  ÄcDoamld?    Bat  -m  havo  fual 
Sh&i^a  tha  big  thingl 


You  oortalidL?  est  a  good  c2;»owdt 


X&X9  aaa  I  g«t  you  anuther  pieoo 


!T0. 


MU  fHBt» 


you^ 


MiM 


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«S^  BOHNSTHUT 

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ira*k0d  oortl     Aftar  all^  thore  azni  pleiity  of  otliara 
ta  tha  saina  fix  as  we  ara# 


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«hat  oaa  be  dane? 


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iiaa,  BoaiisTEiii 

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nia»ty  T*««  Shaaray  2«dak»a  bolris  aotlng  aa  though 

'd    that  saylngl     3he»H  find  a  wayl 


■MMtMW 


(OTIKPAIHS  CL03B  QUICKLJr) 

And  aa  W9  know  vwy  wall,  ahaaray  ^adok  dld  find  a 
«ayl  — ~ 

HIWU 
Natur-allyi  Tli©  new  B:j»aiioh  Building!  And  how  finely 
oqulppad  It  l8  for  sohool  and  youth  aotlvitloa» 

lAilTATOa 
An-',  juat  vhei»o  It  onght  to  ba,  too,  w«r  thara  at 
saven  MUa  and  Laauret 

HOTH 
And  pamember  th«  dadloatlon? 

*Ä^»i  »e©,  -  In  Ootobw,  flfty-thpao,  «aan't  It? 
Ah^^  IndäJj  *»»  that  th«  a^  of  our  ooncoma? 


Nl 


■'IR  IWI  ^  W^'^.'t^t'W.'' 


.1  jtk^-ft 


52. 


V  V 


ajur. 


•^«oo^T 


t  «xle 


fTfA 


vi 


I  oan  still  Imme  tlsftB»  ucnrarlsd»  ir«i>»slght^  woinist 


üm^jrAOfi  liVLB  VCIOB 


ihxbuvo  iduili  Bot  ^»^  US  u' 


»W^l 


mm 

deedi     In  Jamiai^t  aalmt^en  tlttj^tam*,  aar  9Oü|Er0<» 

Ute  bd  »adiy    •  ad  töiity  eala  ••  fop  futua?©  nei^dii« 

afORf 
»>u  laKiWi,   Dave,  wIiäh  «e  loqk  Imok  ov©r  all  tbea« 

wovan,  arom't  ^hig?     AJia  it  soosis  to  xae,  that  gtjr 
Ufa  idfchia  tbd  1äm;w  ÜJCe  of  tb»  afatd  has  baia 
jtins  b#*tw  arifl  battw»  yastr  ai^l4»p  :ii>ax'l 


SARE470H 

»an  10  «pixsdal  It«  taxturti  §(wmpeim  furtäi^r 
.ohadf  Ita  rttoga  of  Infltionoo  orcb  bolqs  ftirth« 
^oadonadl  A  dra»a  q£  ermrih  to^rard  jraUnia«  od 
:pwimzm0M  cmiakamd  axid  infta»9d  by  tbs  aterm 


ROTH 
Llttla  wondori  tähton,  that  In 
of  aalnataan  fifty^^foua? 
spoka  our  i3iaax«tt 


»•  I  thlnk  It  \s;aa  4prlliC 
wo  of  tha  3haa3^y  z;adak  fi^OLIy 


II 


>'j.A  »,_^* 


sc  .u .;») 

PBWJEI3)    Xa  aaöwdaöoe  wlth  «  rosolutlon  unanlEKmaly 

At  Ita  >2iicl    lamial  Jtoctljv;  IlOTfl»  Adlor  la  Invlted  to 

•S*??  •f,^*^''^^  **^  ^«*  öonßx-ÄSatlon  for  tha  remindor 
of  Mb  llfe, 

AS  BACIE3flOUirD  JTOH  TH^  l'OlLOfam  i ) 

B 
?v!fül®l  ^t^  w>l»bl,  aro  ths  ofriolal  words,    Bshlnd 
^«a  1«  th0  mvtsith  of  ow  lovinß  pogwpd  for  you  - 


<'  ll 


mfifiariil  I 


Of  our  oosgragutlonal  llTal 


MMHHllMMrMM-*!*« 


V 


$3* 


1 


k 


.-i,     r 


•liA 


i 


I 


Je^  Of  taroad  Vision  and  ey««tiV9  purposol 

(PADs-OOT  op  Lianrs  on  STÄUB-iacTssaioN, } 

Jon  iQoo»,  3utti,  yofu  «poke  b«roM  of  M  b«i%  hwd 

^doIi»a  bogJM.      SS.-iSignS?»,  I  find  it  dimoult 
,to  oay  jU8t  «hoiH»  3!»ar»y  2ed«k(a  «tory  «nds  and  tiie 
^oc3aainli8yt|  otot^  l>«gixu  -  fhtytyo  go  intorwown,  too  - 

(OIT  ?!IL'  LAST  P0U3  WOHDS  ÜSIE  LI3IIT  FAD  ,3-IiJ  OH  HICJ  H? 
■^»c,i??^^  i-^^  ^^^"^^  OLDSn),   3?nÄlVI^  ÜÜ!?  RSADI1I3, 


IdBt330r 


t 


vi 


fr- 


y«s,  doar? 


M18.  BOaSSiFSI]! 


8B! 


•  » 


1«  a  riothttr  of  pipeaidsnfea.    Akt  in  teolc  oaa  a  a 

/  AHT 

alllyl     A  8»tajhoip| 


A  jfeafc? 


lata:»  in  sohool%- 
Bu  t  hM  Mll  a  «T 


3ZM 


ir.3t  B0ieJ3TSIB 
Yau»U  loarn  all  about  that 


SXH 


It  Juöt  «Mxu9  our  «lila  im 


3U|lig»    Ä  laottior  of  vxmmltiBxAQ^  - 


f 


^» 


»        ^^^Ä, 


'»'      G»4  . 


f  r  t"'* 


H©  C. 


,lf*f 


-«Äk«^ 


r 


Iä  wixafc  \my3  ? 


AliJf 


'!♦**; 


I«m  not  auro.     In  Juat  löiat  seaso  did  unolo  3ol 
looan  that,  aothor?  "*"~ 

olnplv  that  an  tuwauaUar  Xorw»  aujatoect-  of  laportant 
organlaatlonaX  loaders  In  Detroit  and  alsowbora  ar© 
peraona  wlio  wäre  ralsad  In  .Shaaj^ay  Z«d©k  —  and  that«a 
beaauao  our  owngjwgatloo  daralopa  awh  poaltlva  atti- 
tudea  of  Intepeat  and  loyalty  and  dadloatad  aarvloa 
in  its  poopls* 

Th©n jaaybo  nm  sonna  be  a  big  ahot  proaldeat  soiae 
äay  too? 


You  probably  will,  doar. 


BES.  BORaSTEia 


'^T'Ät  ^^^^  A 


SIM 


And  you  aean  to  say,  tloat»«  going  to 
Zedok  oj  laa  too? 


2}al:0  Shaaroy 


AM 


^t  you»re  abaolutaly  bc^palass. 


„  ,      .     ^  aR3.  B0IUI33EI1I 

It.-tnk  tlaorets  aoraatjlnß  «la«  tiiat  tuwle'sol  m^At  too, 
m^.    Anc!  that»8  the  bpoad  aplrlt  of  our  ahta.     It  en- 
«2^1^?f  lt3  ffloiriborB  to  cet  out  and^  ger70  tho  trholo 

8 o  1%  *^?  ABorioari  lo  aUon  to  our  hearta.     And      ' 

^ri:rIZf^^.'^\^^^^^   *^^*°   itaOlf.       It's    so    iiU- 

portantly  Iwrolvod  In  so  Bwoh  outaldo  Ita  own  waUs. 
It«a  fsraaMneton.     so  far  away  froa  overybody. 


1 


( 


3ay,  that's  an  Idea, 


3ZM 


■■■wi'ii_i;.j*(i'aii 


55. 


i.      .rv'^r. 


,dO 


\ 


ÜH 


"-  oa 


'10 


;l 


AlBT 
(AS  MRS,  BOaHSTSIH,  Alff»4  31M  OOlITIJIüi:;  TO  Bli  OOCtrPTPn 


RUTH 


You  kiMWj  Dave,  thda  reiatlon  of  3haa3?oy  Zedek  to 

•IMots,  •  thia  iant«  Juüfc  «  one  w«y  thlm.     sh» 
glvSä«  t)nt  8h«  ftlso  sjjt»,  Thlidt,  for  txt^l»,  of 
üStT!  S**  f^uoattÄridaa»  wctd  teohnlqu««  th«t 
JSt?«^V«'^^4  i«^»V  «>r^«  «nd  aad»  her  ocn. 

modaro  iMtltutlon,     ?jn>3p«m1v©  awthodaj     Hlffhiy 


tfck 


-*At»8  Vary  tyuei     -Mm  it««  not  juat  a  aatter  of 
bww>^ng  nöw  Ido««.     ah»  thopoughly  dl^Mfea  tham 

illl  f^JST  •  r**  hjBPltaUty  to  «du  iBOd«m  — 
filJh%Sr^*  •  ^  "<*•  *»"«•*'  ftw  tny  and  all 
wi^-i"*^^"**®*  ?^*  «*»  aMP«!  aad  Intaaalfy  and 
broadea  ow  «xiMrlon««  «f  th»  JMdalo  harltagt; 

And  what  fiaar  «zanpla  U  thare  of  thls  glva  and  ?et 

JhaS^LfiJÜ  tSÄ  ^^  IwiTUlgad  fco  do  tholr 
graatly  hava  *•  »>JMi  oarlehad  by  Igraeli  tefluanooa! 

to  tSüik  öJ  «T?7i,!i**??^y  Md  wondarlMly  aad  try 
in  tha  mlad  of  the  aptiat  «hon  ha  mad«  lt. 

Ss?  BHT  nJr^ J^5^?"®^^^3^ÖN  RB7ßAL3  AN  I3RASLI 
AHTI3T  HOLDE»  THE  SAUB  PORM  DP  KKNORAH  mJKJll  RUTH 


iÄ. 


'I 


mpf'i. 

^     jdf 

OL 

•iXJB 

i    I 

r ' :.'  £ 

L.,„   -V 

*v 


rii 


a 


j. 


ÜÜLD.     SIÄTHD  H2AH  HIH  13  HACHJ^t.,   A  YOUl©  ÄMJSIGAN 

jüiTOas,    AS  HS  QommPhAXsa  aud  poüDLisa  rmä  iiiflioHiui- 

HS  3HilAK3,   QUIOTLY,  THOlXJHTPüLLYl ) 


Y«0»  lt*0  goQd«  X  tthim* 


I3dUELI  MTIST 


vM^ 


HACHHIL 
beautlfull 

Well«  l6tts  sa/t  ^t  QXX3'  r^tQ^  It'a  liam^ttn  ->  inlne« 

HACHBI, 
You  havoa^t  anjr  litoa  hoiv  dooply  jour  wojrk  la  ap^pz»«« 
ciatod  aver  la  .\ijari.aa» 

'Tlmt  Ig  booauaö  it  la  a  rreah  2*oallaatlon  of  our 
tradltion  t/ii'ough  tho  :mdi\m  of  tiio  licv;  Jaw  •   (HB 
SLHI^S)  »  bwo  thoujEiaxid  /aara  jmi%  «a  opoj  -  thaz^ 
la  a  kind  of  ^  hav  oaa  I  aay  It?  ••  ItU  n  aart  Qt 
füll  oraatlva  tmioci  of  %ho  old  and  naw  laalda  of  ua 
hora  thAt  qulekaiia  and  guldao  ühB  ahapli^  Torao  of 
tba  araftaiBanU  harult     And  iftiat  «a  laaka  «» 

RAOHCL 
You  aa&A  to  ua»  your  ktnauau  aopoaa  tha  vorld^  •» 
llka  thia  ft?aah  form  of  tiia  lusaaiMrlal  bpaiichos  of 
conaocratcd  llglit,   ao  baautlful,  so  rlght*     Aad,  you 
kiiow^  thla  ojpdrit  of  laraalt  ^  tho  vanar^^la  mw« 
tha  rlohnaaa  of  tlaa  and  ta^adltlon  r^miXr^ä  aodanayt* 
tha  oajasfclo  sxvoop  of  hlstoz^  oarria^i  fpnrard  now  In 
a  now  burst  of  opaatlva  vlgor/ ^KVoloM  In  haartful 
eonß,  anaatad  in  vital  danaa  •     (FaOi.  öEiaUD  TH^  CLOSUD 

CURIAIII3  GAN  m  UZMD  TECJ  Ri^X^TTffn^  0?  HaüOMs   ÜAYIL!" 

SUHJ  m  A  OROUP  OF  TiiEllAOiaa)  ~  all  thia  haa  raaahad 
US  and  aotivatad  ua  In  our  f y  away  ahul  in  dlatant 
Dofapolt«     Hböi»  our  ali«li^  o:to'Our  aongsl     An  aoho, 
y>u  tliinkt     üo,  my  fi^andi  4  vibrant  antiphony,  a 
grandt  gladful  anawar  of  afflruationi     iliey^ra  our 
aonga  now  tool 

isimim  op  »'iiAnn,  mnu^  sbells  to  füll  tcluhe, 
D.wcii»  vrmi  mrAT  zest^    rdOfai  wirij  eid  op  tue  soi» 

BIACiWUT^     TIMI  LIGHT  PAJ>jü;s-I1I  ON  HAiiHiVfOH  AHD  HUKI) 

^.,     .  HAHRATOR 

waiat  wa»ra  aosalpg  olose  now  to  tho  allnox  of  our  atory 


5ß* 


9t* 


y^~%r}f 


^ 


ncY 


* 


RBSH 
ton  döoa,do3  o£  growfch  m 


^r 


A  fttU  oeaatwy  oi"  optaUvo  ÄkdaiÄii*     And  now  that 


Papdaa  Äö^  ^  J^><><i  Xi^lenda,  •  (mVE)  .\SD  ROTH  LOOK 
U?  AI!  ÜR^  BrjUBÄra  BT  SUHPHia^.)  Yes,  yos^  I  uh  ~ 
I  bacvo  came  baok  •  to  aak  you  for  a  llttlo  aoaaöthirrj 


h^Eia? 


.k 


i 

A 


■^»   ocrtpinly. 


EO.^\T0H 


1^«  BIHKBAISC 

^Ä?  rr"  ®^  'i^P*     <3ia^)     Ähg  «ad  «U  fiOMe 
t»<wbX©<l  ä«ya,  •  f «r  yottl  ri»*liv*d  ihm  all.     so  now, 

you  »11  uayb©  do  foj?  s»  fchls  nttlo  Tavor  in  retunu 

PjM«d  slme  I  left  th©  earfch  -  howw  5»^  it  ia  nMr 
wlth.  our«  ClMua^y  3«d9k? 

(mi  HARRAi'OH  AHD  KTOH  431^  BOfH  lESPLY  SOTTJHSD.      /uTSl 

AH  tmsAäs    0?  am^Gd,  ijaisuk«  spsajis) 

uI-T  ^JJr  3«f«»  ^»j  Bli'rib«».     üii,  diXi^eronfc. 
Vg»  <li£r«r«at,  ypuiU  find  It  in  säiue  «aya.    Bat 
S^T*^?  h»apt  of  tt.  In  «Im  esaenfcials  -  tho  eam,  ' 
/^  ?r^*^*™:e JÜ^^^®  ^^'^'''  ^i^  «^«^  falthful.    novo  -  « 
tur«  o£  ouf  jvosont  »anctuapy, 

f  ^t  ,23^,^\T]M  L00ID3  i\T  TE::  PICTÜRE  AHD  RECOILS  HI 


■fi » »•} 


^ 


*^  jt 


K%       k       m  ^*  BI2iJDA(3II 

a  thouö.ind  ßoata  tliS?o  HxsFWl     Did  all  tho  goylin 
ot  j^troit  boccfiiio  Zmm  tp  jola  Ohaapoy  Zadok? 

(CiroCKLIlß)     Detroit  Is  a  clfcy  of  mllllona  now.  Ilp* 
iixrnt)aum#     /ind  iw  ore  a  ljopg#  Kaliillah*     Ftom  alx 
hundrod  to  a  thoiiaaiid  ot  oiß»  paopXö  oao^py  tlicwia  ptw 


I 


I 


fJÖ. 


.f; 


•Vary  saiibttbh  aornlm,  to  pozijiolpftt®  in  feho 
▼IbnuBt»«  vlohly  jodanixigful  JudaJLsm  that  la  3] 


A 


i 


I 


AM  yau  öaould  eoo  tiaö  »wiotiiary  on  oup  Illgh  Iloly 
Otty^f   l5&»#  Blanibaua*     örcry  seat  takani     AM^bhe 
mjosty  of  that  rilshty  lÄipoae  wdltr^d  in  doyotlonl 

JK,  BI8HBAUH 

jSHAKÜKJ  ms  HSLID  P:rOI^  3ID  ,  TO  SIDLl,   III  Ü0HDBR# 

i...li7)     Ai,  al,  all     TSiiak  of  it,  -  from  aevantoen 
of  US  *ij»n  wo  81^  SEPtod,  -  Uttlo  jaor©  thaxi  a  Exlcyan  - 
In  that  ahabby  roota  above  tho  «pui^-stor©,  •  —.  to    . 
aü  Of  tMsl     AI,  al,  al,  ai,  ai| 

(Kjoii  BSEUD  liii  cLor>L'D  our^TAiss  coie:  aou'tte  op 

B0Y3  OOIIDÜOTIIB  A  3AHBAT!!  3I2WIC  J) 

Ajia  vbat  ia  laoat  bam.'^aaijaß  la  tue  avorolnozwaalm 
nu»er  of  yoimg  pooplo  oaong  om  wopahippow.    And 
Ixw  oould  thla  b©  «tthoat  tEa  —  Uatani     {m,  BIHIJ« 
BAÜIi  LIiJI.JH3)     Po-Jr  Youbh  Ooneporjationa  v.lth  four 
fco  riv©  imndröd  attendinü  ovcü'y  aabbath, 

.  m,  BIlillUAUlI 

{'.•rrm  quiap  v/onnizaMi-an?)    i  -  i  oaxnot  b«u«n  m» 

om^  ohildren  loara  yai>ly  äo  loryo  Oliaapoy  ^adok. 
Anu  t:^  Part  o2  lü.     Do^ply,  joyoyaly  pai't  ox  it, 

CHWilli»  x^AOT  0.^  TuJ  a^VICii.     Jti.  lilMBAOM  LCÜK3 
IH  PliU}HiJS3  :?Ifc  CUIirAINS  CLOSL'. ) 

i^iÄi^'-^^.'^t^?  H'  ""»»aiU^??)     It   Is  beautlf-ol  ... 
"davan'  ao  flnaly» 

_     .  NARJATOR 

■•  ftavo  quita  en  aiabltiou«  miaio  prograa,  Up,  3im- 

o^aw  to  traia  ovo?  yauug  clTaasantia  and  our  youfch 

üut  bohlad  that  anrl  laor®  baalc.  I  tlilrik,  Is  our 
«Wie  aduoatlonul  aystoia. 

Hna^;.  An  aduoatlonal  ayatam  yet  you  hava?     Bah,  thlnlc 


I 


'9. 


i'V 


7-  WP",  \ 


f .  •  c 


1  o^ 


I'.  -1.J     / 


-  .^.     ^  ,,   ,         ,i5.  3IIU1BAUII  (oontlnued) 

or  itj    Btora  oia«  kleine,  litffclo  cliodoz»  to  a  syatoal     Aoh* 
■u^  ^iw«»at  »ucii  btä  cgyqgoai     So  ulien  do  tSey  atart 
with  tiil»  oyafeia  «  tHo  onilfl?on7    liöw  olÄ? 

SJ^ocIJ     Aoli^   SoimorryottorJ     2oj  no,  no,  no,   -.  tiiis  I 
do»'::  sool     Jhttw^  oaxi  thoy  loarn  at  tirac?     Bubiöa  tli^y 
aap«>i     I^ro  BableaJ  '^ 


And  thcii  fox»  äixe  ^s^^adiiates  *^  - 


a^os  3  to  5# 


(CfnJCKLIlJS) 


•■"».?  •.■■f-' 


RUTH 


«^  hAV#  a  iajodorsurbon*  AX»Oj  In  airmar  thoro's  a  d«y 
0«tap  fop  oMldi?on  5  to  10^  And  thon  our  syatomatio 
sd-.oollr^  ixnl  othor  actlvitlea  eontinao  x^i^at  on  im 
türough  Mall  aohool^  ^  ^ 


3.;  RV 


ilwpbÄts  and  selootlona  f^oea  the  Taliim!,  thoy  fcavo  olaas«* 
«onducted  «zxfclrelj  in  HBbj?ew  — • 

And  i^ftiÄt  would  you  aoj  In  tl»  ttor»  cf  Jlosea? 
Will^   Iid  say  ltt§  tho  Id^a  «f  öod^s  lova^ 

eßpiiasig  la  on  «trlot  Justicol 

v-  TEACHSa 

xea«     i\nd  now  tvliai:  wouid  you  aay  ro^arcllns  fc^io ? 

(OS  iiliiä  LASf  SI'SSCII  5?aE  CfimTAIHS  GLOS!!) 
AI      »4      «*     1.  ii.       ^  *^«  BIIÜlBAtJlI 

r  ton'vSu*  i^t^""^  thoy  apeol:  iiebro»  tluui  I  spoak  EuGllaJi. 
tii^  1  inr^^'-«  ir^    f^^*  '^'»®^  ««»  anoloat  tonGUu  oounTon 
wi-  xips  Oi  tao  clillclron.     V.undwbar,  v/ondorful  it  IsJ 


' 


6o. 


a 


cJA 


^  hcih 


HMA 


,11  dl? 


•    *? 


t  .^,A 


Rtnm  '  * "  ■ " '  *^^^^  Vi4 


ai 


»tgfat  izit0rMt  Ttm  to  knamm  W.  Binäimmg  määTtmft 


lllg3Pl&tftg< 


yoto^st^rs 


^/^ 


U^JOtti  rmn  tixmt    Bit  p3lMUi##  lagr  ^mlt^  irfb*6  «  Khat  ima 


■e 


ÄöfH 


cmr  hi^  »ahool  «tauliiit«  to  laraoX  that  Shaarey  2^dak 
hAS  Ixxfcroduoed  as  part  of  it«  tctunatlonal  i^rosram« 

M«  BtaHBATIM 
(IN  mmmmms)     Aoh,  yah,  ^  think  of  Itl     Tak,  tsk,  takl 

ÄÄRRAIOa 

Bot  look|  Ruth«  tlp«  M2>iä>atim  haa  baan  mm^  a  101%  tlm« 
B0  doaanH  knov  ^  about  liKraal»     Mmt*8  happaixadj  I 
jßiean« 

m«  BIHHBAXtt 

ü  know    idiat  haa  happanad  vith  laraal??     %  daar 
«  1£  IrowtanfcB  10  grtat;  waa  that  nawat  -* 
mm  atSEa  &  WfmlpmM  Ihay  aouXdn^t  kaap 
It  £Nra  YaiouiiSm  airaii  nstsnart  Z  t<h  «m»  iin  nakii^  »qt  hcmsa 
amiu    Aeh«  auah  a  aliaeha  thara  waa^  «^  Tou  hara  na  Ideal 
(WITH  A  3I3H)     Yaht  in  w  day  Jova  warn»  to  Si^ata  Ylsroal 
23ioatXy  to  die«     Ilow  thay  az»a  there  to  lival 

RUTH 
Asaä  your  old  eon^ragatitmt  £tp«  Birzd>aiim^  thpough  all 
tha  yaara  itU  bean  a  aaaloua  ohaioipion  q£  tha  movaxoant 
to  hnng  tha  jTavlah  nation  baok  to  lifo« 

WL»  BHÜffiAüJÄ  •■ 

(WISTPOLLY)    y«lx,  y«h-  -  iäptts  XUro»!  ....  YMu  bom 
too  soon  I  WM,  war  tri«Jd«..,.Aad  now,  our  youth  ftwa 
Shaapty  z«dok  -  th»y  go  to  viült  larMll    Wtwidapfia  It 
!•#  -  wondorfta...  Bat  t«ll  a©  soaethlngi  -  alrlglit, 
our  ohlldöpom  our  youth  —  tdaata  you  koep  Interosted. 
But  »hat  Is  happonlng  uhon  ttlSy  ß«t  groim  vjp??     vftjon 
«»y  apo  fuU  of  builuess  «nd  famlly  and  «U  tho  othor 

,,^  ,,  HAnHATOR 

well,  by  that  tiiaa  Shaaroy  aadek  haa  beooE»  a  pattem  , 
a  ehayiaiied  pattawi  of  tiiair  Uvea«     It»a  not  only  that 
It  meots  deop  apiritual  neada  and  providea  auoli  wama 
;?,    ?y®^^  ^"^  *  senao  of  belonging«    But  thej?e  aro 
likowia©  ao  laany  oliallenging  reaponaibilitlea  to  dla- 
oharge  oiid  tharo^s  auoh  a  graat  riohnaae  of  abaorblx^g    • 
tliinga  to  do« 


I 
t 


I. 


61, 


r         *»■  >    1     t  -S     1 


.a) 


(jpaOM  QFmfäQE  30\m^  OF  A  SXMPHOUy  OaOHBSTiU,   VIA 
HEOORDISJ,   PADS-IBr  AHD  OOIBflHÜE  SOWIT  UBIJBR  2fIE  DIA- 
LOOUB) 


HARRATC« 

m,  BmsBAm  usrjms  xsfssrm 


{POR  A 


1®.  BiaUBAUM 
Unn*  boAutlfuI,  b*autifult     Üb  <—  rämr»  -  «her«  1« 

HARRATOa 

That  <iFäh»8tra  Is  zaade  iip  of  «or  nwEäjwrsi 

7ou  •  79U  Bwan  -  our  Yebudtm  b»v  in  Shaaroy  2edsk  • 
**~  TlSfeStt  -  **>^  •«  ««teMaiy  mücing  «yraphonl»  mua: 


f    .»«Tj  ^  fv 


I 


•waa 


- .  j, — 


:ci   oc/ 


SB«) 


?*  f 


i 


ISiAt*!  «amot. 


SUTH 


•f-i 


MR^  B2RUBA13H 

AI«  »«^*1»^«1  --  •«•h  fehtufi  to  htftrt    am«  irt»a  I 
w««U  the  troublM  «•  had  s«t«ii«  that  klalaa,  llttla 
^gjitra  to  Play  fer  danelz«  at  ow  Slmoha«  Torah 

■r  •  ^»^ 

RUTH 

**^f^?.^**'*  ■  *^**»  f^^  «Öd*  «tu  ao  aany  othor 
aatlTltiaa  —  exatwml,  soaiü«  pfeUanHarople  — 

(Tic:  MDSia  PADI33  OUT,     A  XODMö  \70MAN,  BSLLA.   KHTKRII«J 
^  ^;SAa'^:i^XJ!ES3lO^  raOM  LEFT,   0H03SS3  IT  TOWAIID  RIOOT, 
HBA^  LB?OK  AHD  UWJHITO  lÄlTO.     AT  THU  SAK. J  TIME, 
AHOTHEH  lOUHS  WOKAU,   IQA,   -JHTSas  STACH>SSTSiraiON  PROM 

??gg^>  OHOssaa  ir  toitarp  Liärr,    thj,  two  young  womeh 

3T0P  AT  CI2HTER,     A;  THBT  APPROAOH  BACH  0TlIf2Rl) 

IDA  ^  ■W 

Hl,  heai,  whAt»8  so  hllariom? 

Thl»  book  -  Juat  got  it  out  of  tho  Ulwaryf    CS  Äuiah 
nMfflorJ    punaj-  as  the  dlolcanai 


klddlnc 


IDA 


SBMKm  IM  ÜTHE  BOOK)      A11.11V1-.1         t!h 


p 


4 


o2« 


"1 


«OK 


^-^•^»\ 


4  * 


(tATlT 


V    .: 


c'dÄriJT 


<  '■  ■■»    f. 


^^.  mi 


,m 


IDA 


^03Ni  you  bftmitod? 


HH 


Llla-ary  tool     ./«am  get  hiOd  «C  tlmt  mv  blosraUhr 
of  H«iaRU»tta  SsoXd.     Oott«  glvo  a  paper  on  It  iKo^ 


V*U,  good  Xuoki 


BSLUFf 


"::.ti  *< 


'«i^    m    i!^'.4>U&4    ^ 


ZD4 


Be  «eeint  ytihi 

diu  aaassas  mpj  ahd  sküts) 


SUS^SIOU)     Favdoa  M«  ymi«  Xady,  -  «ils  Ubrapy  ytm 
rientloned,  -  I  oouldntt  h«S  orS^arlng  yau.vllir 


tlwfe 


^■gffllrjH 


HR«  BIRBBAUIi 


T^it-  t  «i^  ^  -u  ^  ®*  BIRNBAUM^*-  - 


BELL^\ 


w-*' 


VAiU,  it  was  nioe  apwücing  to  you, 

^^«A  mSDlBSS  BEK  CR03311Ö  TO  Tm  liia^       m     nr^tu 

§^  S^^AFTSa  S».   SlliUai  ™ilH  H^Sr 'aS  D^I^ll'^FHOA. 
WIIB3  THIJ  RIOHT?   EXTT.    axta  rann»   -rtm^   «.it      T»Tr,m  ^T^  .^-C.::  ^ 


QWS  ''^  RWHT  ^CT.  SHB  BTWP8  lOTO  3Aia.   JUST  JOTjai». 
IN  A  OAMi'IIR}  OOTPIT,  WITII  KÜAPSaSk  Gif  BACK. ) 


äMM  IS  IK 


63. 


7  3iörf;: 


lo 


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ft  *ir>& 


.■  %  ^'^  ■.  j,  ^♦*- A''jrat*"f        ftJ^  "^■■.ÄBÄ^  ■ 


BEIiLA 


A 


1^  0W  nyy^^tl  BuUAmtml 


Your  *bÄt? 


SAH 


BKLLA 


.f*<| 


Äfif 


l     '^^otv 


0«r  Kiblitxttt     Our  ammal  EtbbuttJ 

BSLUl 


SAI 


itt 


3hat«8  rle^t*  Bu«  thia  hwa  la  aoi^thi£^ 
•f  tm  fjrctt  Shaavaijr  ZMtak  ««  you  swan  to  s^ 
haard  of  It? 

Noverl     So  do  r»  »oaaöthli^J 


►     ^,<     »•«■,»1Sji  !#■*■     '^ 


-rTi 


»?  -^ 


^■11«  thlB  gxwip  of  US  -  we  go  ui»  Into  the  oountaT" 
fw  a jPwr  diy»,  -  Ife»«  «  x«tr««t  •  «od  tsuSoy  Rafaibi 
ülAP*!  iMitersliift  «•  stMr  <B>d  diacusa  «hii^a  «ad 
h»Y«  Kttltwal  «otlvltl««  and  a  g«od  ralaadU»  tln», 
It'a  wondarful. 


.,..»  - 


B3EM 

Oh,  wall,  «•  gala  have  that,  toot     Suro,  the  nsm  sort 
«f  aotlTltyJ     Only  wo  oall  it  ßja  X  ^flÖlJW  •     So  you 
■JJ»  ^ÄBg*  bay»  It  taa»t  J\»t  «  aan*awgHd  at  ahaäpoy 


SAH 


,  «l. 


lt»a  a  IcSÜHiPo^^ld  «<^t _^  ^  ^^^ ^ 

Jtflilaa»  CoiiffSNieation  ha»  a  Klbbuta'Kotoa^now  at  C5am>''** 
TataaraokV  ^^ 

^  BStlA 

PsUf  I  knaw  thm^  vas  aootthlx^  c»p  othar  - 

SAM     "^  "^"^ 
»ah,  It  waa  atartad  la  V^.    And  now  ItU  a  regulär 
axmual  avant»  *^«*« 

-^  *^  -■ 

"Swvltt^  .^^  Willy  I  gotta  gat  aov^ln**     (A3  SOS  RSi* 

SITÄia  HhR  CROSSEß  RI0H3?)      30  long!     lÄVö  funj 


1  **'■  V    1»  1^,       ,' 


6k. 


*uro  ©T 


»örtfir 


O 


0  b*»Md 


;  .^V49i 


iXXaW 


\ 


(HBBUMIIÄJ  ras  CROaSHß  MW)     OlRlieit     So  l£a«r     1 

(STOPPIHJ  APISR  A  FE:^  STEl^)     By  tha  way^  •  »Imo 
you^re  so  oultural^  hov  eont  «i  Acmtt  a0#  you  «t  our 


•bXe  to  üiak«  It» 


SAH 

Surel    7ook  üttooir 
lmt#ly  I  Ju«t  hiiwntt  binm 


3ELL4 
I»in  tcl:ii5s  hl3tar*y>  llebrew  Ut^ratusti  and  a  coiuMia  on 
lltia^.     Well,  gotta  gol     So  longj  you  laolaigarMir 
ElbbirtÄiilkJ      (SIE  KKITS  lilGilT) 

3AM 

(axiTim  LSFP)    so  icqgi 

(FOa  A  MOl^BTi,  m*  BimiMUK  SXASD8  ALOITJ  ON  THä  S7iU}liMli» 
SXTEHSIOH,  SCRArCIUm  ms  HSAD  et  B^^i'/IUMlifi^ra) 


Z  —  I  juair  uh 


m»  BiaBBAÜM 
I  ean*t  gxmap  It  all 


(BAH  !.ir!?OT,UI  I  ,  A  30Y  OP  13,    3HTEBS  PaOlI  LEFP  AHD 
^OSSSS  TOWAÄD  RIOIIT,     A3  HB  A^PPBOACHläS  iQ.  BIBHBAUH 

AT  CSHEfEI?}) 

-r'»?-  •  ßAH  MITZVAII  I 

I^u:^on  me,  alr,  do  you  hcv«  th»  rlght  tln»? 

-.  ^     .  ,  ^  ^.  MR.  BIHHaAUI^ 

Th«  rlght  tlai?     nhat  tla»  !•  ylßiit,  wy  boy?     I  . 
I  doa't  know.     I  «a  eorry.     32»  7»air  -  If  I  r«a«rtbor, 
w«  y««jp,  its  «hould  b«  1961,  yah,  XäM  oönfeupy.«ark  of 
ffliÄWay  Zadak.     Yah.  tOmt  Is  oleaa?.     But  tha  day, 
tha  hoiy^  -  I  don't  know.     I  aia  a  lltstlo  ooxifuaad, 
Yoyt  £j3i0t  exeusa  na. 


I«a  »«wy,  air» 


SAR  I1Z727AH  I 


-^  4,  --  iE»  BIEHBAUH 

a 

r*.     T   4     4.  ,-  BAR  mT2VAH  I 

jj^  X  3u«t  had  ncr  losaoti  •  at  Shaaray  Zadök,     y< 
i  m  ßoing  to  be  bar  nltivah  tlioro  noxt  Satirrday, 

Aah,  80?    Chat  la  vary  flna,  y«h. 


i 


r 


¥' 


•^.  "»r,-   , 


f  — 


X  «'«^'Müi/ 


-    1 


li 


(EJOHIK}  Tffi3  LAS?  SilV^II  W0R08,  SAH  MITZYAH  II  HHTESS 

paoa  HiaHT,  .is  hs  caossüß  to  ?aE  hioht  aiDä  of  je, 

BZHHBAini  43?  aSHTSa»  HB  aaHSi'S  EAll  UTPSV.'Ui  I) 


Wl,  BanJ 


31,   ftaiXI 


B4a  UI7ZVAB  II 


Büia  iaT2VAa  z 


(}«e«  70U  fjUalahüd  «Ijpeadsr? 


BAB  HTT^YAH  II 


Uh  ixuht 


Oosh,  I  oust  be|L&t«l 


BAH  !ir?-3VJÜI  I 


B4R  MITZVAH  II 


MB.  BIRHBA13M 
(70  BAR  MZTZVAH  II}    ISBu  «p«  golog  «Ifo  far  youür  l«s8<m« 
B^  boy? 


XSftf    CJJP« 


fielet  JQETZVAH  n 


» 


BÄH  1!ITS7jIII  I 

(70  ISi.  BIHUBAUU)     fldl*«  gOBma  l)t  Bar  Uttsvmb«  tM. 


A«h(  sot    asv  aoonf 


IJäxt  Saturdoy,  alr, 


m^  3atm>d«y? 


Sure* 


IBU  BIRU&AÜM 


BAR  ÜIl'ZVAH  II 


HR.  BIPJIBAUM 


BAH  I:I72VäH  II 


' 


a»I 


0£ 


rT> 


vi 


But  ziot  At  shaaray  Zedak? 


]!ffi.  BUmOAUM 


BAR  tUTZV'-ill  II  1 

(CHOSSHC  TO  L3PT,   A3  BAR  LIIT2VAH  I  CilOSOaS  JO  TIL^ilGin?) 

'^  not?    ZUat's  «ä3ax>«  I  baloi«. 


MR.  BIHHBAUM 

(TO  BAH  ITP^JVAII  I)     But  yott  aaia  you  aro  going  to  - 
(ro  BAI^  lüfZVAII  II)  and  nöw  also  y^  —  bqfeh  on  tho 
day  at  tho  9em  ahxü,??  ^^ 


•MMMMMIOT 


rtaMM»    mmmmmSm 


\ 


66# 


i|JtfT 


t^OÜ 


\  »o 


^  *.  / 


V.     i>    T-W« 


;f 


BAR  iara7AH  ii 

Thmt*B  righfc,     l've  götta  go.      (ftJSUiaija  CK0G3  K) 
läRmui«  »Of  sir.    So  long,  B*a« 


LEFS) 


BAK  MITSVAir  I 
Be  8«oln»  yuh,   i^hllJ      (Bi\R  MI32WAH  IX  äXISS  IfiPT.     BAR 
Mrr^VAH  I  31'MKS  70  Mi.  BIälIB4QiÄ)     You  9—,  tt«s  Xik9 
this«  slrt  -  it  fot  to  tiw  polz»  ia  abMMy  i*äQk  nhero 

t«r  thaa  tbß  nusiber  of  S«lib«fclw.    so  «imt  oould  äwy 
4o?    Timy  eouldn't  go  on  haartilg  oalar  oa»  Im?  laltiv«]! 

b«nai  mtavaü.  ^*^°* 

,  L  ®»  BlaKBAUH 

(BEimURBD)     Y«h,  -  yah,  X  -  I  e«a« 

BAR  liSHTZVAil  I 
Aztd  nov,  iS  Tou'U  «xoubo  lod,  X*X1  b«  xnnmiz^  cilacg, 

(  HB  RBSTMiä  CH03SIBI1  RIOOT  AflO  SXIT3) 

HR,  BZaUBAUU 
ShaiSi  you,  r^r  b«y,  -  thank  you  iuad  aod  blea*  youl 

al,  al,  all 

(HIOH  aSPSS&ßS,  TIA  R200RDIIÖ,  OQlES  ßOUUBs,  V32ay  SOPS- 
MT,   OP  THE  OIEHIID  OP  RAVÄSLiJ  "nAPilMlS  AHD  OME'*,  AS  " 
BACaDROIfflD  PQR  A  RAPID  SUBOESSIOH  OP  ÜPP3TA13  VolcüS, 
^i^J^S^^^^^*^^  ^^^^^ARS  SAOH  VOICE,  H2  LOOKS  AHD  MOViia 

r  if?:l^??^^  ^  DiFreaiaBr  disbotüoh  as  sthoioh  ürximj  ü?o. 

L0CAJ13  mj  30URC5J  OP  TK:!  VOICJ : ) 


sominB  In  ign^-^  it^l 


WOMAI^iS  VQjan 


WkM*ä  7CICQ 

Family  aaatiag  In  aanotuax^l 


Conaeoratlon  for  glrlal 
Oomgrogatloxua  ait^sli^i 


Vigoi»  of  liea»»  ClAbl 


^itfXuonee  of  laraall 


aiRL>d  VOIOB 


«omi7*s  voici^ 


MAH'S  VOIiB 


OlRLtS  VOIOU 


V 


,^ 


i 


*Ppopt  of  sanlnaryl 


WOUAN'S  VOIOK 


67* 


i«3 


.'^-n 


1 


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o 


>»< 


-*/ 


*% 


^  } 


L'       -HK  •«  S . 


'■•1 


■■-rf     ■.* 

Ol 


XfßUrt 


.>  -tor-i.. 


ȟflUC 


VOIOB 

(AS  m,  nrnmAW  pdt^  uo  ms  häbd  por  silescb  ai© 

STARTS  TO  SPEAK,  THE  VOKTiÄ  AMD  MüSIO  CiiASiJ) 


MR.  BIREBäüK  ^ 

itltSÄY,  WJfH  A  KISD  GF  BBilliÖERBD  läUZCOH) 
WOg  HP»  xaor  d0«r  IVIdnas«  pltM«.  no  sicxmI     Too  ftax 
already  I0  thAsfold,  old  hBcrt  oj  lalnoj     Voi«y  liappy 
I  «mi  7«h,  ymht  and  m^oud^  mr  proud  and  IwPiigrA  ** 
but  mani  ^  H^^  2)0|  Z  *  i  omud  ziot  graai^  asQr  zraro» 
TbXrik  of  It  aÜ  *►  how  waadorftdi  -  a  ahnl,  ^     (WITO  A 

worahip  Almiglxty  (lod  on  tha  Sabb^Sm/    n^oiä 


4 


d 


xwandj 


aavaxitaant  **  a  IdalBa  hasAful  at  tbo  start  «^  to  ona 
thmiaaridl      (3iaHIM3  IN  WOKDEHMSM?)     AI,  al^  al,   aTT*^ 
and  axx  thaaa  (g:*aat  additlom  and  davelopoentdt  <» 
and  ploaso  laake  no  mlstak©^  thie  is  rhat  thcy  are: 
^gg|^^,Q^{  daveXopi^ntB.  aöST^oi^J     Tho  refogSa  I  aza 
•|iai  agalnat,  yaii^  yaHt  juat  litte  th  the  oXcTJaya  at 
Botwl^    Bot  hex'e.  itoatjw  havat  yah^  It  la,  yqu  knovj    -  ' 
11k©  a  tipoa^  ^  a  we%JfS|^  «tarts  rery  ariall^  and 
thon  aa  It  growa  blggöjpirß^^  u^a  luore  and  niora  bloaaOtoaf 
loore  and  more  IVulta»     But  all  thaao,  ~  thoy  oocae  natiar« 
ally  trtxn.  tha  Inaart  and  th<5  jElbra  of  tb&  oriGlnal  littla 
8i\pling»     Tho  oonga?egation  of  tha  youthl     änd  tha  Ufa- 
la«  aduaation,  •  faen»  Infanoy  to  old  aßo.  for  avaryw 
bo^    And  than  «hat  Ubma7  trtth  all  tha  fim  Jkvlah 
booka^  alt  al«  idt    And  tlio  aoBKzunal  alnising«  and  tha 
»uraary  aahool  and  tha  fclndaiBartea  and  tha  high  aohoolt 
And  töian  ^labpaw|  -  aah,  yah,  hon  thoy  ara  spoaklng  it 
juat  Uke  a  llvlng  lamixasöl     And  thoso  pllQrinagaa 
to  ^rota  Xiaroal  and  olao,  yah,  theaa  ara  ns»  too^  • 
tha  E»n»8  olnb*  tha  orohaatra^  tho  ohoas  olub  and  all 
tha  lawcr  oth»  thlngal     Togathar  I  am  aaali«  thaa  In  zay 
wind  Uka  ••haar  do  you  oall  It  aßaln?  ^  iSa  a  tapaatry— 
pca  aome  rloh,  btatttlful  tapaatry  ~  all  hald  togathar 
in  ona  srand  d^^eign  by  tha  thraad»,  by  tho  atrc»«  and 
aanotlfyi^g  thraada  of  our  aaorad  tz»adition*  • . .  • 

m  i^AUips  poa  A  mjjmi  lo  nmm  kb!:!Iiii3c^wli\  aud  tiljn;) 

xan.  yah,  Kliider.  •  all  ao  i"ar,  far  airny  trm  that  ahab- 
by  littla  Tom  abova  tha  drM«»atora|  ahero  w  atartodi 
^  \xy^  yot,  -  pt,  -  tha  aplri^^t  of  oiir  poopla»  it  is 
1:210  oacie:  •.  thair  atropg  and  loving  dovotion;  thair 
prido  in  tha  paatj  and  thair  holdinr^  fii^a  to  our  bloaaod 
är^j5f!l  JJh,  it  la  aU  tha  aantal     lio  thinnli«  out 

?t  ^    7t?.   ??*  ^^  ^^^  bcsinning.     Iho  Nor  Tazaid  -  is 
Til  S^  f^^-^^  ^^'^t  ^^^  unl^ailing  lisht?     ^\nd  tha  Sorolls 
or  Torahj  Äpo  thoy  too  not  thö  nam.  atill  unfoldlng  tha 
um  or  laffat    And  our  CJatoa  of  night  oouanaaa,  -  yah, 
T^i  nuoh  biggar  aro  thoy  now  and  »ore  liapraaaivaj   atill 
thoy  opon  with  tha  aau  loving  warmth**,*»  But  now  • 


m 


^ ,  68* 


'•''.■;.  CiOm 


m 


.11 


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) 


i 


WU  BZRHBAUH  (MUtdJmiAd ) 

laord  wl<S«ly  oan  thoy  openl     Yaha  It  in  alrdady  aa  Dsuoh 
afl  It  aan  baj     mA  t  hatra  MMm  It»     All  of  It  havo  I 
aeai^  axid  fcnf  It  I  ttbaidK  AlnlghlSQr  (^odl   ••«•  AM  90  now, 
I^3r  daar  7mm$  tfiMXiäm$  Z  imait  laava  you«     (smimia) 
1^  haartt  •  it  ia  a^  fall  msä  X  louat  go  budc  to  m 
Xox^i  XoQg  aUap«      (BS  3ZAR!?S  !P0  WALK  0U7) 

SASaATOH 
Walt|   !*•  BlMbaUBU      (HB*  BIHHBAÜM  ÄUOFS  AHD  PACE3 

lIAHEAfOR)     Do  atag^  vith  ua  a  tmm  miuutaa  l02«ar.  pXaaae 


(!P0  mmASOR.TMim  hi3  ahm) 

fair  to  datain  our  £rdand? 


Dava,  la  it  raally 


Bat  I  think  ha  wUX 


HARIüm» 


\* 


0p«oial  - 


IK,  BIRHBAUM 

(BRZOIITENIIfö  U?)     X<m  a»«n  It*«  •  it*«  «OBWt 

«omathlng  «l««  valkf  isiportant  •  «bout  our 

MASRATOR 
Somthlng  vajpy  la|MPt«at»  I  «hizric. 

m«  BXRH&4UM 
(pTH  A  S&EET  OI^AMZro  aiOLS)     So  tor  «bAt  are  «•  Wftl- 
tlr»?    Who  la  «is>»df    «w  8X««p,  mj  d«ar  fi«lond»,  I  h«ve 
qult«  «n  liEpvM«iT«  «olMAO«  ahBAd  of  s».     So  go  «head. 
go  aheadi 

KARBAfOR 
Maat  «•»▼•  «ohltfToa  1«  but  on«  memorable  inilestozMi 

f ?**  !•  {ff?*^^  -  •▼»  «  dwponlng  Irarapd,  •▼«?  « 
roftohlng  furviUKr  «nd  man  ruUy  outward  -  b«th  wlthout 
Unat  9VV,     Our  dMtixj  Xm  «  progpo««ion  of  |«r«ludo» 
th«t  oan  nmw  «od. 

„  .  ^  Ha,  BIHlß3AüB 

y«h,  yah,  of  »ouv««,     l  wui  «nxy  orenrtMlned  by  «o 
auoh  all  at  one«.     You*r«  pl^.     Alwaya  waa  it  ao 
wlth  u«  fi?aa  th«  r*x7  bagirm]^,     Oii«  is  th»  spirit 
or  our  shul,  ^  ' 

JÜ«^®„*  Viaion  of  hopa  to  mhaa^  with  you,  daar  friend, 
borore  you  lacv«  u«, 

S?^^^^l^^  ^2™°3  OP  AN  UHAOOOKPAIIIED  PLUTE 
SÄS?SJ^''Ji^  ^^     °^^^  '^0  MS  mi :  GATES  OP  RIOÜT* 
APu^in  ^^r,.^™^'  *^  ^^  SAME  TUE  Tlffi  COiSUBHTATOns 
ÄPPiJlR,   OHL  AT  TH3  LEW?  SID^,  fHU  OTHER  AT  TliU  RIÖIIT 


■  riid.dn4Ji^.a 


69* 


«5,  7- 


lio 


^^*^.n 


•v/   X   ^isG 


^r 


•  »•  I' 


t  «H..    , 


•'V 


«*!' 


'%   d'O^OQhÄi, 


SIDE  OP  !Rffi  3!PAOB^SJC5?3B3IOH^     fUS  PLOT3  WJBIG  COOTlilUES 
A3  A  BACKaHOtSß)  FOH  THSIR  SPBAKBOl) 

axaii  I 

H  199W  ShftpEM^  2MMMIC 

c  GXEHi  II 

"Sh»  tab#rxiAol#  af  triutltlon^ 
«ÜT«  In  aur  hi«rta# 
Ire  lAmll  b»ar  lovJj^ly 

OIBIi  I 

üImim  wbMlX  b#  an  «painipg 

af  laftlöp  and  yat  wldar  gataa^ 

lümt^  «ha  mqrt  of  Hallavad  Xi^sbt      /^«r^^  i^ 

ftma  irlthln 

nasr  raaah  atlLL  farkhar 

oimraNlj 

dZBZi  IX 

j^  2«m«r  anA  yrt  idtfar  gstoa^ 

thal^  jrMalmaaa  in  wia^tao« 

mm  ba«iKb7  nd  uaa 

augr  ral^ar 

In  xdahar  xaaaaiira 

to  ncnndah  tradltiam 

Iqr  f ha  nam  of  '?orah 

i>a  sanotiflaai 


OISL  I 
An  <n^ni»  foU^^way 
a^  f ar  yat  bvoadasf  gataa 
ihat  mara  and  arar  zuara 
^  tha  paapXa 
laay  ootaa  to  dvaXl 
In  tha  Lord 's  Ilouae 
to  ctake  wlthln  Ita  naUa 
a  faallawad  «qr  of  lif  a# 
riah  and  xH»xaidad» 

lajogth  or  daya* 


'.  ..ti'n 


■.>^4 


^SOmiDS,   HIOH  AI©  CHALLiJllGHI», 


.  ^  OPPSTAÖ- 

Open  vddo  tho  sat«8 


.\JM  VOIOJ 


7i-70« 


11U17  enfeeyf  «• 

to  i^lood  yam?  ä«jr»  .      _^ 

with  a  Jogrful  «nransaa«  ^'^  ^^ 

«ad  to  neXd  «ithin  Ttm 

the  bzwaoh  oror  fkniltfül« 

thfi  baauty  and  ibt  Tooted  atrex^th. 

of  tho  tap«o  of  ItfeJ 

(FROSI  3?Iffi;  R23AI?.  OP  Tm  HALL,  CCaB  TBS  JUBILAHT  SOUHDS 
OP  A  CH0RT33  SUKUBDs) 

*IiJCt  up  yoor  btads»  0  y*  gatas« 
and  b«  7«  liftad  up«  y«  «rerlasting  dooira« 
tliat  taia  £u^  of  aioacT-  may  entavl" 

(A3  ÜHi;;  aiMOIHS  GOHTINW^S,  A  PHOCESSIOHAL  ADVAHCSa 
FaOJi»  ms  BACK  OP  KU  HALL  DOWH  SIE  OLirPEl^.  AlSUl  TO- 
WARD  THiJ  STAßS.     PIR3T  (SOm  THE  iXIXJas  OP  Tli::^  COS^ 
GRH5ATI01I,   mSUiXm  Tim  TCHUS  3(JR0LL:3|   BEIIIIID  THUM  TUE 

MiaiBiiBs  OP  Tm  cHoaus,  followij)  by  cniLDrj3H,    wicai 

TIS  läÄRCUnilS  REACn  TIE  3TA5H,  TUBY  EOÜOT  THB  OTAIHS 
AHD  POB«  A  SABLZAH,  KiLP  A2  §HE  LtOT  3ID^  OP  3?HB 
3TAOB-EKPEBSI0H,  lULP  AI  THE  iUKJHT  Sinc  OP  IT«       - 
THBBE  13  A  UOUEST  09  SITJ^glS,     TUBB.  Iffi.  BIRIIBAUIf. 

3TABDIK0  AJ  OEHTSR,  HI3  ģJI!D  HEAD  RAISHD  WITH  PHIDS. -. 

SF^AKS  WUH  OTET  PSSVORl ) 

ESt  BIHHBAUM 

«tmm,  and  glira  thazdcs  x2nto  «bo  Loordl* 

iSS  ™^^  3I103  Tmi  3ALLJ  iVOHDS  EXULTAKTty.      AHD 
THHN  AS  Kn  SIHÖII»  C0IWINIIS3,   THE  CXJRTAIH3  OFEN 
f^^L^}^  ^^^  ^-^  BSAaim  KE  TOIUII  SroOLLS  KldEI- 
Ui^H  ÜCWE  TO  TIIB  ARK,    FUOg  TIHS  SCROLLS  TIIEHEIN  AHD 

Rx^-JiRi:..    Tm>Ri:;  is  a  hohljuit  op  siu^Cß.    amd  tiicn* 
m^  BiHiBATOi,  sTAiroii»  ALOii::;  in  mom  of  tilj  arüI 

Ä»  BIRNBAUM 
Out  of  a  sood  •  a  modoat  saad 
a  ooatuiTr  ago 
has  grown 

a  rzlßhty  guardian  of  tba  troo 
of  Ufa. 

L00KIH5  UPWARD,  3PEAKS:)        ^^^^aix^iiüi*  «i^^ 

A  BOY 


''Opan  tliou  xalxiB  ayaa^ 


\ 


♦   -.  -  — 


iiö  A  10 


rtaqO" 

) 


äsm^^^.     fä^m. 


ll# 


thÄt  I  aay  behold  wm}^mm  thlxmB 
mit  of  2ljy  lÄirt«  "^ 

(AS  AH  SLDJR  OF  TSE  OOHÖimiATION  RAI3K3  HI3  AHM. 

OROraSD  FOH  KUl  POLLOWIMJj)  *«»wä^ 

A  BOT 
JlS^SS  2^^^^  WI7K  FSRVOH  Aim  L0QKI2KJ  ÜPWARD) 

?^.?f?  F  St^mÄW.     THEH  HM  SFiäAÜS  IT  WITTf  nsiP 
PiasOHAL  FJXim  IH  iiJ»LI3H»} 

_„,  JB.  BlRimADL' 

31«»»«(!  «rt  Thou,  0  Lord  our  (Jod, 
Klag  ©f  «he  ütalTara»,  * 

T*io  bas  kopt  US  la  lif e- 
and  hut  ppSMTvtd  us« 
«nd  «mbled  vm  to  r»aoh  -  thl«  soaaon." 

OH  IpSf^p^JS^  ^  HSMK2RSD  LITE  BY  TIE  Äü3 

S  ^LS4^?S^^^  ^^^3  OP  PHOBOOIumO  SöORDIOT. 


j 


TBE  iaiD 


T 


^%t 


"»    s.;4*v>  is>"i  iV' 


I 


gas  gH&a4flBgi3 

^]^  qg^ii^nfea^l/Qcrss  2  glrla  In  tiwlr  lattw  t©ona| 

?},  Bornas  -^^gfcQy«'   (nalo)  of  BothoX    loolety  la  I360l 
First  AraditiicBmliat 


all  ncm-apooldLi^j 


!»■♦  Bjynibatjtta.  a  lai  ddle-aood  SMomas  oavaas  of  1870 1 

^S2ä*  HyJ**^  °'^^  Ajaoi-iean-bom  grancIacBi  of  tho  Blrtibaua«  In 


t^^»  ^^.-^^    .\aH>pofw  origia,  agAd 

20th  ooatiEpyi 


hla  wife,  of  hÄat  i^irapoaa 
at  atarfc  of  aoth  oantwyi 


J^  Qo3,dfayb,  tßiatr  aon,  20  y^ara  cid,  at  sfcart  of  20th  oeaturyj 


In  1910J 


■4  fflad^o-a^^  joy;,  in  191^, 


A  Je^^a^  Xouth  of  i^.  In  191$,  hl»  gs^andson,  a  non-apealclfls 

rolaf  ^         ^ 

in  X917J» 
•   ^'^»  n-Of  ACK>rlo«n-bom  Jo«oas} 

i*8.  Abraiuuu,  l,;,,  ÄB»yl««».bom  Jo^Toaaj 


2?H^-;  QymAcrmß  (otmtinuod) 


■k  -!•>•'    •••   ■  *.- 


**'*        f     J«<    I Ulli^ III m  r^ 


II Hill  ml mmmimmmiimttm 


»■»iiiwiiii 


Aaron  goldf arb^   son  of  Joa,   about  9  i^  fche  1920 ^sj 


nmmmittmm 


3  Fl,!iur©s  of  tho  Doni^oaslmij   in  1929 J 


ari 


An  i^i^  WoEian} 
i>.  Leaders  of  ihnarw'  iJedokj      (jmile}j   apoixnd  1930 1 

FairdLly  Cryo^ps  fO!r>  193^  Dedloatlon  3corK>t   approx,  f?  laan* 

5  wlvoa  and  10  oMl- 
di*©n,  all  non-spaa-* 
kirg  roles  and  dis- 
pOHBablo  If  nocosaary} 

Wire  of  Jo§  f^oldTarbj   for  1932  d^dioation  soonc.    (xiori'^ 

si>ea':irjt  rolej,  but  indlsponsablo 
alotig  with  other  ladiabers  of  Groldf arb 

far;iily| 

Mlga  Soprane  a  abo^ib  -^^ 

-  -'  ■■'    --T--T  ■  -i  irr  II   n    II.  .1.1      *  i^-^ 

llrs>AltOs  about  lj.o  )     in  1933 

llr»  'T^enor^   about  \\ä  J 

W— «WM«»«— — »■    m  Hü    nwliii  I^"^  • 


ineprcsontatlTOci  of  Joropeaig  Jewry.   In  tho  Hazi  perlodj 

1  iml0,  2  foioaloai 

g  loryaaentatlvQg  of  g^aaroy  ^Jodok,   In  the  Haai  porlod; 

— ^— ■^»^■^— ^■»■— ji^<«— ^»«»»<-»iaiii<    ■»nm  ■  im  *  I  «»i  MWi^^afc.— I  Miiii  >  IM  im  ,<#f  ,  II  iB  Ma«ii>  I  I»  I  »    11»^  *^  " 

2  riale  advilts,  1  foiimle 
adiilt^  1  xualo  teona^er, 
1  foitiale  tcona{^orj 

A  Ilale  Adi:;lt  üidiioatlon  Toachor,   In  1930 ^at 
Ilontg  ^^^h  Otiali^nan^   In  1930»3| 
3  Conaooration  Glrla,    (toonaGo«)^  In  193?,  or  193!>'; 
i^lt^iii£j£iS2S*   ^  70uns  Aj:i0rican-bopn  Jewosaj 

Don,  hör  son,   a'iod  B; 

I!s?3>  rornctcin.   a  young  ÜÄrican-born  Jewosaj 

iai*  ^^  1<'^  yoar  old  dAughtorj 

3to,  hör  9  yeap  qi^:  go^j 

An  leraeli  ,^l>tiflt,    {riala)j 
HaoJial.  a  yoiujß  Anorloan  Jowoasj 


wn^  CnTA.RÄC7^:T>3   (contlnued) 
Sftvoral  Bora,  ooruiuctins  Yovth  3rf)bath  3»rvlo3j 
'Paaohar  of  Teen  aiagq.  In  liebrewj 
Sttodent  Aj  Student  D,  üof  pupilsj 
^  Other  Student»,      (non-apeaking  polen)! 
Balla.     an  A^rierio&P-bom  J#wess| 
Ida,   an  /jaeriaan-bom  Jawessj 
Smß  an  Amörloau-born  J©w  of  liSl 
Rai>  LdtavcOi  I.   a  13  7*ai*  oll  Jwiah  boy| 
Bar  latgvah  11»  a  13  y^so*  ol<^  Jawisii  boyi 

Tn  T*»lnÄl  Procossional  and  Tableaut  ^  *      x 

m  Final  ^^^!^|^^^^  ^^  ^.^^  co.4-i^ation  (non^apealclm) 

Slngii^  Chorus   (Slmaro-^  >!ad©k  C^ntonnial  Chorus) 

Ciilldron  (non-apeakine  j 

ffiiÄ  Boy» 


ISOLDE' S   NECK 


A  comedy 

in  Seven  Scenes 


By 


JEROME  BAYER 


In 


JEROME  BAYER 


flACEg     A  lmr$%  AiMrloan  City« 


230tI£^S     WBCi: 


SCBXE 


OME 


umTjTi  .1 


OHK 


gUCEt 


SCHNEI 


A  Sunday  momin«  In  Fabruarj« 
Mloah  M«tth0v*a  rooti  In  a  »odeat 

Thft  rocw  !•  rathsr  sbmiII  and  ahabby 
laakln««     Tha  valla  ara  adomad 
wlth  flotvarad  vall-papar^  allghtly 
fadad«     In  tha  rlgbt  wall^  downataga^ 
la  tha  antranea  door^  and  upataga^ 
tha  daor  of  a  eloaat«     Qn  tha  aall« 
apaoa  batwaan  thaaa  doort   la  a 
talaidtona*    Along  tha  raar  wall, 
at  rle^t,  atanda  a  alngla  tad  of 
palntad  Iran,  aboira  «hloh  hang  a 
pietiira  of  Toaoanini  and  a  colorad 
poatar  shoving  an  orohaatra  and 
Ita  aanduator  in  aatlon«     Agalnst 
tha  raar  wall,   to  tha  laft  of  oantar, 
atanda  a  radio  raea Ivlng  sat,   on 
whloh  ratta  a  buat  of  Badthovan  In 
brcmsad  plaatar«     Ovar  tha  radio 
hanga  a  airrar»     A  doubla-baaa  laana 
acitlnat  tha  walla  at  tha  upataga 
laft  oomar«     Attaohad  to  tha  laft 
vall,  at  cantar,   la  an  old«faahionad 
«aahatand,  and  in  tha  aaiaa  wall, 
downataga,   ia  a  wlndow,   ourtalnad 
wlth  rathar  aoilad,  wom  laca  and 
nat«     A  riekatj,   old  ohandaliar 
hanga  f^ran  tha  aantar  of  tha  oalllng« 
And  diraatlT  tmdar  It  Is  a  muaio* 
atand,  waignad  down  by  nuaaroua 
arohaatral  aaoraa»     Downsta^a  to 
tha  rinjht  of  cantar,   ia  a  aaall 
library«tabla,  an  whleh  raat  booka, 
pllaa  of  •haat'-aaale,  atc»     Haar  tha 
tabla  ara  aavaral  chairs»     At  tha 
baglnning  of  tha  aaana,  tha  roon  la 
in  ouatoaMtry,  aarly*aoming  diaarray, 
wlth  bad  unmada,   elothas   on  ohalra, 
ato« 

Fr  Ott  a  eomplataly  dark  «tage  ooaia 
aounda.  aodarataly  loud,  of  an 
arohaatral  randition  of  Baathovan*a 
Fifth  Symphanj  (firat  movamant)« 
Aftar  a  faw  naaauraa,  tha  fada«»ln 
af  a  baby  apot  x*aTaala,  at  cantar 
downataga,  a  rathar  dlmlnutlva 


« 


1-a 


mix  FIOUKK»  atandlng  hmtorm  th« 
»asie«»«t«iid  and  faelng  up^stag«« 
It   1»  MIC  AH  MATTHEW  ♦     wlth  up- 
ralsad  mrmn,  baton  In  rlght  band, 
ha  appaara  to  ba  conduoting  tha 
orehaatral  parfcmnanea  wlth  atrong 
and  axpraaalva  novaments«     But  aa 
tha  llght  apraada  and  tha  «ualo 
baeomaa  aomawhat  raaota,    it  la 
avidant  that  MICAR  ia  atandlng  not 
on  the  podlu»  of  a  oancart  ataga^ 
tont   In  hia  hotal  rotm,  and  that  tha 
muale  amanataa  not  Trom  a  hodj  of 
plajara  anrrotmdlng  hlA^  but  fron 
aoBia  faraway  orchcstra  whoaa  randl- 
tlon  ia  brougfat  to  hin  via  radlo« 
MICAIi,    In  other  worda,    in  Tmraly 
playing  tha  rola  of  aonduotor*     And 
aa  tha  muslc   contlnuaa:- 


Xieah 
(Kalntalnlne  tempo  wlth  his  b»ton, 
polnta  plaadlngly  wlth  laft  band  to 
a  sactlon  of  tha   Imaglnad  orchaatra 
at  laft,  oalllng  outt) 

Coma,   coma,   atrln^al     Mora  tona,  mora  tonal»»>## 
(Caraaalngly) 

Ya-aa.     That'a  ^attar>,>> 

(Tha  "Fata  Knocklng  at  tha  Toor"  thama 
raoura  twiea  In  auooaaalon  wlth  bald 
nota  batwaen.     On  that  bald  note  tbare 
la  a  raal  knoaklng  at  Mioah*a  door,  whlch. 
In  hia    Intanaa  mualcal  abeorption  ha 
niatakaa  for  an  arror  in  tha  playlngt) 

HOf  no,  ahhlf  not  yatt   


(Agaln  tha  •♦Fata"  thama,  and  than  •  on 
tha  auatainod  notat) 

Bold   it and  ••  221  •" 

( Immadiataly  tho  entranca-door  opana, 
and  aa  ha  laada  and  aInga  along  tha 
buh-buh-buh-bah  cf  tha  naxt  phraaa  ~ 
PRIEDt  SCHüsTOF  tlnldly  antara,  ladan 
wlth  fraah  llnana,  broom  and  other  claan- 
ing  laplamanta»     Saalng  Mloah  oonduotlng 
tha  abaant  orchaatra,  aha   la  ao  amaead 


1-5 


that  BhB  äropm  th#  hroGm^  th#  noitt  of 
«)il«h  «tartl^s  MICAB  and  br^alm  hia  tranea* 
Ha  tuma^  a&a  aaaiag  PltlEDtf  hla  moaMintary 
lack  of  atmoxiudaa  la  followad  by  ona  of 
anbarraaanaat«    Abrupt I7  ha  turaa  off  th» 
rmdio,  and  atanda  hj  It  for  a  »anaiitt  trjrlng 
to  look  B0ri$r%lf  praaoauplad  vlth  work») 

(MICAH  yATTlOg:w^  AMariaaa  bom  and  raarad^ 
ia  a  ahort^  alandar  «an  la  hla  aarly 
thtrtlaa»     Hla  faoa  la  aanaftlYat  aarloua. 
draaMj*     roatuLra^  gßit^  gaatiuraa  and  gantla 
Yoloa  all  a\i«gaat  a  paraon  «Ithdravn  fro» 
Ufa  out  of  a  Mnaa  of  uneartalntjr  and  auapl» 
olon  of  tha  world  and  tha  axpaatatlon  of  balng 
aniahad  t»  ignorad  \ij  paopla  aat*     But  whan 
alooat   In  tha  prlvaey  of  hla  raaoit  ha  aaaaa 
abla^  throu^  imialeal  aoarpanaatlona^  wlth 
play  of  faniaay^  to  o^arcona,  for  tha  tl»a 
oalngf  tha  llailtatlona  from  whlth  ha  othar« 
wlaa  auffara»     Moroavar^  whan  hla  atubbturn 
Idaallam  la  eroaaadj  ha  ean  baeotia  dovnrl^t 
aaaartlva*     Ha  ia  honaat^  l^ojml,  nalva,  tandar 
and  uttarlj  Intoxleatad  wlth  »aala«     Ria 
aatlva  Intalllganoa  la  undavalopad  and  aona* 
what  blookad«     Mualoalljr^  ha  haa  aubatantlal 
talant^  potantlal  foroa^  aound  taata^  authorlta- 
tlira  and  imooKprlalng  atandarda«     Ba  la  irary 
aarlona  and  rathar  abaant^alndad  •     But  whan 
not  too  unaura  of  hlmaalf^  ha  aan  axhlblt  a 
whiaalaal  aanaa  of  biaaor«     If  at  tlaaa  ha 
appaara  aoMia^   It  la  only  baaauaa  of  hla  afay« 
naaa^  nalvata^  haaltanojr  and  hla  dlalnutlvanaaa 
In  ralatlan  to  hla  doubla*baa8«#»whan  tha 
aaana  opana  ha  ia  waarlng  an  old  houaa«»aoat  and 
la  not  Tat  füll/  attlrad») 

(FRIEDt  rCHüü^TKR  la  a  Vlannaaa  aailsra4<^^  •  a 
rathar  axaall.  ahapaly«  sraoaful  glrl  In  har 
lattar  twantiaa«     Rar  faea  haa  tandar  baauty. 
not  wlthout  traeaa  of  dlatlnctlovi»     Sha  ttpaaira 
wlth  a  Vlannaaa  aocant^   in  a  aoft  and  all^tly 
braathy  volea«     In  har  paraonallty  tha  aaay 
going  klndllnasa^  tha  qulat  humor  and  ronantla 
wamth  of  Alt  wi«n  mr%  atlll  avldant^  thou^ 
eolorad  now  by  a  oynlaal  aadnaas«     Sha  haa  a 
aoundly  raallatlo  Intalllganoa  and  panatratlng 
Inslght  Into  paopla«     Tha  folblaa  and  fantaalaa 
of  othar«  tha  aaaapta  wlth  natura  and  antuaad 
Indulftanca«     Anarlea  la  atlll  qulta  atranga  to 
bar  and  in  it»  Mleah«  wlth  hla  idaalira,  hla 
paaalcmata  davoti^A  to  muale^  hla   innoeanoa  of 
tha  World,  hia  tmnAmr  ayspathy,   ••mmu  hl^ly 
anonaloua«     And  it   ia  thaaa  vary  qualltlaa  whleh 
ara  llkaly  to  draw  har  to  hin«) 


1-4 


•y 


Prltdl 

n#T«r  kn«w  •  that  you  ah  -• 

(Poiatlne  to  «iuilo«8tAiid) 
did  thi£#     And  th«n,  ^  «han  you  — •• 

MloiJi 

(Att«»ptlng  to  co'mr  his  omterrAasBiont 

with  mn  mir  ot  atom  buayn^is) 
Oh,  woll,   i%  ^  1%  eouldnH  tm  holpod* 

(with  ft  traeo  Df  oontontiouand««} 
Ho«  ooul '  you  toll  I  vm«  ««t 

(Ho  H£rto  hxirrlodljr  to  otraighton  up  tho  roon) 

Frlodl 
Huh  -  I  oon  Yorjr  oooy  oloon  flrot  tho  othor  roowa,    If  you  wloh. 

(Rloklng  a  blt  of  lovlty) 
7ou  aoo,   it  waa  Juat  that  «  wall,  moro  oftoa  pooplo  •  thoy 
»•roly  Hat  an  to  tha  radlo«,*not  uh  •  load  It» 

Hlcah 

It^a  only  that  I<«  •« 
(Kow  cllaklng) 

lfow»o  thatt     Oh  •  yao.     No,  no  •   It»«  only  that  •  wall,  Simday 

aftamoon^a  ny  ragalar  tina  for  practica«     But  to»day  •  1 

•tartad  vary  aarly«     KnA  ao  orarythixig  « 

(Ho  la  atill  ruahlng  ab  out,  trylng  to 

glTO  tho  roo«  a  loaa  dlaordarly  appaas^nca) 

awarything*«  atlU   1b  auah  a  noss»     Put   If  you  don't  nlnd  that  < 

Prladl 
Huh  *  lt*8  for  thlo  Vm  horo«     But   If  you  praotloa  •  than  I 
oona  latar« 

Mloah 
(Salaing  on  a  way  out  of  hl«  ombarraoonaat) 
wall,   I  guaoo  •  If  you  d«i«t  «Ind  •  isaybo  It  would  bo  bottor» 
(Sho  pleka  up  har  elaanlari  thln^s  and  aiarto 
to  go«) 

Wo,  but  •  but  «altl     I  uh  -  latar  •  I  aay  ba  out.     1  •  I  moan  ^ 


Oh, 


Prladl 
(With  tho  traeo  of  a  knowSng  anllo) 
air,   {t*a  no  dlffaranca.     You  aaa,   I  hawa  a  paoo  kay« 


Mieah 
Wall,  •  but  you^ro  boro  now  ••  and  — 

(Ha  £oaa  ovar  tiTtho  doubla  baao  as  a 
thlng  of  rofufo,  and  aa  ho  atarta  tunlxig 

•all  •  aa  I  «oy,  you»ro  horo  ~  ao  uh  •— 

rriodl 
Aa  you  wlah  it,  atr« 

(Sho  railao  and  atarta  to  work,  aa  MICAH, 
nalntainlng  a  m&ok  of  otom  concontratlon, 
connonoos  playing  oq  tha  baaa  tho  opanlng 


1*6 


€. 


•traliii  of  th#  firtt  movement  of  Cmumr 
Pran^^a  B  Minor  Sysphony«     As  he  doos 
80«  n^IEDL  nakes  hl«  btd«   taioothlng  out 
tho  lAioota  wlth  esresalng  movommt«« 
Vow  mnd  ftgalBf  nhllo  playlng«  MICAH  looks 
mt  hör  furtlTOly«  wlth  tondop  glonooo« 
Ito  trlos  to  opook«  but  lo  too  tlald*     Ih 
hl«  oupprooood  oxoltonont«  ho  ployo  o 
«rong  noto»     Sho  wlnooo«) 


Oh« 


(Mortlflod) 
I  uh  «  I  noont 


Mlooh 


(Whllo  worklng) 
Ploooot 


Fr 1 0dl 


Mlooh 
(Stopo  ploylng  för  a  momont«  and  thon  ouotoroly) 
My  uh  •  «y  prooticlnf  -  Itn't  it  dltturblng  you  lAllo  you  workt 


Frlodl 
(5t  111  moklng  tbo  bod) 
Ach«  no.     To  tho  contrary#».  -  I*m 
Bymphony« 


vory  fond  of  Franck'o 


Mloah 

(So  dollghtodly  oxirprlaod«   for  a  «tosMint  ho*o 

not  qulto  thorot) 
Franok*   Symph-  t     Qh  •  huh  •  woll«  yoo,   that*a  •  that'ft  what 
I*yo  juot  boan  playing« 


Nuh« 


Prlodl 

(Byoing  hl»  ii'lth  wondor) 
yah  ....   And  tho  othor  parta  I  hoar  wlth  momory* 


Mloah 
(F 11  lad  wlth  hoightonod  onohantnont  ovor  tho 
boautlful  llttlo  ohambormald  who  lovos  mualc) 

Oh  •  I  000«  QraeSoua«  1^1  had  no  Idoa  you  woro  so  Intoroatad 

In  Biualo« 

Frlodl 
Huh  -  for  thl«  you  aay  bo  oxouood«  not  #••  Slnoo  wo  •  wo  nowor 
apoko  boforot 

Mloah 

(Surprload  at  thlo  ronark) 
^•11  •  naturally  wo  didn'tl  Ooodnoos«  at  a  gontloman  that  waa  tho 
loaat  I  oould  do  -^  to  roopoot  your  foolingiit 


Yah.*«f 


(Foobly) 


Frlodl 


C-H— -   -*tf=,g-M 


i^e 


Wlsah 
Toi  •  ycm  -  you  <5cm»t  mlnd  •  «y  talktn«  to  you  tbl«  w«y  Äowt 


TrUdl 


W#ll  •  I  »  uh  «• 


moah 
Oh^  now  don«t  thlnk  you  hm^  to  say  It»»  olrli^t  —  im% 
boeauso  you  eoso  up  to  «y  roe«  to  ^  «oko  it«     Aftor  ollt  I*to 
domo  o  lot  of  roadlng,  •  and  1  know  how  Europoon  glrlo  fool 
obout  suoh  thlnes« 

ft-lodl 
üh  -  whot  -  thingOj  ploooot 

»looh 

Ihy,  moa  Ulklng  to  glrl»  —  without  an  Jntroduotlon# 


cb^  I  soo«»««Yott 
booko»  not 


Friodl 
you  hoYO  spoolally 

Mioah 


a  taato  •  for  old 


Ihyt  yoÄ.t.Eut  hoo  ovtr  could  you  know  thatt 

Friodl 
Intuition«  •• 

Mioah 
(Ihioaay) 
Do  you  uh  •»  havo  Mueh  of  thatt 

Friodl 

lünough»«« 

(Thon  aorioutly) 
But  roallyt  ^  l  am«tn|t  annoy  your  praotieo^  ploaao« 

Mioah 
Oh  wall  •  f or  a  «  fov  Maauroa  •  it*a  alrigbt» 
(Ha  rofumoe  playinf:  hla  part  In  tho 
ayaphony*  8ha  liatana  olosoly  aa  aha 
worka«  But  ha  la  ao  ftiaoinatad  by  har 
that  aftor  a  doaan  notoa^  ha  atops«  Ho 
wants  to  tpaak»  but  at  thia  monant^  can^t 
find  any  worda»  Sha  looka  at  hlm  «  and 
halpa  out«) 

^/  Friodl 
It  ia  fino^  •  thia  PrandBC  aymphony  •  not 

***  (MICHH  nods  aaaan«) 
To  mot  thoroU  in  it^  aomahow^  aueh  a  brairo  aadnaaa«  It 
aoama,  you  kaov^  liko  aosiathing  ^ary  larga  and  atrong  «»- 
■ado  antiraly  •  out  of  toara«  Do  you  •  know  «bat  J  naant 


1-7 


pft 


KiOfth 
(Who  could  now  t«  MlUd  by  mnythlng  «haM 
Uitt«r  «••  #y«xi  t  cough) 
Oh  ••  y«B»    J[  •  jS2» 

Frlaai 
Aiid  atlll  -  for  H  tÄittt  hl»  quarttt 

Mlc«h 
Xkta  ««« 

(Tlth  ecataoy  not   ln»pir«d  by  Franch) 
«•8  morvelou»  •—  that  quarttt* 

(Ih  hSs  •xeltwjwt  b#  rmp^mf  m  eouple  of 

phrftM»  mt  twlea  khtli»  oropar  Bp^ed.     Sh« 

looks  at  hiait   startled.) 
Oh  •  huh  •  that  -  that  »as  •  too  fa«t# 

(^Ith  a  half-amllat   »h#  nods  asiant.) 
Taif  aiuiih  too  fast« 

TPKan  «uddanly.   In  a  tona  of  admlrlng 

and  authorltatlva  dlicovaryi) 
You  kno%v,  •  you'ra  a  aua  Je ian  1     a  flne  üiuslclanl 


«  it*a  avan  finar«     Mueh 


! 

I 

II 


Oh,  no 
and  I  « 


Frtadl 
I  •  Vm  notl     Raallyl     Oh,  I  lava  »ualc  vary  «uoh, 
IWa  playa37  yöu  know,  a  11t tla  violin  and  — 


Mleah 


Tharal  You  aaal 


Frladl 
Oh,  but  lt«a  •-  It»«  nothlng#  You  aaa,  fathar  •  ha  uaad  to 
taoch  ma  aow  and  agaln.  But  It  wa«n»t  vary  ragular* 

Mloah 

I  bat  ha* 8  a  flna  artlat  tool 

frledl 

(Sadly  revarent)  ^  ^         ^-.  ..  ^ 

Yah  ••••  ha  la  ♦••♦  Pather  playad  ti^antytwo  yeare  wlth  tha 

Vlanna  Phllharmonio* 


Mleah 
1  knaw  It*  Feelln^  —  taatal  I  oan  alwaya  tall. 
your  tlood,  your  backgrouad,  your  •«— 

Frladl 
Evaryvhara  ••  but  In  tho  flngora# 


lt*0  In 


¥lcah 
Oh,  wall,   that*f   Juat  a  laattar  of  hard  aork. 

{Draamlly) 
HtflHBi  «*  It  must  hava  baen  wondarful  *  Vlanna l 
Brahma  •— 


Faethcvan,  Koaart, 


1^ 


rvUdi 

Muh  -  th«y  art  «  long  tlxB#  d«ad*««« 

(nlatfully) 
In  Vianna  -  ia  now  avarythlng  -  daad#     Fathar  ha  doaanU  play 

any  nora« 

(k   pauaa  of  daaply  troublad^  allant 

ismoib  11  ity ) 
And  my  torothart  ha^a  •• 

(Sha  algha) 
•  lt*a  tarrlbla  novt 

(A  pauaa) 

Mlaah 
(i&lth  a  tandar  undoratandlng) 
And  ao  that*»  *►  that»a  why  you«  ra  hara? 

Frladl 
ffiih  •  wa  wuat  it»ka  our  llvlng^  not     Put  »oon  I  hopa  Ja  an 
opanlng  for  waltraaa  In  tha  Vianna  Cafe  hara* 

Mioah 
Cht  tha  Vianna«     Ya«,    T  uh  -   I  taiow  tha  Vianna* 

Friadl 
Xah  •  It'a  battar  my,  you  aaa*     And  •  wall,  not  qulte  ao  hard. 

Kloah 
(Solloltously) 
You  -  you  ha van* t  baen  wall,  hava  you? 

Prladl 
Oh,   I««  battar  now,  thank  you*..#  But  bafora  laavlng  Kwopa  — 
Wuh,  Europa  now  •  It  lan»t  ao  good  for  tha  haalth,  you  know# 
{MIC AH  looka  at  har  wlth  Intanao  aywpathy 
and  adwiratlon.     FHIEDL,  aagar  to  bramk  tha 
wood,  now  spaaka   In  a  mora  chaerful  tona) 
You  ara  slnce  long  tiiaa  a  profaaslonal  mualclan? 

Mioah 

MoT     Oh,  yaa*     Yaa,  •  lat  «e  nm^  ...   Wf  •  **'*,®^*r^*!^^\^. 

yaar«  now,  that  Vm  paylng  Union  duaa*     Yaa,   that  •  that  makaa 
you  a  proiaaaional,  you  aaa.     Oh,  and  onca   In  a  ^.raat  »nll*  • 
I  avan  gat  a  chanca  to  play  —  at  baneflta*.*Thara  aran't  •  ai^ 
Joba* 

Frltdl 
(^ba   9igha) 
Yah,  yah  •  •  •  •  But,  than  raallY  thia 
aaliing  nowt 

Mleah 

( Point Ing  to  baaa) 
rlaylni:  her?     Oh  noU##3£acloua,  no« 


•  thla  ian*t  your  •  your 


!•» 


•  ••I    MIO* 


«^  «hat   I  im«  dolne 


Fri«ai 


l^ieah 
ealllag««««!)«  jrou  uh  h«pp#n  to  rei»«mb«r 
'n  you  ouMi  Inf 


Frl#dl 
(With  •  f#ntlt  Mtllt) 
ifuh»   •eMthlng  Ute  thi«t   I  thtnkt 
•Mj«»#Yeu  -  you  Man  *•? 


«>  on«  do#0n*t  forg0t  «o 


Mleah 
Thut*»  lt«**M7  xiisl  oaroar  «»«  !•  ccnduotlng« 


Prladl 
(Pollt#  but  inerodulous) 
Oh^   1  -  I  •••• 


¥•§  « 


Mlcmh 
(with  dr»Mqr  prld«) 
l#ftdSn£  anHitaur  orohaatraa  for  grom^upa. 


Not  Just 


Frladl 
Tfuh  -  btat  th«t*f  finat     So  thoy  roally  «ako  mualc,  not 
•IttJn^  baek  and  ~ 

Xieah 

(Doll^tod  that  aha  g^ta  hla  polnt) 
Wiy,  yaal     ThatU  im%  Iti 

(with  irlTldly  draasy  proJaatScn} 
You  •••  -  thara*a  mat%  Äualc  to-*day  than  •yw  bafora«     But  lt«a 
all  baan  playa^  by  a  hanöful.     And  all  tha  raat  •  thayWa  iuat 
baan  alttlng  baak,  aa  you  aay,  and  drinkln«  1%  in.     Wall,  ***?*!• 
not  anough.     Why,  thay  ougbt  to  ba  •  going  Itl     Kow  taka  -•  taka 
youiraalf^   for  axavpla.     You  knoa  flddla*     Pon*t  XSÄ  ''"*  to  ba  In 
an  orchaatraT 


Oh.  but  I 
da  It  •^. 


Frladl 
'  X  don't  play  good  anougji  any  mora.     I  ahpuld  lova  to 
But,  you  aaa,  ItU  yaara  now  alnca  I  praotloa,  and^— 


Oh,  youM  do» 
praotioa  •• 


Miaah 
Vm  aura  of  St»     Ihy,  with  acma  halp  and 


a  llttla 


Frladl 
But   it  •  üb  •  It  would  eoat  muoht 

Miaah 
Oh  nol     Ko,  practically  nothingl     You  a#a,  that*a  Juat  tha  baauty 

af  it« 


Frladl 
But  atlll,  I  —  •  '^ieh  nli^ta,  plaaaa,  ara  rahaaraalaT 


1-10 


üh  -  weil,  I  uh 
well,  actually  • 
yett 


Wloah 
-   I  can'k  «my  ©xactly  -  Just  ytt«     You  ••«,  - 
iiot\imlly  there  ar#n^t  «ny  of  these  orchastr«» 


Oh 


FrUdl 
(AmAsed  and  bawildarad) 

Mio  ah 


No,   -  uh  -  tha  projact  —   It   Un't  qulta  «tarted  yetf.Oh, 

but  It  will  b©  ~  coon»     Ya£,  •  you  cec,    I«v«  just  baan  ao  buay 

doan  afc"tTE*Ct  avary  day  — 


Frledl 


Flaasat 


Mlcah 
Oh  •  \üi  •  tbat'i  tba  Cemtliiantal  Broadoaating  Company*     You  sae, 
I'in  an  ftsölstant  tharo,  ~  yes,    in  the   ehaet  mualc  library. 

SYladl 
Kuh  -  thla  should  ba  very  «ntarastlng  too» 

Mlcah 
Ob,  no,  •  it»«  not.  raally.     It'«  only  Just  •  wall,  a«  you  «ay,- 
wa  !HU«t  «am  our  llvlng  «omahow* 

Frledl 

Yah,  yah~ 

(Then  trylng  to  convert  har  «keptleiam 

Into  a  challenglng  expra««lon  of  admlra- 

tlon) 
But,  wrl     t^lrectlng  —  that»«  wondarfnl  1      Xt»«  «o  dlfflcultl     And 
it  naed«  so  muchU     Goodne««,  whan  I  thlnk  of  all   tbat  you'va 
laarn^  —  anTaTl  tba  axparlanca  you've  had  and,  ~ 

• 

Mleah 

Oh  yaa.t«  Ya«,  I'va  baen  studyln^  and  practlclng  qulta  a  long 
tlma  now.  And  •  you  Imow,  -  taklnii,  course»  and  all»  Eaalda«, 
!•▼•  actually  oonduotad  —  onaa» 

Prladl 

Ah,   I  «««••• 

(She    ^8  swaaping  now) 
^?hat  you  wara  uh  •  conducting  bare  bofora  — 


Ta»,   Ba^tbovan's  Fiftb« 


Mloah 


Frladl 
Yah  -  that's  mj  favorlta  -  avar  alnca  a  chlld« 


H» 


Mioah 
-  that'a  Vary,  very  stranga. 


1-11 


«I 


Why? 


It^i  • 


ifc^t  »In«  too» 


Prl^dl 


MiMh 


A  blte  too  olo«#  to  him) 


<Hd  guXps) 
Taht  «•  tlmt  flrat  siOT«B#nt  «pMiaUyt 

Kioah 
(Attanptixig  pols^t  tete«  oa  «  «lalng  tonm) 
Tarnt  mm  tbMf  tay  «•  lt*ü  «»  It^s  Xikm  *  Pmte  knoeking  at  tha  door# 

(Ha  loc^ka  at  har  ah;^ly^  and  aa  ha 
tui»na  awiy^  plueka  a  atrlng  of  hla  tMUia) 

Friadl 
(Half  feo  haraaXf ) 
Yah  #••  Fata« 

Vh  »  that  projaat  for  aaataura  ^  yau  thlnk  it^a  Juat  a  »  a  aort 
of  pip0«draa»t  don^t  ycni? 

Frladl 
Aah  ^1     T0  mm  It  aaesa  verj  good«     And  you  aaa^  •  X  baliava  ^ 
ahan  aoaia«hlng  you  ara  aiahliig  to  aoooaq;>ilah  la  raally  rltäxt  ^ 
and  you  only  taava  for  it  a  aftrang  anougli  will^  tuan  avantually  ^ 
It  taappana«    Tab  «•  and  avan  aban  lt*a  vary  dlffiatat« 


HtflNu«*«!  aaa#    Wall  uh 
dld  you  »aaa  ««  ggl 


Miaah 
«  vbaa  you 


«  ttian  you  aald  *you**> 


Frladl 
!*uh  •  ymhm   •  of  oouraat 

(MlCASran^tly  axpaada) 
Uh  ^  that  ia  «^ 

(Slyly  taaalng) 
It  mmmxm  «  In  gJSS3E3k^     ^*  7^^  "*  7^^  ^^^  P^*^  ^^  ^^^  ganaral^  ] 

Miaah 
Oh  wallt  I  »•  I  don«t  knov  ahout  that# 

lM»adl 
Kuh  ^  ItU  all  Juat  aaalag  a  thlng  olaar  and  bilnglng  hard  to* 

Sathar  all  dlffarant  parta  of  you^  •  ao  you  work  and  flght  and 
uat  a  fav  aimitaa  back«  «hila  I  aaa  olaanlng  Mrs«  RlohardU 
room^  aha  had  tha  aradlo  tumad  on  to  thla  Suooaaa  Hour  prograau 

Mloah 

(Saalatantly) 
(alt  waU  •  hut  I  •  I  don«t  haliava  in  that  aort  of  atuff« 


1-12 


M!««h  (Cont*d) 
W^.  I  .  I  wouian;t  .V«!  11.*.»  to  lt.     It..  3u.t  Ific.  - 
Itti  Cocktail».     It'«  -  ■lllJ« 

F!ri«41  .         ^ 

»ut  T«ry  w«ll.     Wlll-po»«r»  n»  •■*"» 
To»«»nlnl  of  th«  personal ItJ. 

Wloah 

iut  «tili  «*lat»to«»«  «  dljparaglng  aititad«) 
Oh,  well.  -  th«t'«  —  that«.  3«at  — 

(Ba  pauaa.  tho««htft»lly,  and  than,  a«  thwigti 
eoneamad  for  har) 

DO  «h  -  «0  T"»  »«»IT  MU.«  In  «h.»  pwcholoCT  UIH 

0..  not  .f  T~  •^ji'iis^r  fJi  :iSpS:  üs  i^-ss  •'°'" 


,Ü.M  ii"  Siollnj  it  th.  do«..  .hloh  nolthor 
•f  th«B  •••»•  to  h«mr«) 

..11,  T  .an«..  tMr.  ffi.  gopl«  SJir.'tt'Ki.'"«-"^  •^". 
Put  tha  artlat  -  ba»«  «<>»"*"  ^Vi   «It.     Tai.   It»«  -  It'a 

Ittst  »^«attar  of  waltlng  for  tha  «*>--.      .^^^    ,. 

^*         (Thara  1.  a  .acond  to««**«« '*  ^5* 4?JI^  " 
aonpaalad  bj  a  mla  »olea  aallln«    Mica}i, 

Mleah." 

Frladl 
Üh  -  aowaona  1»  at  tha  door. 

0hl... -all,  a.  1  aay,  -  l'^jS*  »altln«  for  tha  rlgbt  tl.« 

'™*  ""Istlll  laudar  knooklng,  wlth  *»«*;.;'  ^Jf' 
Wlaah,"  and  aa  «ICAH  »ova«  narvoualy  towaro 

«^***«.$if^»«  «i»«««  -  k  rlaht  tlaa,  and  so  uh  — 
yofu  »9»»  thara' s  axwaya  -  ■.*^**rV.ri^j'  -       r>Mtt%i>^ 

^  (FRTsn  look«  anxlausly  at  *t^«5»?5'.^?*t^ 

iwAH  raaoha«  It,  UJloY  OIORFAKO  bur.ta  Into 

tha  reoB.) 

(Fop  an  Inatant  ajalng  MICAH  and  FRIEDL 
Oh  «to  i'^Iliu.rJLT  Say,  «Iva,  you  gotta  daa  — t 


1-13 


üh  - 


Mleah 

(Sngulf^d  by  •ffibarrmaaaMint) 
•  Glordano,  thi«  im  nlm^  uh 


Ooodft  momingt  npl«dl* 


<%,  you  know  Hiaf  —t 


MiOAh 


■V  ft 


Frladl 
üood  Biomlngt  ^^^*  OiordAno«     Can  I  »ak«  your  room^  plaas«, 
b«for«  neon? 

tur«t  Bvr%0  •  ••!  any  timt  0«K«««Say^  Mik«  • 

Friadl 
(To  ISleah) 
If  yo^i^re  buty  now^  ilr,  than  I  cor»  back  latar  to  flnlah« 

Lulgi 
Ob^  I  don't  stay«     I  gotta  work« 

Mlcah 
(To  ftrludl) 
Oh  no,  •  com  latar^  plaaaa«     You* 11 

battar» 


•  you* 11  coneantrata 


Is  tan  nlnutaa  gocdT 


friadl 


Mieah 

0h  •  tan?     ""liy-t     -  why^  yaa,  that^a  — 

(Sha  axitsf  and  aa  lüIBX  bagina  to  talk^ 
UICKM  9taraa  longlngly  at  tha  door«) 

(LüIOl  OlOHmwo  la  a  hlgh-kayad  Itallan 
In  hl©  »Iddla  fortla«,  rathar  aaadlly 
draa«ad.     Ha  spaaks  vlth  daoldad  aaaant 
and  graphic  gaaturas.     tüIGI  la  a  oompatant 
vualolan  vlth  tha  forgottan  hopa  of  a 
dlttlngulahad  oaraar»     Parhapa  ha  voald  «tili 
rathar  play  f Ina  muaie  than  ahoddy»     But  l» 
haa  nona  of  Mloah^a  paaalonata  IdaalSam  and 
Intagrlty«     leonomio  naaaasity  haa  oon«pirad 
wlth  aoma   Innar  waaknaaa  to  anabla  hlsn  to 
aoMyroMlaa  wlthout  any  tanaa  of  ravolt  or 
pang«  of  conaelanea«     InaffaatlTa  Opportunist^ 
ha«t  «tili  fond  of  Miaahj   though  axaaparatad 
by  hia  ideal  San«      Tn  a  aan«a  ha  la  aa  un* 
raaliatie  in  hla  aagar  praatioalian  aa  Mieah 
to  in  hia  farvant  idaalia»*) 


1-14 


m 


Lulgi 


Huht 


Mloah 

(?ftrt5ally  awakenln^  trom  hl«  tr«nc#) 


Luigi 
WatfiA  mfttter  wee<?«  you  to*r*ay?     T  sayt 
Air  of  Bach?      I  gotta  amka  - 

Mioah 

(Still  allghtlj  tewildarad) 
G  Strlng  -? 


you  gotta  dee  0   Strlng 


Alrl      Bach: 


Lulgl 


91cah 
Oh^  the  G  Strlng  Alrl     Oh,  cartalnly  ••  why,   I  • 

(Hurrylng  ovar  to  tha   clorat  to  look 

for  It) 
I  ^Ink   I  have  - 

TLooklng) 

0  Strln£  Air  — 

Lulgi 

1  gotta  maka  daaia  ^^oddaa  arrangamant  for-a  daa  Hagant 


(Plndlng   it) 
Ya«,  hara   It   la» 


Hiaah 


Lulgi 
(lÄUghingly) 
Huh  -  Bach  for  a  atraapa  taaaal 


Can*a  you  baat  It,  huht 


lllcah 

(Kalvaly,  aa  ha  raturn»  Ith  tha  tcora  and 
handa  it  to  Lulgl) 
For  uh  -  what,,  Tulgl? 


Tulgl 
( ImpatSently) 
For  a  straapa  taasa,  a  atraap  «l 
aaa  a  atraapa  taaaa? 


•  •  • 


Tou  •  you  donUa  know   what 


Miaah 


w#ll  -  T  uh  — 


lulgl 
( 0  on  taaptuoualy ) 
Ahj.  youl  Awrlght  -  looka  hara:  —  Kow  sho  draaaad,  huh?  MI'* 
draaaad» 


Whot  Oh,  •  you  naan  •? 


Mlaah 


1-16 


Lulgi 
( Dtnonaträt  tag  ^tstuMi  aXong  «houiaftr 

h#r«  •  andm  hsra*     Denn  •  very  «low  •  anda  wtedm  muslo  - 
slMi  gotta  »ort  «nd  »or»^ 

(with  gTÄjtole  «tolng) 
of^m  !•«»  •  mndm  !••»  •  anda  Ubb  •  «nda  U«»,  tljl  - 
joostft  llk«  Evti  —  Only  no  fe«ga  lt«f* 

Mioah 
(At  onc«  bewlldtred,  shockedt  faiclnÄUd) 

Oh  —  .  * 

(Than  taklng  c»  m  ••▼•rtly  »uperlor  »»nn«^) 

Wtll,  all  I  o«n  iÄT  1«  •  «to«  »«•*  *•  *  ▼•'T  loolish  — 

Lulgl 

(Wlth  an  anuaad  •ä11«)  ^  ^   ^*  ^  «  ^ji^^^v.4 

Htih  -  anda  for  deas  1  »tudy  »avan  yaar  waada  Spcmtlnl^  Baiäoconi^ 

Marchaal^  Parduccl  — 

Mleah 

Eut  goodnasBl     I  •  I  don't  •%• •     Whyt  lo6k  •»  JA »     JJ^* 

llva  for  mualcl     But  I  donU  uh  — •     Haairana,  why  mxmt  iha 
u^gaaa  to  mualcT?     wEy,  that«»  Juat  ••» 

Lalgl 
Easa  not  for  »hat     Eaca  shoat     Eaaa  for  public t 

Hloah 

(For  a  MOmant  not  clSoklng) 
^*hy,   ItU  Juit  aSlly«  ^ 

(Than  wlth  auddan  awaranaaa)  •     *   ^  «    %. 

ishatttt     For  pub  — tt     You  •  you  aiaan  thay  -t    And  Eaoh  • 
you  Man  thay  uia  ••  TTt     Oh^  but  •  why^  that'a  •  that'a 
Indacantl     That'a  juat  ~U 

Lulgl  ^  ^  ^ 

You  talla  attt     But  what  I  gonna  do^  h\aht     what  I  gonna  doT 
^Sfaanoa  four  waak  I  gotta  no  workl     Ko  work  at  alll 


«laab 


Oh*  wall  •  but  thara'a  ~ 


Lulgl 
Yaah.  yaah,   -  dlnnar  «ualc  at-a  Vlanna«     But  waada  goddaa 
allaony  an«  all,  how^a  hall  I  gonna  llva  on  dlnnar  «ualOj 
fanht     How  X  gonna  do  ItT 

Mioah 

(Sympathatle  but  abaolutaly  firm) 
Oh*   X  -   I  knowt  Lulgl»     Ifa  awfully  hard  now»     It   lg. 
But  atlll,  —  wall,  look  at  Eaathovan  and  Sohubart  and  — 
thay  wouldnU  aoHEpronlaa« 


1-16 


>.;■ 


i 


i 


I 


Luigl 
B00thov«nll     who  •»y  1*»  B##thov#n?T 

(MICAK  look»  at  hla  wrlat-wftich  wlth  m 
traca  of  l»patl6nc#)  ^   **      ^ 

Huh  •  whan  I»»  twennytwo,   !•«  wrltln^  «y  Uonardo  Sulta  for 
whol«,  beag  orchtatrml     Elghty  placaal     Anda  noE  •  aaia  what, 
h\ih?     How  I  can't  «van  gatta  Job  playln»   c^a  laatla  fioddaia  bornl l 

Mieah 
That«a  all  trua»     Eut  at!ll  1  aay  — 

tulgl 
Baathovanl     Dld  Baathwwfi  gatta  kaak  outa  thaatrea  by  aounda- 
film«?     Dld  Baathovan  gatta  kaak  off  a  radlo  by  racordat 
Ey  ramota  controltt     By  national  ho6k-up  froai-a  Slnnaralnattl 

and  ~tt?  ^  ^  ^     n 

(MICAH  looka  at  hla  watch  agaln  and  faala 

hla  faoa)  .     •.    ^  ^         w     * 

Anda  nw  -  avan  noa  atta  Vlanna  —  waad  all  daaaa  rotyan  bual- 
mMB  -TTiKmoamaa  -  talaphonln*  raoorda  fro«-a  atudlo  to  oafaa  • 
aoon  »ayia  wa  gatta  aack  dara  tool 

(MICAH  ayaa  hla  watch  narvoualy  agaln  and 

atarta  to  ahava)  -^,    .      «w  ^.       i%-.4-. 

Oh.   I  talla  you^  aas  awful  noal     Eaia  tarrlblal     Ruh  -  ^uilc 
fo^-a  mllllona,  day  aayl     Yaah  •  «llllona  nroa^a  mualc  -  f^J"     ^. 
what  day  «aanl     Anda  wa  guya  dataa  »ak  inT  mualc  •  wa  gotta  otarva; 

Mlcah 

Still  •  no  mattar  what  you  aay,  Lulglf 
back  on  hla   Idaala  •• 

tulgl 
Ah,  wadda  you  talkln»    Idaalsl     You  atlll  gotta  Jobl 
You  gotta  aaay  talkln»  l     Idaalal     You  Jooata  waltl 

Mloah 
That'ii  got  nothlnr  to  do  wlth   It 
Inj  no  mattar  what  happanadt 


«  whan  a  nualclan  goaa 


Sural 


•  «y  Jobl     I  wouldn't  glvj 


Lulgl 
So  watta  youM  do,  huh?     Starra,  huht 

Mlcah 
IM  do  aomathlng  battar«     You*d  b9B. 

Tulgl 
Yaahj  yaah  •  aural     You  gonna  gat  Stokowakl'a  Job,  huht 
Baathovanl     ^^lian  ha  llva,  day  '^Idn't  avan  hava  tala- 
phcaiai  for  aayln^^^^hallol *» # #yow  day  ualn»    «am  for  aym* 
phonlaal 

Klcah 

(Still  ahavlng)  .       «^  ,*. 

Why  ara  you  alwayi  talklng  about  roachlnaa,   Luigl?     Thay  wran't 
tha  raal,  daap  troubla.     Raally*. .Lulgl l     Thay »ra  notV 


1-17 


«et     So  ««tu  ••»f    Oodtt 


No  **•  MMttiir«« 


(oiv«s  Mieah 
thsa) 


I«lgl 


Mioah 


Lulgl 
loflic  of  •xft«p«r«t«d  pity,  and 


lll#Ah 

4h,  wttA  hmll  70U  tmlklnS  Mltait 

Mleah 
Ob,  lt*s  qulto  slapl«*     Chrowo-ups  tbat  vmnt  to  k««p  on  naklng 
rnuale  togotter  <»  th«7  Juat  doa't  ha^o  «ny  Chane«  ••  anmtaura« 
So  «  out  of  holplofltnoss,  thoy  t>oe(nM  profotalonals«     woll,   of 
oouroo  tho  f lold  §ota  o^ororovdod« 

Luigl 
H^Mnn  •  80  dttt*8  It^  huhT     Yoia  thoonk  I  ainH«  good  onougb  to 
bo  profosaiofloal,  höht     Vov  lot  gB  tolla  you  —  t 

Mloah 

Oh,  tuigl,  «  why  of  oo^OfM  jrou  aro«     fiut  tharo  ara  thouaanda 
vho  ought  to  ba  Juat  anaktaura«     Y^^t  *  uid  %mm  thalr  living 
othar  waya«     Oh^   I  •  I  knoa»     Why,   I  tih  •  IWa  avan  talkad  to 
aoma  of  tha  offlcara  of  tha  Union  about  it« 

lulgl 
(with  a  touch  of  aoom) 
Yaaht     An*  what  day  aayf 

Miaah 

Why,  thay  baliaTa   In  aneom^glng  amataura« 

Sura*     Anf   taka  'an  all  In  daa  Union  to  gatta  aora  nonay  outa 
duaal     Sural     HvOi  «  daa  Dnionl 

Miaah 
You  know,  Luligi,  •  aonatlnaa  I  alnoat  think  «•«  you'ra  eynloal« 
Oaodnaaa,  tha  Union* a  doing  e^arythlng  thay  oanl 

Luigi 
Amataural     Anda  hoa  wa  gonna  gat  oat  daa  guya  dat  ahouldn*t 
ba  JUitT     An  aaantSaa,  ho«  aa  gonna  aat,  huht     Ah,  Mika,  you 
jaaata  hopalaaal 


low  you  look  hara,  Laigil 


Mioah 


Luigi 
Va,  no,  •  aaaa  no  uaat  I  gotta  go  novi 


m 


<■'  'i 


1-18 


>*!«.    •$    ^^  : 


»    ^ 


iO 


Cri9 


*v 


Mofth 
liy«  no  big  thins  can  be  dono   in  •  dfty!      It*«  «Impl;^  that  «• 


tulgl 
(K«ad5ng  for  th«  door) 
No^  no,  ••  «62«  no  good  talkln^   now»     You  joosta  »enr  rae   out, 
I  gotta  £o#      I  eao  you  to-nlght  atta  Vlanna. 

Mlcah 
Ho  — -   I  won't  ba  thara,   Lulgl# 

I.u5gl 
HtöxV     viatta  you  talkln'   •  you  won*ta  ba  ö^r^f 

Mlcah 

T*©!!,    T  •   I  won't.      I«Tn  not   golnf  to  play  at  the  Vianna. 

Lulgl 
Fut  Y/rtta  fcßppanT     I  faax  it  all  upl 

■Icah 
''all,   -  you  «ald  youraalf  •  niayba   It  won't  laßt  Itng  anyway, 
»nd  — 

Lulgl 
Eut  aatia  .lat  gotta  dot     Santa  T^rlal     Keaa  good   so  long   It 
last,  aln'    It?     Ja^^aa  Chrlatl     Laata  waok  you  tal  ta  rnm  d#y 
Gutta  your  ealary  atta  Contiiiantal,     3o  I  wanna  halp.      I 
vork«  llka  hall.      I  gatta  you  daaaa  }o\>.     Anda  noir  —U 
i^ik^^,    I  talla  you,  you  ^oana  »aka^a  ^Da  nutal 

Mloah 
tut  that  lan't  all,   Lul^l.     Oh,   it  was  nica  of  you  to  gat  It 

for  m  and  all.     i^ut,  well  •   I  know  ajora  about   it  now/ 

Lulgi 
yaAh?     ^ad(^,a  you  know,   huh?     '  adda  you  kno^??? 

Wicah 
Ju8t  that  •  wall,  ^hat  do  thay  o&ra  about  mualc?     It'a  juat 
a  8how  •  a  cheap  ghcwl 
{ C on t aSpiuouaty ) 
Droasing  llka  <jypal«aifAnc  tha  atuff  thay  playV^.'^Dark  Eyaa.« 

tulgl 
So  datsa  what  aea,  huh?     For  ma  eaza  good  enou£h.     But  for- 

•  1£H  ««2^  n^fcli     *^ou  Joosta  goddaüi  laatla  bl^-haadl     Dataa 
what  you  araj 


■i 


ms 


B^'lcah 


I«m  nothlnf:  of  tho  klnd,  tulgl.     Baaldaa,  jou  know  why  thay 
want  mal      Jt'a  ju8t  that   I«m  not  —  so  vary  tall.      Lo  thay 
thlnk  ril  look  funny  playlng  baaa.     That»«  all.     I  wonU 
ba  a  Clown 1 


i  % 


1 


X-1» 


Aw^  T0U  ormijt     TuntSii^  doim  »ny  Job  6^%M9l  Amj9l     Tou  Joosta 
walt«     Y0U  th«#nka  you^^iHiKa  «o  tmft^  huht     BandSn*    out  shoot 

BkUSlG.    fauhT 

(Aa  ho  oxoltodly  t^anm  ovor  to  %ho  rmdlo) 
Ton  looko  horol 

(Ho  tumo  Imob  of  rodio  and  as  tha  raaaiiN» 

ln£  «at  Claras  out  a  elaaslaal  orchaatral 
nunbar) 
Raeorda!     Can  raeords  raad  your-a  ahaata  »uaic? 

Ifleah 
(^Mlattma  aniala  eontlniMa) 
But  ivhatU  that  got  to  do  wlth—Tt 

tulgl 
(In  araaoando  of  anotion  ha  tuma  kaob 
again.  and  at  muaio  of  a  awlng  band  boona 
farth) 

Ho6k*\xp  fro«  flow  Yorkl     Kow  long  you  gonna  kaapa  llbrary  Job, 
huht 

Miaah 
(kB  twlng  »uale  continuaa) 
But  I  don*t  aara  wl^t  thay^lt 

Lttlgi 
(Tumo  \aiöb  anln^  and  aa  awaat  oafa  nuaia 
filla  tha  alr) 
Ramota  oontrol  fro«  hotall     Ära  §jSL  «*»*  your-a  llbrarytt 

Via  ah 
But  I  tall  you  1  —II 

(LUIDI  tuma  knob  againt  ^^^^  ^«  haar  a  daap. 
round  voioa  vlth  aalf-^oonsalous  dlatlon) 

Valoa 
••And  tha aa  ara  tha  oluto  to  auooaaal     And  ao  you  wa  t*- 

(MICAH  pr leki  up  hlo  aara) 

/         •  .  tnlgl 

(Oiparlanplng) 

Suokar  dootorl;     Eaaa  fakat 

Only  Snfarlora  moak  youl     Thay  laugh  at  X2H  *<>  Hattar  thawaalvaa* 
out  aair^eonf idanoa  will««  • 

(MICAH  llatana  intantly  to  tha  Voioa) 

Luigl 
(Ovarlapplng  tha  Voioa) 
Eaaa  goddan  bunkt 

(Tuma  knob  aaay  fro«  tha  Voioa) 


1-20 


No^  wmltj  Luiglt     Thl«  tmy  b#  Inport^ntt 
(ä«  grmb«  knob  and  tums  It  Imek  to 
Voie«) 

Vola# 
•••^In  othar  word«^  Salf^trvuit  trmiurmut««  Itsalf  Into  T<mlo 
D«#dl 

Xulgl 
(Toudly  mnA  «nsrUy  oonpetlng  vith  Vole« 
aa  It  oontlBi^^a  to  pronounea  ita  platitudaa) 
Sural     Daaaa  rot  tou  liatanl     Maka«a  you  faal  llka«a  baaga  ahot^ 
huh?     Easa  f aka l II 

lliaah 
Wo  It'a  pott     Hot  i^an  you  do  ecnsatfalng  about   itt 

(At  tha  halght  of  toa  nolaa  mada  by 
ainultanaoua  apaaklng  of  Lulgl^  Mleah 
and  tha  ¥olea^  auddanly  thara  la  a  loud 
knooking  at  tha  door«     MICAR^  atartlad^ 
thlidrlng  It   la  FRIHDI  at  tha  door^  ruahaa 
»adly  to  oonplata  hl»  tollatta^  and  tuma 
off  tha  radio) 


Oh  • 


1c  «» 


Oh,  I  -  I« 


approaohaa 


oh  goodnaaa»  ••  aha^a  back  alraadyl 
(Bat  bafora  Mloah  haa  a  ohanoa  to  call  ''Ccmm  inl^, 
in  faet^  aliioat  lirmadlataly  following  tha  knock«» 
Ing,  a  loud  volea  la  haard  Talllng  through  tha 
cloaad  doori  "Qulat  down  thara t  Hov  aan  a  guj 
alaaptl») 

(üttarlng  a  sl^i  of  rallaf) 

Oht  lt*i  cnly  hlail 
(7o  tha  door) 

•  I*»  aorryl  Sjecux«  tm,   plaaaa* 
(lUIGI^  «ho  haa  baan  vuttarlng  axaltadly^  now 
braaka  Into  a  Tollay  of  Itallan^  aa  ha  approa< 
tha  door) 

Shuah,  rulgit 

(LUIOT^  raoalllng  tha  soora  ha  cant  for  and  laft 
on  tha  tabla«  goaa  back  to  gat  It«  And  than«  as 
ha  axita) 

Tulgl 

Eaoh  for  a  atraapa  taaaal     And  haU  tumln'   dovn  a  jobl     Easa  oraay 

you  aral     Jooata  eraiylt 

(Äa  alama  tha  door  bahlnd  hin) 

(MICAH  axhalaa  a  "^haw^t  ahruga  hla  shouldara,  and 
hurrladly  raswaa  hla  tollatta«     Ha  atarta  laolng 
a  ahoai  paiaaaa  thoughtfully  to  look  at  tha  radlot 
goaa  Ovar  to  tum  Ita  knob^  but  looklng  apprahanalvaly 
at  tha  door,  aa  though  afrald  that  Prladl  »Ight  dlacorar 
hin  llatanlng  to  tha  Suecaaa  apaaoh,  ha  tlnldly  wlth« 
drawa.     Ha  laoaa  hla  othar  ahoa,  wlth  half  an  aya  on  tha 
raoalTlng  aat«     And  than,  wlth  an  aaaumad  alr  of  non* 
ohalanaa,  ha  goaa  back  to  tha  aat  and  tuma  tha  knob. 


Th«rtupon^  s«  h#  stand«  b#for«  th«  »Irror^ 
bru«hin£  hl»  h«lr^  h#  hears»   via  tha  radio«  tha 
paroratlon  dallvarad  by  tha  Voioas) 


i«ei 


r 


Volaa 

-^^ —  and  thla  f alth  in  ymiraalf  »^^^^?J^1, *5*J^li25 
othars«  But  falth  alona  la  not  anaugh#  It  muat  ba  aaddad 

to  tha  wlXXm 

(III CAR  groaa  «ora  araat  aa  ha  llatana) 

And  ao  m  alaalng,  i^i.^*«»  *•  **1«i*^rt.S*£,Jl2i''^im- 
atartadt-»  «Ul-pa«ar  ]^  tha  ToaaMilAl  of  tha  huiMÄ  pww 
allty«     It  anarglaaa  and  dlraeta  ymip  faeultlaa« 

(MICAH,  atlll  looldng  In  tha  «Irrw^  raiaaa 
hla  an»  and  baglna  to  dlraat) 

It  aaorna  tha  fllaiy  havan  of  draaawi  and  daraa  to  £•?•  tha 
flmaie  «  tha  li^lng  «uala  of  affit     And  ao  I  aayi     Falth  and 
will  •  thaaa  ara  tha  31a»aaaTiln«  of  Suoeaaai 

(iiith  haad  up  and  ohaat  hi|^^  MI  CAR  ia  no« 
axultantl^  aalkin^  about  tha  roc»»,  oondaot« 
Ing  laparlaoaly)  -^ 

Giva  tha»  aaay  •  and  thayUl  taka  you  atralgbt^ln.  yow  daatlnad 
goali ••••*••  9ood  aoralng« 

(Döring  iflCAH^a  irlatorloua  prooanada^ 
hla  aya  aalaad  npon  tha  doubla  baaa« 
E»  stoiqpad  laadlng  and  approaahad  tha 
InatruMnt  vlth  an  attltuda  aa  Undar  as 
Xova«  And  no«9  tha  alaaa  of  tha  broad* 
aaat  apaaoh  la  foUoaad  bT  tha  auatoaarr 
orgaa  paatluda^  durlng  i^lah  »ICAH  atarta 
to  o«raaa  tha  naak  and  ahouldara  of  tha 
baai)  atopa  out  of  ahynaatf  looka  longlngly 
at  tha  baasi  algha^  and  than  tandarlT  puta 
hla  an  around  tha  ahoxildara  and  raa ta  hla 
haad  loTlngly  oa  a  ahouldar  f  or  a  sMiant« 
Than  ha  rtlaaa  hla  haad  to  duat  off  tha 
ahoisldar  and  yaauaaa  hla  aaoroaa  paaltlon« 
Aftar  a  «oMnt  and  ahlla  ha  still  holda  hla 
aoaproalalng  attltuda^  «»«  tha  door  opana 
and  raiBDL  antara  wltn  towala^  ata««» 
PRIKPL  looka  at  hla  «Ith  anuaad  aurprlaa« 
mCAR  ia  aonaldarably  laaa  aabarraaaad  than 
upon  hla  firat  anaountar  wlth  har) 

Vlaah 

^h^  I  uh  —  I  «aa  Jnat  ••• 

frladl 
Da  I  dlaturb  you  ag^i^»  plaaaaT 


Ulaah 
Oh  no  «»  no^  ylaaaal     I  vaanH  practloing«     Haallyt     ag^  I 
««an*t  praat 


lalngT 


i-ea 


(Half  to  twrtulf ,  irltH  m  Mowlng  •«lO^i 

Kot    oh   •  !3Ml<8# 


Mleah 


...l 


tliAt'e  -  that^« 


«hat  I  »aant* 

(«hlla  bually  at  «ork)  ^^i«f 

l^lcah 
imat  ••••  ^i  laolda,  —  buh  —  nall  - 

irrlaAl 

C%  •  X  shoold  hava  aald  •  tluit'ö  • 
(Pointlns  to  foutla  basal 

Fi^ladl 
Kuh.  for  «y  l«prMilon.  ih««»  mor«  -  Ute  veru.  <to  ^llo. 

^la  ah 

Firledl 
Vanua  •  yau  tooa  ••  na  ar«a  at  all# 

ttlaah 

(r^B3oylns  thle)  ^  , 

^h  -  hnh  huh  buh  -  y«a,  buh  -  «h«  -  «>»•"  wori«» 
Ug,  too,  AiwS,  «h«t*s  -»<»•,  hMh  -  It's  woo<S«n. 

frlAdl 

Sut  «b»  dldn't  alnd  ■b.t  yau  »ar«  -  uh  "  *olBg  ttb»r«T 
*n«^«  -n»  -  P»rb8p»  T  tjioulinU  be  «o  •  ••  j»r»9R»i« 


Dnly  ^n» 


But 


Oh-  «•!!  -  T^  -  X  «aanH,  dalag  auob. 


H9,  I  »••  Ju«t  trylnp^^  to 


FrUdi 


Ob 


u»  ....  «Ott  •«••  fot»  •  Ions  »bii«  »<>••  ^•'i**. :*.•!!!'•  *!i««. 

And  n»«  —  w«H,  na»  — 


i«es 


Ion  mr^  gottlog  m 


iiiaah 
Oh  HO  —  lo,  that  —  littet  lt........ 

(ffc«r«  !•  HO  ttor#  l#Tlty#  Ai  lii  looklng 
at  taai»  wlth  problag  •«TMatMa«) 
TtioraU  aomthing  Vrm  baan  wantiiig  ta  aak  rmi 
«aaka  nov«  I  uli  «  I  aan^  prosiaa  irar;  wiah» 
uh  —  I  doaH  tma«  «*  boa  goad  It  aill  )>a«  But. 
war.  ~  iwjrt  ladsaaday  night  iia«ra  talrlng  part 
a  tth  banaflt«     ^nd  •  «all  ^  aoold  you  aosMit 

Frladl 
(Wlth  taaalag  aobrlaty  that  Mloah  takaa 
aar  loualy) 
But^  slr^  •  1  •  I  doii*t  kaow  you» 


«N»  f or  aanaral 
And  I  daa*t 


^oah 
('Afoablad) 

Oh.  aall  -  Siit'raally  •  ItU  aT71gh%#     ATtar  all,  you^va 
haan  eoadng  up  to  «y  r^ian  naarly  aiwiry  day  f  or  nlaa  «aalv 
nav«     Doaa  all  that  «>«  «aan  nothiag? 


-  yaa^  that  •  thatU  Mi  i«»**  ^*^  Tak-tak-talci  • 
^  hiit  raallT  •  ItU  atolgl 


•  ••  • 


Fsrladl 
m  «a  hairaiiH  haaa  latpoduaad«     And  «aWa  nairar  talkad 
baf ara« 

Kov  daa*t  aacaggarata^  plaaaa>     «a  ham  aald  goodiaarttlag  in 
tha  hau  —  tt^ral  tiaia. 

Priadl 
Yah  ^  btit  f vom  thla  »  ona  doaan*  t  laam  Tary  »uah« 

«laah 
But  h^MT  imiah  ia  aaoaaaary  •«»  tor  a  baaafit  aoaoart? 

(Ha  pauaaa.  and  than  aaatiaiag  a  aiaatarful 

attitudai) 
Thla  haa  gona  far  anov^««#«  You  liay  aa  aall  know  It  ^»^  mf 
Toaofinini^a  in  thla  now.     All  parta  of  ma  unitad  for  viatoryi 

(Ha  looka  at  har  longiagly^^  aa  ha  dropa 

hia  poaa) 
•  #•••  #hat*a  tha  good  of  a  Toaaanlni  «*«*  If  it  doaanH  vorkt 


(FRISDL  aailaa«     Ha  tatea  a  haaltant  atap 
toward  har«     3ha  falgna  a  auddan  raaollaatiaas ) 


Friadl 
0hl     t4r«  Oiardana«a  bath  taaali     I  fargat  itl 


1-04 


i 


, 


Kie«li 
(A«  FRISDL  ruslMS  to  thi  door  f«r  ««It) 

Friadl 
(Just  b«for«  «lotlng  th«  daor  b«talad  fe«r, 
■tUto  ta«i>  liAAd  into  th*  rooat) 
ilth  your  To«««nlal  •—•  ^  «»•*  8*» 

(MICAH  !•  «0  «xtlUd  th«t  thi  doo»  !•  «httt 
to«for«  ha  ha«  «  ehans«  t«  raplji) 

Hlsali 
(Te  th»  ol«Md  d9or} 
«Ott  wlUtTf 

(Por  att  laataat  h»  staadt  aotiaalaas,  aa 
thou^  attuuad.  Than.  «Ith  auddaa  raalUa- 
tlaa.  tw  axoltantly  fllaga  lila  araa  out 
aadatarta  te  laad,  But  alaott  iMadlataly 
ba  fltapai  tYmn  thlnka  far  a  atnaiati  aad 
ttaaa.  raaahlBf  an  laqportant  daalaioa,  ha 
alaM  bda  lafi  f lat  lato  hla  rlflh«  haad  -> 
«ad  raabia  to  ttaa  talattioaa) 

(lato  jthoaat) 
Kala  t«o  aaa  buadrad.«...  Yaa,  plaaaa..,....**HallO| 

CeatlaaatalY    üh  -  la  thla  Fhllt Say,  Phil,  thia  la 

Mleah  ^ttliav...  Taa.  sar,  Phil,  da  uh  -  da  yoa  happan  to 
kaov  «baa  «r.  Paaraoa*a  dÄa  baak  ffo«  hla  trlpT.«»*«oh2 
aot  for  two  «aaka  yat,  huht     1  aaa**..  oh  ao-  -  ao  that*o 
alrlght,  Phil.    It*a  Jaat  that  -  «all  -  sss  t*yn  got  to  §s, 
aeanihlag  ahaut  •  aoa»thlag«..Y*a,  1*11  aaa  you  to-oerro«, 
Oeod-tiya,  Phll« 

(?or  m  immnt  KiCAfi  BtBxOm  ^j  tht  pham^ 
thoiightfully  •U#iit«  And  ttotn^  hm  Mgliui 
rehMTSias  m  iMMtlng  «rlth  ir«   F^arscxu 
»•  eptiia  tte  door»  •xita^  mnd  Inn^dlataly 
r^HiiittM  wlth  eb»#rfull7  mmmxrmd  mmomrt) 

Oood  nornlng,  ^r»  F«ar •oaU«»««  oh  tbuk  you^  qulU  mU# 
And  yout  «««.o  You  had  •  good  trlp»  X  hop«^?»»«««  Oh^  Mll 
that's  flnt«*o.« 

(Tiüclng  m  •hdip) 
tJh  •  thank  you#»«»»  Walln  yit^  ^«  P#tr«on#     !•▼•  l>«#n  want* 
Ing  to  hmwm  a  talk  «Ith  you  for  qulto  aoaa  tiaa  nov.««*«  tm 
•  no  thank  you^  •  X  •  I  don*t  amota»*«»«  ^all^  you  soai  « 
l«Ta  boan  thlnkln«;»  3£r«  Faaraoa.  «»  tharo^s  roally  ao  llttla 
doing  In  tha  llbrary  any  »oro^  that  ^  a#ll^  oandldly^  «  It 
Juat  doaan*t  mmmm  good  toualnaaa  •  to  kaap  m  thara  nom.... 
Ot  mll^  l  kmw  you  «ould  appraalata  It^  ^«  Faaraon«     And 


1*25 


.Icth   (ContM) 
«o  I  uh  •   1  have   «  llttU  plmn  IM  11k«  to  dl«cus«   ^Ith  yon.... 

oS'comJmny»  dolng  tS  uh  -  wtll.   juet  es  Jl  •^•f«^i^i^!;/^^   ^ 

5SsI?Ion  Itout  lt.     Still,   T  thlnk,   ^''- •;•"•?;!   --Sr^H^ 
do  virftöt  cie   CO  b#  frftnk.  donH  you?—   ^^ll».^  thlRlr  tbare'a   Juat 
Hl   thlaf  ttlU  Iiroklng.      iou  sa«,  what  w^^tve  bwn  dolng  so  f sr 
la   Just^lvln-   nllllona   flne   tiusIc   to  listen  to....   ^ell,   It 

«s   youT^lcht  say  -  th«  uh  -  tha  Hsylng  half,     b^t  thlnk  of 
thausariü«  äUo  Uarnt   Instrvmonts  ynenThey  ^ör«  ohildi-en. 
l.tkä  now  thayWa  grovm  np,  thay  n^y^v  hav«  • /^«^^f*  *?  P^ff 
any  mora.     And  ao  I«ve  thoujht  -  what  a  «»on-^^rf^;!  iy\\nz  It 
woali*  ba   to  .^Iva   tham  the   chiinca  to  tnfJce  imialc  ß.-alnU.». 

h  ftell.   yc>u'^too#.    •  by  o.rganlzln>:  anataar  orcheatraa  and 
band«  foi''T?ulta.'...Thet»a   Just  what  T«»  comlnr.  to,   ?8r. 
rsarson.     IWa  asked  myaelf  -  oh.   Just   tl»  and  tlii»  agaln  — 
Äho'd  nfcturally  b«  taost  Interaatad  In  auah  a  jirojact.      And 
avary  tt»   thft   ^nswer  ata   -  the  Continental!  ••  ••   '>h,   «all 
thank  vow.   N^r.   Paerson.     I«!«  glad  you  faal   triat   ,»ay  «bout   It 
too...^.  .    ^h,  r^ol      üo  thßt»«   jn«t   tha  baauty  of  Itl      It 
aouldnH  coat  you  anythlrf*.     I^m  wjllinr   to  or^anlM   thaas 
FTOUpa.   •  ywf*   tr>d  laad  thaw  too  —  end  all  fop   Juft  tha 

B.nm  sclary  I*d  ^^9n     attlng  in  tha  llbrary....    :  npaplanca??? 


I   MU9  aura   you  would, 
i5uraly<      I'll  work 


Oh  haavtna,   yaa.      u>»da  of  Ittt..    vall 

l\T.   faarson...   oh,   that's   Juat  flne'.. 

o^at  tha   plan  an^  lat  you  haw   It,   aay,  uh  lata  to-ciorrow? 

Op  msytc  wa'd  battep  maka   It   day  »ftep   to-^aoproai      Ooodt... 

Oh  no,  v:r.    taapaon,  tha  old  aalapy  will  ba  ptrfaotly  alplght 

lio  honoatly^  t  >  atapt   «ith  it«3    — ^       >h.   wall,   goodnaaa, 

If  you  ^  if  you  Ina  lat.  why  -  alplght.    ^a  oould  uaa  mopa* 
^ou  aaa,  wo^pa  plann  in/  to  ß^t  mapplad  aoon  i^nd  ao  — - 

(Tha  last  faw  llnea   era  aroki^n  to   the 
aooompfmlxnent  of  a  alow  fnda-out) 


n» 


*XftOLDB*8     IfSCX«* 


mmmmmSmäm 


SS 


tMSBME 


WO 


mmt 


8.1 


^.:^'m: 


•mo 


MM&ß 


Baino  AS  S«#IMI  X# 


s^sut  sixttin 


1 


(Fads^lii  rm^mU  VüISOOL  vmklm  «IjmhJ«  roopj 
tte  do«Ä  ÄöA  lAilgl  •ntsr»  rmthw  wiirlly»     » 


Oll 


Frladl 
(iUi  «te  oontlnuM  vqrk) 


I  •  Mike  aln^t  hiir#T 


Priedl 

Oh  oo*###.  «Iw  »hwld  li#  V«  h«ra  at  «ils  hourt 
aow« 

Mllgl 

Oh.^.üh  huh  —  Denn  yau  aln^tm  haitrdt  huhT 


H#U  at  vork 


HaaaMl  —  T 


Frladl 


Luigl 
Oht  •  1  thoughta  MTti«  you  already  kiiew  ••••  Kxött»e*m  wö# 
Prl6dl#       I  eoa»*a  baok  Iatar# 
(üa  atart«  «o  leatg) 

PrladX         ,  ^. .  « 

Itet  what  iE  It  th«i^  llr»  ülordaiicT     la  •  1»  ao»athlng  wron^T 

Ob  wall  —  eMA  Jooata  —  »o^  no^  •  you  battar  walt  tlix  •• 


8«8 


Lulgi 
fi^HKi  «  «toULt  Tcni  mamhm  good*  fl»i«tid  tf  MltetU  nov  mm  «nfta 
sia7b#  you  «hould«  know  rlght  Awmy« 

Frltdl 
Muh^  yahl       Bat  of  £SBlElt^> 

Lulgi 
«•illii  •  jott  M#,  •  iMtm  night  — 


Tcih^  ysih 


Pri«dl 


^ 


Luigi 
w«ll  «  iMta  ali^  I  SMit  m  O0«q^  of  «»m  da«  boys  trma  d»9 
OontiMNitil«  OfttMi  Mlte^i  ooniNUiyt  ymi  kaMi# 

Frladl 
Yili^  ytth  «  I  Imo«^  X  knowl     So  «hat  hap  ««»«tT 

lAiigi 
v</«Xl  •  d«y  tay  uh  «^n»«  oh^  Z  t#lla  you^  Fri#dl^  I  g«ttft  thookt 
goqga  «hoekl  D»y  say   'Yma  hm»  Amxt  Mlktr     Z  say  **lfa«  Whatr 
xSyiay  ""Woll^  ms«  tM  bad«'* 

Fr 1 «dl 


Lulgi 
DmtU  j<ioAtA  irtiat  I«»  askln*  ^m« 
Mlki  «»«  ha  go  nutal* 


Doy  tay  "Teah^^  OMa  too  bad« 


aa  wfaattt 


PriadI 


Rutat      Xeah|,  yaah  •  auta«     I>atta  »tan  •  araay» 

Frladl 
Ohlt     Oh  goodiiaaaUt     aut  «•  T 


imigi 

olip  «all  <»»  daaaa  daya  aasa  aot  «o  jBCyJL« 

Friadl 
Bat  Juat  «hat  •  what  flu  i**T 


Mi 


S-3 


••11     •  Mlke^  you  know^  •  he  beon  tmlkln*    lotta  btink  »bont 
leadiii*   aiiiÄteur  «roheitarÄ«« 

Friodl 
Ymh,  yah  -  1  knw  —  I 

littlgl 
AndÄ  lO  ••       ihan  ö««  bo«8  he  coiat  back  fr oj^i  a  trlp,  Mlko  he*s 
askln"for  appolÄtinaiit«     i>iir«l     ,H«  gontia  tall  dee  bossl     H« 
iroar^a  put  oiww  d«a  beag  idea  for-a  leadliiM  v»Äl  •  yesaorday  - 
yaasarday  iiUca  gatta  call.     Halloi     Co»«  rlght  down  to  daa 
boaa'n  offlaal     So  ••  ha  go  Aowtt.     Now  aea  dae  beefta  momeatj 
Rlght  away  ha  htirry  up  downj       But  thlaga^  you  know^  la 
aoiwetiifte  happan  fuany^  i^iedl«  l>aa«a  call  ••  !•  not   «causa 
Mika  wanaa  sme  daa  boaai       Ü£J ,     D^«  hj2ajL  -  M  w««»  ••• 
mCtot       He  aay  •'Mike,  alt  ätmiV'     So  ••  ha  alt.     Sural  Anda 
b^ore  Mika  ha  ean  opea  haaaa  mouth^  •  dae  boas  he  aay  ''^^ke, 
Vm^a  Borrfl     Vary^  jbEI  »orryl*'       wall,  why  he  aorry,  hnh? 
**Mlka-''  ha  say,  "wa  doo^ta  aead  you  any  »ora  la  daa  llbrary  • 
Jooata  aaae  X  beon  tallln'   Mika  aU«a  tlaal     ^'But,"  dee  boaa 
aay,  *'you  been  gooda  worker,  Mika*     üural     Vary  ttooda  workart 
And«  00  —  w  donHa  flra  you«     Iiiataad,  wa  gaeva  you  nlce 
leatla  Job,  Mika,  *-«»  aa  naher  In  dae  beaga  atudlo  audltorluin« 
^^oll  •  dataa  purty  good»  But  It  ain*t  Jooata  aaBMi  aa  leadin* 
orcheatraai     So  Mika  •  ha  gat  aorat     **Nol'*  he  eayi   *'I  don*ta 
take  itt '     Leatla  Job  «•  baaga  inaultl     So  ha  aay  no|     Canna 
you  beat  1  .?     In  tlmea  llke*a  deea,   he  aay  nol  An^a  j|0  • 
watta  happen,   huht     Fea  only  Jooata  onm 
gat  cannadl     Flradl 


alel     Mike  •  he 


Krledl 
(Wletfully  troubled,  but  atlll  rellewd) 
H^nomDi  «««  Huh  yah^  •««  ttood^  of  courae,  lt*a  nj 
aigrlng  heU  •  hTHTaSMUL  ••  that'a  Juat  fooliaE 


«  But  atlll. 


You  aln^ta  heard  dee  worat 
0«K«t  V^ell  «*  you  theonk  he  aad? 
1,  noi  "Hurrah,'*  he  aayl 
Fired  «eed  ambltion] 


liUlgl 

Ah,  but-a  waltl     Jooata  walti 
yeti     Awrlght,  •  he  get  flredl 
You  theeak  heeaa  feelln*   Ymrj  b 

*>Hurrahil       X'«-a  £reai       I^w-a  ^ 

^•**  wotMier f ul \l%       rfow  I  gonaa  äS  thlngal     Beaga  thingalr 
?i>ell?^     Watta  you  aayln*    »bout  daF,  huht     Dee  boya  atta 
Continental  •<*  day  Jooata  aay  •  he  go  nutal 

Frledl 
Ach,  •  but  that*a  only  •«  I 

Lulgi 

But  not*a  qq^I       I  aay  VjQl       Mike  he  ain*ta  nutat     Not     Vm 
aia'ta  nuta  at  aTlt     He  Jooata  one«  <greata>  beeg^  dan^ned-a 
Dataa  «hatlt 


8«4 


Fried! 

(Hth  Statur  0  eml»)  . 

Butt  ^^  dicrdan«^  70^  ^  y^u  Juat  don't  undaratand  lilcah« 

Liaigi 
Wadda  you  naaa  •  uim«rataiidT    %Sura  I  uniiaratandi     X  tmnaratand 
dMttad«a  gaadll#«*««#»  Hallp  X  aaiHi  batk*     Uaeaa  umfb^  aatin* 
taraakf  aat  amr« 

(Aa  ba  walka  «owtfd  tha  door} 
Huh  «M»  Imta  ««  lika  a  JaaOÜUk  «bott     X  aeaMi  baak* 

WSm  ha  raaobaa  tha  daw^  ha  atopa) 

OIia  hara« 

{kB  ha  walka  to  tha  tabla  and  laya  tha 

ahaat  nsaaia  on  it) 
Kuh  «  hia  0  atrliig  Alrl  %aa  anar^rbady  daamad^a  fooX  daaaa  dayal 
I  ttaka«»a  daaaa  godda»  arraagaaianit  «»•  anda  now  day  doa*ta  tiaa  it» 
Ml  titla"*  day  aajt  "aasa  good«     Daa  BUiA  ^^    dlai^paintlfigl*' 


ti 


(Aa  ha  axita) 
Huh  •  Baah  alnUa  good  anough  for  a  atraapa  taaaal     ^B  mymrfboAy 
da»iad«»a  JTaaXi    KigQbodyJI 


(LXjrxax  alaHa  tha  door  bahlnd  hl»  ••••  And 
aa«  FHIEIX»  la  alona  agala«     i''ar  a  tnoMiat  aha 
■taada  vlatfulXj  Xaat  In  thought«       And  than 
aXarrilyt  haXf «haartadlyt  '^  raaunaa  work« 
£^ha  plaka  xq^  a  aaaJLl  rugf  takaa  It  to  tha 
wlnda«^  whloh  aha  opanaf  and  aa  aha  ahakaa 
tha  rüg  out  ot  tha  wlnda«^  aha  haara^  from  tha 
atraat  balavn  tha  aoaad  dt  aa  unaaaoflpanlad 
HoXin  pXaylng  a  aaatlXana  froai  BaathomiaU 
VloXln  Ooaaarto«     Sha  atopa  nork  and  for  a 
sMnant  Ilatana«     Than  aha  haara  acnnaona 
approaahlng  tha  door*     Sha  hurrladly  raauMia 
vork«     And  than  tha  doar  opana  ««  and  MIC  AH 
aotara«     Ha  as^^aara  ahaarful^  wlth  a  poaa  of 
authorltatl^a  aaauaXnaaa) 


■aXXo^  Frladlt 


Mtaali 


.       •  PrladX 

(Alth  ahaar^  aaraith) 
Oood  nornlng^  Mlaan« 

Mlaaii 
(Laylng  tha  foundatlan  far  a  big  aurprlaa^  ha 
»alntalna  tha  aaXst  nattar*of»faat  tona«) 
Loymlf  nomlngi»  lan*t  Itt 


■^-  .^^^t— j.fc^-f.^ff 


■■4 

i 


2-B 


p*f*if\Äi'"1* 


/> 


rri#«L 


Ymh  ••••#•# 


(A«  h«  hatig«  up  hl»  bat  Md  om%) 
<»i  Uli  •  by  th#  WÄjr^  FlPledi«  • 

pöotet  aii4  himds  tt  to  h«r) 
a  Mt  of  MV  itoliig«» 

Oht  t»w«*  y^t  »iio«h»    au%  tAgr  •  f 
Xs  •nvrTttiliig  «Im  oh  t\m  flddl«  o«K«t 


Huh  7»h  ««»  I  thlnk  aot 


Frl^dX 


Mlamh 
You^r«  »urttt     Th«  larldg^g  p#8»#  flngflr^board 


•T^rythltigt 


Frlsdl 


As  f  «r  ao  I  know^  jllb^ 


IümIi 
Aod  your  b0v  «  ttuit^«  Iti  good  sluip«  tooT 

Frl#dl 
Talip  J9h  ^  «iFwrrtliliigU  a2JPlgli%#  B«  «hat  4£  It  thMT 

»•all 
stiTt  prMti^lifig«    And  Plgh«  avayl 


But  «  «hat  fort 


Kri«d;L 


Mleah 
Toii^r#  going  td  hmir»  na  orefaaatra  to  pXay  iai 


Ah  •  hov  aJUHlI 


FrladX 


meali 
T#a|  «  and  qalta  aooa  now^  tao« 
it^il  ba  jgi  arahaatra« 


Oh  ^-^  I  slght  add  <*  It  uh  «» 


Pk^ladl 
(With  f algnad  anthaalaaKf  alnaa  aha  la 
feoXlng  hlrs  na  aruah  aa  ha  thlaka  ha  la 
faaliag  har) 
Maahl     Bm  aalandldl 


^.f 


e-e 


m 


•I 


m 


1 


w^ilf    Är#a*t  you  Mrprls«<l  to  find  is«  hc»»  at  tnii 


hmirt 


Prledl 
Oh     I  •  I  doft't  lmow#     Ther«  ©ould  b«  00  xnnny  r^asorui« 

*         {with  »liaulatad  aonoern) 
You'rt  •  you'r«  not  lllT 

iUeah 
mt     Vn  fMllng  •  iiult#  d^Xlghtful«     Th#  f aöt  I0  ~l     I 
trl«d  to  ae«  ywu  Iää*  night»  But  you  imvm  out« 

Yah^  I  ntnt  to  tho  Vlonaa  to  f  iJt  up  abeiut  tho  now  Job# 

Mlooh 
Woll^  tha  iTaot  la  ••  aoiii8tUlng*a  happonod^  PrlodXj     So»athlng 
yyy  iMDortantl     iTh  •  eaa  you  guoaaT 

?rlodl 
Oh  no^  Mioah«     Ko^  I  oouldn^t  poaaibXy# 

Mloah 
No.  of  ooupao  not«     doodiioaa^  1  oan  htf^ly  boUoto  It  myaolf , 
but  —  WoXXt  FrlodX,   1  uh  •  Vm  -•  a  now  x»an« 

PrlodX 


(Wlth  protondod  oXation) 
lluh^  but  that'a  wondayfuXl  I 
tbla  way  •  ao  g^lo^Tt 


But  uh  -•  how  •  hcm   dld  you  got 


Mioah 

(AaausBing  a  phlloaptohio  tono) 
ThoroU  a  tlÄO  In  oirwyooo^a  Xlfo.  FvlodXt  «han  aXX  at  onoo  - 
ho  aoaa«       Yoa«  •  X  audäonXy  x^aXlaod  that  na  Xonß  aa  X'd 
•ti^iö  ^hat  amib  UttXo  Xlhrary  Job^  why^  nobody^d  ovor  tako 
ny  roaX  work  aorlcmaXy«      And  tho  ContlnontaX  •  «oXX^  a 
emsnorolaX  bonoh  Xito  that  «•  you  ootiXd  noTor  oxpoot  tho» 
to  do  anything  about  «y  projoot«     No^  •  why^  I  dldn't  ovan 
bothor  to  aak  thon«     And  ao»  X  juat  •  roalgnod«  Tea^  *  and 
now,  of  oourao,  !•»  roaXXy  free  to  da  thlnga«       Work  out 
wy  pXanat     Moot  tho  rlght  poopXo  and  —  J  WoXl,  In  a  word, 
PrlodX»  Vm  headod  atralght  fcr  jay  roaX  oaroeri 

FrlodX 
(Lowlng  Mloah  and  boXlowlng  In  hl»,  oho  oan 
aooopt  hla  aprooa  of  dofenalvo  f antaay  wlth 
affootlonato  anuaoiKont  and  maturo  Indulgonoo« 
öho  oan  rlb  and  roprowa  hl»  wlth  i?;ood-naturod 
wlado»») 
Yah,  yah  —  thatU  fln^l     And  you  woro  rlght  •• 


«AM^yi^rib. 


■ÜtaiM 


8-7 


.   «  ♦,  4 


•A 


Mleah 

Oh,  I  kn«w  you«d  thlnk  »o,  Frledl« 

Xloall 
Ush  — t»     Wh»ttT 

And  fch«t  yiw'r«  flr#d  —  nuh,  thli  «wi't  b«  h«lp«d, 

Mie«h 
Oh,  \mt  -  wh7,  aiU      I  aidn't  —  l       Dld  i  «ay  JjJalll 


Oh  ne«* Mp«  aiordano« 


Fried 1 


Mloah 


LuiglTT    Why,  »hat  —  what  doea  ha  knowU 


H«  haard 


Friadi 
so  ha  told  na« 


Oh,  but  ha  •  ha'a  ROt  It  all  «rongi  Why,  I  dlfln't  — 

Prladl 
(uaaliatla  and  ainaaraly  approvlng) 
You  knoa,  Miaah,  —  paraonally,  fop  nr  taata,  tha  Äjai 
atary*a  good  aaough«  What  you  dld  -^hat  aaa  plght, 
Yah,  and  you  wara  hrava,  It  «aa  alnply  »hat  you  lu^  to 
jäft.   Only  an  -  "»»*»•  y«  >a»attt»t  atart  worrylat  »»•• 

Mlaati 

(Cpaatfallan.  but  trylng  hai-d  to  appaar 
aalf-aasuradj 
Mat    Why,  1  -  I*B  Qot  woprylng»  «hy,  g£,  -  x  uh  — 

Frladi 
(As  MICaB  pauaaa  In  trovdbXad  thoughtfuloeaa) 
»uh  -  aayba  a  llttla  you»ra  worrlad  anyway«     But  you  ^»^f^n  ^  , 

ba,  Mleah» 

(Wlth  honaat,  tander  aamth  of  undaratandlng) 
You  aaa,  -  wlth  tou  tharaU  not  only  talant«     You  hava, 
•oaaho«,  a  rlalon,  -  Idoala.  And  }mw  you  haira  thaai  -  nuh  yah, 
it*a  icatba  a  llttla  »«d  -  and  aoaiatriMa,  tso  •  a  llttla 
nuimy»     But  thftt'a   lu»t  how  flna  thlnga  Rat  dona»  And  In  your  oata, 
Myba  aoonar  aa  you  thlnk,  JCah,  -  aod  If  ngt  so  aoon,  alrlght 
tool     You  stood  for  your  rlghta.     That'a  taklng  couraga, 
Yah,  aapaeiaUy  thaM  daya.      But  fo»  22»  **  ^  *•.**•  J°**  **^* 
What  «afia  It  tha  rlSht  tlaa  —  la  jsaiT^'^  -^hla  la  AlfiBXft  ■•• 

(Miaah*a  baala  honaaty  and  hia  adairing  lov«  of 
Frladi  rabal  at  furthar  nalntananoa  of  illuaiona* 


■r.'4  JaJM»lTtTnia'hM 


2*8 


?l 


For  a  moment  h«  alt«  qtilatly  In  a  huntole 
and  ßlocaay  Blleno»»     And  thani— } 

Mloah 
Frladl-  —  1  wwm't  lirai».     Kaally.     why,th«p«  wa«n»t  «lythi»« 
S.ve  «bout  lt.     I  Svmt  .  got  iMÄ.  And  «h«i  you'r«  mwä,  - 
you  forget  you'r«  »o«r»d,     That'»  an» 

Frladl 
Mtjh,  «howing  y<m*ra  wad  -  «aiiietl»e«  thla  alao  takaa  omirage. 

Mloah 
Ho,  no,  Frladl,     I  t«n  you  I  waa  Just  oarrle^  away  -  IJJ«  ». 
f  ooll     Ploe-draaiBBl     And  now  —  1  hava  nothing.       hy,   I  «hould 
hav«  takan  that  Job  aa  uahar.     It»a  honopabla,     Paopla  -  they 
hava  to  know  -  whara  to  altj     Ho»«  11  I  aarn  «y  llvlng  nowt  .... 
Just  llatan  to  that  flddler  dowi  thara.....  Poor  fallow. 
Bogging  wlth  DaethoTon....  Hub  -  i  can'tavon  do  Üatt  — 

(Polntlng  to  th«  baa») 
wlth  .Sbli<* 

Frlodl 
Than  that'a  aayaay  OBft  thing  rulod  out«...  What  you  do  flrat» 
Mloah.  la  to  work  hSd  wlth  atudy  and  plana  —  Thl»  projoot  of 

foura  -  whr»  It'a  ao  laq^ortant  now  -  In  thla  eraay  vor  Id. 
t  nmU^  gol 

So  you'va  got  tha«  too,  huhT    Plpa-draaaal 


n>ladl 
And  raeuitlina,     -  nuh,  wlth  «y  naw  Job  at  tha  Vlanna,   bhara'll 
ba  Kora  monayi  you  aoa«...  oo  you  uh  •  —  you*  11  uaa  part 
of  lt....  yahi 

Hleah 

(Daoply  touohad) 
No,  no,  Frlodii  ....  Why,  I  woulrtn't  thlnk  of  ItJ     You  naod 
oTory  oant  for  youraalf*    You  havan't  baon  wall.     You  »lat 
■pna  nowt     no,  no,  >«  I  wouldn*t  droan  of  auoh  a  thlng; 
Why,  I  -  I*n  not  a  -a  glgolol 


Frladl 
(Plaioatlngly) 
Alrlght...  who  iiaya  lt*a  for  youT 

Billftt     fifti 


It*a  Juat  a  Xoan  -  for 


Mleah 
(Wlth  aalf-oontaaipt) 
Buh  •  for  atialal     Llatan,  l^ladlt  —  la  ji^ss  faat?     la 


•■  jg»[i»i-^ü?a 


8.9 


What  -  what  nr«  you  talklngT 

«mt  üßs.  tlH»  X  r»«Hy  fliü.  cooduot,   that*«  wh«t  hApp«n«d,     Th«y 
dia  •v«rythlag.  f^rythiim^  •>  just  th«  oppoalt«  of  «hat  I  eaidl 
And  jy^  —  ju»fc  to  make  «  f ool  of  r  e l     Huh  •  jg^  cpad«icting| t 


»uh-  th«  flret  tl»»  —I     You  kr.ow,   l'lcsh,  lt»B  «o  ««■▼  -  to 
kick  youTßelf  when  you'r«  rtoim«  *        * 

»Icah 
(RtcXly  rnthor  imnoy»d) 

Ü?".^??*^  '^'*»  ^'**^«**^^.  -*«••  7«»  t>y  eny  Chance  trylrß  to  tßU  n« 
that  X'«aat  «  daicned  foolTT     And  Jwut  whon  1«h  etartlnc  to  (t»t 

.  r>l«dl 

(Sho  look«  ftt  hla  rlth  tonder  wlatfitlnoB«. 
Äod  thon,  aiT«ctioaftfcoijr  rlb^lng  hltt:) 
lUÜi.  cood  X  jataJL  ^'ot'gat,  yott  funny  noa. 

(Pop  a  ««»«nt,  THEX  BOXH  llaton  sadly  to  the 
RfcrMt  »lalo,     MXCAH,  «rft)«rrn»A<>d,  abBtntly 
plokM  \ip  hla  bttton  and  toys  wlth  it.  Th«n 
autoiaatloally  h«  atarta  kMping  tla«  wlth  th« 
■usio.     äudd9nly.  ho  1«  atrnok  rith  aouto 
aw^naaa  of  wh^t  ho  ia  dolne*     Ha  atopai 
loQln  at  tino  atlek  and  thon.  «Ith  a  aov«wnt 
of  dooUlvanoa«,  breaka  It  in  two  and  rhrow« 
t^•  plaoea  cn  th«  floor.     Rc  wlko  roisoiutoXy 
tp  hla  bfet  and  contj  puta  thofc  ouf  liftt 
tno  doijblo  baaaonto  hla  back-  «  and  ctko«  for 
tha  doop) 


(Klth  a  half-aodla) 
wbat  no«,  i^oahT 


friodl 


•••11  both  b«  •orkln»  at  tha  sau*  plaoa,  frl^dl. 

#m^    ^      .  i*l#«l 

(TMidwly  toaslng) 
Tboy  atlU  play  —  «oark  Byoa". 


Mleah 


bo  prao 


•t  Itl 


I  uh  •  I  oan  . 
to  tho  vl«on«a 


.—^  ~^iyan 

?,    ^*^^*  •  •Jak  —  «nd  l»^  ^t  to  f 
aoö  *-Ll(,l  ent«ra,     rioting  Mi«ah,  ho  noda  frravulT. 
Bt  talk  to  you  DOW,  i>a«l,     I»ve  got  to  -^ot  d 


ovn 


S*10 


%•:"'■ 


Litigi 

oiu  vi««N  »»«»»»  loa  th..-!  r«  «»i^i  «««•  »•**•  ^* 

Lttigi 

Oh  ool    fiju  —  b«*  T"  '^^^^  *" 
(Si  h»  •»!*•) 


BUyGXOUf 


WMMlL. 


EHt  THütS; 


nmi 


PLACE t 


l^p¥^: 


L 


Oloaa  to  9lx  o'olook  on  mi  «venlng 

about  two  W6«3ka  later« 

A  atreet^^corner  whara  tiie  atona  iHilld«» 

Ing  houalng  the  vlerUia  CaTa  la  locatad« 

Tim  two  aldaa  of  tha  bulMlng  vlaibla 
to  tixo  audianca  foni  a  rl|;ht  angla* 
llia  point  at  iihlch  th&y  Kaot  i&  aoi^a 
cilcttuioe  to  th*^  löf  t  of  Center  and 
approxliaat^ily  f Ive  faot  from  tlia  foot« 
liglxta#     I1BWR  thia  polnt  the  «all  to 
tha  riglit  axtoiida»  In  upata^a^right 
directlorit   bayoiid  Uia  s  ta^a  apace« 
Thia  «all  la  tlia  front  of  tho  bulldlng« 
In  i^^   «(Äaai«2xat  r..t>re  than  half  way  up- 
atage^  la  tha  omln  antranoa  of  tho    *afa» 
and  batwaan  thia  aritranoa  and  tha  down» 
atai^a  m\d  of  tha  wall  ara  largo  wincowa 
tbroixgh  wliloh  th«»  llghta  of  tJ^a  rjaln 
dixiing«ro(»  of  th^  oafa  can  be  soi^n« 
Alon^a:   thls  whoia  front,   enci   li^ewla© 
contiriuin^#  In  upataga-right  diraotlon, 
üayom  tna  araa  of  tho  ata^.e,  la  a 
ahallow  aldavalic  cafei^  wlth  amall  tablaa 
for  dlnnar  patronx»  Bind  enoloaad  In 
froiit  and  at  tha  downataga  sida  wlth 
a  Uno  of  lowt   poti^ni  planta»     Abova 
^ha  antrans^a  ia  a  noon  sign  roadlng 
•♦Vienria  (:afa^#     To  the  rt^ht  of  tha 
aldawalk  Cafe  18  addltlonal  sldawalk 


8paoa< 


tn 


he  wall  to  tha  laft  extonda 


in  upstaf^a  «  laft  dlraction,  to  a 
polnt  bayortd   tho  ataga  apaoa#     In  It 
can  be  säen  a  mccerate^ßlead  window 
wlth  drawn  Venatlan  bllnd#     On  tha 
«iciawalk  in  front  of  thla  wull  atanda 
a  atri^at  lamp« 

lAJurln^  tha  fada<»ln  and  Intercdttaritly 
tiiaraaftar,  reoord^ö.  dlnnar-rauaic  la 
haard  laauin/-  rathar  falrxtly  frOM 
Iralda  t;.ha  caf a»     At  thc  oponlng,    th^rm 
la  wanlng  twllle^it,  whicht  during  tha 
progras»  of  thö  ocena^la  raplaoad  by 
artiflcial  lllunination  on  tha  aldawalk 
and  from  tha  buildlng#     FIRST  POLICLMAH 
walka  on  and  off  the  acana  wlth 
nor»ch&lant  elowneiia^   on  tho  aldawalk 
apaca  to   the  rlght«     FHI  DL,  In  tha 
garb  of  waltraaa,  ia  biially  aattin^? 
the  tablaa  neoraat  tlia  footlirJt^its  in 


Sm2 


Vm  BlAmmlk  oftf««««»  Two  muilclaiui^ 
HUGO  And  TOSCBAt  #nt#r  at  rli^t^ 
4iHi»s#A  in  iNWitsant  ooatiaMt  oarrylns 
liistiniiB#nts  and  aagiigln«  in  ocmv^orsa» 
tlon«     üt  A  point  upstag#  rlgtit^  <m 
tte  «IdtwUc^   tknBy  Cisam  to  a  atandstiUp 
eontlnuing  timjjt  aeniraraation  In  lov 
tonaa»     HUOO  la  a  florld^facadt  haavy« 
aat#  aanaan  flutlatt  about  tlttg  yaara 
af  aga#    Ba  la  blunt«  aJjuplat  good« 
naturad^  and  apaaks  with  a  all^t 
Imktonic  aaaant«    TOSCRA  ia  a  dark«»a]rad# 
auragr^'baadad  youtb^  a  üiaappointad 
vundartdLnd  wltfa  a  rathar  al3M*p  and  bitta: 
tangaa»     Zppartinantly  raballloua|  ha 
atta^pta  feo  aava  Ma  «gOt  ^7  ahovlng 
oontanpt  toat  tha  world  ef  oonßaroa 
and  Ita  ohAttplona*»#«8ana  aaaonda  latar* 
m.  BZHKBAU»  anfeara  at  ri^U  haadad 
far  tha  eafa«     A  ahor%t  •toutlaht 
»lddla«agad  nan  vitti  a  bald  haad^  ba 
1«  a  bland  af  bualnaaa  ahraadnaas^ 
atntlmantal^  aga-oourlslilngt  banarolanoa 
and  a  paaaionata  lora  of  esualo#     Ha  la 
a  nalTaly  agooantarlo  llttla  paraoti^ 
ifto  aataana  hlnaalf  aa  rmj  auoh  of  a 
marabant  prlnaa#     Ha  apaaka  alfeb  a 
Aaaaian-ijraviab  aacant« 


Bujia 
(CalUns  out  to  Mr«  Blrnbaia) 
Ob  j£|;  darat     ur.  Flrnpaust 


Hafa^  Bimbauml 


Toaafaa 


Mr#  Blrabaun 
Ral^tt     Hub  ^  how  | 


Taaeha 
7ou*ra  £^lng  In  thara^  I  «uppoaal 

llr#  Blindbaiim 
V^mmis  auch  a  prophat  ha  iai     mit  TatU  up  dannt    Vat  anytay 
you  ara  dalng  out  hara^  vld  tmisj  draaa  and  all^  buh? 

Rugo 
Aaht  you  dldn*t  haar  d«in?     Day  put  In  Phonoiauaal    Tah  ^  ao  v^m 
got  flrad«     And  noa  dw  anlon  •  day  wdar  ua  to  d«nonatrata  • 
▼id  nuaiot 


S«5 


Bimbmu^s 
^mmm*^.  ^uh,   1  cildnH  hold»     And  vld  icu»lo#  huh?     E^mm  • 
noveltio«  7«tl      /eilt  y<^^*  Imaw  ma*  boyi^     Mr«   Bimbutuii  1» 
alvsy«  frlend  fr<»B  musiolan«»     I»m  daimt  n:oiJ^^  troo  aiiy  pleklng 
linM« 


luii  öUoori     lot^ö  v«t  vea  t^ouf^ht^  Mr»  Plwiprara« 


UAlonHnindodf  touhi 


ToschÄ 


Bat  ctlll,   •  I»n  üellin-:  you^  harir&  —  You  toaw,  vld  nu«lc  volXd 
It»  kiiawlr»^r  lots«      lolty  y#ai»«  «Ir^suiy  x»m  buliainii^  up  my 
o««fl»i«c«it   ii<^lllni!v  #v«>jryi#iri^|  voech  muslc  need8«««Vat  you  are 
doliv   "^erc,    •  talnt  rif:htt  boyal     f  ^  «:mw  uaet     You^rt  Renk 
pooahlnr'  back  de«  Honda  ar  tlr^ai     *^a-ie  v^tyr-,  of  ccurne^   la  oayba 
b&a  nov^— •  vld  so  mich  ualtiF  neohinea  end  all  doaa«     But 
praw^Ttfin  •  niih  •  in  hoftor  all  ^rawffl^tigFj      Look  viu  lay  boesnaaai 
huh?     '^hAngcö^  changeu^  -  alvaya  cHangicT 

(Wlth  cn   Stic   irony) 
Tat,   It*^  cortxlnl^    tcurh  on  jouJ 

KIT«   Birribauia 
Kuhf   toufh  nayb«  no»     Hut  laay  It  aln«  t  ldder#     raunt  tlnk  la 
vld  vm  «cT'laLv;      tut  vat   it«  aiayirgi     For  mc  Ic  c©«  voice  of 
ttituslo  •  s«na  llke  dae  voice  ot  üüd#     icf  i-oö  Ie  cor.lnr  dlreot  • 
troo  feadlet«  and  hornf^  y»   undaretandt  •  good,  l*m  selling  dese« 
But  ©of,   blaaa  lü»  Uajii^,    ^••^   Joainf^  not,  »o  airect,  but  raddar 
troc  racrrde  arid  ri»^io,  y>kni*w,  ••  derunTT^w  aelllnc:  5nstaad  more 
of  degal     Kuh  ahoor  -in  ixartil     Uut  vatav«r  1«  cocxlnn,   Itm 
takln^  llke  phlloßophy  —  ^ 


ToflOha 


And  Increaelnif!;  bualnaeel 


!.!r#  rirnbaucs 
r>ot»s  hatmly  Ufal     /m^  eo  la  now  T»in  reaohlmi  alvay«  more 
plpi^Xc  vl<?  3r.;ö5c   t5nfo#      Sloort      iXvX   each  tiaw  davelopmont  la 
brlngln?:  now  hoadacha»«     l»a   teunt  veechln^r  you  euch  haadaahea, 
89  frienda# 


Yoa  don^t  have  to» 


Toacha 


I5r»   l'lrul^uia 
hat  baagar  haadaohen  «»  is  r4iaiüng;  also  uoager  opportunltiaa« 


Hugo 
fWlctfuliy} 
I  d<m*t  Imow  •  1^  pot  oulT  hmdaehee« 
•i^ka  a  l'vlng  ncm,  i.ji*«   Plrnpau«? 


T^ah  -  und  wie»     How  I 


To«ohA 
H#ts  toW  you#    Htö  ymir  h«Ä<3  -  «ch#8« 

lfp#  BlrvibM» 

(TO   TOflOtMl) 

\}^ma&  *  such  a  «mart  boyt 

(TO  Hugo»  «Ith  undorstandln£:  n^irmth) 
Yah,  y«h»  ny  frlond»  -  I  kxhtkw^     Eos  haxHi  now,     r*ut  »tili  • 
youUl  BÄke  l>#tt0r  a  llving  •  vid  playlne  froo  on  »tre^t»? 

Rugo 
rot^s  iMon  ordws«»<#   ^t  hott  I  mlIco  now  tsy  paymants  -^ 

(Pointlng  to  his  Inatrumant) 
on  tho  fluttT 

Xr«   Birnbaum 
Jtll  starva  *oau8e  you«ra  daunt  BUüdng  paymonta?     Tiaa  you  ahall 
h«v©#     so  wuch  aa  you  naad«     Varni  you  ^ot  -  you^ll  oay»     And 
Intaraat  •  niih  «  v^e  ara  uialcing  mantal  notaa  ^  to  forgat  for 
a  vtiila# 

Toaalia 
Tharat    You  f^aa^  Hugo?     Hot  a  ttilng  in  tha  world  to  kaap  you 
tr<m  playlng  —  but  laok  of  a  Job» 

Wr»  Mmbaum 
My  boy»  you  ara  havlng  avaz*yting  for  a  raal  eynio  •  but  aanae» 

Toaoha 
(To  Mr«   Bimbau»#  with  vhlmaiaal 
cont«npt) 

inb  •  dld  you  m'^T  try  ^^  aating  a  fluta? 

Mr*  Mmbaun 
I  flitarvad»  young  man»  bafora  you  Tara  bom« 


But  ttover  alnca* 


TOBCha 


Mr*  Birnbaun 
tod  for  dlaa  I  ahall  apologisa  to  you»  Huh?  Saanoa  a  boy» 
ytundarat&nd»  Vm  voiklng  alvays  hard*  My  baaxnaaa»  »taln^t 
00  trery  baagt  ^ut  la  anyvay  good  -h.  «oid  prawgreaalva«  ,^nd 
nlca  vld  aorijinlal  atnoaphara  fron  xaualo  mm  vaaoh  Vm  mayba 
lawTlng  sioro  dann  aoaa  pippl6«»»But  daas  vaaoh  you  are  touchlngf 
Bjy  frlcnd»  Is  Ittiporiaht*  For  you  ia  now  musio  hawnly  baasneaa» 


But  Tid  mjj^   haTlng  alvaya  nav  idaaa»  now  pravblama»  naw  rcv^ska  « 

ainß  j«y  baasnaaa  to  an  Art*  Yahl  But  you 
brlnglng  dowi  your  Art  to  a  beasnaaal  Kuh  ahoorT  You  ara 


•  You  ara 


wakln^  ttualo  hawnly  for  oynlng  a  laairlngt  But  i^  —  daytüMa 
Itm  voildng  hard  vid  oraativa  beesnaaaf  avanlnga»  nuh  *  l^trs«  B*# 
ytknaw»  nh»H   playlng  ftlvayc  brldga«   Hut  jga  •  i«a  playlng  vid 
frlonda  teyortatta*  so  day  and  nlgbt  •  !•»  havlng  Artl  And  taka 
tny  «on  Oyvlne  —  >ia«  a  havlnifT  taltnt  too#  But  I  aaid  to  Mra#  B0  ^ 
^VO0   maaa»  ^00  dldn*  t  ralaa  our  boy  to  ba  a  Kiaoba«  Ha  goaa 
raddar  vld  mm  in  oualo  bualnaaa« 


I 


5«»& 


My  tmm^ 


Toseha 
If  you^re  tr^^lng  to  b«  personal 


1«  lojcbA. 


C€föl6    806 


Nr«  Bimbausi 
Nah^  nah  •>  daunt  baing  tachnieali  •  •  •  Anyvay  «  I  ain*t  ao 
polaaonal# 

Hiuco 
(Wlth  wlatful  paraiotonca) 
iut  how  It»  goln£  to  laake  a  livlng«  Mr«  Pirx^jauffl? 

Mr#  Birnbauin 
!aaa&  X«m  dlskawalng  latar#     T^ow  I  muat  go  In  dara# 
ma  tOQorrow^  v^  frlend^  al^(i  va'ra  dlakavaing« 

Toacha 
( C  OTi  t  amp  t  uous  ly } 
Hmh  *•  I  thought  you  aald  you  wouldn't  go  in  tliara? 

Mr«   liimbaum 

(To  Tofioha) 
My  boyt  I»»  aorry  I  got  auch  a  klnd  haart  —  uddorwlaa  '^t« 
Biayb©  Irving  mora  olaasura  not  llklnf  you« 

(To  Biso) 
lou  are  hairlng  »sy  vold,  Mr.  Schul t«j   •  vy  Itm  going  in  dara 
le  lißimly  for  talling  daaa  rüanagari»  for  yoara  alraady  itia 
cwfiln.:  hcire^   •  but  no  c^ra«     vu»^   Birnbauia  ain^t  drlnklng 
importcd  siti&nppa  to  t^laphone-cauale* 

(Ha  laavaa  and  antara   tha  cafa«««« 
TOSCM  triaa  to  laiigh  ccmt€s?iptuoualy# 
HUGO  »hxnAg«  hla  ahouluara«     Thay  r^Bxmm 
ccmvaraatlon  up«tage«#*^i^aanwhHa^ 
FAUL^>  haa  antared   tha  s  idawalk  cafa  trom 
Intlda  and  ia  coer^plating  the  preparation 
or  a  t&bla*     PAULA  la  a  pluav  youag  wocsaa 
^th  Vlannase  aaoant) 


Paula 
(To  Frlodl) 

liow  about  ttda  Schmidt  raaervatlon^  Frledl? 


It'a  for  flva^  no? 


Frladl 
Yah  •  and  lnaida#*»  But  they  donU  ootr.a  tili  alght# 

Paula 
Oh«     ften  It»«  no  h;irry##.say  uh  -• 

(fiha  oomaa  cloaar  to  l^i-iadl  and  apaaka 
,^  ^  ^s       ^  ^  ^^If-^iapar) 
what  tlre  ara  thay  auppoaad  to  atart  pUylng  out  bara? 


3«»6 


Kuh  -  ioon^  I  guati« 


Frledl 
1  donH  know  «xaotly«  But  !• 


•  lim  so 


pAula 


\}%  wcrrltöt 


¥*iiy  ehouW  you  b#  wcrri«or 

<fKSi  recollectingi 


tti#  bAss  playorl 


of  costunöd 

rl^lbt^   BT 

TOSCBAt   in 
oudlblo   to 


0  ecnvarsAtion^  *  Coaple 
ru«! Clans,    carry Ing  In* 

^iive  entsr^d  sc«n«  from 
^n\  ro'jy,   At   th^   ftirthest 
«walk  polnt  At  upatAg@ 
con^ersl'vj  wlth  irJGO  and 
ton««  too  low  to  t^ 
i'auiö  or  Frledl») 


lYl  cd! 
Aih  •  ten  dayp  orly  h«  worked  ln»löo. 


•»  nr^   now  he  »uat  play 


Paula 
Yah  •  but  f or  worry  thare*  a  no  roaaon,  rri©dl# 
Jiappent 

Friadl 

(In  a  worrl:>d  tcnö) 
Oh^  1  don»t  krxOW#     But  wltii  pollcoman  and  all  — 

Paula 
Nah  -  nah  •  Uhay'ra  hare  only  to  pravant     troubl«! 

?fl«dl 
Tahy  but  80vr!0tlE.i#a  tlmt^a  w.lat  maitaa  It« 
It»»  alrightt 


^Jliat  than  oan 


Kuh  •  I  hopa  only 


(aha  antara  tha  cafa«      PAULA  razäaina 
at  work  outalda«     ^.9B.nmhlL^p  £Tom 
ths  loft,   onter  UM  ÜABIKOäITCK,   UJIOI 
OIORPAHO  and  TIM  MOCREÄKY.      Arpuln|r^ 

thay  oime  to  a  standstill  at  a  polnt  to 
tha  laft  of  tha  comar  of  tha  bulldlnf^« 
V£V  Is  a  Tierirou»   llttla  Hufli»lan*JrTlsh 
Violinist  In  hla  a<^rly  rortlaa#     He  la 
of  ahort^  allfj^bt  bulld  and  amooth-Ähavan 
faca  of  »mall^   claan^cut  faaturaa»     f inca- 
aas  ^laasajf  raat  on  hl?  alandcr,   »ilrhtly 
roundad  noaa*     Acroaa  hla  otharwiaa  bald 
head  11 ee  a  atrlp  of  alick^  blaok  belr# 
TTe  sraol-ra»  clrarettef  f^urloualy  thrmigh  an 
ivory  holder»     Ria  V^arrs  ara  narvouaiy 
moblia.     Ria  apaach  1a  cnlorad  by  Jawlchly 
Ironie   Irtorntlcrß  nnri  a  prorouncad  Huaalan* 
Jawiah  aecc^nt«     Cauatlo^  bittar^  agooantrlc^ 


9^7 


l£Vt  «njojt  hüB  om\   cynlol«»  aa  m  iMana 
0f  f#elinf  auperlor  to  ttoa  ooBKierclÄl 
tblnga  ha  ia  obligad  to  do«  At  the 
»omantt  ha  1«  waarlng  a  paaaant  ooatuma 
ami  carrylng  hla  vloUn  eaaa*  Both 
LUIOI  and  T»  ara  waarlng  curdlnary 
buainaaa  aulta«  TIM  la  a  mlddla«»agad 
olarlnattlat  of  Irlah  daaomit«  Qt  loadlum 
haigjht  and  haavy  buildn  a  broad,  amooth«« 
ahavant  f lorld  faaa  and  a  yatbar  haa^ 
iroloa«  Ha  la  a  eostnaroial  playar«  with 
tha  fighting  aplrlt  of  a  pranouncad 
indlTidtialiat«) 

Tim 
(To  Lav) 
Bat  that  aln*t  why  ^%^r^   rarualnU  It*a  tha  prlncipla  of  Iti 

Lav 
PrlntapullaJ  Saadanly  you  are  duffarlng  from  prlntapullaJ 

Tim 
IV  B   the  nwva  of  *«&l  Cur  own  Unt^j  Pirat  doin*  nuthlnt 
tuh  kaep  u«  from  gettin*  tha  aaekl  And  now  ••  aj^pactin*  ua 
tuh  play  on  tha  atraat  lika  a  fouraqiiara  goapal  meatin«  t 


Out  hara 


(with  «ynlcal  auparlority) 
Nuh  «^  cafa»  atraat  •>  I*m  daiant  sacing  i»xch  oholoa# 
la  imyvay  x&ay ba  daa  air  a  laatla  triBBhmT9^ 

liataa  gotta  do  «Id  fLJrT    Inaida  wa  gattin*  paidt 

(Kaanahila  PATROKBof  tha  oafa»  ona 
or  tao  at  a  tina^  antar  tha  soana 
at  rlg)it#  Some  taka  tabXaa  on  tha 
tarraoai  othars  go  inaida#  Anothar 
ooatumad  aualoian  antara  at  right 
and  Joina  bis  eollaaguaa  upataga«) 

(To  Lav) 
Such  rottan  tactioal  And  a  smart  f^iiy  lika  you  falls  for  itJ 
ThatU  wtiat  gata  mal  Why,  itU  dowynrlgbt  dagradinS  by  God, 
to  ba  play in»  out  hara  on  tha  atraat i 

Lav 
For  mf  •  not» 

iWlth  irony  quita  bayond  Tiin) 
ITou  ara  •  too  aanaitiva« 


ptyou  sioan  tuh  aay  •••?? 


Tlffi 


5-i6 


( i'ith  islgnlfioÄnt  oalm) 

Tln 
Wiat  th^  ^•l^»«  ^<?  ?ot   tc  do  wltfe  •^•??? 

Ttoi  ni|:ixt,  •••xteiÄi  years  i^go,   v>y   n  *:;rand   concert  In  Lvov,   In  a 
p€pforn:.nnc*  of  Tchfilkowskl»  ß  vlolln  concarto«     ^"«11  •  on  dl3.i 
hoc»«iR8lor^  •  »o  fingt   y'knuw,   ao  urllllant  wa.^  plfylnf,  of  sawlo 
part,  ciat  all  flcTrTTTi'S  •  dej   nrr^   I^talln.r  aide  vld  uaitlratl.on. 
And  aueiencej  •  ybole  Rudjane»  •  d«v  nre  gettlnc^  bronehltla  from 
bravo' 3  #    ••••  '^Ixopla^^aa»  v*lo  ^.art  on  dl  39  irxooaa  ^ion  •  la 

'Uoxx  iJikin«   ^  aeek  ••  wlöout  adsilratlonl 

lim 
(Xo  Lev) 
This   ßlr't  nc  tlr  <    f'^^r  ^cur  151e  beastlnM 

i'or  yoiu  n^  frlcnct   I'ci  daunt  i>oa0tlnj:#     Ee«  !\«wnly  T  axplaln» 

^^^  ^'-^  2!£££iLHDi*^  •"-  ^fttr  pliiylrr    In  der» 

(i^cfntö  Tc  c&f«) 
•^  vlci  aige 

t  I'Cint«   to  coatuae  fce  ia  i^earing) 
rcln^  from  tabl^  to   table  vic   BChrjlt«  i3»j.i?1o  ard  fco-^oo 
•TG. 

V« 

ArU  dann  is  laayba  volaa« 


Gß  lor  aao  luwias  ••  i'or  £g,  lo  naatitijr:  aogracJin^j;«      In  euch 
nfSt  ^Jb^o  i.lftvs  ainH  ££•       .ayr.ly   .^ete  f  1   fcrff » > t  # » Pey J^'^e^j   If 

•r®  c^^  r  *,    'cuarifltratlnGt  va'r«  c<^ttln^-  In  v  t^   ^uvt  via  ünlon# 


(lurlnü  thlo  laet  iip<?echt  UJChh^  In 
par.?5ax*t  coatuiüOt   <;.itera  ttt  loftt 
cerrylng  lii«  aoiible  \mb9^     ?re- 

occupie:,  hr     ncae:-   £.ul;^l  and  ?lr;t 
wlthout  nctlclng  thom«) 


Beyl     lükel 


Lulffl 


0hl     Oh$  iiollo^   Lui/ll 


tT^t^-^a  baog  Idea^  :iuh? 


Ifiieal': 


Lul^rl 


Tln 


Look  at  ^iji^  by  oodi     Ml  dra.^sed  up  for  fche  aldowalk  aeronadei 


2W0 


Lulgi 
Y0a  tiesixi  to  »ay  you  gorum  play  out  hmrmf 


reason  why 


Idn«  t? 


Ift  «  le  thore  «oirae 


(ntferrlng  to  MIoäI^i) 

nxihß  you  sjäi*     ^^^  ^^**  |>i^jii  —  »o  >^»  braln>l 
Ho  daunt  voeah  havlng  troubio  vld  UnlonI 


Mfe  —  doopt 


Mloah 
Oh,  wall«  but  *»  but  that  lan*t  tha  roaaoni     |fo^  ••  lt»a  juat 
tbßt  •• 

Lav 
(startlng  to  laava) 
^uh,  gantlimuaat  *  I  daiiH>ndtrata* 

(KaamrtUla,  anothar  Fatr<m  antara  aoana 
At  laft  and  takaa  a  aidawalk  tabia«     Tha 
aldawalk  caTa  ia  now  qulta  allva  wlth 
dlnara#     FHIf XL  and  »kUlA  ara  bually 
BBTTlng  thm^.     BECOHD  POUCBIfAH  appaara 
at  rlght»     Um  Joina  Firat  POLIG EMA!^  in 
vatohing  and  Walking  tha  baut) 

Büv  X<n  playlng  on  daa  atraat  «  la  llka  a  oharaotar  from  ChakovJ 


•  lika  a  abow    •,  la  It? 


Mloah 
(^iamaatly) 
Oh  -  but  uh  -N*!     iatey,  thia  lan»t  to  ba 
Why,   Ulla  la  a ar loufl 

Lot 
ihm  ha  laavaa) 
You  »liould  undaratand  yat  frora  tragic  lrony«#««  Vld  dlgnlflad 
amlllngt  daa  artl&t  la  doin^  vaaoh  la  banaath  hlml 

.  iMlgl 

(Aa  LFV   now  Jolna  the  otliar  coatumod 

nualolana  at  upataga  rlght«) 
Huh  •  amart  ßuyl  Doln«  wataa  benaath  hlml  Dataa  what  I  bmmt 
doint  f or  yaara  nowt  cnly  I  gotta  pay  allmonyl  So  I  don*  ta 
amilaj  "" 


Mloah 
(l4ioklne  at  Lav,  troublad) 
IT^fiMM  •  lt»a  aort  of  atranga  •••#•* 


3«lä 


Whttt 


right  thln«  -•  for  the  wrong  reaa€m# 


Uulgl 
Rlgbt  thlnßt  taub?    B^ii  I^BÄ*  * 

Xiamh 
WJ^  •  why,  y#i#     V^Ät  ar#  you  so  exclttd  a^oat? 

You  talkla»    joosta  Uk«  «  Iwtla  doubl«-bA»8lÄ»  bey-scoutl 

mmtU  righ»  about  playlnt  an  the  «tr##t??     Whyt  lt»i  downrlght 
hualUatlngl     |hatVi,  Amt  it  1«; 

;   E«M  gonna  mfik«  -  a  mia  baa^a  laugMnt   gtock  froai-a  daa  irtiola 
§   profaaalanll 

Mloah 
I  (Sotraly  trofublad) 

laUf  bat  uh  •• 


Basa  no  but^a  ••III 


Lulgl 


Tim 


i 


Eow  In  hall  ca»  yuh  play  daeant  on  tha  aldawalkttt 


Anda 
Only 
«aata 


(To  üiaah) 


Lulßl 


,     Slioorl 
d0^  artlat  ha 
«]rAÄt  you  aaylnU 


Hub  •  and  nom  -  now  you  wanna  play  on  ^^m  atraat  llka  a  buml 


Mioah 
(Altar  a  pauaa  o£  «orrlad  thou^tfulnaaa) 
HtwKin  —  1^  /goodnaaat  «  that'a  •  tbat'a  aartalnly  atranga» 
I  •  I  navap  tiaougtit  aUout  that  ^  at  all#     It  juet  aa^^ied  lika 
tha  rlght  thing  to  de»»««  oh  daar»  •  I  iwndap  what»a  •  irtvatU 
ooma  ovar  nai 

(«aom^l^«  BORISf  a  tali«   orect  and 
powarfully  bullt  nualalant  «Ith  a 
pronounead  liDuaaian  aocant^  antara  at 
dovnataga  laftt  amvpylng  an  Inotmuaant 
aaaa»  and  aoarlng  a  pa&aant  coatuaa# 
Aa  ha  paaaaa  Mloah^  Tiß)  and  Lulglt) 


9-11 


H#lXOf 


Hal|ftWt 


Oh  »ay  «• 


(AbrupUy) 


Tim 


Boris 


m 


UXLgX 


B^rls 
( Per«isii>torll7#  aa  he  «alka  oti  to 
Joln  hla  ooatumad  oollaaguM  at 
upataga  rlght#} 
I 

Tl» 


But  nhat  fortilf 


Muat  alvaye  ba  raaaonaT 


Borla 


■Icah 

(Half  to  hliaaalf) 
03^  wall  •►  thare  •  there  ahoulü  bat 

(StlU  graatly  worrlad) 
Qraolouat  I  ••  I  Juat  can^t  undaratand  how  I  •«•t     NOf  no  •► 
thara  «>  thara  i&uAt  ba  a  oatah  BOmmti^rn^     Thara  auat  bat 

iMlgl 

(Bellairliie  ha  la  «Innlng  Mlcah  ovor» 

aaauDMNi  a  saora  oonolUatory  tonai) 
Easa  no  catebl     Loeki»  rlkal     Jooata  teil  ma  onoa  plalnt  «  Why 
you  vanna  play^  hvih?    TOor?t 

Tim 
(To  lllcah) 
Whmt  In  ball«a  tha  good  of  thlt  louay  atuat?? 

Lulgl 

(To  TUl) 
Jooata  »Inata«  TläU 

(To  lUaah} 
wtora  Mlksaj  hubt 

Xlaah 

w«ll^  X  «  I  raally  bavan*  t  thougbt  vary  ouoh  about  tha  raaaona# 
Tha  way  It  aaamad  to  na  «aa  Juat  that  '^  «all«  «  ahy  hava  wa 
got  a  i/nion? 

Tl» 

To  aupport  than  good«for«iiothlng  offloarat 


Hloah 


Oh  no« 


(Wlth  Innocont  oobplaty) 
You'ra  -  youtra  wrongl  It*a  J 


uat  tliat  -  wallt  ^"wi  aran»t 


S«12 


feiOAh     (cont^d) 
bu«ln««i»  man*     Wa'ro  Ärtl»t»»     ov  at  any  rat^,  cloae  «ough 
not  to  im  pr«otiOÄl#     Bo  w#»ve  got  a  Union  to  protect  our 
lntore«ts#     hnd  If  w#  don«t  bmck  our  own  protectorst  idien  timy 
SÄ^  lü  s-triUt  or  dciaünutriita  or  —  V^tyt  i;oc4r©öi],   thtj  ctrtelnly 
know  lEor©  about  »uoh  praotlcal  thin^«   than  we  dol     Tbat»»   just  • 
c<»nDOr;  uanfic*     Cthexneltse,   tliy  ^/<^  aW   th^y  be   orriccT«?      /ml  ^'imt 
r#Ä»ou  couM  th©j   posslöly  hav©  -  for  not  dolng  what'e  b#»t? 
ri%%VB  ölily  ••••   Imt  otlllt   —  «ila  urtiatio  aat,lc  —  wtll^ 
timt«0  not  qultc  fto  slaplöt 


Ouli» 


MlkOj  you  «o  p'Oddaia  Irmocoiit  -•-  I  Konria  ha  Aqou  h^tov9  you  Ijornu 

( C  o:\  t  et.p  tuoufj  l7 ) 
— •  coin*    wat»ß  beistl 

( \ftox*  s  morKiit  or  «Llftp©reJ  dlscuialon 
umams   cheauialveß,   the  Coatiimod  Mu«lciimc 
fit  up«t&s^  rls^^t  a' Ju«t  to  thelr  back» 
plaofißxia  boarir^  &ach  Inaojlptlonc  lui 


(To  noah) 


*I'lai 


uoofi  Ooc'i^   iiual 
o»  fooU? 


Caii'  t  iiih 


wi4.0tt^«  aCvXn*   likc  i^  pMk 


Ho,   nol     ^ou  uront^^  Tlal     I  «y  aln'  tu  Toolii«     I>y  ülat  ta  fooia 
at  nlXl       jy'ro  öoryr:^ltaiitff4       aüaa  ^fiat,  aay  aral     Vtj  jgotta 
clo  aum;>tln»  I     So  inata&d  w^taa  aecocÄi^ry,  cl^y  Jooata  a&yi       lioys, 
ir  you  oan'  t»  pi^y  inald^  wld  puy*  you  gonna  pl&v  ouut^!cUi  widout 
püyl^     hiu^<ii»*«     Ulli     V^LAoastratol     liux't*  wü  o\^iita  döuoiiatratai 


mtmmt 


hut  cllaa  aln^ta  c^e  oiacoi     r/«  ow*i-ta  öeiionBtrata  dawri  uera 
atta  onlon  givin^^^  uaa  ^oard  halil     i^ataa  wiii^tU 


»«■I 11 


(To  Mloah) 
l'uh  thlnk  thia  oircua^ll  g^t  baoic  Otir  Joba? 

Willi 


Uka  hell  it 


(TlilHr  POIJt'Ftmi'J  f»nM»a  acaiiö  at 
rlifilit  to  anaro  tha  tooi^t  wiiJU  Pirat 

tff  nntwu  at  laft»  paaaaa  Mioab  at  al«, 

Är^<Ä  «otlalng  j^ollaattt^an  anci  plucardad 
xauaioiana,  aMpa  at  down&tag^»  rlgiiiu  to 
viex#ch»     *ti..    'Ih;......  ;•  Z'f»«i#nt<^re  aoana 

froia  cafe,  ana  wrIrIu^  aoXf-rlgi^taojsly 
acroaa  tha  ata^^'^öii  stoja  i*or  a  moLiaat  to 
«iUapor  to  liugoj   ti*en  ti^Ita  üt  pl^iit) 


8«1S 


Mioah 

You  know*  •  I»»  juit  wond«ring##«#  W«  mAd#  ocmpnmlB0B  ^nald» 

Lulgl 
B«0Fer  üftui#4     You  JooitÄ  tAllcint   lotta  bunkt     Huhi     Sur©, 
dee  Oftuse  !•  OtK#l     WetsA  no  good  1»  dte  #ff»ot#     Picket  w«#d 
a  muaici     ^a»  ^qlctl 

Mloah 
Oht  :iroutr#  wongl     l^l5^#  Itn't  «udilö  ths  laoat  tlociuant  of  all 
UnguagM?     And  tbwi  wii&H  th#s#  pXseaapdc  — l 

You  thtak  you're  gonna  olmnga  a  tidngiM  ^  aeraplng  your  bull* 
flddl#  on  tha  aldawilkt 

Micah 
But  It  iJinH  wimfe  ja  do^  a^ana#     ISot     «a^ro  Juat  pa^rt  of  a 
larga  movament« 


Jaaal     On  daa  ftapaat^  ycm  oan«  ta  ar«!  play  bod  male  goodt 

1:  ©za  jooata  loulqr-£Sl^  atraljtrjit  Jgjrgä^* 


lAloah 
Wa  ean  play  aa  wall  aa  condlfciona  allowt 
mlimtat     that'a  itt     i;^tU  Itl 


Say^ 


vall«  a 


Dataa  ijhatt 


Luigl 


Mlaah 

tty  raaaon  «»  Tor  takln«  part  haral     Oh^   I  kna«  I  waa  ri^bt 
trom  tha  atart»     But  X  Juat  never  oan  think  of  tha  yaaaonat 
Wiyt  wa*ra  not  pla^nf  out  hara  forTJh  baauty  or  •  or  antar* 
tairwianU     Wa*ra  playlnK  aa  a  «  a  protaati 


Aoainat  i^iatft 


Tl» 


8»14 


le&h 


Wto.   too  much  US«  of  tr^ohlnMl     oh,  nm  4ontt  «Uunderatimd 
a^     I  »tili  b«>llw@  th®  worst  troubl«'«  •• 


Lulgl 
( cim  t^mp  t  uou  » ly ) 
Y«Äh,  yeaht  *  &i,;tttearö— I     t%M.  voti 


mt  «tili  •  t^«  unlont» 
m<KSbArdOAl  enaimlos  tocl 
muiiclana  •• 


Slofth 
^ot  to  do  «varythlng  to  fight  thee« 
'^j,  otJoarwlÄOt   pretty  soon  all 


{h  ooupl©  of  Muelclan»  upstage  atmrt 
tiinlne  thair  lnetruifient»#     MTCAH 
haare  thls  and  liurriecily  aujustß  to 
hiß  bftck  ii  placartf  wldeh  he  Imo  been 
oarrylng  B.nd  whloh  b^ar©  th^  In- 
•crlptlon  njnfi^lr  to  oygftnl«#d  Labor'') 


Lulgi 
Will  b©  Joosta  li ka  ^mut^^r^  •-  playlng  wldout  pay# 
WLtta  you  want,  alnt   It?     ioaateara? 

{aoRls  o<^aa  fonrard) 


Wf)ll,  dataa 


Mloah 
(Trylrxg  daaporately  now  to  kaap  bla 
apirltij  hl«^} 
Ch#  you  can»t  hold  mo  back  aom^  LulgH     You»ra  waiting  your 
tLr.al     ItU  riot  or.ly  Umt  l"'Swl     I«irc  aven  irot  reaaonal 

^orla 
(calling  to  Mleahi 
You  are  kaimln/^rt  Mika? 


OtL,   yaa,  T 


Mloah 

(lxultadl>  to  roria) 


(To 


^  gortainly  amt     Juat  a  olnuta  nowl 

LuTgTöauTtTi: .,  noorlaliltie  hi» 


o»aiJi  datanaiaatlon) 
Ihy,  •  could  you  uaa  Avo  Maria  for  a  bugla  call?     Of  couraa  notl 
Whon  aorsathln^»«  for  a  practloal  purpo»e,  you^va  got  to  sieat 
oondltlonal     llAat^a  alll     And  l£t  wo  tall  youi  -  Eiialo'a  not  too 
proud  to  flßhtl     Wa»va  got  to  Sa2e*T^ia  world  aafa  for  llvlng  mualol 

(Maaui^la  UICAH  la  a^tatadly  un<» 

draaalng  hl«   baaa  and  atar.tlng  to 

tuna  It,  whlla  lORls  ratvArna  to  up- 

atage  group«     Th«j  curloalty  of  jafa 

patrona  le  Intmaifl ad»     Tha  nuabör 

of  paaaa  by  onlookara  Inoraaaaa») 


5*lfi 


--.    ».'i**-'.' 


:f# 


%flS^ 


Lulgl 

11«  not  «orrUdl ...  Üh  -  whyt  lort  of  — t     »hy,  huh  •  tH» 
CToa  •  th»y  know  «h»t  th»y«r«  dolngl 

Tla 
Taln't  «^B  Ug«!  -  «iüdB«  ittah  •  »oU«  «a  th«  •tr.^tl 

(M««n«lill«.  th«  oMtitaMd.  plftoarted 
KüSXClAWS  fro«  upatag»  plght  «<»•  for«MPd, 
•rran^  th««Mlt»«  1»  •  doi*l«  IIa«  on  *!»• 
aldWMlk«  paralXsl  to  sad  •  eoupU  of  foot 
fr  OB  tta»  pottod  pX«at«*    Thor«  la  rUlof 
•MltoMttt  aMng  tho  onlooters.     ^•"•»'•1 
tuBln«-«p  bosia«*     B««fia€  thl«,  aiCAH 
boooMi  «K  Itatod  aad  roaunoa  timlag  hU 
baaa,  aa  ho  roplloa  to  Lul«!  and  Tiat ) 

■iaah 
Boggara  del     «l&y  eaa*t  |ft 

Loigi 
noapT  tpoübU  ywtt  goana  havol     Uoka  jaa.' 

Tis 
You*ro  jtiBt  Boarod  S2i  ^^  P^aT* 

Mleah 

«o  aoarod  —  , 

(Looklag  BorToualy  at  palieimaa} 
—  asjt  to  playT 


Stiroi     Jooat  afraldi 


Loigl 


(TpTlag  bard  to  nalatain  hia  Talor) 
I*a  aaarod  of  nothlagt     Khy.  X*d  da  aarthla«  for  good  moalei 
Ev«in  pl«7  bad  itiuittl   > 

Tla 

Doii*t  thlak  fou  Oftii  hold  m  baekl 
OlMots  at  p0lie«nMia  agala) 


mh  «MZ' 


bilgl 


MM 


3-16 


MiAih 


Oh,  1  teo«  yott  botti  ttf&  ••^1'  ^^*  fva*r9  lU  «226' 

Tla 
^t  mv  »tth  •t.mn»  f «r?     laftody»  ■  holdln»  fuh  bMkl 

X  t«ll  yo«  I  — t     Tob  «lad  yowf  «wm  bu«ln»»«I 

Boris 

(■•▼izut  ateraod  to  th*  «oriMr) 
)(oa  «r«  kBiMlag,  wk»*  er  »ot? 

(lloTiae  fwtbtr  to  tha  right) 
Yo«,   I  — 

(7o  Lolgi) 
Ah,  oflM  •»>  ««'ro  «Mtla*  tiaot 

VIooh 
(Te  Lulgl  wbbA  TIA,  M  b»  ttJm»  l—yn 

Of    thMB) 

Yott'll  ooo»     Yoa*U  tf  ••rry» 

TS» 
»orol     For  xSBjn 

(Aa  Tia  axlta  loft,  LüIQI,  ataadlag  at 
ih«  earaar,  hivls  a  ohalii  ef  oplthot«  ia 
Xtallaa  at  ilICAB,  irti»  vith  hla  ba*a  haa 
takaa  hia  ataad  ia  tha  oratoaatra  at  tho 
tfowata^a  and  of  teha  llaa  «ad  ia  rapldly 
gattlag  inatruatioaa  froa  tha  otkav 
.     ■•abora  of  tha  orohaatm) 

(CaUlar  froa  ofr««t«ta  laft) 
CoalB*   Lolglt 

Lutlgl 

(Ion  t«iis«lT  vatahlag  tte  dMKmi  trat  lug 
nroslolaiis^  to  Tia) 
ICtah,  jtab  •  Joosta  adnutttl     Too  go  atoiad^  Ttai 

(Aa  tha  oraliaatral  timiiig«%ip  avd^aldaa^  tha 
raoardad  mala  fron  tha  loalda  of  tha  aafa 
Ia  graatlT  Inoraaaad  In  Toluva  aa  thaugh 
to  ataal  tha  thondar  af  tba  pletotlnt 
amalelMa»    FitiKDLu  aa  aha  walta  upon  Cafa 
patrona.  notlaaa  Mlaah.  and  vlth  bar  haad 
atralaad  farvard^  ratahaa  hl»  latantiy« 


5-17 


i 


Th»  pletetlBg  anuiloUBa  ▼•lUntly  M«t  kl» 

•trlki  «p  Hlg»»«  •?<»»  «nd  Clr««j«tMio»  , 

coiait«rpoiat.  th»  •tralna  «f  •  str«tM«  mlta. 
Th«  noliMi  U  turriSU,    Th«r«  1«  •  er«i««ndo 

of  «MitMint  MOBS  ««f«  P«tron«,  «m»  r«- 
glat«rlBg  laAlgMtlo&  wlth  loud  vords  aad 
insry  «iativ««»  oth«rs  lni«hlae  sMdHUtuMdly. 
Tte  BttiiMr  of  Msscrtor  -  onloelnra  Is  furthar 
aii«MBt«d*  At  tte  ««M  tlM.  th»  thr»»  poUe»- 
amt  brlakly  ord»r  th»  onasUlaa»  te  "K»«p  aoTiagl 
!te»p  sovlng  BOwl"     Th»  FIRST   POUCBXAI,  •  burij 
IrlahMUB  «Ith  •  brogu».  gl«*«  th»  oMawnd  to 
Mi  »ah  mi  th»»»  n»«r  hLai  th»  S£C0RI>  AHD  THIRD 
?OLICBifBV  addrcaalBg  th»  oth«ra.     AU  th» 
■uslolana  »zo«pt  aiCAR  »b»/  th»  ordw  aad 
awroh  up  and  doan  la  frwait  of  th»  «af •  ••  th»7 
play.    But  MXCAH,  h«ip»r»d  by  th»  groat  bulk 
aad  «»Ight  of  hla  laatrtaMat.  tal»«  oa»  8t»p 
tovard  apatag»  «ith  gr»at  diffi«alty  aad  thaa 
ataya  pat  -  at  th»  aaa»  tla»  playlag  vlthout 
iatarruptloa»  •  Maaawhlla«  th»  r»«ord»d  auaU 
froa  laalda  ia  ahut  off,  a»  th»  Hal^r« 
d'Botol.  a  ahort,  atoat  aaa  ia  a  Toaado. 
ra»h»a  raraard  »ad  fraatlaally  »alXa  out  to 
th»  2Bd  pell»»aaa  la  a  ?l»aa»se  aM»at) 

Maltr»  d*Hot»l 
Stop  thaa^  offio«rl '  This  U  t»vrlblai     It*a  oatragoouatl 

S»»oad  Polle«aan 
(7o  ilaitr»  d*ll»t»l) 
Kttthla*  ••  »aa  do  a»  laag  aa  tttay  l(»»p  arrla** 


Our  «hol» 


Maltr»  d*I»t»l 
But  it'a  agaiaat  te»  lawll  Dlaturblag  th»  p»»o»ll 
buala»8a  la  •  «11 

(FIRST  PoaciMAV  go»»  ttp  to  Mieah  aoaaahat 
b»llg»r»atly} 

Firak  P»ll»»aaa 
(To  MXCAI,  «ho  la  atlU  buay  playlag) 
oa  ao«i  Zuh  gotta  kayp  aoria*  t  you*^r»  bloekla*  traff ie  I 

(MIOAH,  atlU  holdlag  a  rialag  t»apor  la 
chj»k,  r»laotaaUy  aad  «ith  diff ioalty 
tahaa  «aokhar  at»p  ko«»rd  apakag»  aad  kh»a 
akaya  pat«  raiSDL^  aov  «at»hiag  tfloah 
«ith  gr»at  «oaoora.  tri»»  p»aal«aat»ly.  to 
^.?*  ••*o»l«tiü»at  of  patroa»,  t»  akkr«»k 
Mioah*8  attaatioa  -  buk  »ithouk  aueo^aa) 


5«ia 


(SECOffD  ASB  THIED  P0I1CI91II   iDMp  bftOk  to  tll« 

mrlous  oAlootori«    FIR3T  folicbmaI  a^ttims 

Firat  FoIiMMMi 
(70  MUOk) 
Dldii»  t  I  tay  ta  kÄjp  «ovla«  t 

Xlaah 
(fltli  lllHi0M#alid  Ittdlgaatiwi) 
But  I  esnU  walk  «hUa  t«a  playlagt 

(Fi»aatiaall7t  m  bt  «aiahaa  at  tha  aonwr) 
K^arlal     Santa  ataml  dara  lilia  a  baaga  faalll 


Flrat  Pallaasan 
) 


Stfdta  t^arlal 

YuhUl  da  at  X  safl 

Fri#dl 
(And  Miraral  piatotlag  nualalaaa) 
Co  on^  ilkil     lavat     laia«  Mlkitl 

(MIOAR  raltaa  hit  fraa  «ra^  vltli  bo«  in 
hatid,  iB  a  gattyra  af  daflaaaa  at  rira% 
Palloaaaa^  aho  tbaa  gpabs  tha  bally  af 
daubla  baaa^  llftlag  It  äff  tha  groimd) 


YQu*ra  undar  arrat tl 


Firit  FaliaaMoi 


*         4»    •-.  j. , 


(MZCAH,  In  •  bnrat  of  vmgt,  tbruats  farvard 
tha  Xtikf  hmmrj  aaak  of  tha  InatruiMat,  ao 
that  It  atrlliaa  Vtm  tead  of  Flrat  PaUoaaan. 
knooklag  hla  do«i  —  and  ent«    Tha  attear 
Motetiag  «taialaaa  atop  pUylag  aad  aaattar. 
nCAB,  dasad  and  lim»,  allaea  to  tha  AovhU 

^i^^L.^^"^^  balpUaaly  at  bla  Tlati«  «hlla 
tna  «heia  aeaaa  arotuid  hla  la  taaMlag  «ith 
axeltanant,     aitcoaii  juiD  THian  POUCBEEa  niah 
farajrd,     sioo»  POUniAl  ff>äia  aa  an  of 
■»••^  wlth  oaa  hand  «hila  ha  ralaaa  a  polla« 
«talaUa  ta  hia  Ilpa  wlth  tha  ettiar,  predttaiag 
a  high  plaralBg  aouad.     WIRD  takaa  hold  of 
tha  dovtola  haaa,  aad  ardara  tha  aloaing-la 
arowd  to  "stand  haaki     staad  haak  aml^) 


(To  Mlaah) 
Ifou'ra  uadar  arraati 
,  (Calllag  out) 

la  thax^  a  dootor  arouad* 


Saeond  Pollaaaaa 


5*1  ? 


Thlrd 

(To  th«  corowd) 

Stimd  t>«ek  now!   3o  (»1      3»t  s^lngt 


»»j^. 


pstroM  ftsid  «nploy»««  of  «h#  Mf«^  all 
trylag  to  g<it  eloor  to  the  spot  vh«r# 
First  Folicaman  ll#t|  mm  •xoltodly  ad» 

llbülngt     **Jo%z^     I«  h«  rleadf*     "Call  an 
aal>ulancai*^     ^Tbaaa  daamad  unlonal'* 
'^iioy.  what  a  blovi     *^Ciin*t  eat  In  paaca 
an:nnor6t**f«A  DOCTCm  htirrlaa  out  of  tha 
iaiida  of  tba  oafe.  -^orce«  hla  iray  tlirough 
tha  oroad  and  hafttily  examlnaa  and  attanda 
First     allcanifin.   whllo  locond  and  Thlrd 
Follaaaaa^  ttlli  holdlng  oa  to  iKLaah  and 
th«   douoio  badi^   ftx*a   ordarlng   the   cro^fd  to 
'* Stand  beoki     aat  on  your  «ay  now^'*     At  tha 
aajjü   tlwmp  .iilUDL^^s  volca,   arying  ont^ 
^'Mlaahl     Mlaahr   la  baard  fron  tha  thloknoaa 
of   tka  croad  through  «nioh  she    In  afcta^ptlng 
to  foroa  har  aay*     An  tha  airan  of  an 
©pproftohlng  a^bul^noo   ia  hoard  «ha  dlatanoe 
and  tba  oroad  somaahat  raoadaa  in  raaponaa 
tv:>  pollüö  ordör.     HIEDL     alaoat  hystarlo«»!, 
final ly  pushaa  through  to  tha  apot  whara 
Mio ah  atanda) 


Snd  and  Srd  ^alloanan 
stand  baaki 


(To  Iriadl) 
Stan:!  haok  no;»,  ladyl 

(lo   tu  oroad) 
•o  on  nowi     let  going i 

(Ktanwhila  LtriGl  ia  forclng  hla  way  toward 
Äleah,  ad  libolng  «xcitadly  In  Itallan) 

,  Frlvdl 

(To  Kioah.  ^Ith  inteniie  f««lin«,  •ßnlnat 
the  «ff ort»  of  tha  poUocKon  t«  bolö  hör 
b«ek) 

Hlcah»     «Icah,  ämtri     av  you  alrlskxt,  Kieah? 


Oh 


,  Kl«ah 

VF««bly.  with  an  «ff ort  «t  nonohaUno«) 
.  Ha  •Irlghl,  irlodl,  -  It««  -  It'i  MmI 
kM  Point*  »t  th6  fallen  rirat  roff««»« 


«•aan) 


Prladl 


öon't  »orry,  -ilcah»  You  dtd  rlghtl  You  Aldi 


S«80 


Xieah 

(AS  SRC   POUCBMAJI    l«   f«"«*»«^**'  S"**' 

tatos  hold  ot  b»r  «r«!  «ad»  ••  »  «»^i" 
to  drwr  hw  ««»yi-) 

Co«..  TT  1««1»     ^o«  SßÜ»  «»•'     ^"»^  =ä*^  *** 

2nd  i-elle«a)aa 

!•■  w«rnla'  r*»  l»*^' 

Klo  ah 

Frl«dl 
iTnftmmlj.  «•  •»*•  vponA»  to  th««« 
pl**»,  »nd  «tart«  to  ••»•••«) 
I  ooM  Xator,  Mloato.1     I  com  Uteri 

Srd  Polieomaa 
Th»  Jftll»  auu 

Frl«dl 
(lyitorloaUy,  m  iotoI,  hiiisolf  In 

•       tsh»  faHtir    »IC  AK  trurto  goto  h«r. 
and  anotter  paraon  earry  hir  out) 

(MaanahUa,  th*  souada  of  th»  »uto  alran 
hava  ooaa  oloaa  and  atoppad)  t»o  «ao»^... 
POUCIMBH  antar,  dlaperaa  the  erowd  •"» 
aharp  aoamanda  of  "•Jtora  onl     »at  on.  now» 
fmd  raaahlne  flrat  polioaman.  plak  hUi  up 
earafully.  And  no*  -  aa  tba  paaaarby  and 
plokatlng  oualalana  azauntt  tha  patrona  an« 
amloyaaa  of  tha  eafa  ratuara  to  itf  tha 
no^s«  of  Totaaa  uvtonl^n,  and  tha  »**i7_*— .« 
arrl^d  polleaaan.  aeeomianlad  by  tha  POOTOR, 
«arry  out  tha  flrat  poUaaaMn,  tha  füll,  oUar 
aounda  of  roaantieally  gay  dlnnar  noala  aan 
ba  haard  frcm  th»  laalda  of  tha  aafa.  «hara 
tha  raaordad  trogra«  haa  baan  raatwad.     And  aa 
tha  moala  eontlnoaa.  tha  aaaond  and  thlrd 
P0UCBMK8  laad  a«ay  MlCAü  and  hla  doubla  baaa 
to  •  alow  fada«out  and  a  lonarlns  of  tha 


c  q  H  T  A  I  ■ 


isoi^i«s    maK 


icmn 


mmmmmmm 


5CSVS     FODK 


Timt 

PLyüCHt 
SClKBl 


Aboat  ttap««  nonthi  later« 

In  tta0  Admlnlc trat  loa  Building  of 
tl&t  stats  Fai]ilt#atliKr7« 

The  sttflt  Is  AlTldad  liito  thr#«  parta* 
«Pa  ttaa  rlght  It  a  aaetloa  of  tbo 
Tlaitlng  Ball  of  tha  prlao&t  to  tha 
laft,  a  aaatloa  of  a  aonaultatloa 
antaroom  adjolnlng  tba  wardanU  prl« 
▼ata  offiaai  and  toataaaa  thaaa  tao 
aaatlona  la  a  oorrldor  axtandlng  tha 
füll  dapth  of  tha  staga*     Tha  pra* 
▼alllag  eolor  of  tha  ahola  B^mn/$  la 
a  drah  grar«     In  tha  Via It lag  Ball^ 
tha  haalnrall^  axtandlng  rlght,  bayond 
tha  Tlalbla  ataga^apaoa^  oontalna  a 
l«rga^  Iron^harrad  alndow  that  loolca 
upon  tha  otitar  yard  of  tha  prlaon« 
laar  thia  alndov  haags  a  larga  alook« 
In  tha  laft  «all  of  tha  Vlaltln^  HoU 
la  a  door  of  Iron  bara  laadlng  to  tha 
aavrldor«     At  tha  axtraaa  rlght  of 
thla  Hall  mn  banahaa  tot  aalt  lag 
aallara«     At  tha  laft  aad  axtandlng 
fro«  tha  baakvall  to  tha  footllghta 
la  a  iolld  woodan  aoaatar  about  four 
faat  «ida^  aaparatlag  tha  araa  for 
parlaaaarap  to  tha  laft^  ttam  ttia  apaoa 
for  Tlaltora  to  tha  rlght*     Tha  top 
of  thla  aouatar  1«  dlTldad  orosavlda 
by  partltlona  taalva  laohaa  high  aad 
four  faat  wart,  and  laagthvlaa^ 
ttarotiigh  Ita  aaalar^  by  aaothar  partl* 
tlon  of  Ute  halght«  Thua^   la  affaot^ 
tha  aouatar  la  a  ro«  of  aonpartnaata^ 
nt  acoh  of  ahioh  a  prlaonar  on  oaa 
alda  and  hla  oallar  oa  tha  othar  »ay 
eonwraai  vlthout  baing  sbla  to  haira 
any  phyaiaal  ooataat  «falla  seatad« 
At  althar  alda  of  tha  oountar  ara 
ahalra*»*«In  tha  rlght  wall  of  oorrl* 
dor^  doaaataga^  la  tha  door  oonnaatlng 
alth  tba  Ylaltlag  HaUt  la  tha  laft 
vall|  doaaa'i^aga^  a  aolid  natal  door 
laadlng  to  tha  oonaultetioa  aatarooau 
Aad  at  tha  apataga  aad  of  thla  awrldor 
la  a  thlrd  door  opaalag  on  tha  priaoa 
yard»  Tha  baakaall  of  tha  antarooai 


€^2 


«oataliia  a  door  narlMd  **  Privat«  Off  loa 
of  tlMi  tardin^»  In  tha  laft  vall  of 
thls  ••otloa  U  an  arehway  laadlng  to 
anothar  pmrt   of  tha  prlaon«  A  llbrary 
tabia  and  aavaral  ahalra  ara  In  tha 
antarooa« 

Fada«»in  ravaala  FRIBPL^  aaatad  oa  a 
banah  at  tha  right  alda  of  tha 
Viaitlng  Hfill^  «latfully  «aitlng« 
IST  atiARD^  appaarlng  In  tha  aarrldor^ 
at  tha  door  laadlng  to  Viaitlng  Hall^ 
aalla  ontt 


Xat  Quard 


Kattha«! 


2nd  Chißrd 
(Appaarlng  In  tha  Viaitlng  Hall,  aalla 
ta  Firladli) 
Matthawi 

(Ab  raxiDit  rlaaa  and  goaa  oirar  to  tha 
eo'untar  at  laft.  /XOAH  rtjuihaa  doan  tha 
aorrldor  and  antara  tha  Viaitlng  Hall« 
Thay  vm%%  at  tha  aompartntnt  naaraat  tha 
footllghta«     aiCAH  la  aaarlng  a  blua-gray 
prlaon  unlfom»     üa  la  rathar  pala|  but* 
araat  and  anappy«     Ha  appaar«  eonaldarably 
siora  polaad^  ralaxad  and  authorltatlva  than 
haratafora#    Ha  la  obvloualy  balng  qulta 
brava  and  phlloaophlaal  about  hla  ahola 
axparlama«     FfCilDl.  aatuMa  a  obaarful 
sannar  In  graa tlng  hl«} 

PTladl 


Vlaah 


Mlaahf  daar« 

(Tandarly) 
HaUo^  ^>iadl^ 

(THIY  klaa«  And  than,  aa  thay  tak»  aaata 
at  oppoaiU  aldaa  of  tha  barrlari) 

^••l^****,^*'***  ^  •••  yo^'     How  ara  you  now.  FrladlT 
Faallng  alrlght?  ' 

«  w        w  ^  Frladl 

■im,  yah,  jratty  good.  But  hov  9it%  youT 

Mio  ah 

Oh,  Vm  f Ina.  1  flnalXy  got  out  of  tfai  Juta««lU,  you  know^ 


i 


4«3 


SS^ 


Oott  Mi  dcnlet)     But  «iMin? 

Vlesh 


All  I  Med  1«  •  «tiat  I 


Oh^  about  •  w#k  »go.  But  t#U  »•,   •  dld  you  •#•  th«  doetor 
ftgaln? 

Frltdl 

Yah^  lut  Üdnesday« 

Mlosh 
md  what  did  he  eeyt     ^y,  you  eerteinly  look  better i 

Prledl 
Oh^  he  aeye  aleaya  the  nmm^  you  know« 
oanH  get»     A  llghter  Job, 

neeh 

Oh  «eil«  •  1*11  be  out  of  here  aoon*     And  then^  1*11  make 
enough  far  both  of  ua  ««  aosaehov«     You*  11  aee« 

Friedl 

Ruh  •  only  get  out»    For  the  reet  I  doii*t  «orry« 
(Ha  looka  at  her  longlzigly) 

Mieah 

(^ith  moek  •ternsea«) 
?Yledl^  ItU  not  fair,  that»«  all! 


i$hat,  moahT 


l^ledl 


Kioah 
The  eay  —  tou  look* • • • • 

(Polntlng  «latfully  at  the  pertltlon  be» 

teeen  thes) 
Kwn  more  beautlful  than  before» 

V  u    w     .        Friedl 

*•"•  yah  ••  it'i  only  beeauae  you  haven*t  aeen  sie  ainoe  four 

«eeka« 

■loah 
It*a  all  Juat  in  ay  nind.  yow  beauty,  huht 


Yah  •  that*s  right. 


Friedl 


Ittoab 
Oraotoua,  •  how  thla  prlaen*a  iaQnrowd  »y  «Indi 

(raiSDLis  iight  Uughter  ia  reeolved  Into 
a  tender  aialle) 


4«»4 


llpiidL 


Juat  thlnk 

{sh©  «Igh«) 


fluit? 


Sltiet  xou  ••  eftw»  htre. 


isioah 


FrU^l 


Qh  wall.  •  It  wollet  b#  long  now#  Ittlgl  •  ht  wrote  ha  «m 
«ealng  tb#  Union  »^,«ln  -  aUout  pushing  f  or  my  pardon  now* 
Ha  Dui^t  to  ba  hara  to-day*  Vb  «  thla  la  tha  alghtaanth^ 
lanH  It? 


Fr  la  dl 


Yah« 


Mlcah 

Yea^  ha  Said  haM  ooaa  and  bring  »a  aoRia  «ord« 

(Ttaara  is  a  üonantary  silanca^   in  vhioh 
1  HIiiPL  univlttingly  botrays  a  aooavhat 
blttar  amlla) 


ton  thlnk  it*a  ao  awful  thay  didn*t  do  mora 


I  knov^  .  x-MiviA« 
f  or  ^a  aooiMr 


Friadl 

Oh  no!     £0^  ^icah«     I  donH  thlnk  baakvarda  any  mora 

i^leah 


'-^^^0    wM^ww^l,    «.1»    vAwvu    w    wmma    ««empj    www" 

B21»     ^^  rtaUy^  •  thay  wor%  right«     It  wmb  tao  a^on  for  a 
pardon«  »/hy.   •  waXl^  Just  aa  tha  lavyar  aaTd  •  tha  oaa«  «aa 


»all,  anyvayi,   It  doaanU  naan  thay  wonH  uaa  thair  Influanea 

A^«A«4vv«««   MM^i    w  wwAJLf   juaii  ••   i;n«  xmwjmr  aaxa  •  i^na  aaaa  vaa 
ao  olaar-eut.   •  and  I  dld  pUad  gullty.     Aftar  all,   -  uh,   «hat 
dld  thay  call  It? 

(Paoalllng  with  a  tinga  of  prida) 
Aaaault  on  an  off lear  in  tha  aouraa  of  dutyl**  Ooodnaaa,  thatU 
aariou^i 


^ah,  yah 


»rladl 
ao  aarloua  that  in  a 


«aak  ha  waa  baok  at  work« 


Mioah 
Ml,  but  that  lan»t  It,  KrladU 
(Proudly)  • 

^  3Ä^^^2«M  aaäj    »uh  -  ha  aartalnlT  will     Oh,  not  that 
ha  aljn'  t  daaarira  iti  But  atlirtrrTAnaaay,  ySu  ahould 
haar  tha  congratuUtiona  Vr%  gotton  around  haral 

^ladl 
■nh,  I  can  Iftagina* 

Uffaatlonataly  taaaing  hl») 


f 


I? 


vl«dl  (Cont<d) 


Xy  harol 

■leah 

Ana  r«iuy.     rtedl,  lt»a  not  »o  b.d  hMP«.  Tb«  ••rne«  -  It'i 

o«rt«l^T  an  the  joü  «wry  «iSuE«,  And  1  auat  sfil,  «verythlng's 
rieht  on  tl«l     ■••»1«  en«  «*»  -  «»«nlni;  a«rvlc«  »nd  --  ••V  *•**• 
I  «l««y«  lookod  my  door  «t  night  «nyway.  So  -  frosß  th«  oufld« 
-  or  th«  Inaid».  —  »b«t«s  th«  diff«r«no«t 

(Thin  looklnj.|  «t  \mr  »Ith  tsnder  d«»!?») 
If  tmly  yott  *«r«  her«  too,  FrlÄdll     1  vemmn  — 

Prl«dl 

(Chuc kling  lndulg«ntly) 
Ach,  aott,   »  my  ^lethl _^or jrott.  ;*»**_|l_- .iÄaLi',^^^  »_»^'^ 


thlng  nlctrl     A  flloaof !     äSBT-  I  must  »ay^  y^m  XooH  very 
111     tou  eat  good  now,  MlctM 


Sleali 


sxoaa 
Oh  TOS«.«*«  Yd8^  th#7*rf  o^rtftlnly  not  «tlngy 
BMldei^   I  uh  •  I  Vary  It,  you  know# 


•  «ith  haah« 


FrUdl 


Vary  It? 


Mio  ah 

X«a,  —  »•tos  It  Into  dlffarant  ahapas  on  tha  plata Ta* 

night,   I  thlnk  I»ll  hava  -  brook  trouti 

Frladl 
Nuh^  rathar  ycm  hava  hash  raaliatla  •  outaXda« 

Mlcah 
Oh^  I  don^t  aay  X  «ouldnU  gladly  ohanga  plaeaa  «ith  Bormorm 
Mll,  avan  soaaona  lika  liuigi«   But  at  any  rata,  hara  thara*s 
no  dani^r  of  gattlng  firad  •  by  thair  putting  In  aachlnaa« 

Friadl 

Bnt  what  2£a  you  doing  no«,  ainca  tha  Juta«>alllt 

Mio  ah 
IN1II,  I  got  in  tha  orohaatra« 


Oh,  that*«  flna« 


IlPiadl 


l'iaah 


Xaa««««  Thay  m%r9   glad  to  hava  anothar  haaa««««  But  •  huh  • 
it  didnH  last. 


ihat  happanad,  thant 


^^ladl 


Mlo«h 
Oh,  a  llttlt  up«#t  mt  th#  lait  r«b««rs6l«     üh  •  that  rtalndi 
m!  Fr l#dlt  —  ^     ^. 

Vm  «wfully  sorry,  but  I  haw  to  bt  at  tba  wardan«.  offloa 
qtulta  ioon  nowt  Four  of  ua  ara  going  to  dlaauaa  «hat  liap>^#nad# 


^ou  had  troubXa^ 


Frladl 


Mio  ah 

Oh*  not  m.  noi     ^o,  I*m  juat  on  tha  ooamlttaa*  That«»  •aauaa 
I  1.  plajTitandlng«     So  thay  thought  I  had  a  füll  Tlaw  of 
whfit  tooK  plaea« 


It  waa  aarloua?     Or  jou 


Frladl 

^  can't  aayt 


asleih 
Oh,  It  aaa  Juat  that  «m».  You  aaa,  tha  old  laadar  laft*     fta 
waa  parollad«     Asid  tha  naa  ona  «  ha  «aan^t  any  good.     So 
thlxiga  aant  bsdly  •«»  and  that  lad  to  a  aerap«     Yaa,   «*« 

(In  a  ooafldantlal  toaa) 
thraa  ara  In  aolltary  nov«  And  tha  rahaaraala.  wall   •  thara 
aranH  any  aora«     oHx^  tha   ^ardan  «  ha  «ras   pra tty  angry«  3ut 
atlll,  ha  aald  hi^(9  aaa  \ia« 


l^oh  «•  that*«  a  ahaiaa«     If  tbaj*d  had  aoaiaona  lllai  you  laadlng, 
parhapa  nothlng  aould  hava  happanad« 

Mio  ah 
Oh,  no  thank  you!     Xothlng  llka  that  for  m}     ^pj^  that  oaa 
tlfaa  I  dld  laad  •  outalda  •  goodnaaa.  ahat  a  «Maal     And  thoaa 
boya  ^  thay  woran*  t  «  2921  knoa  <•  harct.  -^  llka  ua  In  hara« 
Ho,  I  ahould  aay  nott     pS6  baaltea, 

(^miaparing) 
thay  don«t  play  good  atuff  hara« 

Frladl 
But  atlU^  Kloah,  •  aftar  all,  lt*a  — 

8nd  3uard 
VCalllng  out  aa  ha  appaara  at  axtrasia 
rlght) 
Matthavi 

VnoAH  atanda  up  qulokly) 

Anothar  irlaltort 

(At  tha  rlght,  hahlnd  ^d  3uard,   OIKII 
now  appaara.     Ha  looka  qulta  ahahhy  and 
doanoaat.     Ha  goaa  ovar  to  tha  aoaqpartinant 
ahloh  Prladl  and  Mloah  ara  oooupylng) 


..  ^..Mi**aM»*H 


% 


4*7 


(Brlghtty) 


moah 


iMimÜ 


iU  }m  ihitl»«  bAiwia  with  Mlosh  and  frUdl) 

(QTwUppliig}  ,^ 

How  do  you  do,  '  r»  viioratno« 

(UJIfll  «nd  ^acM  Sit  do«) 
HmXl,  how  ar#  Ihla/si  going  ncMtt   ^Igl^     Any  b«tt«rt 

(DtJ«6t«dl7}  ^  .  .      ^  . 

«osle  <*«»  Msa  «od  Itts  vorkU***  Ms  mmt^X  nomi 

(Tbara  !•  a  moMint  of  troublad  sUaiiea^ 

«nd  tbtni) 


rn^h  * 


FrudX 

(Trylag  to  dlapal  tha  gloon) 
but  toon  It  laust  ba  battar^  noT 


Iforaar»  Frladl#     Jooata  «K>raar« 

Ut  thif  polnt^  riCAS  aaaa  aa^r al  oonvlata 
paaalng  tha  alndow  la  tha  baalnrall«  fron 
rl«^t  to  laft) 

Klaah 
(Looklng  «xioualy  at  tha  aXoak) 
oh^  thara  go  tba  aottaittaaf     1*11  hava  to  ba  laatring  In  i 
mlnuta  nov« 

Yaahy  yaah«.»«««  But  ao»Q  guya  •  day  haTln*   Xuokf     Jooata 
llka  Mika  baral 


Oh^  •  dld  you  uh  •«►t 


F^ladl 


Sura^  aura 
yaaaardayt 


lAllgl 

I  apoki  aaada  nnlon  Board»  I  aaan  * 


mn  igatln 


Prladl 
Ind  ahat  thay  aald^  Vr«  CllardanoT  Thay  promlaad  to 


—  t 


i 


4  «»8 


I 


■leah 
( Interrupt ing  In  a  worrlad  tone^  ••  though 
not  «ur«  »h«t  Import  hm  #*nt«  to  h««r  fro» 

juuIäI) 
^^, its^  1  ••  1  don^t  tootr  ••  tbi  w«y  Uilgl  talks»   It 

otrtalnly  «••»•  tirfulXy  bad  outaidt  now# 

Lulgi 

(Haaaaurln^ly) 
Ko,  no^  -  you  gotta  nuttln«   to  ba  worryln»   about,  'ill»f 

ttieah 
Juat  how  nh  «>  bo«  do  you  »aan  thatp   £«ulglt 


—  It 


^rhat  dld  ttaay  a 


npiadl 

•  tha  DnlonT 


?all,  whan  I*m  apaakln*  wld  'am  flrata  tlaa.   —  Ifo,  no, 
l*»Hi  aura,  iCikal     You  donHa  haira  to  «orryi      fall^  dat 
f iratf  t itaa ^  day  aay  "Ah  no^  ^loFdanOf  aaaa  too  aoon  aakln^ 
Tor  pardon»   va  gotta  walt^** 

Frladl 
Y«h,  yah,   •  thla  «la  knowt  But  noa  ••? 


<¥oll^   •  anda  noa  •— 


üh  •  yaa  — t 


tolgl 


»loah 


tAllgl 


(So  raaaanrlngly) 
•••  Ko^  nO|  •  aaaa  ra ally  O^K.,  leitet   ••♦  ilaa>  dara*a 
acnaa  polltlc«.     I  donUa  know  -•  but  day  aln't  ao  good  #id 
daata  ganraraor  now.     Oh  aura.  aura,   •  day  aayin'   nloa: 

Olordano,  my  fpland,  wa  glvln»   daasa  aattar  attantlon!* 
^^ut  donHa  gattln»  aoaradt     PUaaa.  aitol  Basa  no  dangrar  yatl 
2  t   '^^^^^'  parantaai     Sayba  auaptln»   spaolal  gonna  happan« 
But  l^m*a  purfyaiBraP^li»     you  atlll  gonna  ba  hara  ••  nica. 
lom^a  tlgal 


(MICAH  haa  mlxad  amotlona^  But  F'HISDL^ 
daaptta  har  vallant  afforta.  looka  vary 
oraatfftllan)  * 

DonU  tiitai  It  bftdly,    Ylodl.     Itai  ba  alright. 
Bad?  Bj|ä^?t     Ättta  you  talklSt  bad??T 


4-9 


Kuh  • 


(Maanwhila.  th#  orch*«tr«  eoiamltt##  th^t 
0Mt«d  t\m  wlndotr  have  come  through  tb« 
iorrldor  und  tnUMd  tht  aiit^room  «t  Itft) 

(To  Luigl) 

but  why  th#n  yo\i  a«k»d  for  «  pardon,   if  you 


f®6l  thU 


Oh 


.  denn  y?>u  donHn  un'l#r«t«nd,  Frladlt     Oh  •  ^.Ägi'     ^^^^f   • 
od*  ow  tJnlon  ••  d#y  nevr  doln»  w«tt«  w«  MktTo  I  f Iggor  -• 

so£«  workla«   pwrtygSodJ 

Vieth 

(Looks  fltt  cloek  agfitln) 
a«#t      I  h«v«  t»  go  no«»      I^m  aorry^   i^tilgl^  tut  I  hava   to  see 
thi^    iftrdan  «baut  tho  aroh#atrft# 

Oh,  d«t»s  ftlrlght,  ^ilßb. 

(i#Xayed  rasponst) 
^^«*^     Oret^atrot?     fou  Man  — tt     Sunt«  ^^arlt,   tfyou  ftlnH* 
dM  Xuokläat  guyi   ->m  roos»     i'F««  SfiSEä^  ^     ^*  SÄ  -  orcbtstrm 

t     J^ioaa  Christ  1 1 


«losh 
dly  SS  hs  rlsss  to  IsaTt) 


(To  Friadly  SS  ho  rlsss  to  IsaTS) 
Don*t  worry,  Frladl.     Psrhaps  I  woii't  ba 
lulgl  thlaks« 


so  •»  so  Xucky  as 


Frladl 
Kuh,  I  donH  knom.     Msiyba  ha's  anyway  rlght  now,  ^stoah. 

Ileah 
ind  thap;^,   Uilgi,  for  all  your  trwbla^ 

lAilgl 
Jh,  ciaaa  nuttln*.  ^Iks« 
(Hslf  to  hlaaalf ) 
^aa«t  orohsstra  toot     Csnna  you  haat  Itl 


Ooodbifö,   :rladl« 
(THY  klaa) 


Vleah 


Frladl 
(To  ooneoal  har  smotlona) 
I  hopa  ItUl  ha  good  —  that  trout  to-nl«ht 


Troutt?? 


Uxigl 


4 -.10 


Mioth 
It  Wim     aood-öyo,   Luigl# 


Gooäß-ty»,  -'llail 


>.nd  com©  öoon  tigalnt 


Yüh^   711h   —  aura^   I'lcÄhi 


Lulgl 


Klo  ah 


FrUdl 


(/nd  88  'TICAI!  j?oes   throiiÄh  onö   door 
tnto  the  corrlÄor^  t*nä  tnroiigh  tho 

rail'DI.  and  lüiai  oxeur^t   et  rieht,   «n- 
gpged  In  coTrvorsDtloni  ) 

Ärntf»  Briarifil     Hooo^  boRrd,  orchestru,   trout  i  f  t 
can't;»  bfllove   It? 

Frledl 
Tfuh  -  yoit  huve  «»ay  talklng,  !!r#  Glardano* 


I   jooata 


Kn,  nö  ~  don'ta  you  aoe 


Lulirl 

.  Frladl? 


Eaza  jootta  — 


«I 


(Th»  m«n9>0r8  of  th«  oroheetrp.  o^wrlt'reo 
whOBi  Mlcnh  now  JDlna   in  th«   erterni«  ar« 
thre«  In  nuab«ri     two,  big,  brüte  l-looklng 
f«110w«.    -  KID  CAR'tSO   and   liHQ  MbUOY,    snA 
m  aoftovoic»«!,  matura   an?'  enltuped  gBntleRam, 
tryin«  herrt  to  forget  hl  8  hlirh-troir  patt  «nd 

thsy  ejehanR«  "hallo»«"  wlth  hlm Than 

tha  dofJT  of  tha     ard«n»8  offlo«  opsna  and 
ti»    vAaL*!«  anter-H  the   antaroom.     Tha    /AHDH'N 

«   ü  **i^»   Powtt'fully  Dullt  »nun  of  rrttatlnftl 
mind  and  mociarata  educatlon»     hla  lon^-^uru^* 
><(?  polltloal  Rmbltlon  now  find»  axTjresalon   In 
a     pr<3gro8alve  prlaon  adminla  trat  Ion".     H« 
IB  oaaentlally  a  bully,  who  llk«a  to  eataam 
niraaelf  so  atrong  thet  lim  can  «all  afford  to 
£0  littuci.«,      ,>noe  a  c»r.v\xa  poUtlolnn,  ha  has 
injact«d  Into  prlaoa  raforas  tha  «tandard«  of 
rair  Play,  f^Uowahip  and  loyalty  auppoaad 
to  cherocterlay  colla^e  aports.     .la   io  vrln 
«na  not   «ithout  &  cortain  cruda  wit  townrd 
A^l*  ^  "ÄBT^ia  aa  InTarlora.     Hl«  voioe  i« 
doep  and  he  spoa.<a  »rlth  a  sllght  drawl) 

Sit  down,  boyo,  »«^n 

(They  ALL  ta)w  saats) 
'*«H  •  «hat»  8  on  your  nlnd? 


v:" 


4-11. 


Joctla 

wvdMt 
rtmVn  iihlt#  of  you,  boy»# 

Justin 
It  WM  mo9t  unfortunmUp  of  oour»«# 

w  «r  d#n 
rhat,  !•<!  tayf   !•  P^tt!n^  It  alldly#*»»  ^^  lla*^ 

Jttstln 
isU^  •«••▼•  thought  that  wlth  yotar  lllMirÄl  polley^  Wir«tn 

wwten 
Sklp  tbo  •oft-ÄOÄP^  PhlUlp«# 

Slug 
Y#«h,  can  diih  ayrupl 

Justin 
i?#U,  th#  pUla  faot  in     tHat  ««3  prlÄarlly  Just  s  dlffsranos 

bstmsn  two  of  tbs  lösn«     And  so  — • 

Xld 
tnp%t    2s  gufs  dlda*  do  mittlnS  I>oss  ttro  pslookss  —  dsy 
Jss^  bolls  up  find  Spills  ormr^     Dst's  sll»   Duh  Issdar  bs«rls 
out  «oiphTt  mdi  toipliy  soeks  dayi  lasdsr«     »urs^ 

(Rslf  sslds) 
Malphy  •  hs  slnU  ysllsr« 

^•rdan 

(To  Kid) 
Just  s  mlnut«^^  Ciofuso« 

(To  Justin) 
Oa  on^  Phillips» 

Justin 
Doss  It   sssm  to  you  qults  f  sir,  Wsrdsn.  to  punish  ths  «holt 
orobsstrst     Most  af  us  hsd  no  psrt  in  ths  rov« 

^srdsn 
Ths  orehsstrs  sss  ths  sesns  of  s  ssrious  brsseh  of  disslpIlMi 

•  «••That^s  Sil  thsrs  Is  to  it Bssldss^   quits  s  fs«  got 

Into  tbs  frscss  bsfors  it  vss  stoppsd« 

Kid 
fsll,  Jess^  s  scrsp*8  s  sorsp»  sin*   It? 


sithsr» 


?srdsn 


I 


4-12 


SlUg 


Kid 


Y«iih^  gur^UftAliiH  dut  wmd  I  stldt 

Jutftln 
iniTj  !so8t  of  tb«  boy«  didnH  «o  »aeh  mn  rala«  a  hand»     And 
It  aar talnljr  aaama  a  pity.    vardaup  to  allsdnata  a  whole 
»»atlvlty^   Juat  baoauiit  a  faw  •^•» 

fardan 
ifa*ra  wastlcu  tlam^  bcya«»«  Tho  erabaatra  «aa  a  pat  Idaa  of 
mlna«     And  I  didnH  lit»  ahuttlng  It  up«     But  «rha»  you  oan*t 
aTan  kaap  harmony  In  an  orchaatr|>  whyjp   lt*a  high  tlm»  to  elamp 
doim«     I*Ta  allowad  a  lot  of  aair-govarmaont  ta  tha  adtoa« 
tlonal  vork,«««  I  u^m  I  waa  miatakan«»*«  That^a  all«     A 
pan*a  «  pani 


3o  yuh  naa» 
fclng? 


That*<  It» 


Slug 
•  dara  aln*t  gonna  ba  no  uiora  raholüalt  or  any 


^ardan 


sing 


Aw  Jaaa  •  an«  Jaa»  ahan  I  ntarta  blovln«  ao  nlea,  tool 


Jtuitln 


Tha  orahastra^»  dona  a  lot  f«r  tha  boya^  vt«rdan.  Kothlm 
llka  thla  %wmr   happanad  bafora  — . 


And  IUI  glw  It  ao 


^  to  happon  again« 


Cfarla« 


Kid 


tr^i«  IZ^f?^A^^.^^i^  ?^^  toochid  outi  Dtt  aln»  no  aorap! 
H#.?  •  ?^*^^''  ,i««^  •  llttla  dlMuaslonl  A  atlnkln»  llttla 
dxacuaalon  •••  wld  motlonai     Oh.  day  ahouldna  dona  lt.   — 

^SSyt  *^^  "  Honat»,    mrdan*  So  ^hy  don» 


Blug 


SS£-SStJLSgZ< 


•.^^n     t.  ^^  .  ^ardan 

llatan  to  your  problaw,     But  thla  tlaa'-  nothlng  c«  ba  dona. 


4*1S 


Usrlty  M  •  «nwlol«»  f«ro*  hlm  to  «»y 

(AS  th«  othtr«  rlB«  fro«  ttmir  ••«t«) 
TJTi  -  nay  1  iih  —  could  T  aty  «owitliing,   v«rd«nT 

iVcrdtn 
»hat* 8  th«t,  «»tth»«t 

Klc«h 
»•11.  I  uh  —  Oh,  I  don't  «uppoB«  lt»U  «»k»  any  dlff«r«ne«, 
But  --  wll,  thi  p«ml  vMvn  tor  th»  troubX«  -  It  ha«n*t 
\399Ti  m«ntiOMd« 


Kof     %«t  «M  thatf 


Xt  was  •«  nualoal* 


i«rd«n 


Vieah 


(31.0  i  and  KID  aall«  at  aaeh  ottaar) 

Kid 
Wad*8  duh  dopa,,  parfaaaart 


(To  Kid) 

JxMt  a  Blimta,  nov« 

(To  Uleah) 
Ho«  do  you  saka  that  ouk,  catttaawt 

aieah 

(flth  profaaalonal  autborlty  and  ob- 

iaetlvity) 
««hy.  It'a  Just  that  the  laadar  *  ha  didn*t  Imo«  hla  J^. 
If  ha  had.  nothing  «ould  hava  happanad  at  all,  -  ao  flght 
or  anythlnK .     Qut  —  ha  dldo*  t« 

^XD  Md  3Lüa  look  at  aaeh  othar  and  at 
neah  •  In  aoasaniat) 

Vidpdan 
Reaaansai     Padrlalta  o.y.i     x  ehoaa  hl«  «yaalf  -  baaauaa  1 
aonaldar^hl»  tha  baat  aaa  for  tha  Job. 

(To  aiugy 
Jaa»,  dlas  la  ^ttla*  goodt 


»    ■■!    »      Mt  L 


4-14 


It  •••  ttP  *o  th»  mn  to  r««p««t  «y  flihote«  •  or  not  pl«y, 

Kieah 


Oh,  It  »«»n't  Tow  f«ilt,  inratn.     «o,  i  axan'z  a»»n  igasi 

w«rd«n 

(SaresatlaaUj) 
Thank  you» 

But  MUetlng  •  eondtuotor  »  thit^s  •  pMtty  U^hnioftl  Buitt«r 
•  •••  Yesp  It  Jjti   '^»ösiu 

tardtn 

to  l^afn) 
Alrlght.  a^*tth«w«     Just  r^rmmbmr  tter^U  ntirtr  mn  •xeus«  for 

(To  «11  of  tfai») 
And  now  •  got  bMk  to  yoxir  «erk^  boyt« 

Kloah 
(A8  »*AHDSJ»  goos  to  tho  d-^or  of  hl«  offloo) 
But  gr^odnott  m  that*8  funnyl   ilhyp   I  thought  «hat  happonod  » 
Just  «ont  to  sho«  how  roally  flu«  tho  dlaolpllno  1«  horo« 


wh«t?T 


Wkj  •  «hy. 


Warditn 


Mieah 


v? 


ray.  Tfi« 

{*lth  mtoiM«  ••riMatMaa } 
nr««lou«,  thnt  r«h9«r8«X  ««a  handlad  m  tarrlblT.  -  th«t  If 
th«  fallowa  hadA't  had  parfaat  oontrolT  »varr  ona  of  tban 
»ould  hava  gona  baraarkl     Xmu,  <-  tha  way  thay  bahavad  •  that 
la,  all  but  «  fav,  •  4h.j,  l  eouldnit  toalp  thlnklng  «hat  a 
voadarful  trlbuta  It  «aa  to  you.      «ardcn  —  and  how  you  inin 
thinga  hara«  ^""^ 

Warten 
(Raally  flattarad.  In  apita  oi"  hlaaalf ) 
B*Mi,,«  I  aaa* 

Klo  ah 
^i"**?^**''  -  It»»  aowthlns  -  ao  apaaiall     lt«B  -  »aU, 
i:ll  ^^*f  •  ooÄplioatad  saahlaa.     A  lat  of  paopU  aU  dolng 
«H{!'*2^  thinga  at  oaaai     And  ae,  -  »all,  If  tha  laadar 
lan't  abla  to  raalljr  hold  thoa  fogattar,  ae  aaeh  part  flta 
in  juat  tha  rlght  pleca,  rt»[,  of  oouraa,  «Tarything  goaa 
r?Z!^:    ™*,Pl«Jrw8  -  thay  ean'  t  ooncantrata.     Thalr  nariraa 
glva  TOt.    And  than  -  »aU,  It  eartainly  talzaa  aalf-oontpol, 
*•!»*"•  -  that» a  trua  anyvtera.     It»a  Juat  -  aall,  human 
^ü!üi.  T***"'     *^  Ploklng  ona  paraon  to  bawl  mit,  «han 
■IHy      Tfiat» "^"ll!  "  *^»**»  •»  «1<*  tTlo)t  -  and  It'a  -  Juat 


4^l!& 


Vh  hohl....  3a  all  m  naedid  wM  ä  r««l  ToMMilnl,  «nd  «rtry 
thlng  would  half«  b^tn  f  Ina,  •W 

Oh,  thatU  not  It*    vardani     So,  It  lan^t  All  that  «aa 
naaaaaary  «m  Juat  •  «tll,  •  . 

(In  thm  mmmmr  of  a  rapld-rflra  mum&rj) 

aaorai.  glvla«  olaan-aut  attaeki,  aattlag 


eatlns  dynamlea^ 


Juatln 
Ya«,  l^n  iura  Mattbaw^a  rlglcit,    fardan« 

^luJt 
Jaas,   Pedrinl  «  ha  oouldnU  do  anr  o*  §^i     Oh^  ha  aan  aorapa 
gut  a  llttla,  but  •• 

lardan 
üb  •  what  do  yem  play,  »atth#at 

(Thaa  raoalllng  ^ioah^a  orlma) 
Oh,  yaa  •  of  cmiraa*     Tha  uh  •• 

(Ha  daaoribas  tha  baaa  vlth  hand  «ovaminta) 
—  tha  pollca  offloar« 


^  •  Toa« 


Klaah 


viardan 
^11  •  hoa  doaa  that  raaka  you  aueh  a  uh  •*•  auch  an  authorlty 
In  thaaa  mattara? 

Mloah 
Oh,  «all  •  I  knoa^  ^«rdan#     lt«i  truol     aoodneaa^  havanH  I 
atudiad  and  praotiaad  anoiigh,  and"*":^  ;all,  y^uM  aaa,  ^^ardanl 
lothing  «ould  hava  happanad  «»1 

Jnatln 
Couldn't  yovi  aaa  your  aay  olaar,  «ffrdan^  to  uh  — t 

wardan 
Jnat  a  monant.  Fhllllpa« 

(Tha  ^AfiDKK  doaa  a  faw  aaaonda  of  hard 

thlnklng^  end  thani») 
Of  <^^Mf  it<a  not  my  pollay  to  axexiaa  forty^flira  mm  fi^o» 
tha  diaolpllna  of  orohaatral  practica.   Juat  baoauaa  a  handful 
braach  tha  rulaa« 


I 


(To  Sltig) 

^»  ha  foif>  ua  oi* 


Kid 
Moinat  uat 


4»16 


Sltlg 


i 


Both>  y«h  dopt^ 


Justin 
I  •••  yaiar  polnt,   '»erdan^  tnd  1   ••• 

Just  *  minut«« 

(Yo  Mioah^  ttft#r  a  thougbtful  paus«) 
You  •aaie  to  knov  «hat  It^a  all  about,   "atthav* 


You  aaam 


Vary  canfldaöt  — 


Mieali 


Oh^  yaa.  tax^dan  «»  I  agil      vfa^^  tbara^d  hava  baan  no  trotiDla 
or  a&ytnlni^^  tf,  «a   i  »ay  — • 

Wardan 
waka  up  naat     I*a  talklng  aDoiit  tha  futural 

aieäh 

(telplaaaly) 
I  doii*t  qulta  undaratand,    /ardan«     Yau  ^  jon  aaan  «^  ? 


Yaa,   •— 


Wardan 


stloah 


«iJLQmil 

!%t     You  -  you  Man  aa  •  conductT     Oh.  no  -  1  •  I  donH  want 
to  •  i    Oxj^  I  -  i  oouIdnU.    Yi^rdani   ^by,  I  vaa  only  Juat 
trylng  to  axplain  «« 

(To  Miaah) 
ivaaaa  nattar^  Matthaal^ 


Slug 
Yuh  gonna  lat  ua  down? 
Kid 


Sural     Thara  d»yuh  gat  dat  ahy  atufft 

^Yardan 
I^va  mada  ay  daolalon.  boya.     1«11  glva  tha  orahaatra  ona 
mora  ohanoa«.»««  «atthaw  will  eoaduat. 

Oh^  but   vardan  •  why,  1  uh  — 

f  <^ardan 

•PH^^i.^Jv  ^'*^  *<>^  3f  bla  off  loa) 
That'a  tba  ordar« 

(To  all  of  tham) 
fhat^U  ba  all  now^  boya» 

(SLüQ  and  ^ID  aalla  algnlf  laantly  at  aaob 
otbar  und  atart  to  laaw....) 


A^vr 


m 


«y 


^•rdta  (CoatM) 

JtütiB 
^••^    WttTdtZU 

WARDSB  and  J^JSTIll  mUr  fardtiiU  offle#t) 

WMPdsn 

(To  Mlüfth) 
And  r#«eiÄ#r,  i«tth«Wp  *  If  »ythlng  go««  «rong^ 
hold  you  rospontlbl«  •  oä  your  own  «Mery« 

(Tht  lARDSli  olOM«  M«  do»#      MCAH  It 

aXoM  now*     Ht  ut*«rs  a  ▼•i'y  vorriUd 
•Oh^  d^ar^^*     Tbin  hü  thlak»  liard  fw 
a  oMant.  tha»  atraigMaiia  up^  aaaualag 
aa  alaMt  tef laatly  attttuyritallYa  mmnomr^ 
in  ahloh  ha  axita  •«  to  a 


»hy^  I»U 


rm  <m 


'% 


\ 


ISOIME'S       »ECK 


«JG£m£) 


FIVE 


I 


M 


SCIHE  FIVK 


SCKNEi 


About  thrm%  mcmth«  lafctr* 

« 

San«  a«  Seana  4« 

Fada«la  dfltolosas  LÜIGI  and  MICAB« 
aaatad  at  oppoalta  sidaa  of  tha 
eompartaant  naaraat  tha  footllghta^ 
In  tha  Vlaltln«  Hall  to  tha  rlght* 
Thaj  ara  f^ngagad  in  oonvaraatlon« 
lUIOI  looka  %rmn  aaadiar  thaa  harato« 
fora*     Tha  top  of  hia  haad  ia  wrappad 
in  a  bandaga«     MICAH^  vary  aarloua 
and  praocüuplad,  appaara  avan  mora 
palaad  and  authorltatlva  than  in 
px^vioiui  aaana« 


No^  no^  Uika^  «  aaaa 

Easa  no  uaa 


Lulgl 


p  •  ••»«  tnial     You^ra  a  graata  guy,  l!lkal 
talking  ••T 


«laah 

But 


aally^  atuit  dld  happan  to 


Oh,  Tulgl,  yru'ra  juat— l 
your  haadt 

Luigi 
mi,  aaaa  nuttln',  Mika.     Jooata  laatla  acoldant.     But  what 
l»ai  aaylnS  • 

{'^Ith  a  bland  of  ad»lratlon  and  anry) 
Vm  aaain*   all  daaa  artiolaa   In  daa  m 


Wban 


artiolaa  In  daa  papara  about  you, 
ot  Dat  ain'ta  luakl  Da 
Ikal  I  gotta  ^pologiaal 


|Slif  not  Dat  ain'ta  luakl  Dataa  ^£nlual^ 


tha  boya  ara 
5ö 


■ioah 
(Praoaouplad  and  allg^tiy  impatiant) 
Oh,   that'a  •  that««  allly,  Luigi.     Of  couraa,  ^na  ooya  a 
playlng  miaoh  t)attar.     ThatU  trua**..If  only  thosa  darna 
woodwlnda-~l     Thay  atlll  aound  •  jou  know  -  llka  alnua 
troubla» 

tuigi 
Say  llitan,  ^JJ^* j _^«|;j ' *•  ba  ao  ^oddan  nodaatt     !•■  tallln» 
you  -  ^i:*,^??  ^?^  ^•^t  •»•   only  traa  »ontha  ccmduatln», 
••»  Sp^KiS;  ahtt  ÄHMlcilll     Wiy,  you^ra  •  a 


6*8 


Oh,  all  tha«  «o«in»t  m»w»  •  thlng,  Lulgll 

4««d«  f.^«  ante  -l    ^»/«l  *L?!*5  "  .iS  *     !■«•""» 

(TaHHelSllpplng«  ««t  of  hla  poclwt) 
1  gotta  cllppln'al 

Tl»e  iaglSlSl     Fr«»-«  l>.«»  to  baton  -  1«  prl.onl"  tcn«. 
artlol«  «««da  pitdl^rai 

Mleah 
(Paylncr  praetlcally  no  atUntlosi  ^o.^'^J^eJ*  ,. 
Dh-  Lulgl»  hmv  you  had  wuob  axparlanc«  wlth  oboea? 

TD  hell  w#eda  oDoesl     Li.ttn  ^•^J.  '»•Tti^i,:.;^^^^^^ 
prlscÄii*     And«  denn.   In  Evenlng  Ttlegrwnt   it  ««y  ~ 

Mtofth 
Oht  Tuigl  -  tho.«  ftllowi  •  th#y  Just  w«nt  to  w^9  a  good 
•tory«     ^y#  •  thüy^re  foolsl*.. 
(polntlng  to  lulgl'a  bead) 
Dld  you  !«11  -  or  get  hlt  •  or  -  ? 

Ko,  no  -  !•»  toUln»  you,  Mlkt  •  ooMi  nuttlnU     Joost« 
lottla  troublel 

SSlemh 

Oh^   T  know  •  but  ••  tt 

Luigi 
tMia  orch««trm  «  wh*t  d«y  playJn»   now? 

Vlemh 
Woll     ^'^•^  worVlng  ifiORtly  on  H«ydn»«  ^Cloolc^  Symphtmy. 

Lulgl 
(Wlth  «lutful  anvy) 

fttiydnt  >^^^ 

Mleah  . . 

kt%A  -  oh  daar^   In  that  thlrd  »oviwont,  -  »»  I  havlng  troubla 
#ttlng  balanoal     And  thtn^  -  w«  jä2  »••*  anothar  ba>g  ao 

^•*^^*(Ramlniacantly) 
Huh-  ^•^ 


*> 


-~^-^  --—  '■-'■ 


6-5 


g« 


Y«ah.  —  b*8...Wind«  Ä^t    You  -  you  gott.  good  homt 

HiealDt 
Uh  *  r«th«r  w«ak* 

Lulgl 
J«»«  -  Ml'  ho*  I  pl»J  «•**•  ^*y«n» 

Kleab 
Lat«r  Wr«  going  to  do  th«  -Surprl»«"  Sjwphony. 

Lttigl 

8«rprliJ!'JSr^?JS!^.uh,  ttuh....Youtoow,  wwd.jgä 
no*.  yiki,  Is  JoobU  11k«  «••  old«  ««•t«r»,  h»vln'  Klngi 
•n'  prlnc»«  tat  -  «  p«tr<m»» 

iricah  -   ,   , 

Oh,  w«ll,  -  don't  thlnk  I  h»v«n't  vy  troublta,  tulgl. 

•lw*y«  b««n  •«yln»,  huht    For  »rt  you  gotU  »«k«  ««orlflc«! 

Hleah 
But  that'«  »h«r«  th«  trouhl«   1«  -  on  th»  «rtlatlo  »Id«. 

tulgl 
W«ll#  h«H  -  you  expeotln'  wh*t  Tofotnlnl  gotT 

Mleah 
Oh     if  not  th>t.     Huh,  -  you  don't  worry  wueh  «beut  not 
h«W  To»e«nfinrr**h«n  you'r«  »o  dam  bu»y  -  Juat  b«in£ 
SSir  flfty-«ix-o.«l6ht.     Ho,   It«.  Ju.t  that  -  woll.   for 
•xanolo.  !••*  •••1'  —  ^  •*111  d<»n«t  know  »hat  to  do  --  laat 
•••k.  OUT  flrat  flutltt,  -  qulta  a  good   ton«  tool  -  Juat 
up'a  and  flnlahaa  hls  tarn.     And  thon  Podatakl,  ona  of  th« 

flddi««  - 

(A  ahouldar  «hrug)  .     «  «, 

Paroli  «dt     '^•11»  hl  «»y  *>•  ba«k...I  auraly  hopo  aol     But 
It  1«  dlaoouraglng.t.Oh,  you  can't  tlama  thaml 

Lulgl 
Sxir«  notl     ^1  ean'ta  help  gattln«   out,  -  poor  guyal 

Mleah 

A«a  than,  thlnga  do  avan  up.    W«  juat  got  a  naw  '«•m»**« 
t"       .-  and  vary  axprrlancad  too.     And  the  f  In«  thlng  l*  - 

Jan'count  on  hl«  ataylng. 
^  (Confl£^«ntlally) 

Sacond  dagr««  »upd«r. 


wa 


6-4 


tuigl 

(Enviounly) 
J««t  -  watt«  luek,  huh? 

lllo«b 
(^o  hm»  k«pt  looklng  «t  I-ulgl«!!  h«ad) 
W«t  U  -  »••  It  ■om.thln«  th»t  dropp«a  down 
•  fall«  or  — t 

iMlgl 

»h«tt 

Mlcah 
Th«  bftn<5«g«d  part  -  your  h««d. 

Tulgl 


•  or  Just 


vatsa  h«ll  Tt«tt«r  wld  22E»  *»"*»'     ^""^  ^^^^  *****'*  ^^^** 

So  -  I'a  usln'    Itl 


Oh«.* 


Mleah 
(Looklng  ftt  Tulgl»«  h«ad) 

lAllgl 


I  ««y  "D«««*  Amj;  tulgl,  ••>«  no  good Joost«  «itj«  •  ^g^J»  » 

dItM  do  «yt    wi  3,  «Ik«,  .  r«  d«eldTi«l     I  t»k«-«  «y 
hom,  «Ik«,  — 

Mlo»h 
Y«s-T     And-t 

I  t»k»-«  «y  fe«»^»  -  •»«  I'"  eo*n'   *****  ***  oorner  Jtoln  anÄ« 
Broadiray* 

Mleah 
0hl    *«11»   ö"'**'»  e»rt»lnly  •  buay  «pot. 

lulgl  ^  -_ 

n«t^.  •ur«i     And»  Uald«,  ••>•  noon  tl««.     ■••g»  crowda... 
w!?il     for  •  «Inut«,   1»«  «tändln*   d«r«...you  «Tar  havln« 
laatla  blt  ataga-frlght,  Mlkat 


Oh,  auraly»     I  «h  — 


Mleah 


6-5 


W.U.  -  tut  Anm  -  JOS«.  rJJllll  wSmnt 
of  tSSSo!.?  1  •  •  Flf  th  spvhony ) 

Kloab 

y«h.  y..h,  -  and  I-  play««'  £223»     I**^'  8«*««  '••^^'^ 

So  ••  «Atta  hsppan»  huh>  . 

•~"         (ri.conaolat«  «ho«!*»«'  •^i'^^L«,,.  .,,       coo«?     Kot 

f.^iot?ii;i'  So!  1  St  C;.     I  JW  diff.r.ntl    i-ho. 
»«b;     1  play  wagnTl 

(HO  sing»  •  eoupl«  of  agltatod  moaiurai 
from  Lohangrln) 

It  worltt    A  eop  coml    öraat,  baaga  fallarl     Ha  ««y  "Stopl- 

I  aay  "Hol*  ^  . 

(tinga  a  faw  «ora  notaa)  „^^.-  iti» 

Ha  aay  "Stop,  or  I  run  you  Inl"  I  aar  »Ho.  godda«  Itl 
**•  ^  (Ha  a  Inga  a  faw  «ora  notaa  fortlaalSo) 


Ooodl 


R«  grab  «y  aml 
Sn  bla  aarU 


Mieah 


Aa»  dann  —  f  blow  llka-a  hall  —  rlght 


oood  Tor  laa»  ^uuii 


Hleah 


lulgl 


Bat  ha  ralaa  up  bla  elubl  So  I  blo«  hin  agalnlt 

HEXTj-— "  - 

(Touebing  hla  haatf  aadly) 
Dataa  wby  !•■  »••«'In'  bandaga. 


Anda 


Oh  .  I  •••' 

An«  whan  I  «^«  "P  - 

In  3«"^ 


Mloah 


Laigl 


Mieah 


6.6 


tulgl 

(Dl«gu8t«dl7) 
•  •  «Eimrgtney  hoapital  • 

■leah 
Oh,  -  but  rtldn't  th«y  t«it«  70U  to  oourtT 

Y«ah     •»••h     -  n«xt«  mornlng.     An«  d««  Judg«  —   flrst,  h» 

ei^;  Sn:   rSJJ;  h.  woThi.  no^.    «•!«{?•  e;-!;?'« 

«•ntenc«.     H«  say  "You  proai««  n«v«r  dein'    It  »ealnT 

lileah 
Oh  -  but  you  dldn't  -t 

tulgl  .  , 

T  ..7  "Hell,  noll     15wU  tlm.   1  <»<>  wom.I     ^2^  •?"!:., 
Oo  0E,'*~rTiy|   -putt»  n«  In  prlsonl     D«tta  wfi»r«  I'«  goU 

Mio  ah 

r«ii,  but  than  -? 

tulgl 
!>«•  ludg«,  «Ik«  -  h«  Joosta  «hak»  hl«  haad  -  an»   go  111» 

(Tapa  hl«  foraflnger  on  hla  taapl«)  ^    ^, 

An'  whara  ha««  sandln'  m»,  Mika  -  tauh,  tauh,  tauhl  — 
da«  ^uy  in  daa  naxta  b«d,  ba  ean»ta  avan  maka  up  haa«» 
mlnd.     Ona  day  ha  aay  he««a  Napoleon l     Anda  naxt  he  aay 


Oh  -  why  ha'a  craayl 


noah 


S\iral 


Oh— l 


tulgl 
payobopatle  hoapltal»  Mika» 

Wloah 


lulgl 


«»tu In*  but  nutal     Eai  avfult     Anda  dann  —  after  t»o 
»•ök  an«    twanry  teeta,  day  flnally  «ay,   »O.K.,  -  jo«^^*"" 
cJar^ed.     All  lou  naadln«-aa«a  iofe."       Can  you  baat  5tt 
?ul^  tallln«   maT^An'   two  «aek  Äd  twanny  taata   It  took  «aaV 
lo  now,  KlkaT'T  gotta  nuttln«  -  but  nuttln'l 


Mleah 
-  ,1     X  -  T*«  oartalnly  aorry,  Lulgl. 
•     *   (   ith  tha  authoplty  of  a  vataran) 
nr  eouree,    I  o""  •••  "hera  you  mada  your  nJstake« 
Bo  good.     H«h  -  *^««  d«y«  you  hava  to  hlt. 


Elowlnl:'! 


6*7 


lulgl 

l»t  Ouard 
(Sudfltnly  ÄppeATing  In  corrldor  nt  Iron- 
barrac  door  behiiKi  Mlean} 
li^atthewl 

(MICAH  Jtfflip»  up) 
You^r©  wmnted  rl^ht  Äwmy  «t  tha  v^«ird#n*8  offlca» 


0hl 


Mleah 

Oh,   lai  b6  rlght  thartl 


Uh  •  wftlt  Tulglt     Mayb#  I  c«n  cowä  tacK« 

lulgl 
0#K.,  Mika*     I  walt. 

(Itemnwhlla,  KID,  SLUO  and  JtJSTW  antar  tha 
antarooK  from  tha  laft«     And  aa  MICAH 
Joina  tha»  and  thay  axabanga  graatinga, 
tUini,   In  tha  Vlaltlng  Hall,  takaa  a  papar 
out  of  hia  pookat  and  atarts  to  raad« 
Anö  now,  froR  hla  privata  offlca,  tha 
WARDBH  antara  tha  antaroo«,  acoo«panlad 

toy  MR.    SCOTT.      MR.   SCOTT   l»   a  «Iddla- 

agad  loan  of  affalra,  of  madlun  haSght, 
da  luxa  attira,  an  alr  cf  braadlng*     Hla 
all^rary  graj  halr,  tllckly  aoahad«   ia 

partad  on  tha  iida{  hls  gray  nouatacha 
vall  trlumad;  hia  aoiqplaxion  aomawhat 
florld*) 

^ardan 
(Indioatlng  Kid,  Slug  and  Juatln) 
Kr«  foott,  th«««  ^r^  tha  aamber«  of  tha  orchaitra  eoB»lttaai 
MoCoy,  Caruao  and  Phllllpa# 


Hoa  do  yC'U  do,  z«atlam«n. 

Hallo,  tharal 

How  ara  yuhi 

Eoa  do  70^  ^^»  '^^  Scott. 


Sa  Ott 


3  lug 


Kid 


Juatln 


OTarlapplng 


6»8 


Wurden 

(Indic«tiii£  Mleah)  ^^^  ,      .  ^ 

And  thl«,  ur.  Soott,   !•  Mlkt  Matthew,   mir  leadw* 

Seott 
!•»  v«ry  gl«d  to  »Akt  your  MquÄlntÄüc«^  Mr.  Matthew. 
Vr%  follon^d  your  prt«t  •»«  T^^«"  ^«»'^^  ^^  ^***^  •  «**••* 

Oh^  ntll  thank  you  vrj  wmh^  y^r.  Soott* 

Kid 

(Aaid«^  to  Slu«) 
I  hÄd  b#»dlln#t  on  dftt  last  »tick-up  Job. 

»ot     yuttin^l 

Wardon 
Mr.  Scott,  toya,   1»  proaldcnt  of  Unltad  Cannarlaa.     But 
baaldoa,  ha««  a  graat  phllanthropüt.     And  thatU  what  brlnga 
hl»  hara  to-day. 


An*  vmd^a  ha  tall 


ITld 


Sluc 


(To  Slu«) 
Wad  !•  duh  gixyt 

(To  Kid) 
Plpa  domfi* 

lard^i 
Ha*d  raad  a  lot  about  our  orohastra,  and  caiaa  hara  twlaa  • 
jttit  to  11« tan  to  rahaar^ala.     And  on  tha  atrangth  of  that, 
ha'a  mad«  a  vary  unuaual  and  a  vary  ganaroua  offar« 


Dtytih  hoÄr  dat,  Mlkat 


Jaaal 


81ug 


Xld 


Wardan 
Wm    Scott »a  arrangad  wlth  tha  Prlaon  Board,  to  donata  a 
•ubatantlal  »um  to  tha  Edueatlonal  Fund,  -  tha  purpoaa 
balng  to  f  Inanaa  ragular  waakly  broadoaata  of  our  orchai 
fron  hara» 


©•hall  7^  "y^ 
n^mi     I>o^**  awalll 

A  flna   ido^i 


Kid 


Slug 


Juatln 


Ovarlapplng 


C-0 


?«mrd9n 


And  with  .r.   .oott  as  tP-^or^^hj  purpose  jr^^.f  ^' 
80  to  «peak,  will  ^  —  ^«^l«   ^'^^  •^^     r.     p   V 
«ord8  on  th«ti 

(IT«  r^ada   fr  et  a  pap#3*) 
IM»        «  i.«n-.  «^-ni    In  th«  »^entil  eufttody  of  thm  Statut 

wall»,  th«   fnßpJrinf,  i«««!»?«  of  t^r««*  iwaJo, 
(WXD  turns  away  and  anic^^«!*« 

(SLOO  r1v«s  hte  ft  Mprovinp  kick. 
KICAV,  rtmalnlng  eil^nt,   looka  v«ry 

««-  «.v,.^-»«   l«st   rm^  mattor  to  be   »«thlaO.     5»r.   Scott  rrost 

Eut  nuturally,  b«  3hould  hav^i   It  rUreotly  froa  you. 

Slug 
Surel     Siiy,  wld  ^/ilco  V.ere,   ^e  oan   ao  ftnjtln£:l 

Kid 

Itahi     Xiittln»    to  Itl 

Justin 

(Thtra  Is  •«  «wkwmrd  pause,  aurlng  whlch 
all  eyc^s  ß^^  fi^ted  on  :*ioÄh) 


(QuJte  C8lmly) 


Micah 


Uh  -  nc,     arof^n,      It  •  civn't  b«  done. 


( Or«Ä tly  ennoyed) 


Va*-d#n 


Mlcfth 


-by     the  orcheatra  docsn't'play  anythlng  yot,  ^ell  «non«h 


Wardan 

(Xorclng  an  Indulrant  laug 


h^mrdtha 


Ika.     UT.  Scott* a 
.     Aran't  you. 


»'^cott 


m^n^  -  whöt   T  haard  vt«  qulta  adäquat«  for  oiir  purpo^a, 
^«       Of  rowraa,   tha  prosrama  ahould  «ound  at  laaat  aa  gooa 


6«  10 


Thty'll  sound  tmtUrl 
th^y.  Mite? 


wardtn 


?^on^t 


Mleah 
(^Ith  aSmple  Inttgrity) 
<»i  nol     No,  Ward«!;     Th«y  ean^U     You  ««e^  •  w#»r«  ttlll 
Just"trylng  to  bulld  mri  •n»i5bT««     And   If  wt  have  to  «pend 
all  thmt  tlin«  «•  praparing  a  naw  progra»  aaeh  waak^  •  why, 
nothlng^ll  ba  muoh  good*     No,  •  and  1t  would  ba  bad  for 
tha  orchaatra  now,  ^ardan«     It  would^ 

Wardan 
(^"Ith  rlalng  Impatlenca) 
That^a  ncmaanaa* 


(To  Slug) 
Jaaa  •  duh  dopal 


Kid 


^'ardan 

Tha  orchaatra *a  part  of  our  adueatlonal  program«     And 

notting  eould  advanca  that  program  mora  than  thla  projaetl 

It's  soirnd,   progras 8 Iva l     Why.   it^a  tha  fSrat  tlssja   5n  tha 

hiatory  of  panology  that   inmataa  hava  a  ohanea  to  oontaet 
tha  outaida  world  in  a  taak  of  public  aarvicat      It*ll  maka 
hiatory  1     Ptit  ua  im  tha  mapt 

Kid 
(Prvsumablj'  quoting  th«  Wardan) 
Sur«t     iMre'a  711h  prison  «plrltT 

Wurdan 
And  th«n,  th«r««a  tha  adda«  Incantlva  to  wcrttl 

VJeah 
Oh,  but  -  thaj  don't  naad  that,  rmx^^n.     And   5f  tha  play- 
Ing  Kon't  raally  good  -  «all,  üb  -  whara'a  tha  public  aarvloat 
It  would  jua»  iowar  our  «tandarda  and  — 

"^ardan 

«hat'B   laportant  li  tha  aplrlt,  tha   Idaall     And  wbara  thara»a 
a  will,  thara'a  a  nyi     Baaldaa,   If  ouFTunch  aoundad  too 
good,  »hy,   **. .•  **  «ouldn't  avan  aaan  bonafldal 

(SIÜO,  KTD  and  JUSTIN,  alarmad  for 

MICAH,  ara  whluptrlng  to  aaeh  othar) 


■leah 


But 
»Ind 


th«  orchaatra* aldaal  la  —  i     uh-rardan,   If  you  den» 
,   I'Tl  Juat  go  baok  to  «ork  in  tha  Juta-alll. 


Wardan 
■othlng  <iolngl     You'va  undartakan  thla  Job 
•••   n  throughi 


-  and  now  you» 11 


6»X1 


Eid 

(To  Sing) 

ftt  werk*     You  •#•,  wt  dann  cruib  »tnl     w#  •  jfarlßß  th«m 
ojjtl 

(Glanc#8  angrlly  «t  ISloah^  and  thtn^  to 
Seott ) 

But  T  gl«  yoii  mr  lOltiM  praülM  thst  •vtrythln«  will  b#  - 

Scott 

FlOÄto,  Wmrdon.     Thoro^a  romlly  no  polnt   In  dlMuailng 
1%  furthor« 

Wardon 
(Undor  hl«  brsmthf  to  Ifleab) 
Of  «11  th«  dtamiod,  «tupld  —  l 


!!• 


Kid 

(To  raug)  ^  ^     . 

l    Wild  uikm^  11  g«t  for  dl««l 

6oott 


I*vo  <*  qult«  mad«  lup  mf  mliid« 

(Thoy  All  look  «t  Scott  anxlou«ly) 

Wardon 
How  uh  •  bow  do  you  tnecn  that»  Mr*  Scott? 

Seott 
ItM  aatl»fi«<3*     Quito  «atlafl^d  now. 


1011,   that*»  final 
■r«  Scott  •• 


'^ardan 
And  now  tbat  you  aocopt  »y  a««urancoa. 


Scott 


T  «h  •  don't,  ^ardan.  Vm  a  man  who  alway»  drawa  bl«  own 
iüncluaTonaT  And  ffankly  .  wbon  1  como  boro,  I  bad  doubt» 
-I^ioua  doubta,  tili  —  Mr.  Mattbow  «tartod  to  »peak.  You 
yI^  ft^f  »y  bolTiif  that  «hat  a  aan  aay«  1«  ofton  lo«» 
teportant  tban  hcm   and  why  ho  aay«  It* 


fhy  uh,  •  ^*y»  ISA* 


*ardan 
Of  couraoi     ThatU  p«ycbolog3r# 


8«0tt 


vineing.     H#  «oMed«t  Httii  btcauat  h#  d«»andi  aucto. 


(T©  Slug) 
Wastlt  wmmng  buht 


(Te  Mleah) 


Kid 


Saott 

«»  and  b#tt#rt 


Just  tmk#  iiiy  word  fer  It^  Mr.  Matthew* 

Wardan 

(To  Scott) 
ThÄt'i  pMclMly  agr  polnt^  Mr#  S«ott# 


(Holpl«s«l7) 
Ob  «  but  I  uh  <»t 


Mleah 


i^«rd«n 
(loddlng  and  miling  hAppily) 
1*11.  that'f  »plondldl     üh  •  that^ll  b#  all  now,  boya. 
Ymi'il  gat  furthar  Snttruotlon«  latar»^^ 

ICld 
(To  Slugt  u9  thay  all  riaa) 
I  don*   got   it«     Wad^f  duh  doptT 

Jnatla 
(Aa  ba»  ICTD  and  SIüO  laava) 
Oood-bya#  l^t**  Saott»  ^ 


«ii*ll  ba  sMÜi^   yuhl 


Kid 


Soott 
Oood-byot  boyft.     And  thank  you» 


So  longl 


Slug 


Kid 


(To  Slttgf  aa  thay  axaunt) 
waaalt  all  »••«? 

Slug 
jgpt  wad  Vm  alwayi  tallSn*  yuh 


•  Honasty*«  dub  baat  polley. 


You  tallln*  Si* 


Kid 


0«18 


(To  Micah)  ^Ti^^^'l^        ^  ^ 

«IP»  Matthew,   I  wl»h  jani^alt»  »w 
taltnt  for  ehargtd  uöd#ri*Ät«»#nt# 


Oht  but  I  don^t  uh  — 


Mleah 


Sonskhlng 


Ward#ii 
(T©  MlQfth,  mgwtAbly,  for  Scott U  bonoflt) 
ktA  tiKm^  g«t  »tartod  oii  thftt  flrot  program,  Miko. 

good,  Tou  knov»  •  but  jäsjl  ««^.ui* 

(Thon  1ä  a  low,  »oiiacltte  tono  •  for  Klcah'i 

bonoflt) 
#¥«Z*1I  000  yoa  lator* 

Scott 
(Ai  ha  and    ARDCT  loava) 
Oood-byt,  Mr»  Matthaw,     I»«  loÄlng  forward  to  knoalng  you 

battar* 


üb  • 


(Sadly) 
good«>byat  Mr*  Scott» 


Micah 


Iterdazi 
(To  Scott,  ac  tba  tvo  of  tham  antar  tha 
Wardan*«  off  loa)  ^     ^^ 

Tou  hava  tha  twa  Inalght  of  a  arinlnologlat,  Mr.  Scotts 

Scott 
Ona  haa  to,  •  üi  bualaasi,  Wardan» 

"~T*rba  door  of  tha  Wardan^a  offlca  la  cloaad 
bahlnd  than#*«For  a  nonant,  VICAK  atanda 
thougJbtfullT,  wlatfttlly  alona,   in  tha  anta« 
rocai»    And  than,  ha  laa^paa  tha  antaroon, 
aroaaaa  tha  corrldor,  and  rattima  to  tha 
Vialtlng  Hall«     tUIOI  ia  atlll  abaorbad  in 
hia  navspapar  and,  for  a  nonant,  doaan't 
0OC  Mlcah«     Than  ha  looka  up|  and  notlolng 
Hlcah*a  dajactad  appaaranca«) 

luigi 
Wataa  «lattar,  Mllra?     S^aqptin*  badf 

Miaah 

Yaa,  Lulgi***  VaEI  bad» 

tulgl 
VhAtt     Yott  havln»  troublat 

(IIKAH  nodi  afflrwatlvely) 
But  i*iat«i  aboutt     What  ha*c  aayXn«  —  daa  WardanT 

■Icah 
Oh     it'«  ^^  "^^^^  —  •"^^^^     ^*'*  ^***  1  •Äldl.t^.But  thatU 
BOt  tha  aorat» 


6-14 


Al«>8t  ••  t«d.  Lttlgl.    W«  -  »••^  ßo*  to  <So  -  •  w««kly  bro«a. 
raat  ncw. 

Lulgl 
(Clutchlag  hl«  b«na»6«d  h«»d) 
Ey(»doa»t  TOP  l  i 


<H«  fAlnt«) 


X'»igltU 


Vioah 


BUOKOlff 


"X80X2B*8     BIOX«" 


SCEHB 


6-1 


SCKjÄSlX 


About  thre»  months  Xat«r* 
8«BW  BS  Se«n«  8« 
Sans  ••  So«n«  5* 


(Fv  •  momnt.  In  th«  dark,  *•  h««r  «ICAH 
■Insinft  m  p*M«g«  tron  a  M«ydn  Bjmpnoaj* 
?i55-lS  thSn  dUoXo...  hl.  «"Ä^biStJ'^?^- 
looklng  KID  CARUSO,  .tändln«  •IJ-^JJ  «l«»» 

•xwlnlng  •  pl«o«  ö',jh««*:"^i»!H.  f£^« 
1«  «^dantlT  Initruotlng  Kl«  In  th«  pr<v«P 

intarpratetlM»  of  hls  part») 

Mlaah 
'  (Still  singlog  and  polntlng  to  tha  not«« 
on  tha  ah««t-«u«lo  aa  ha  doa«  •<»»)     ^  .  , 
tth  daha     «uli-duh  ^  -  duh,  duh  -  duh  dj^l««*- 
ea.  ud,  th«  a«««n%«  «r« 

gaT^hat  now? 

Kid 


h«r«« 
■Satt 


(Rarnaatly) 

nh  bull  •  •  •  •  '■'«'  «««  »•  •  •  . 

""^  (AwkwiiPdlyt  In  hl«  big.  gmff #  wl««t  h# 

lsltat#s  MloahU  rmdltlon  of  t^  pmBBmf^m^ 

^ilm  polntlng  to  tho  notosi) 
Piih  •  duh  jiiht     duh^^duh  d^  duhg^  duh^uh  dj^^*  •••• 

nie  oh 
oolly  now  -  wlth  foollngl 


(mCAH  »Irig«  tho  poMogo  agaln  to  domonstroto 
0Xproa«loni) 

Puh-dah  ^ABSlU  *ih-^h  djiftaii-duh,  duh^dtih  flBftBll* 

Kl« 
^^-h     Toäh  —  wld  noro  f ooUn*   Uko.     1  got  lt# 
T00n#  #^jj^  oliMslly  iHltatos  MlOOllU  rondltlont) 


•^s 


Kid  (Ooiit*d#| 


It  oasier» 


Mle«h 

tHittar»     But  not 
öon't  blcm  «0 


XIA 


li#U^  bat  d0im  at  «uh  olÄ  Salwtion  Anv  Band,  d#y  u.^d  tuh 

»«7  •• 

Oht  I  aon^t  Ott*«  slMd  ^^^  »^^  th«r#4 

Kid 
O^K*^  Mike!     a#|L*«         ^«*  ^^^  *••*•  •^"^•^ 

Mleah 
Alrlßht,  Kid.    You  get  owr  to  tha  «••^f  ?J*  "[^^ 
itW  got  fco  walfc  hw«*     The  Wardan  «wt«  to  •••  «• 

( JUSTIH^  c«rrylnR  a  irlolln  tmmm,  •«^^^•^^li^J^^ 
through  door  at  right  laadlng  fro»  the  oorrldcr) 

Oh  -  &JS*t«li*th«  boy«  to  »tirt  ^olng  through  tho  noxt 
broadcast  proerm.     I'll  b«  owr  m  »oon  lUi  I  cma# 

Kljd 

(AS  ho  axitB^  corrTlns  o  trcw*ono  oooo) 

Awlght,  J41tai# 

%tii0tln 
Dld  tUofcO  liow  »trlnßi»  orrlvo,  ittko? 

Mlooh 
Bi^t  yot,  Juotln*  öut  Vu  suro  thoyUl  bo  horo  by  to»arro«# 

Justin 
acod«#«  You*T.»o  not  going  ov»  nowT 

Ho    •  I  ^^*  towalt  for  tho  Wardon* 

Juotln  *.       ^       ^ 

Oh    by  tha  ^ay^  -  wy  wlf a  arota  sha  haard  tha  lost  broadoasti 
Sh©  SÄi<*  ^^  raally  aotindod  raaarksbly  aoll« 

Mloah 
Ah     I  don't  thlnk  It  was  oo  bad«  That  Is,  all  but  tha 
Sofcubortt#«*  ^ho80  voodwlnni  ugalnl 


6*S 


Justin 

«M  p»%i«iil8rlT  «nttaMlaatU«    Aod  iUUI  «"«y  P*7  221  * 
glowing  tvltiot«! 

Oh,  ««ll,  -  that«»  «11  -  J««*  f«»!**^* 

Jaatin 
(In  ft  oautlouslT  1«*»  *<>«•♦  •»*  *****  • 

You  uh  -  «tili  thlnk  th«  *poi^a«t»  «re  n  dotrlnentt 


lUeah 


tt^OttHlttt 


TuMOVlag  atltn«  «w»  frtm  hl»  9«ik«*t 
and  •artMstly  loeldog  :nto  it)  «^      ,    ^ 

L«t(a  M«  —  M*b«  n«*  T«i»«d«y  night  -  «ftar  look«^. 

(A  noMnt  of  •«*«•  r«fl«««iafi»  Rod  th«ni) 
Oh.  th«  hroadeMt*  J^m  ««>**•«  «•  n  lo*  «f  •^*»**  prjctlo« 
tlM.  And  theo-  too  •  «om  of  th«  hay»  «m»«  to  \f  plnyl«« 
b«ttw.    I  gu»M  It».  -  ••11  -  th.  r«*llnB  «»•*!»»»»• 
Mople  «r»  lUtwalng  -  «nd  «imi  Uklog  It  •  llttl«  • 
in  Bom  far*off  pl««««  «h«r«  ii»*tv  M-vor  bemi. 

Jaatitt 

SVlth  aiRwwl  Irony) 
Aaa  au«  t  fopgöt  »«••  Scott*«  huaanlttflan  »otlvoi 
Mklne  gooA  WM  h»tt«r  •  hj  mtrt 

MUali 

I)oa*t  you  thlnk  thnt*B  going  •  n  htt  ftrt 

Justin 
11^21»  It**  <|ult«  ingtnioua  •  m  good-will  pvSblieity« 


i)«d  Bwn 


aood»«lll  —  »nhUoltyt 
B«t-  rar  •»»***    ^"*  KS' 


Hitill 


<lu«tin 


'OStlB 

Ah  Aft '^*  sasäi^  uuBM  fiaiU» 


■»— -»«fii*»  I-—  ■■•*'■ 


v^% 


thata  JustlnT 
I*m  aTrmld  I  Ao« 


Whyi  T^  •  3^^  Am^t  r«ally  thlidi 


JMtia 


lll««li 


Olld 


(miit#  shookad) 


•  •«• 


justla 

twith  an  mff#ttloiuit#Xy  ••^••*,*T'"'^w^  «^i-,f 
m^ttm  iSt  tS  Sd«rtt  WflrM,  iilli##     It««  •  thj  fiiltf 


»SU  i.»»  -  ~s~ii;  b'.ö^  jh:.':;!;  i 


huh» 


/ 


It».  nr«tty  h«P«  »•  b«lU^  l»  «••  — 

I  ■»•  a^  -  •  trttst»«  of  «»•  fty^phony  bo«x«ty  ••••• 
<JU»«»  |Mua«a«    And  th«i.  In  a  w«r»ly 

V  •*S!^*iil2*^th«r««n  «emthlng  -  d»«ply  touehlng 

;;3J  h«  1«  -  •»*  "Mi^* 

(A  vaflMtl'M  pauM  —  and  ttaan«) 
«-.m     1  -  IUI  ruÄ  o^par  to  %ha  raha^paal  oj». 
•^  •     (D«lag  thaaa  1*b»  worda,  the  v«ARm»  •'»^•. 
tba  «ntaroo«  fro«  hla  privat«  off  laa«     "•  in 
oamPTimt  a  foUar) 

«ardan 
(lö  Ju»tin)  .    ^ 

ok  uh  -  by  ti»a  w«y,  rhllUpa,  h«a  n«arl7  dona  la  tha% 

Juatln 
Ttii  h«va  it  flalahad  taMorrov«  «^ardan* 

Hrdaa 

(A«  JUSTX»  «Xlt«) 

^^°^*  (Taklog  aaat  at  tabla) 

(MXCAl  altn  dorn) 
m^X  •  X»w  «•*  8»«*  t»««  f€r  you« 


6-5 


*  ' 


Mioah 
Oh,  f'^W  you  get  1«,  V.fti-deot 

Yi»8,   Jnst  a  i»hlle  «go  ....  '^^  y^*'«  ^••«  expootlng  U,  «h? 

IfcXi,  -  y*»»,  «.rd*n.     Sau  r«««:ib«r,  y«i  jJPOiols«d  ytm»<3  try  to  — 

Nloath 
Oh,  -.  will,  nmif^  Vm  not  ^^.     ICou  aEE  rar^a^lug  to  thmt 


JBefxr#^ 


Warben 


idlocih 


Qh  ^^  hah-hah-hah-hsh  •  a2#     y<^a«  r#llowi     It  •  m  f  «r  «»• 
rSSl  Äui^prla«  than  thatl 

It  •  iA^ 

tardmi 
Mite«  I  con«^atvilRte  you*  , ,     , 

(r*vkin5  lA  docuiaent  out  of  hlt  foXü«) 

(MXCATT  looltfi  fttartl^d) 

iph«  aowrntarU  «Ignad  ymir  pwdoiit 
(iiaricUaig  uooiaaout  to  Hiooh} 

Mloah 

(id»oöt  overcom  trlth  dollöbted  bevrlWurroent) 

Oh  — --1 

(tbec:  oonH-t^g;  to)  ^     ^     , 

.iv,     naar  -  thftt'c  -  thnt^a  .^rettt       QeeJ     'nionU  ymi,  Ward  an* 
;;iu^?ß  v«äfiE£2ii5      ^M#  I^^^ii^t  to  .rmt  bold  of  PriodXA 


Thßt'c 


^U^  ^  tM  glrl-fri#nd,  »hf 


Wurd«! 


6-6 


UUA 

Vardm 
»•11«  that*a  flM«  Mi)*** 

(craadlj) 

(Than  .Dapping  Inta  a  PP^»^«»^!  wi^Tou    w«rda«t 
Sr«  UtaPto  a2rt  iwrklng  o«  It  naitt  wak  ^.  Oh.  yaa  --and 
Ua!  .  Suia  ^m  poaalbly  lat  m  hata  aa  «*J*^2!S"S    " 
Tttaaday  af  twnooo,  *apdaoT    Xa»  aaa,  tha  nart  pregra»  la 

vaaUy  pratty  -•• 

(Hot  iriLthmi»  »om  «arakh  ef  undaratandfti«} 
Mika»  •  yott'i^  paraonad*    Xott'ra  fyaa»    Tau  wtm't  ba 
laadlng  hara  any  »ara« 

Hlaali 

(Raaaauplogly) 
Vov  Wardan.  iilaait.t      Do  T«»  raaXly  thlnk  f«p  ona  ralnuta  - 
that  IM  f SirSaan  «m  tha  Jtfbt    Do  I  look  -  llka  a  qulttart 

(Sllghtly  hurt) 
Why.  tha  idaat  '  aoodnaaa.  ha«  tSSBA  ^  <l^^  *^^  ^^  ^ 
^^ImA  to«  «Ith  all  that'a  got  toba  daaai 

Wardan 
NO.  no.  •  yott  don*t  unflaratand,  Mtka*    Tha  palnt  lat    Tau 
IJfi't  vork  hara  aay  Mra« 

MUdi 
^t  ««••  What*a  tha  aattav  «Ith  m  »^nll  «f  V^f^!?? 

•  "  -    - 

thtfi 


Why«  I 


Vardaa 
(orowing  lj»atiant) 

Kika  •  i«'*  laJLatt  tha  JUttt 


to  l«»d  an  orahaatrat 


Mlaah 


Vardan 


Pirat,  th«ra*a  no  prevlaloa  fer  it  in  tha  hudgat  •• 


Uaali 


giira  It  snothar 
thlng  or  othar  oan 


Oh.  li2ii!A  *Ü*'.*  °**o«»ln«  youl  DonM 
thouSB*r^«^*S*     **»y»  graaloua,  -  aw 
wa  f  ixad  upl    ^ou  aaa,  «a*ra  not  going  to  lliM  •  da  lusi 
Hill  only  '»••d  Juat  a  llttla  and  —I  üo  you  thlrtk  IM^ 
lat  •  ■•'•  "•**•*  •^  »»ay  -•  t 


•-▼ 


Bat  th«t*s  not  Vt»  mitL  ^^°8I 


iiHMt«  h«r«« 


Mlaah 
b«  «OM  eamia  •>••    Bttl  «hat*»  tbai  KO^^to  f^^^^^lMftf 


Tbl«  it  «  ■«  tftfftyafti     Why,  l*'«  -,^*'« 

WardMi 
tkiMl  But  th*  Uv*a  Mitlrato  •l«tf« 


iptood 


Bo»  oXd  la  ItT 


7ha  lawT    Vary  oU* 


mfw  arat  mm  •»lOA  i«  nava  naan«  mj  aaoaar  niaw 
a  hara**«..  »hy.  !•■  flirln«  airarytflif  I  hata  ta  tha 
«rahaatra«  Aad  tha  baya  •  tbaj*  ta  baan  werklnc  bard  toa« 
Xt  awana  a  lat  ta  tbaa«  Ob»  Z  kB8E  it  daaa.  And  thara*a 
atiXl  aa  Maoh  to  ba  dona«  And  tbaa  -  tha  teoadaaata  and 
aXX  —  wby«  «a  ean't  jitat  a%^  la  tha  «Iddla  •••..  Zt*a  • 
lt*a  aU  I*ta  get«  «ardaa«     ••••  It'a  —  ny  llfa*a 

Wardin 
Vu  aarry  toa»  Mika*    But  •  thara*a 
That*a  all  tbara  la  ta  It« 

MUdl 


na  vaa*    Toa*ra  pardooad«««« 


Hara 


(Wltb  half «atlf lad  Indifnatloa.  admuiaaa  ta 
tba  tabla«  and.  na  ha  fllnga  tho  Pardon  upoa  Itt) 
{••••  X  do«i*t  «ant  tba  damad  tblngl 


your 


abaagad 


(«Itb  an  tndulgant  asdla) 
Yen  Start  baiag  tanparaantal. 


you'U  S»t  Plaohadi^n. 


■ioaii 


(iSasarXy) 

And  tba  P*a  ^^  aaaood  offandara  •  aaU»  lt*a  gat  n* 
orabaatra« 


6-8 


!fTiJi J«  tS!  MD  (lOiaU)  •ntw«  th» 

At    tn»    •«■•    »*■•»    2   _.,„|_    M^f«<ta    «hll« 

•nt«r«QB  froB  th«  "«»^J?:»  "£*!?•  JTSi" 

Mr.  Seflikt  on  th«  phona.  Ward«« 

Oh  -  I»ll  b©  rlght  In« 

(U*  piaka  up  hla  f^War,    And  aa  h« 

Oh.  and'Sf^'l^il  you»U  rap«rt  at  thraa  thla  aftarnoan 
f or  final  detalla  cf  dlaah«*|^. 

(WARD3II  «xlta.  Bat  MKB»  £«**!??^?*£?!?!?«. 
dlraatloa,  U  ao  loat  In  troiibXad  thought, 

ha  ia  vnawara  ot  thla«) 

Why  waa  I  •»«  >Po««ht  hara/-  If  It  had  *o  and  llk»  thlaJ 

(Bafora  tba  and  of  thla  aantaoaa  ha  ttarna 
ta  f aaa  tha  «arden,  hut  find»  hlmalf 
aoafrontad  Inataad  by  ISt  OUARD.  »ho  ha« 
Man«hlXa  antwad  tha  atttarooM  fraai  tha 
aflrrldor*) 

lat  Quwd 
(Sltfvgglng  hla  ahoaldwa) 

I  don't  know.     'JPhat'a  not  ay  dapartMent,  lUtthaw*. 

m  nart-r  waltlng  te  aaa  you« 

•  ^       '(Ha  handa  Mloah  •  oard,  whlch  MICAH 

takaa  wlthout  axtfdnlng.     And  aa  IST  dUARD 
exlta.  MICAH  atanda  Uatanlng  wiatfully  to 
tha  «rahaatra  •••.  Aftar  a  fav  aaaonda.  ha 
f  Inally  lo<dca  at  tha  eard.  and  aaenlng 
Prladl'a  naaia  on  lt.  atraightana  «pi  trlaa 
to  look  aha«pfuli  laairaa  tha  ant«rooB  aad 
antara  tha  Vlaitlng  Hall.    PRIBK«.  aaalng 
bJja«  nma  o-««r  to  tha  eoapartaent  naaraat 
tha  f ootUghta  and  graata  hls  «ith  half* 
guppraaaad  axaltanant) 


•  • 


Thora*» 


Mio  ah  aaar  — 


Prladll 
{TBSH  klaa) 


Prladl 


Miaah 


sa^jB 


6*9 


^••g  •  it  o«rtftinlx  l^M* 

Ffe>l*4X 

(In  high  »plrl»«)      ,  .    .  _ 

«•11,  •  tout  ho»  «©••  It  fe«l  oo*»  "»»T 

Ob,  jutt  flM,...  üb  -^w»4  r»  hjwp  .0  .ooB,  PrUdlT 
in^,  I  ooly  Ju«t  go«  th»  -  th«  thlng, 

W«ll  •  InliA^  TWi  •••.  -  h«  h^  «oüshmr  word  ^•'«•|j*»*:. 
IrL  phSSd'JTTlSt'awi^  -  ««  th«a,  2sl£i.  how  1  ham«d 
OT«p|  And  look,  Mleahl 

(Aa  «h«  unfold»  hw  n«w«>«p«r)  ^  ^  ^  ^.  ,  m«^» 

On  tho  w«y  0T«r,  I  twught  *hl«  p«p«^  —  «id  wh.»  do  I  find? 

(As  sh«  points  te  «  eoltoB  and  band«  hla 
tb«  papar) 

Alraadx  tbara'a  a»  artiala  about  Itl 

(MIOaH  atapta  te  r«ad  tba  artlel«»  but  aftav 
•  sDonaat,  ia  anrely  ataring  iraenatlr  at 
tha  papar.  aa  an  axvr«aaiea  of  troublad 
aadnaaa  ataala  otw  bis  faa««     PnZEOL 
notleaa  thia«) 


Ifbat  - 


Priadl 
(In  a  quäet  tona  of  aoliaituda«) 
«hat  ia  it  than,  habt 


Hloah 
(Contog  to,  and  foroing  a  asdl«) 
Ob,  «by  *  ^7»   hothing  at  all,  Friadl* 

Priedl 
tfah.  nah  "••  tall  aa« 

'   (For  a  fa«  aaaonda,  ha  liatana  aadly  to 
tha  aounda  of  tha  orohaatra  rahaaranl, 
and  than,  pointiog  in  tha  diraation  trtm 
«faioh  thay  aonat) 


«r 


j^  -  haar  that,  Priadl? 
f ,1t  •  of  oouraal 


Miaah 


Pviadl 


^W       wKrW 


Mlcali 

Ttet  •>  that  was  B  iCilltllSi^ 

koA  U  amada  final...    W»  »  how  do  y«n  Maa  -  «sst 

Mioah-  ■ 
Tbat'a  It  .«..  Plnlabad  ••».  Thay  •«>  *  !•*  na  woplc  hara 
aay  Xengar,  FrladX« 

(Then  eaptorlng  a  tena  of  praatiaal 

ovtlnlaM« ) 
Kuh  2a|i<     Qf  ecwq»>  MleaW     That*»  *»wr  It  ifeSSM  *>•• 
And  Bow  •  now  you  «U9t  •  fiSL  i2&4 


Sluülf 


Mioall 
Hallaft 


Fki'ladX 
Aeh  •  i»hy^  wlth  all  ytnap  expwlanoa  now  •  an«  tha  mA«#«« 
you^d  had  and  -  and  balng  ao  wall  knownj  you  haw  no  troui 
gattlng  a  piaaal     Yah^  a  gssCL  P^l^a  Jbasl 

Mloah  ^ 
But  Fr lodlt  «  thlnk  of  tha  hcuiidrada  of  fina  aiualoiana  «• 
oh,  ao  wuoh  battar  and  bmkni  axparlonaod  than  I  a»  - 
and  wlth  flna  raputatlona  tooU.«  And  JÜnx  eon^t  gat  wopk 
...  Huhp  -  wall-kttownl    Aa  n  prlaonarl     A  Qrtainalll 
Doaa  that  g«t  you  Jobat     Xt*a  good  anough  f»  allly 
nawa   Itaaal  That^a  all«*««»  And  than  — •  tha  opchaatral 
What^a  going  to  happan  to  It  nowT 


v*. 


Frladl 
(After  a  »onent  of  wlstful  allanoa) 


Baar 


And 


mxam^m  Wnan  It  ooniea  to  tha  worat,  •  1  can  nayba 
baSk  wy  Job  at  tha  Vlanna« 

Mlcah 
Oh  ^H^  V^  awttnH^    Frladl«    Tcai  know  what  tha  dootor 
aaldT    ^^^  oiaJiwork  for  a  whlla  now«««  And  don't  you 
atart  worrying  altharl 

Frladl 

Mlaah 
XtU  tto*  8^^  '*  '^^^  Frladll 

Frladl 
jf^  not  worrlod*  Hut  X2a  — 


6-lX 


Hleah 

(TUET  «r©  looklne  fiWiqr  froji  eMh  ptheTt  to 
ooncenl  thelr  troubla  €rxpr#«8lon»; 


»•11,  •  IUI  Juöfc 


hiiTö  It  aj^Rln»     That't  ä11# 
Prl«dl 


(1Ji*ylng  to  buoy  her  up*  to  fortlfy  hlimiolf ) 
Why,  oortftiiayj     Tbl«  Is  JUL  ji»  f er  lorrTl  ^'^•^J^f*^. 
oiia  ni#t  bo  fttromrl       Ono  i«i«Fha^  ÜßB*     ^nrt  MfeijyLoal 

And  ^l 

Frlodl 
(Slyly  x«#«lai»oent) 
And  iifllX«pois0ri 

(Aa  thoy  now  look  «i  OMh  othw,  h«r 
f  fitoa  r#lftx«»s  Into  a  broad  and  knowing 
>  aaiila»     But  whan  na  parslßto  In  waarlnß 
ft  aolomn  axpraaaion,  aha  breaka  Into  a 
light,  tt^iusad  lawiK^htor) 


Whttt  -  what^B  nmnyt 


Mloah 


I  Wiia  oaly  thlndrn^  wb^t  Jh£  oallad  It« 


Mio  ah 


Who? 


Frladl 

?hlo  doc^os?  -  on  tho  r«<ito*,.  Ycnt  don't  raiuaicber t# •  •  • 
*'^lll^pow^r  la  tha  atowkovakl  of  tba  paraonality«^ 

Mioah 

(In  a  »l'tghtly  hmt  tnna) 
It  waan*t  5towkowakl#     Xt  waa  «•  •  «  •  Toaeanlni« 

(Tlth  forlurn  Irony,  nftar  a  redltatlva 

paußo) 
Fuh  •  5^»***^  thlnkl  ?an  iltnutea  ano,  wo  had  aoiaathlng  In 
co-^mon  -  ha  and  !♦     Hi^eatro  toaoanlnl  -  and  nuißber  flfty^alx 
0  iilght  —  «nah  wlth  an  orehaatra  of  hla  owi  ••••  Than,  I 
loso  ßy  nAjatoor«  •  •  And  now  •  l  hn^ra  nnthlng  •• 


6*18 


Bat  m  partfOB« 


Fri«a 


Simt  )ml  «oulda*t  Mit»  naai«  -  ont  ef  J^ii« 

(THBJf  «tili  r^fralii  tvam  looklng  at  «ash 
other,  teoth  b«lng  dMply  troubljd.    E«oh 
«xt«nds  a  hand  to  tli«  othM^«  mit  on  «oeount 
of  th«  »artltioB  that  B^arat««  iniMt« 
and  tlsitor.  tba  band«  fall  to  aaat  uatil 
tbay  «ra  qult«  hlßh,    whan  thay  f  iaaUy 
oXam.  VHmVL  and  HICAM  aiMhanga  wlatful 
BBdlaa«  to  tba  aMOirg^anlinaDt  of  a 


rAD:Roiff. 


'■%.. 


SCEIIE  YII 


sctm  vix 


TI5*^  t 


SCK'^'it 


/^   portior»  cf   the    Ifirgc,   gerde^#a   yerd 
betweer   th«    prlfton     rop®»'   find   the      ut^ 


I^  the  btrkgroui^dt    exte^^dln^;,   both 
rlght  ftnd    left,    bcyond  th©   vli^lble   wldth 
of  the   «t«c*>    ^«   ^   bl^ti   fto*^«  wÄ-1*   Out 
Into  thl&  K^allf   ftt  ceriter,    1«   s  high  and 
ride,   b^at   8h»llow  v<?iitlbule   Itadlng  to 
U.C  ^.reat,   black,    iron  ärorB   tht»t  texwa 
at   llr»k  b«tw<*-?^  tbe   o\2t»l(*#  w  rld  and 
prlaor>.      The   vet  tlbule   Ic   cevc^ral  feat 
atov©   tbe   floor  of  tbe   eta;e,    and  con- 
nected wlth  by  stalrs«      It^tlored  in 
t^e  vertlbvJe,    et   eith^T  elcJ©   of  the 
doorr,    f>re  vnlforr^cd^    ermed  ^jaarr'»« 
TVi«  rest   of   tüo   rta^e   Is   part   of  a   almpla, 
fornfil  t^tixdan,    punctuated  hexe   und   thep« 
by  a  berch«      At   the   left»    Is   a   si^^n  raad- 

cri:.?irG'',   ard  pclntlr^g  of  fatale   laft* 

For  an   inatant,    In   the  dürk,   wa  haar  an 
anlmated   chatt^ar   of  numoroua   volca»»    ihan 
Fadc-ln   Idantifica  the  chr^tterara  aa 

PHülCO  u-FlEIf   ard   PrA!?T,    —   all  stand* 
Ing  fet  öta^^e   rl^ht  and   looking  expect« 
ant.y  toward  offsta^e   laft«      Ihay  ara 
impetiartly   awaiting  älcaii'a   arrlval***« 
rFAiiT   la   a   good-lo^kln,^  ♦ellow  in  hia 
late   tblitlo»,    ttatldioijaly  attlrad« 
hfe  aliKs   at  baini^  the   »uava  a^d  dlsax^m- 
Ir.;   £/r>tlewan,    v^ho  will   effectivoly  rep» 
retent   t^e  ct^ank  power  of  hl«  corpor«ta 
employ^r.      He   la   tcm^  ä   gret»   lei*a   &nraird 
than  h€    Imaglnca. •• •  Aa   the   ch^tter 
continueat 


r-üh  -  oou3fl  be  waybe  n»va   Taft  a^raiidy? 


Ch  no\      Impoaalble! 


Sure  rt^'^^"^ 


FOfiTt 


lot  report^r 


7-i 


Luigl 

l»t  Photographsr 
Her#  hm  comas  novl 

Uilgi 
(Stapplng  forwmrd)  .„.^^,1.1 


B«0i»  glrl  und  alK 
Ymh  yan  •  dot««  hlat 


Snd  Reporter 


Kr«  Blrtibatm 


(And  th#n,  aa  MICAE  antara  at  laft,  wlth 
FRlKDi.  and  ISOLDK,  tha  followlng  oaoura 
with  axoltad  ovarlapping) 


Lulgi 
(Fuahing  up  to  Mlaah) 
Hallo»  Mikat  &aaa  too  da«n  badt 


Hallo t  Friadl»  toot 


lat  and  2nd 
Photographara 
(Ciicklng  thair  aaaaraa) 
Hold  It!  Hold  that  poaa,  Mr«  Matthavl 

Mr»  Blrabaua 
(Stapplng  forward) 
Congratchlatlona,  Kr«  Matthaw)  Qood  vaaahaat 

lat  Kaportar 
Vm  trom   tha  Wawa»  Mr.  Matthawt  ^^aM  llka  a  atataaanti 

Lulgl 
laln*ta  jjz  faulig  Mikat  Daa  Ufnlon  ••  j£ax  dldn*  gatta  pardoni 

Sud  r'hotographar 
Lat*a  hava  ona  wlth  jom   and  tha  baaa  alona  nowf 

'aart 

Juat  a  BMDant  now,  plaasal 

» 

find  Kaportar 
How^a  It  faal  baing  fraa,  Mr.  UattbawT 


flo  baggaiu^f  ^^^•^ 


I*«lgl 


^  ^  l«t  Kaportar 

Ihst  ara  jowr  futura  planat 


?•» 


8rd  Rtportar 

(IIICAÄ  «wd  FHli^Di-  wr«  »o  ftMMd  and  bf 
wlld«r«d^  thÄt  n#ith«r  of  th#«  utttr»  m 
•ound.^t.PSAKI  eomes  forwmrd  •  thorlta- 
tivaly»   ••  If  to  ratou«  th«»> 

P#«rt 
(To  nowspÄpÄraMinf   i^iigl  «nd  Mr»  Blmbati») 
GantltBian,   p !•>••<     DonU  •»»?  Mr.   ««tthtwl 

Ut  BmporUT 
Wall,  all  «a  want  !•  a  brlaf  »tatamantl 

2t)d  Raportar 
iura!     Tour  publla  —  thay*ra  waitlng  to  haftr,  «r*  Matthawt 


(üalplasaly) 
iall»  but  1  •— 


Kioah 


Paart 
(To  tha  Raportart,  daelaivalj) 
iroa  look  harat     Mr.  Matthew  and  I  hava  an  tnrgant  and  oonfldan« 
tlal  matter  to  dlaatiaa  at  onaa« 

Mieah 
(To  Faart) 
But  uh  «  aho  ara  yor? 

(TMIi  «i^lSPAPHRKSII  Imx^) 

Paart 
ViX  cosia  to  ttiat  In  a  aonant,  9^r*  Matthaw* 

(To  Haport«ra) 
If  jou  walt  tili  l«tar  you^ll  gat  a  real  intarvlav*     Farhapa  an 
announoaaont  tdo» 

(To  Iflaai 
fhara  wonld  you  llka  to  racalva  tha  praaa»   Mr.  »atthaw? 

Mloab 
Why,   I  uh  -  I  don't  want  to  aaa  tha»  •  at  all«     «bat  »hould  I 
aaa  tha«  fort 

Int  Raportar 
Your  publlo!   Thay  aanna  knoat 


Thay'^a  antltlad  to  •   ! 


Änd  Raportar 


That 


'a  tr^^at  ür«  Matthaa» 


Paart 


lAllgl 


Jaaaa^  l«»*^    ^^  ««"»•  *laa  m  ohanoa  llka-a-  dl«a? 


?•§ 


lioah 
W#llt   th#n  •  uh  -  tlfht  o»elo«li  tonlght# 

Ist  R«port#r 
th«  nh  A  and  B  C«fat#rl«  on  ll«l«  Str##t« 


way  In  the  back  •  «t 
)it'll  b«  havlng  coff«# 


Ist  Reporter 
Ar#  jrou  trylng  to  put  on#  ovar  on  u«,  Mr.  Matthew? 

£nd  Report «r 
Xto#  »hariff  «hut  tha«  up  flw  »onthi  «go» 


Vioali 

0hl      (%t   th«t*a  too  bftdl     ^.jteuaa 
Vr%  bean  aating  •  aoaawhara  alaa. 

Frladl 
Hov  about  tha  old  botal^  Mlealif 

Xloah 
Wall»   -*  jaa  *  tha  -  tha  Rax  «-• 


•     You  aaa»   lataly 
^•llt   •  than  11h  «< 


•  1  -  uh  • 


lat  Baportar 


Raxt 


8nd  Raportar 
Yaa,   I  kno«  tHat  Jol  •  •  tih  that  hotal«     On  LIm  Av#nua7 


Yah  *  that^a  right* 


And  i>t  alght  to^nightt 


tjh  «•  yaa*     In  tha  lobbj» 


Frladl 


lat  Raportar 


Miaah 


Snd  R«port«r 
O.R.t  Xh«nl'«»  Mr.  Matth««. 

lat  R«port«r 
l(««ll  b«  th«r«l    Thanka  varj  auahi 

(Tha  PHüTOORAPattRl,   Uavlna. 
f€w  laat  ahota) 

Paart 


anap  a 


.il«-!*!!*''   'f  R^J'ORTIRS   and  PHOTOdiUPHERS 
noWf  Kr*  ^attneWf    •«• 


7-6 


JUiigl  . 

(Cmllir^g  to  Mloahf   •nd  poii^tlng  to  ai  b#nehJ 
Vm  «•Itlti*    for  you  over  d«r##  Mltail 

Mieah 
Oh!     Alright»   Uuigl# 

F«*rt 
(TO  ilcaht  ••  Lüiai  »It»  down  on  a  bonoh 
•nd  atftrt»  retdlfig  •  pmpmr)  ^,\^^ 

1  hopo  you  dldn't  »Ind  my  taklng  th#   Inltlativo   ttotre,   Mr.  Matthew 

You  aeo,   I  tah  — 

Ir«  Blmtei» 

(Advanoing  to  Mlc«h)  ,.      ^       ^  w* 

EX0U80  M^   gofitloüon,  htwBly  for  m  »Inuto.     Vm  6m\mt  roeshlng 
to  intorrupt»  y^undoratatid.     It'«  hawnly  dot  I'ai  •• 

Pomrt 
But  Just  ft  moMfit  110W9  Sir! 


m  lo«tlo 


Mr.  BimlMLUB 
»uh,   dot»«  «11  Vm  washlng  •  «  moÄOiit.      I'»  h«vlng  J«u»t 
Mtter  for  di«kiiw«lng,  «nd  I*n  mutt  gotting  back»  y*kn«w« 

Uifh 

(Looklng  bolplotsly»   in  tum»   »t  Bim* 

bau»  «nd  Paart) 
Wall»  ^^  *  ^*ai  «orry»  -  but  ttil«  gantlanan  - 

(Fointlng  to  laart) 
ha  aaama  to  thlnk  «  ha  oaaas  fir«t»  «nd  I  don*t  — 

Mr.  fiimb«u» 
fhih,   «Iright«««  A  leatla  Vm  mayba  Taltlng«..  Tlnklng  vld  fraah 
alr.   y^knaut  ia  dolng  alvaya  a  man  good« 

(kB  m.  BIHIlBAllf  walk«  up  and  dovn»   Inhal« 
Ing  draitlcally,  llka  an  ardant  ballaTor 
In  fraah  air) 

Paart 
(To  Mloah) 

And  now,  Mr.  Matthaw  •  Vm  Hr.   ?«art  — 

(Handa  MICA^  hia  oard) 

af  tha  Fmdmrml   Booklng  Corporation* 

Mieah 
Ox,   I  aaa...#  üb  •  thia  ia  Hiaa  Sohuatar,  kr.  Paart* 

Paart 
!•»  vary  gl«<i  to  naka  your  aaqualntanoa,  Mi«»  Sohuatar. 

Frladl 
Thank  jou,  Ar*  Paart. 


7-6 


In  hl»  •{Tort  to    i«» 

♦^nmfc  You  know  of  our  Company? 

^.        ^  nn      1      •  ir^y.   l«»f    I^^  "   ^^'^  -^^SH» 


Frecleely» 


Paart 


Mlcah 
thay  -  thay  book. 


Frladl 


Bock? 

i^<^     If  I  ma^  aay  so,    vr/J^ttbew,   we  rapreaant  many  of   tha 
Mgg.it  iam«  in  tba  bualnaca. 

Kicab 

m^  •  b\i£l^*35*^ 

"  ■  Paiir'  t 

Tft..t  la.   Profoaalon  -  thc  muelcl  profeslc^.   of  cour.- 


Ch»   -  y«»»    °^  cour««. 


iH 


ioah 


Urlodlcally  tP  offstat^«  '*?**^4^*     . 
oufc  •  ci,4sr  «nd  sjoes  up  to   »Ailgi  lor  « 

mutcU.      LÜiai     •ooOTT:«nod«te«  M«; 


»(stchln?  It, 


Pcurt 
tt.     «»ttbe».   we'v«  '■^••ri  *iktchlng  your  c«re«r. 
in'fsct»  •itJ'  conaidtrabl«  lnt«r«»t. 

Vieah 

(3u«ploiou8,  but  not  dl»plo»«U  ^         ».«rt:    . 

n-  hm...  ^'ill.   »^^••*'*  -   '»*•*'•  ^*'y  "^*'*  °'  'r^f     : 
Of  oourU,    it  r«»Xi/   h.sn«  t  bten  much   to   «pesk  of  — 

ir'rleäl 
yio«h'«  J"**  *°*  modest,   ap.   F^ert. 

„      ,.  .ould  •«•«.     ««n.   »"wy,   -  «hst  1  •••  »toout  fo  «»y. 
ij,  Mattho*»     ^ou  »•«,   oe.entlslly,   re're  «xplorer«. 


?•? 


Mieuli 


Friedl 


Orceiou«^   that  toof 
What  Is  it»   pUas^T 

(fo  Ptart) 
Aratlo»  *^r#  Pwrtt 


fmmrt 


Oh  •• 

(Bo  Uugh«) 

Oh  no...  Artlftll* 


Oh»  •  I  so« 


lilesh 


fJJt^ft.!,.  Sr,  M.tth«,  w.  a.«.  t  b^P  .3*ryon.  -.^d  11k.  to. 


JNart 

enUr—  in  ths  oholo#  of  artlitt  w#  undartaka  to  •trw.     Obvlous- 
Ijt  w#  hav  to  bo* 

Mioah 
Oh.  wollt  thatU  alrlghtt  Mr.  Paart*     l>©n*t  apologlao,  J2lJ£»a* 
1  undarttand.     It  waa  vary^   ^^nr  «!••  «'  T^^  ^^  ««■•  ^^•^  ai^yway* 

Fr iodl 

But  Iloah,  •  I  thlnk  «ayba  you  donH  vtidoratand* 

Paart 
Vm  afrald  ao«.«  Yoti  aaa,  Ur.  Uatthaw,   •  aftar  followlng  your 
emvw,  aa  Vv  taid,  through  tha  pra«i  and  all»   -  wa  flnally 
haftrd  a  maabar  of  your  broadaaata»     And  fra-nkly,  ao  wara  Im- 
praaaad»     Vary  »ueh  luprasiad.     So  «uah  ao.    In  fact,   that  •• 
ttil»,  of  couraa,   la  eonfldantlal  —  wa  put   tha  aubatantlal 
walght  of  our  uh  -  parauaalvanasa  bahind   your  applleatlon  for 
pardon • 


Oh  «  you  didt 


Aon  jol 


Mlaah 


Frladl 


Paart 


Xaa,   and  1  think  itU  no  a»ggaration  to  aay  th»t  tha  Fadaral« 
prlnarily  raiponalbla  for  your  fraado». 


So  lt«i  your 


Mlaah 
bunch  thttU  to  blamal 


Isi 


7*8 


Pssrt 
(1^1  th  •  half*laugh) 
«•llp  blMia^a  •  rathar  uh  •  eolorful  «ord  for  It» 

XfAllgl 

(thiabU  to  aupprasa  hlt  ourloaity  anj 
longar»  goea  ovar  to  vhara  Mioah»  Paart 
and  Fr lad 1  ara  oonvaraing  and  aaka  Mieah 
privataly) 
Anytlng  wrang,  Mlliat 

Mlaah 

Vh  •  not  yatf   imlgl« 

(UJIUI  goaa  back  to  hls  raadlng  at  a 

point  aonavhat  naar  Mioah) 

Paart 
Vow  aa  a  raault  of  our  vaat  axparianaa,  Vr«  ifattha«,  nobody 
knowa  yoti  artlata  •  aa  wa  do»    Maw  ta»para«aT^tal  you  arat 
Boa  unworldlyt     And  how  graatly  In  naad  of  prowotion  and  pro- 
taationl     And  aapaclally  In  tba  oaaa  of  ona  llka  jouraalf  irtio'a 
juat  asarging  fro«  a  ahaltarad  Ufa»     So  Vr%  aoM  hara»  Ur. 
»atthawp    tob  ring  you  good  nawa*     I  a«lla  whan  I  tblnlc  of  tba 
tbouaanda  wbo*ll  anry  you  tbla  M0nantU#«  Kr«  Kattbaw,    tha  Fad« 
aral  will  taka  yoti  undar  Ita  wlng  -  on  an  axolualTa  aganay  aon* 

traot» 

(UriQl,  haTlng  baan  liataning,  ia  ao 

bot  wltb  axeltasMnt,  that  ha  now  fana 

hlaiaalf  wlth  hla  nawapapar«#  tfICAH  ia 

duabfoundad  and  not  wit^^out  aoaia  aua- 

pioion#  FKAHT  drawa  a  doo^mant  out  of 

hia  poabat»  and  aa  ha  handa  it  to  Miaab) 

Hara  ia  tba  euctaaiary  fora«««  b  üb  «  tha  llna  narkad  X»  at  tha 

botton  tbara,  ia  tha  ona  for  your  aignatvura,  Ur.   tfattbaw« 

(MICAH  takaa  tha  dooumant;  giraa  it  a  aonan- 

tary»  worriad  glanaai  looka  inquiringly  at 

?riadl  and  than,  in  a  parplaxad  tona,  apaaka 

to  Paart) 


Miaab 

I3ut  I  •  I  don*t  undftratandy  Hr.  Paart«  Qraoiouat  thar 
a  lot  of  f  ina  «uaioiana  -  ob,  amah  batt«r  than  JL  an  •• 
your  halp  too«     ^'hy  uh  •  why  do  jrou  Juat  piok  out  mj? 

(liUiai  ragiatera  axatparatlon) 


r%   ara  auah 
that  naad 


Friadl 

Wxib  •  but  that  ian*t  your  worry,  Uioab« 


It*a  that  ttodaaty 
diatinctiva  about 


Paart 

again«     Ttia  faet  ia 
you,   Ur.  Mattbaw« 


*  thara*a  aosiathlng  2££Z 


(dnoonvinaad) 


Miaab 


ÜWi  htt  ••« 


7-9 


irlth  Wt 


Ult^mh       (ContM) 
(UMfinhllAt   HR.   ÖIRHäA  II  b#nd»  down.    In   th« 
co\irJ»6  of  hl»  walk,   to  small  •  «ääII  flower 
iTi  th#  gardiini  piek«  Itf   tri««  It  In  hl» 
hutton*hoU|  hut  rindlng  It  too  »sali  Xor 
hl»  t»»t#t  »taalthllj  throw»  It  away  a-^d 
oontlnuea  hla  prowenada.«»  MIC AH  ra aumaa 
readlng  tha  a^raamant.     Aftar  a  «omant) 
»allf   hut  üb  •  what  •  wbat  doaa  yotir  aon^anr  •  plan  to  do 

Paart 
Ohf  hava  no  worry  <m  that  aaara,   ^r.  Mattbaw* 

Miaah 

«all»   I  •  1  o«ly  »Mian  •  what  would  I  ba  dolngt 

Paart 
imy*  dlraatlng^  of  aouraat     «ra«  11  dlaouaa  all  that  latar.     Tha 
mVin  tEI^änow  la  to  aa»ant  tha  ralationahip  •  ao  you^ra  adaquata 
ly  protacta^rr* 

Hlaah 

(Eaading  furtbar) 
üb  ••  Juat  a  mlfiiita»  Mr«  Paart. 

(MH*  BIKTJftAüll  r©turr>a  froiB  offttaga  h. 
admlrlng  a  larga  rad  f lowar  ha  ha«  pickad 
aad  ia  now  waaring  In  hla  button-holai 

Pi*l.ttdl 
I»n«t  It  ««yb«  b«tt«r,  Mlofth,  if  yeu  tirat   read  It  «11  c«r«fully 
•t  bom«? 

4 

Micab 
(Still  raadlng,  now  pointa  to  a  aartain 

alauaa) 
Üb  -  thia  part  hara»  J^r.  Paart  ~  forty  paroant  comwlaalon  to 

tba  C  oaipany— t 

Paart 
Yaa,   tbat^a  Juat  tha  uavial  alauaa  — 

Vlaab 
(viltb  a  aurpriaing  tona  of  irony) 
«allf   but  •  li  that  raally  qulta  fair  —  to  tha  C o«pany t     1 
Man  •  aftar  all,   Vd  only  do  —tha  dlraating. 

Paart 
(Altb  a  foread  laugb) 
I  aaa  you^ra  quita  a  wlt  too,  Ur»  Mattbaw« 


Mloab 
(Aftar  raadlng  a  faw  «ora  worda) 
tNll,  anyway  —  1*11  go  ovar  thia  thoroughly  tontet. 
In  tba  mornlng  •  1»11  lot  you  Imow. 


And  than. 


7*10 


Ymti  -  1   think  IV B  »aybt  bitter  «o,  Mlcabt 

Vm  Borry,   Mr.   JiSafethew.     But  If  w#«r«  to  rtprettnt  you,  w#  «UÄt 
be   s«tlafl#d  you«r#  fully  prot««ted  «t  cmo«#     ßo  It'«  «Ither  now- 
or  not  at  «II« 

(LüXdl  •Mit#dly  ntidge«  Üiofth  «vid  vith 
gaatitr««  urget  hl»  to  sign) 

MlMh 
I  IIb  —  1  won't  b#  ruahod,   ^r.  Poart*     All  I  wtnt  •  l»  Juat  a 
enanoa  to  •• 

Paai*t 
Thla  la  tha  chanqa  of  a  llfatl«al   Ai^d  tha  aontract  —.liy,   lt*a 
jparfactly  alaipla  and  fairt 

Mloah 
.vall,   yaa  •  It  aaama   to  km.     but  thatU  •-  thatU  what»a  bothar- 
Ing  mm  ao« 


iotharlng  youf 


Paart 


Mlaah 


Yaa,    1-1  Juat  aan*t  qulta  aaa  •  what^a  •  what^a  wpong  wlth   it* 

Paart 
You^ra  a  yrmrj  auaploloua  natura,   Uv  Mattbaw. 

Friadl 
null  «ha  wlahea  only  to  ba  oautloua  a  littla« 


Peart 
(hlaaa»   bluff ing) 
Lat*a  forgat  tha  ahola  «attar» 

Lulgi 
Santa  Maria  Jaaaa  Chrlatt t 


1  oanaaa  you  don*t  aant  a  Qi^r^mr 


Mio  ah 
Ohi  no,   I  ••   t     Why,   of  aouraa  1  do\.... 

—         (IIK«   BIRWöAüM  ahova  aigna  of  Impatianoa. 
Ha  hiooougha,   and  than  patting  hia  dia-» 
phgraM,   »aya   to  Luigi) 


Too  mueh  freah  air 
vaitingl 


Hr«  Birnbaufli 
tainH  ao  good  •m&mr,   y^knaw« 


Vftitingf 


7-11 


eh«no«a* 


Mioab  . 

(To  FrUdl,  «fter  •  tboughtful  p«»"«) 
1  goodn«.««   »•••  «»y».  PrU<»l,  7on   h«v«  to  t«k« 
And  th«  i»«y  thlng»  »r«  «ow  --- 
(PfcARf  off er»  Mle«h  •  fount«ln-pon, 
whloh  ho  toko».  And  •■  8»  »l««»  t^e 
eontroet  ond  honrt»  It  ond  the  pon  to 

Aft«p  »11,  I  took  ehonoo»  too  —  whon  I  co»o  hor«.  «r^a  iS 

Poapt  ^   . 

(Rooolvlng  oontract  «nd  pon  wlth  o  brooa 

anllo) 
loU,  thot'o  flno,  Mr.  Motthow.     ^,.-,% 

(iJilol  tttter»  •  "wbo«*  of  polior; 
Oh  -  .nd  by  th.  wJ"  .  who«  you  .oo  thoso  roport.r.  tonlght.  why. 

"*   "'  (At   thl»   polnt,    MH.   SIBKBAOM   OOM«  up 

to  Mlcah  ond  Po«Pt) 

Hr.  Blmbotai  ,,       _. 

^  --- .     ^..«•-(•••«it     But  It'o  olroody  troo  ■lloo  i'" 

TOlVlng  no»  —and  1'«  «oust  gottin«  book,   y  «now 


Poort 
Oh.   1'*  vory  «orry  wo'vo  doloyod  you. 
froo  now.     I'll  »olt,  Kr.  «ottho«. 


Bat  Mr.  Motthew's  quito 


(Ithllo  MH.   BlRHBAtm  tolko   tO  Mlooh,   PK  ART 

rongo  tho  eontont«  of  hl»  »»rief  bog.  i«ülOl 
•ppreoohoa  hl«  «nd  aeftly  •■*•  quostlono  to 
«hleh  PEART  ropllas) 


Kuh,  Äp.  isot-you 
lou  «ro  knowlng 


Mr.  Blmboi» 
-  !•■  Mr.  Slmbowi  -  hood  fro«  M«oio  "»rt. 
,   1  guooa»   vld  roputotlon,  huh? 

Miooh 


Oh,  woll  yoa,  Mr.  Blmboi»  -  !'▼«  ofton  hoard  of  tho  flro  thlnga 
you'vo  dono  for  poop  young  mttalclana. 

Mr.  Blmbaua 
(Wlth  alneoro  warath) 
Htih.   «ood...  I'mhawnly  vooahlng  to  t  oll  you,   Ifr.  Mat-you  —  dot 

And  all  voooh  you  »ro  noadlng,  y'UBdoraUnd,   fro«  «male,  icope», 
and  auoh  tinga  —  you  aheU  havo  by  ua «o  ooat. 

Mlooh 
(teaaod  ond  touohod) 
Oh,  but  —   <   *oll,   thank  you  vory  auch,   Mr.  Blmbau».     Of  courao, 
1-1  don't  aao  how  I  could  — 


7-12 


Mr»  Blmbaua 
Y«r,  T«h  —  t«ln»t  ««yb»  «o  u»u«I,  Yxvtol     But  for  •  young  wtl»t 
vid  ld9«ls»  y»i«id«p stand,  Kr.  Blrnbau»  1»  havlng  f««llng. 

Mieab 
My  goodn«»»,  th«t»8  -  th«t'»  c«rt«lnly  itlnd.     lan't  It,  Prl«dl1 

Fr 1*41 
Y«h  -  It'i  very  fln«,  Mlc«h. 

Mr»  BirnbaiM 
Wifli  -  you  •••,  my  frl«Tid,   vld  i-«  Is  rcuslc  not  hairnlj  b«esneB«. 
E«B  «T  b««K  h»ppln«*"  b«lplng  «iu«lcl«n«  —  «nd  Tsklng  «usle. 
Evlnlng»,  you  kno«,   I'«  pUylfg  vld  frUnd.  1i»ort«tt«. 


Oh  - 


Kieah 
you  dof     «y,  that»»  fln«!    Do  you  ewr  do  th«  Ut«  B»«thoTon»T 


Mr*  Birnbaua 
Y«h     «h  -  »wo!     But  fro»  ■•  vo'p«  damit  «poaklng  now.     Mr.  Mot- 
9^   UV,  „7-i;..h  dot  .oon-yo«  .h.n  h.vo  by  Mui.lo  »•*;*  "  !  "l** 
SlnK-o«t  p«rty,  »Id  lot»  «Mlo-lovar«  «tid  punoh,   y'undor.Wnd, 
;3%2ybo  Oven  Undwlobo.-.     So  to-«orrow  voo.ro  runnlng  In  .11 
Soor.  0  nloo  Uotlo  invltotlon  for  publle:   ""?•»»  »•t-J«"»     ,^^,.^a 
h««nlt.rlo«  «tt-lcUn  -  welooi.0  autt     Doo  public  1.  oordl.l  Invltod 


Ohf   but  ~ 


Vloah 
why,   I  40Ti't  ä#»*^rve  any  of  thfttt     ^hj,   ^ 


nah  p  nah  —  ?!•••••   »r.  Mat-jou,  d«iiit  balng  axtrav'gant  ¥ld 
modaaty.   ^••th  jßu  dld  — la   Important. 

Frladl 
Xan,  Mlcah^   -  Mr*  Blmbaua  la  rigjit* 

ür»  Blmbaxiai 
Oh  •  and  alao  In  dies  Invltttlon  ahould  «ayba  ba,   If  you'ra 
daunt  »Ind  -  a  laatla  atatamant*  ^ 

(Kaadin^;  fro»  a  papar  whlch  ha  haa  takan 

out  of  hla  coat  pockat) 
•Fro»  Saaa  to  baton,  Muclc  Mart  haa  "^^^^  «][t^y  ^^•f ; 
alwaya  wlth  tha  baat.     ^Itiat'a  why  1  favor  Mualc  Hart. 
Hloah  ^attiew» 

(Handing  Mloah  tha  papar) 

•••••If  yo^  plaa»a. 

(MICAH  takaa  tha  papar  raluotantly.  na  la 
ahockad  and  dlaappointado  And  tha  ^o<^|J^^,^^^^ 
ha  givaa  Hr.   BlrnbauÄ  ahowa  lt.  ÜB.  öIK^öAüll 

I        rathar  hurt,  apaaka  wlth  aobar  prida) 


And 
?!gnadj 


7-13 


Mr*  Blrnbaua     (ContM) 
Y»kn«w.  «y  frl«nd,   — v«»oh  you  «r«  s«yli^g»    vldout  vold«  --n»h, 
r,«h  -  t«in*t  »o.     You  •!•«  havlTiÄ  d«e   oplnlon  -  «*'*  *}^,J!?"*.   , 
tMesne«!  ■choa».      but  dis»,    y'untUistsnd,    !•  ■   »up'flcl«!  vlow. 


•  • 


It««  «lÄrly  you'r«  daunt  kn«»ltiÄ  »r.   dimb«u«.     pot«  •  »H.. 
Vy  !•«  doln^  for  you  -   Is  h.wnly   I'".£««""^  •^irij"»;^*^"  ""^ 

in  d.«  flbl«  -  you  icri-w  v.t  wy«   Ir.  d«a   ulbl.f      f "  -  ^«   «•"'* 
11 V«  by  bp««d  «lOTie.      Xmh  -  »nd  «Ho  not  by  hawnly  ••lllng 
p»dlo.  and  .»xophOT.««.     Vld  «•   !•  b«««n«««   Just  mesn»  for  e»id». 
Suaptlng  good.   y«und«r»t«nd»^  «u«t  do  •ly»y.   for  «u«lc.      rl»y- 
ine  kvoltStt.  -'nuh.   dof B  fin«.    -  but  privat«.     Lub.cplblng 
for  .y«phonj  and  opira  -  dla  U  for  «linonalraa  vid  box^a. 
Bvantual  -  avantqal  la  Mr,  Blrnbavna  dolng  aumptlng  blj5  and  2«- 
portant   vld  «uaio.       Vaaeto  -  Vm  daunt  Un«wlrg  yat.      vaa  a^. 
So  »eantlma   la  nie.  F^S^darstand,   dolng  hara  a   laatla.  flSI!« 
a  laatla»   for  halplng  voidy  young  artl8ta....aut  -  rl£b  I  ff.l^  t 
—  vld  fortmea  for  gaaving  «»ay  avay.      vann  I'»  helpinc,   la 
hawnly  —  troo  «y  beasnaaa.     5fou  »v  aliming  dlea  »tatoraant,   or 
not  «Ignlng  —  It'a  daa  aaaia.      Vaech  I'«  dclng  for  22H 
^ölng.      But  aaf  y©u  ar«   vaeahlng  a  laatla  to  halp  m»  ha 
;roo  «y  baetnaaa,   -  nuh»   dlaa  la  vary  nlea» 


-  I» 

Ip  you  - 


Hloah 
Oh,  but  I  dldn't  »aan  to  -  nb  —  1     "ol    It'a  Ju»t  that  —  Oh, 
I  hava   bought  a  faw  thlnge  now  and   tben  et  your  atore.        «t   T  - 
Ii'^nT'naver  gottan  anythlng  »uah  thara,   icr,   Blmbai».     So  how  can 
1  al£.n  auch  a  —  if 

Kr*  Blrnbaua 
YOU» 11  &ct....  And  vaaoh  you' 11  gat  -  nuh  -   la   llka  my  laayer 
aava  -  TTetroactlv«... .    Vat'a  aftar  aln't  arber,..   It'a   befora. 


•  •  • 


Cot*«  l^gml« 


Miofth 


Yest  but  ••  hon^fltl 


IV  a  mora« 
undaratandt 


Ur.  öl  rt) bäum 
It'a  llka  Art«      Ualrtg  a   laatla  daa   lm«,:li^atlo?>,   y» 


Micah 

Oh.    I   knont      But   atlll  It'a  ~  wall  — 

**~"(At  thla  polfit,  UH.  SCOTi  ruahaa  in  fro« 
tha  laftt  •  a^oltad,  braathlaaa  and  mip^ 
Ing  tha  parapiratlon  off  hia  faca) 

fcott 
Rallo^   Mika!     Congrat  ilatlona,  mj  daar  fallowl 

(Ha  ahakc 8  Mloah*a  hand  haartlly) 
It'a  Eraat  nawa»    Vm  vary,  varj  happy  for  youl 


7^14 


Mieah 
Obt  w#ll  thmnk  you  rmrj  «wh,  Mr»  Scott* 

(LUIGI  l«  äU  «ars.     »•  BtmrtB  M^dlng  bl« 
puper  «U  over  mgmin,   ttanding  tt  •  pl»o# 
wh#r«  H#  o«n  h#ftr  isloah^s  cot^versation  witn 
Scott) 


W%äi   « 


Vr«  Birnbau» 
( Interrupt Ing  Mlcah) 
pardon  wm^   ßloaaa,  Mr.  Mat-you! 


Y^kna«  Vm  — 


maah 
Oh  uh  •  Juat  «  »liitito,  ploaao,  Mr.  Blrnbau». 

(Aa  SCOTT  laada  MICAK   to  ona  alda,  MICAM 
drava  FRIEDL  aXong  wltb  hi«) 


ü» 


Mr#  dimbaun 
— patlanaa  Vm  bavl«g  -  111t«  In  daa  BitU. 


Scott 

(To  Mioah)  .  .  ^      t  ^ 

noodlaaa  to  aay,  Mika,  you'll  go  rlght  ahacd  wltb  our  PX-i»?^ 
broadaatta«  Onlj  »ow,  ay  daar  boy,  at  a  bandsoiaa  aalaryi  Qomm 
and  taka  lunch  witt  »a  tonorrov«  Tha  TJnlo^  Club  at  ona. 
fo«ll  talk  thlnga  OTor  and  — 


Mlcah 

(Bawl Idarad) 
Oh,  but  Mr.  Scott  ••  tha  ^^ardan 
any  longar.     And  ao  1  -- 


-  l>a   aald  I  -  I  canU  aork  bara 


Scott 
Yaa,   yaa,   I  knoa*     But  tha  «fardanU  »latakan,  Mika.      Vm  taklng 
tha  »attar  up  wlth  tha  prlaon  öoard.     And  If  naoasaary,   l^ll 
bava  a  Chat  wlth  tha  Oovarnor  too#     I^ii  atandlng  tha  axpania, 
you  aaa.     And  that  prlaon  ruia  •  wall/  thara'a  nothing  Irravo- 

cabla  about  thatl 

(FRIEDL  whlapara  In  MlcahU  aar) 

Mlaah 
Hall,  but  you  B^m,  Mr.  Scott,   I  •  uh  —  IUI  flr»t  hava  to  •• 

Scott 
(Whlla  MICAH  catchaa  Paart« a  aya  and 
«otlona  hin  tocoma  Ovar) 
«iMitU  troubllng  you,  MlkaT 

(PEAHT  pro«ptly  Joina  tha«.     LÜIQI   llatan« 
agltatadly,   tumlng  tha  pagna  of  hla  papar 
wlth  nolay  rapldlty.     MR.   ölhKBAüM  paoaa 
raatlaaaly) 

Mlcah 
»all  uh  —  Mr.  Scott,  thla  la  Mr.  Paart  of  tha  FadaralBooklng 
Corporation. 


T-15 


-m     ,   <«»■« 


P#art 


liom  do  fOM  dOp  lAr«  Scott* 


(To  «ioah) 
lf©u  m©«r»   to  «ayt   »Ikc- 


Soott 


•  ? 


Mlomh 

(TO  Potrt)  ^  ^  W-.     -■       ^ 

Mr.  Scott,   you  know»   1«  tbo  »ponior  of  th#  friaon  oroadoftstt« 

Foart 

Obt  yo«  •   I^vo  htftrd  •  gro«t  d#«l  »bout  Mr.  Scott. 

Kicth 

And  bc«»  jtt»t  boc«  tcllrlnf  to  m  cbout  going  on  wlth  «y  worV  hcro, 
for  c  üb  -  c  bandaoso  calary« 

Pccrt 
Idlt  «ny  propocltlon  thct  coficcmt  Mr.  Äattbew,   you  mcy  takc  up 
wltb  u«,   Kr,  Boott.     Mr.  Matthew  bei  glvon  u«  cnoxcluclvc  «utbor- 
Irctlon« 

Scott 
H«itB»n»...  So  thmtU  Itl   You  dldnU  lote  auob  tl«c,  l?r.Pocrt# 

Foart 
Juot  our  cuctOMiry  ▼igilanoo  in  tbo  aorTico  of  ort,  Mr.   Scott« 

Scott 
A  touohing  Slogan  1  You  sbeuld  print  It  on  your  lottcr^bocdc« 

m 

Poart 
Wo  do....1tov  fortunotoly  for  our  cliont,   Mr.  Scott,   wc  clrocdy 
bcvc  cnotbor  and  Tory  f lattaring  offer. 
.  iLÜIftl  nudgca  Micah) 


2  aott 
(Blufflng  too) 
I  aaa...  «'Oll  tban,   I  taka  it  tbaraU 


no  uaa  talklng  any  furthar. 


X*ai  «  afraid  not. 


ialX,  but  üb  • 


faart 


M!cah 


Scott 
(Still  bluff lT>St   "  he   Start»   to  laavo) 
My  bast  viabca  for  your  aucoaaa,  Mika. 

Paart 
(To  Saott) 
Of  couraa,   frank ly,  Mr.  Scott,   eonaldarlng  your  aarloua  Intar^at 


▼•16 


pMrt  (CoTitM) 
In  oup  olitnty  I  tm%l   no  r#luetano#  to  h#>rina  your  ott^r. 


You^rm   too  g«n«rous» 


Scott 


Peart 
Cf!  oii#  b#f  Vyf   oft««  vondorod« 

soott 
(viith  m   smllo  of  eynloal  «••urftnoo) 
You  havoii*t  «ny  othor  offor# 

fmmrt 
Quito  oloirToyontf  Mr»  Soott« 

Soott 
What*«  your  lovost  figuro»  Poort? 


Poort 


Two  thouoond  o  wook« 


(LÜIOI  io  oo  oppallod,  ho  toaro  tho 
popor  in  tvo.  ttICAH  ond  FHIEDL  look 
«t  ooch  othor  in  uttor  anoBowont) 

Soott 

(lith  forood  ooIa) 
ThotU  »oro  thon  fontootio.««  It*«  finrny« 

(To  Miooh) 
Thoso  Tigilont  oorirmnto  of  ort  proourod  your  pordon,  MikOt    in 
tho  hopo  of  oolling  your  oorviooi  to  «o  ot  largo  profit  to 
thoBf  oliroa« 

Micah 
Ob.*««Oht   I  aoo«»«  That  »-that  forty  poroont  oosailsaiont 


Prooiaolyl 


Soott 


Poart 

(To  Mioah»  polnting  at  Soott) 
And  that  gontloman,  Mr.  Matthow»  «ould  havo  gladly  kopt  you  in 
priaon  forovor«  to  uao  you  for  tho  good  of  hia  buainasa« 


Mioah 

'  HnsTsBiniH  •  •  •  • 

(10  Priodl) 
You  kno«t  Friodlt  -  that*a  «•  that*o  vhat  Justin  noant* 
uh  good«will  publioity  •  for  oannod  fruit« 

(To  Soott 9  in  a  ahaslng  tono) 
Oht  Mr«  Soott««««« 


üh  - 


7*17 


Soott 
(Xo  FMrt  «nd  lilcfth) 
You*r«  not  «v^fi  Insultlng«.»«  lou^r«  ta«t«l(ias« 
tbAßk«  •<*»for  •  «oolftl  «•1160« 


Thlt   It  »7 


V!ieah 
Qh  ••   !•  thut  whet  th«y  call  It  nowt 

aeott 
(i'o  Paart) 
^ok  Uara»    l'aart!     Lat*a  not  aaata  tiiaat 


I  dldn^t* 


P<j#rt 


Scott 

Vve  alj^eady  lr»ves  -  lih  donatod  thousan(?fi   to  thls  cetsaa 

Paart 

And  wa'd  llka  to  halp  you  «ave  tham.  -- 


For  tmo  thoua^nd  a  vaaki 


Scott 


■ut  oiar  othar  offar'»*» 


eart 


I  1 


Soott 

Cut  tha  bluff!   Don^t  you  raaliz 
waak  for  Union  atand-by*aT 


a  it  coats  mo  hundrada  avary 


Paart 
Bfeit  yoor  whola  Invaatmant  dapancta  on  our  ellanti 

(PbART  ät  5/COXt  now  bagln  walklng  toward 
tha  part  of  tha  yard  »t  offiPta^ra  ritrpt^ 
to  puraua  thalr  daal   in  prlvata«  They 
aoom  antirely  obllvlou«  of  Mioah) 

r>eott 
And  ha  aaaa  avarythlng  to^^oa!     üaaldaa,    tha  iF»omant  be   laav-ia  hara. 
hla   valiia  1«  out  i-  half.     And  tha  whola  app«f,l  of  tha  broadcaata 
aa  walll 


Thon  why  all  thia  talkf 


Paart 


Soott 
(Aa  ha  and  PkART  axaunt  at   rlght) 
Wow  Itatan^   Paart*««! 

(Thay  aan  no  lonarer  he  baard«   MTCAH   ia 
ahoakad  and  outra./ov) 


7-18 


Klcah 
(To  rrledl) 
You  know,    FrUdlt   -  those   two  f^llow» 
think  elth^r  of  them««  «ny  good! 


•  whyt   goodnes»,    i  don't 


Pr ladl 
Iah  -  l'm  «frald  ycii'r«  rrriyb«  right,  lfilc«h« 

Micah 
•hyt   they  dor*t  glve   ft  ciarn  ebout  tt^uäIo  -   or  tro   public  •  or 
tht  boyß  In  h#r#  •  or  m#'      All  thöy  o«r«  »bout  Is  —  yklng 
iBOT^ayt      I   Just  hftte   to  hav«  ©T^ythln^ä  to  do  wlth  elther  of   thuin! 

Frladl 
Kuh  -  nhfitever  you  f©al  lu   ri^^bt,    ^  Icah,    -   this  you  «ufft  do! 

Micah 
la«,    but  — •    t      Orfcolou»,   %ie  hcve   to  wike  i^    llvlpgt      And  b#s?dti, 
yow'r«  not  v#ll  now^   Frlödl.     itou  ntcd  thln^e  «nd  — 

jprltdl 
Mle«h  ^.^^T,   —  whf*t's  raally  ji^cod  for  yoxi  •  also  mmke»  m«  wallt 
Vah  •  evan  If   It  meana  hardahlps,    Mlcah.     And  «nywfiy,    aomathing 
you*  11  &et   to  do  now.     Look  nt  all   VciIm   rocaptlon  tvere,    «nd 
tJaa— I 

(Approaohlng  Mlcah) 
Say,    llitan,  i^lka  — 


Wlcah 

(daadloßs   of   Lul^l) 
■o^   no  --  you^ra  too  optlmlstlc^ 
oan  rlfik  it« 


Friadl.      I  don't  aea  bow  wa 


(LUIOl,    aaaing  ha   ia  not  wantad, »  alka 
avay  again) 


Krladl 


(l^oughtfuily) 
Of  couraat  •  frankly,  Mlcah,  I  don <  t  feal  Juat  tha  aama  aa  xon 

do» 


K^ioah 


About  whet,   Friadl? 


Friadl 
^uh  —  Mr.  Scott  BnA  Wr#   Paart.     Howavar  thaj  ara  wlth  thalr 
bualnasa  tricks,   what  you  do   ia  flna  and  honarit  and  rlght.   You 
thay  oan't  apoil,  1^5 i oa hPH^ali  -  thay  should  U^  o«ca!    A.nd  that 
thay  »aka  monay  froir.  what  you  do,   n  »h.    In  thla   oraey  world,    it 
oan^t  ba  heload« 


7-19 


Mleah 
«hy,  Frltdl,  •  1  -  1  eaii't  belUv«  It'«  you  t^lklng  thl«  wmjt 

Frltdl 
ßttt  why  not,  Kieaht     R»ftllyf     You  too  daseryn  to  m»ka  0om«thing 
nom.     SolSmnj  year«  you'v«  »uff#r«d  •  and  hmd  nothingt      Ähy 
»hould  you  hold  baekT 


Xiefth 
»•11,   but  1  —   t     Ihy,    It««  uh  —    «   Oh  woll, 
th#  rcason»  rlght  off^    I  know*   fh«t«a  •!!• 


I   can't  thlnk  of 


FrUdl 
And  th#nt   •!»•  -  eon«ld#r  th#  good  you  could  do  with  thi»  monayt 
Ho«  »any  othors  you  eould  holpt 

Mlosh 
Oht   goodnas«  ••!  don»t  know*     »aybo  you  Är#  rlght,  Frlodl*     Maybo 
you  &££••••   But  thon  —  to  oo»o  b«ck  now,   lik«  m  bi^  shot,   and 
»alio  vonoy  out  of  tho  poor  foXlows  still  horo,   —  no,   r\o,   I 
don*t  •#•  ho«  I  eould  do  itl 

Frlcdl 
üuh  -  Äood!      Äliat  yota»  o«n  naturo  doMtnds,   Kleah,   -  thii,   after 
all,    iaTInal# ••••••  Of  oo\iraa,   l  don^t  «aa  «hy  tha  iwan  hara 

«ouldn*t  feal  happy  in  halplng  you  to  maka  monay  no«  —  aftar 
ho«  much  youWa  dona  for  than«      And   l«n't  It  batt€»r  that  you 
ahould  laad  tha»  for  «wnay  ~than  not  laad  tha«  at  all.  But— 

(Sha  ahmga  har  ahouldara  oharmlngly) 


yiaah 
(Cynloally  raalgnad) 
11  —  «Iright,   alrlght.     A 


yiaah 
lally  raalgnad) 
Oh,  «all  —  alrlght,   alrlght.     All  thla  ^alk,   and  thara  lan* 
avan  an  offer.     And  thara  probably  «on*t  ba  anj  althart 

(^ith  aont  ampt) 
Huh  •  Scott!      Paart I 

Fr lad 1 
Huh,  lilcah  -  ara  thay  «orca  than  aowa  of  your  play^ra  hmrmt 

Miaah 

Of  eouraa!   That'»  ho«  thay'va  kapt  outl««.«« 


(MXCAH*S  thought  no«  rlsoa  to  intanaa 
Indignation.. •  üi^.  ßIRFBAJM  haa  baan 
ocav)ying  hiaaalf  in  Tarioua  «ay«,  pay 
ing  no  attention  to  tha  diaeuaaiona  of 
tha  othara.   But  ha  hea  baan  anxioualy 
«aiting  for  an  opaning  in  «hich  to  f in- 
ish  hia  bualnaaa  «ith  Klean.  Tha  axit  of 
Soott  and  Paart  i«  bis  oua.  And  no«,  aa 
Micah'a  bittarnasa  riaea  to  an  apoatropha, 
MB.  BIKiriiAim  approachaa  him) 

Oh,  da»n  itl   *hy  amat  avarythlng  ba  so  maan  and  aalf iaht 


7-20 


lür*  dlrtibautt 
(Cftutiautly) 
Exou»#  M»    pl#fta#,   Mr.  M#t-ycm.      Bnt  you 


•  yo\i  ar#  »Ignlng  dUm 


Mi  oah 
<flo  lnt«p»ely  pr#oocupiad  th«t   he  !• 
Iieedlets  of  Mr.  Blrnbau»*»  words  und 
unconaolously  tnoludes  bl«  In  hlt 
audiene«) 
lyiiy  mu«t  everyona  thlnk  of  nothing  hu^  ^ilng  •  pereoni 

Mr.  ßlrnbAUÄ 

(H«th«r  hurt) 
»uh,   but  p !»»•»>   Mr.  Met-you  -  I^m  vtething  hfiwnly  to  •• 

Vioah 

(iith  growlng  int#ntity.   and  »tili  ob- 

livious  of  Mr.   Blmbau») 
All  I'v«  ewr  wantod  !■  Ju«t  tha  ainpla  chtnoa  to  htlp  other  «an 
nake  muaic  togothar»     And  alwaya,   »Iwaya   lt*a  tha  —    ü 


tfr*   Bim  bau» 
(With  aharply  avalranad  intaraat) 
Üh  •  Ur.   Mat-jrou,   -  a-xcusa  Wp   plansa   ~  but  v^aeh 
of  m%n  you  ara  vaa ahing  to  halp? 


*  raaeh  kind 


*  Mioah 

(iQtanaaly) 
^hat  diffaranaa  doaa  that  »aka? 
apaelal  klndt 


tthy  auat  It  alwaya  ba  aoma 


Mr«   Blmbatna 


But  1  maan   — 


Mloah 
ThatU  thr  whola  troublaU      It's   that  tarrlbla  curi»a  of  pr  fas* 

aionaliani  t 

Mr«  Bimbaua 
Oh  --  dann  —  dann  Taaeh  you  are  moaning  •  ia  amataurc?? 


Mleah 


•all»  ahy  notir? 


Mr.  Bimbau» 
Iwataur  orchastraa  ••  vid  groan-up  pipplal      üot'a  U?/   Huh??? 

Miaah 
(ßalllgarantl:;) 
WiatU  wrong  with  that?   Sura»    it'a  aaay  anough  for  you  —  play- 
ing  quartata  at  night!    But  hoa  about  thouaanda  of  plain^  hard« 
vorklng  paopla  «•  who  navcr  hava  a  chanca  to  play?     Virhy  cin*t  I 
halp  tha»? 


7-31 


ir«   Uirnbftu» 
(Xryin^  hard   to  ©ontrol  hl»  rlaing  ex- 

elt^munt) 
?fuh  ületa«,   Mr«  ^»t-you  •  Itt'a  h»WT*ly  k«©p  d#©  h0»d,    y»kn«w, 
«   le«tli   cooll      Yat  you  «re   ^eyl^,^  Is   ~   to  do  foi    mfiny  h  .ndradt 
outaida  -   dfio  BÄqaö   vsaci:   yo\i  <1id   for  hßwnly  fo«fty   In  prlaon,  no? 


It  won't 


tr«   v6«sh- 


(If^dlgnantly  wtoeklr^g  hla   Im»  flTt«     opfonewt) 
Ift   tb«t  so  rr.ueh^to  ftßk?      Oh^    I  know-    It  can't  b©   d ortet 

kn6   «uch  orcheetrfeß,  )^r*   Vet-you  •  «uch  crcheatrn»  y^n 
Ing  polesonal   to  organi/a  and  lead?/t 

i^loah 
Why  not?/?     ridn't   i   do   it  in  th«  ptn/r^ 

l!r#   Birnbaum 

(Perilously   0I00«    to  oxploaion   cf    iallrht) 
luii   look  haro,   »y  frlömli   •   I^m  havln^,    y*  v:nrw,    0    lf?fttla   blawd 
preaai^a.     So  plava«»    you^ra  daunt  fool.tng  ^if^  ma,   hüh^     You 
are   i^-.afenlni;  all  dli^a^      tou  ara  ay^ninii   it  a*jrio\knii 

Lulgi 
(«ho  ht^a  bean   Jiatanln^   svidly) 
Maan   it?//     üell,    at'ffe   «id  hlm  a  diacaaa 1 1  l 

Mr«   blrnbauB 

(Haarly  raaling  vlth   aeiltation) 
Just  a   minuta« • • • 

(iio  pauoe«  to  allow  hl»   vIäIoti   to  cryatal- 

lize,    and   then,   half   to  himealf) 
Foiat  a   1  €%!...•   d%nr,  ••    'oia'^e    •••   e^^entnal  ~  ir.ayba  hundrada! 


Fr la^l 


VhAtr»'      Hundrcds  of  n^an? 


Vr*   uirnoaim 
Ko»  no  ••  not  man   ••••••    orchectrt»! 

(HiXi:DL„    MIC  AB    and  LÜI^^I   look   Et  hlm 

In  utter  amnremert) 
And  day  ahould  uae  •  £ll  of  da»  —  dce  boat  Inetrumental 

moah 
Kow  cl«a  oan  thay  T^^aka  gjood  ?^ualc?     '^Jiat*«  alway»   t^a   troublat 
Feopla  thlnk  anythlng's  good  anough  for  amatanra! 

Mr.    3!mbaum 

Kiih  cheort 

(üüll  to  himsalf ) 
At  atart,      r.    Birnbaum  i»   landing  Instruaenta!      And  daa  «an'« 
faoturora  -  day  gaav  halp! 


7*28 


Micah 
for  tht  low  of  Itt 


fho  vdry  bcsti     And  juat 


Hr«   Blrnbai» 

Soltanly  for  low! 

(Again  thlnklng  aloud) 
At  foltt,    Vm  londlng  »y  boot^b.     Dbb  au»lc  publlsber«  •  doy  gtov 
bftoklng  too!.««*   Atid  maybOt   y*tofi«fr,   •«   In  each  orohettr*  1»  • 
few  profosaional«  «  for  p«ld  Motion  loadorol 

Mloab 
(Hli  fantmayt   aa  of  old,    graatly  •»- 
oltod  now) 
HLvütk'l     Sayt   you  know,   that'a  a  fina   Idaat 

Frladl 
(Iho  lan't  taking  thia   aa  fantaay) 
Yah,  and  that^a  halping  unamployad  muaiolana  too» 

Wt.  Bim  bau« 
Of  couraat      Daa  Union  —  day  alao  gaav  backingt 

lAligl 

Don*ta  forgat  Vm  playin*  homi 

Mr«  Blrnbaim 
And  avery  traa  »onthap  y'undaratand,  ia  baag  eompatltlon  of 
orohaatraa  on  radiot 

Miaah 
Obt  I  donU  agraa  tbarat  Ho^  that'a  too  oftan'»  Evary  alx  »onthal 

Mr.  Blmbaus 
Saax?  Haw  kay,  aaaxt  And  for  aaoh  oonpatltiont  Mr.  Blmbau» 
ia  gaaving  lawving  cup  for  prlaa» 

«loah 
And  how  about  havlng  choroaaa  too? 

Mr.  Birnbaum 
T?uh  aoitanly.  ohoruatal  And  banda  mayba  too,  -  and  kvortatta 
and  -  and  «-  t  Mr.  Mat-youl  Or  •  Vm   oalllng  you  raddar  Mika, 
huht  So  you  ara  calling  ma  Max.  IV  b   abaoluta  olaarl  A  graat 
plan!  A  vondarful  projaotlt   A  magnif iaant  ••  tt 

» 

Miaab 
( Suddan ly  oowing  to,    intarrupta) 
So  you'vf^  got  tha«  too^  hidi? 


Mr.  Bimbaun 


Vat  I  gott  Kikat 


Mioah 
ihat  S  •  uaad  to  havat  ••  draama 


7-25 


Ur.  Birnbaum 
mir«,  you'rt  itlU  dauf^t  ImÄwlng  Mr.   ö...#   Wemaat  »J  ^oy,    !• 
Jwt  «o  fOM  d«unt  g«t  bOMd  vld  rleaping.     For  M,   y«und«r»t«nd, 
li  hawTily  crentlv  >ctioyi» 

Mieah 
But  th«Tt  yo^  — •   you  »ean  ••  ? 

Mr«  Blrnbauii 
D«#  be#g  mild  mportant  tlT>.^,  whlch  I«»  vÄltlng  alr^dy  !••«••  ^^ 
do  vld  muilc  —  dot*s   itM      5»:r.   Blmbtua  Is   Uut^ching  det  whol# 

It^t  •  •poch-Mkirig  projeott      And  dea  In.plration,   y^undarstand, 
d^B  kty  flggor  and  daa  ganaral  dlractor  —  1»  Jfitjo???     JÜSÄS 


(Stunnad) 

tJh  —  that'a  — 

(!ilth  a  »tart) 

liliy,   that»a  —  ■». 


Kleah 


Fr  ladl 
(Clutehing  hla  hand) 


Mloah  daart 


Lulgl 


^•ota!      Santa  l^arial  1 1 

«Icah 
(rwallowiny  bard  In  hla  bewUdarnent) 
Hov  uh  -  how  an  I  feallng,   Frledlt     I  »aan  — 

Mr.   Blrnbau» 
(BecomlnT  calrly  serioua) 
r^re^s  hawnly  von  tlrgi   t^lke».«  You  saa,    —  nuh,   dynaalc  forca 
1  ÄOt*     And  a  nlca  baaineaa.     And  planty  gc-^d  connaotlona  and 
all  dae«.     Sut  iponay  ••  not  inuoh,   Mika.     Di^a   projeet,   y'undar- 
atand,   la  exparlnani.      It  »aana  taking  baag  chanoaat    Iota  hard 
▼olk  and,    foratartlng  anyvay,   —  haanly  amall  pay.     In  caaa  you 
ara  having  baagcr  offera  from  uädTBp   —  !•»  daunt  ▼aeablng  to 
mleload  you.    Mika.     Of  couraa,   Vm  faalln£  aoltaln  vaa  can  YOlk 
It  flra  tcgcthar,   y'undaratand,  and  dot  avarythlng  oould  ba  vary 

(Durlng  thara   last  worda,   SCOTT  and 
PEAhT  anter  at  rlght.     Thoyar«  both 
vaaring  plataad  amllaa) 

Paart 
wall,   lt«i  all  aa ttlad,  Vr.  Matthew! 

Scott 
l^a»  Mlkat  wa*?a  raachad  an  undarstandlng» 


7-24 


P#«rt 

And  ona  thiitU  qult«  fair  to  all  pÄrtlta   ccnMrwad* 

3c  Ott 
You«  11  resiim«  dlraotlon   of  th#  broadoast«,   Mlk©,    at  MOOrs  •«   I 

gat  tha  tooard'a  oonsantf   -  which,   fia   I^va   ßal(l,    ia  »   aiare  da- 
tail  — 


t  hundrad 


Paart 
And  X*va  e«^^*^  y<>^  •  ^•^'  aalary,   Mr.   Matthew,   -  of  al 

a  weekt 

(At  tha  aound  of  "alght  hundrad*,  un. 
BIHlJaAUM  qiutch«»  hla  ha&d  and   looko 
anxloualy  at  ISloah*     MIGAH   la   »tartlad 
by  thla  annouroamant  of  raart«   in  hla  ba- 
wlldarmantt  ha   Icolta  aueoaaalvaly  at  Mr. 
Blmbaump    Paart  and  Fr  lad!) 

Vieah 
»all,   iah   —  Wall,    I  uh  —   .     Viell,   tha  piain  fact   iü  uh  — 

Frlödl 
(Vary  qulatly) 
Mleah,  »ay  1  ap^^ak  to  yota  e  rooaant,    r^0BB%t 

(Sha  »otlona  hlm  to  fol.low  bar  to  ata^a 
right,   vfhera  thcy  may  apaak  alora.   Ra 
eompllaa,    but  or  hla  way,    atopa   long 
anoiJ|^  to  aay  to  th©  othßr  man  preaant) 

Ullcah 
üh  •  axouaa  ma,    Juat  a  noisant,   plaasa« 

(As  ¥.lCA'v   and  FKI!  Di*  talk  at  downEtr^c  rl^^btt 
PKAJRT  and  SCOTT  Chat   confldantlally  at  tap- 
ata^-a   laft.     Ard  MH.   BlKTOAUIi  »opa  hifl   brow 
at  aanter) 

Frladl 
Mloah,    I*m  ao  proud  of  your  dacl»lon. 

s:icah 
•  {Locka   et  her  in  amaisamont,   and  than) 

Ihatl      -liyt    l  — •   I  dldnH   büj  I  nuRda  a  daaiaiont 

(Suddanly  alarmad) 
I>id  I  aay  1  mrida  a  daclslon? 

Frledl 
NO,   »llcah....  Thla  daolalon  -  ian' t  ahat  you  aaj.      It'a  what 
fou  arat    It'a  >— you. 


-  it 


Mlcah 

(Waakly) 
Cto  -  I  aaa...  Uh  — i^rladl,  daar,  -  thla  hot  aun  out  hara 

•  It  haan't  baen  aco  »uch  for  you? 


7-a6 


WrimAl 

(3ttlllTlg) 

I  donH  tblnk  so You  «M»  Mlcah,    I  knuw  your  d^elilow  Ägalnet 

Soott  mnd  fmmrt  wmB  Mally  nm69  — •v«n  befort  »r.  Blpnb«t»  »polt#. 

Kloah 
Oht  ••  it  2S£t 

Yah  •—  knd  It  wü»  öO«pl«t#ly  right»   Mlomh. 

Mieah 
But  FrUdl,   you  w#r#  Just  «pgulng  •  •xaotly  tto«  oth«r  wty. 

Frl#dl 
BaoAUM  In  wm  thmrmwm§  «tili  uomm  doubt»     So  1  •  old  tho  be»t 
agointt  youT^o  got  -  your  »o»t  oonvlnolrig  roply« 

Mloob 


You  iNildt   **I  o«fi*t  thlnk  of 
and  that'a  bow  tha  truo  ap* 


And  what  -  what  waa  that» 

>rladl 
Sueb  daap  and  aiiiplo  «orda»  Mioab» 
tho  roa«ona#      I  Icnowi*   •••••  ^ah,    • 
tlat  worka.     TbatHi  •  that^a  jßu^ 

Miaah 
"*''  (öraatly  rallovod  and  hlghly  plaaaad) 

Yaa,    1  •  I  aoo.     Yaa>  of  eourao*«.  And  you  know,  Frlodl»   • 
bonoatly,   It  eoÄoa  to  mo  ao  oaaily  ••  not  balng  ablo  to  thlnk 

orTEoraaaana..f  Wothlng  to  It!    voll,   Vm  ooptalnly  ^l«« 

you  knaw  I»d  daaldod.     And  now  I»ll  ••   IUI  bring  thl«  thln^  to  i 

*^oad. 

(Ha  takaa  a  fav  atapa  toward  aeott  and 

Faart  and  than  oosea  to  a  atand-atlll* 

To  8oott  and  i'aart) 

aantla«ant>  1  -«h  •  I  won't  Xaad  tbo^a  broadaaata  —  at  all« 


iliatt 


HO«*a  thatt  ^r.  Matthowf 


Soott 


Faart 


(Uttara  a 
lAio  aaya  dara  aln't 


Mr«  Blmbaun 
algh  of  raUif  and  than) 
a  aodtt 


Soott 

Ihat  tha  davll  do  jou  maan»  Mikaf 

moah 

1  aay  — 

(10  Frladl) 
im  ••  la  anythlng  arong  wlth  «y  apaaah^  Frladlf 


7*86 


Seott 

•  grMt  build-up  and  •  -  Äiid  —  Why,  whatU  bappened,   ISlk#t 
WhatU  youir  raaaont 

Mlefth 
An  artlatt  Mr.  Soott  —  ha  daaan*t  thlnk  of  reaaona«  Ha  ]2222£^ 

Mr«  Bimbatm 
Ihih  aoltal'^ly  •-  ba  knawg. 

Mr.  Paart  .         ^       ,. 

You»ra  rlÄbt,  Mr.  Matthaw.     Xom  don't  tMnk  of  anarthln^s.   1  rallava 
you  of  tbat  burdan.     ItU  all  aattlad.     A»  your  agant,  I  cl«ad 
tha  daal.     And  raally  now,   X  «uat  oaution  yout  -  ßon't  ba  dlffl- 
cult,  plaasal 

Mioah 
Vm  not  dlfflault.     öut  !••  not  aaay  althar.     I»ll  bava  nothing 
to  do  vltb  aitbar  of  you. 


Mr.  aimbaus 
Exatiaa  m^  plaasa»  Mika.     You  and  daa  lady  ara 
baok  In  mj  aar  noat 


vaaablng  to  rida 


Paart 


R«MunaB&  ...  So  tbat*a  itt 

Miaah 
Ho,  thank  you,  Mr.  »Irn  —  uh  Max!     wa'ra  going  back  by  bua. 
Xt'a  laaa  eroadad,    you  aaa,   •  for  laolda. 

Mr.  Bimbaun 
«uh  •  haw  kayl     But  it*a  aattlad,  buh?     It*a  all  «attladT 


Oh,  auralyt  Wby,  jaa 


Mioah 
-  of  coursat 


Mr»  Bim  bau« 
Final  3o  you* 11  ba  at  «y  offica  tomorrow 

Mioah 
Ob  <•  üb  oouldn't  you  aaka  It  •  nlnat 


at   tan,   buh? 


Mr.Birnbaun 
KinaT     Thib  ahoart   Hinal    Haw  kayt   So  dann  •  good-bya!   Good-byall 

Mioah 
Oood-bya,  Maxi     Uh  •—  »•»• 

Friadl  and  Luigi 

Oood^bya  t     0  ood-bya I 

(Mh.  BIhVBAiJM  axita.      At  tha  aaaa  tima  a 
OUAKD  antara  at  laft  and  ruahaa  up  to  Micah) 


7  «87 


3uftrd 
othar  fivt  mlnute»*      I  thlnV  iV  s  uh  —   »om«  dalegfttion. 


yieftse  i»altt      Oh 
äiLntttee  in  herat 


Mioah 
wallt  eartalnlj! 


Huh  •  wbat^e  a  m^rm   fi^a 


(3UAKD  axitt) 


Scott 
(Contaaptuoauly,  to  Hlcah) 
liall,  of  all  tha  undarhandad,  ungrataful  and  oonta»ptlbla—l 

»^nat  do  you  axpact  of  a  -  a  orlmlnslt  ^r»  Soottt 

Paart 
(Gala  in  advarslty,  to  Scott) 
Don't  ba  alaraiad*  fho  agraa»anti  ara  axacuttd. 


Saott 


And  ao  li  »y  ^rantura  t 


Kiaati 
(To  Paart,   raferrlr^g  to  Scott) 
Fa  knowat     Stubborw^ana  mada  m  what  I  a«  to-day! 

Paart 
(To  Mioah,  raf erring  to  .Scott) 

1  warn  you  now!     Ha  oan  lua  on  hi«  oontracti 

Uloah 
Oh,    thatU  All  rlgtit*      Anyway,    1  didn«  t  sli^n  wlth  htm* 

Paart 

2  dld  ••  fw  youf 

vSaott 

(To  Paart,    Ironically) 
You  thlnk  tha  court  will  ordar  hl»  back  to  prlton  — to  laad 
an  orchastr«  for  mal 

Pefirt 
Wo.      It  will  trijoln  hlm  fro»  worklng  for  any^a  alsi«# 

Mleah 

(To  Fr ledl) 
HtnoBsi  -  and  whan  that  gata  In  tha  papors,   •  I  wondar  -  do  you 
suppoaa  th»t  wouia  be  uh  -  goodl-wlll  piiblSeltyt 


Scott 


Fraolaaly»  ^ikat 


7«2S 


P#«rt 


■r#  tcottt  •«  you  for  or  »»iftiT^ct  yourtelfY 


Scott 


F#Brt,   you'r«  »p  •»«»! 


You  Vnow,    -   t>iit*r  whi^t  I   thlnV   too» 

?cott 
Look  her«,   vlkel   I  Vnow  you're  «  flrtn  rren.      I  g.PP^S,,^.  to  yout 
Kot  forieyitlf  tt  eil  —  tut  o-^ly  for  thes«   rcor  bcys   t^er^^f 
Ctn  or.«  fto  soon  forgttY     Tfcink  hoi^  thty    -ork«^-  «-d  »l«v«^  for 
you'      /rd  r»cw,    just   to  -  ««tore  6    llttl«   punll^'t  to  thelr  llv 


vea*« 


Mlcah 
Don't  worry,   Vr,   ::oott.      I'll  lead  tbom  ur\ytlme   - 
pay*  • .  •  i'^t  thfct»  9  mj[^  af f  tlr. 


•  find  wlthout 


£eott 
1«  th«r#  rc  »ort  loyalty   In  thia  btse   ind  «ordld  woild?      I  t«ll 
you,    x»m   ioöini  my  f«lth   In  human  nature!      ifhoa  can  or.e  rely  on 
any  »ora?     ^Äho«  can  orte   trust  or  t\irn  to  —    <i'i 


jLuIj:! 


(Hho  hÄ3  b^ar»   liatanlng  axeltedly) 


rnet  1 


Scott 
thRt?*#..*  V^ho  In  hell  ara  you? 

A  ^ooda  muaiclan!   Aln'  I,  ^^Ike? 

liloah 
f,liy,  jja,    of  cot5r«a,    Uiiglt      Butt   goodneei.    •  yon  wonldnH—??? 

Lulgl 
(TO  Scott) 
U  damned-a  ?^-good  mutlcian! 

Fcott 
Tha«  go  out  and  p}   yt      Uon't  botlier  «a! 

Doigi 
jMt  Vm  Jcocta  r«n  for-a  ytntr  .lob.   Vr.  »cottM    Vm  avarnbatter 

for  It  dann  IgJka  nowl 

^'rott 

Will  you  Btop  Interfarlng  with  my  d««pondancy? I 


7«29 


Luigl 
Look*  buM,   Mr.  Scott!     Mlko  -  h#  gottt  lest  vtluo   •c«u»o  ho        ^ 
rettir^»    öutf      Brut  ro   •   I  gott«  moro  valua    »cauno   I  trlo^l  ^^^^V} 
in\      AndT^eildo  -  w«ttÄ  htopon,   b\iht      öeeg»   smaoh  In  deo  boed» 
wFy,    I»»  ft«  a   -  ab»  w»ado  you  ctfll  -  •  -  «  mtirtyr  to  yovr-o  CÄuro! 
Shoort    goddtm  It!     DutBm  whtt   I  om! t 

Mlcoh 
(fhoc^ed)  ^  ^  ^ 

Why,   Lulglt  whor«  i^r*  yow  prinolploü  ^hy,  gr«cious,  whÄt  aro 

yov   fjonlng   tot 

Priaor.     lloro?    I  hadria  no  liick  ^ottln»    In  honest >     ^o  now  -  I'» 
tryln^    bijclnese« 

(To  Bcott)  ,  ^^.    I 

EeT.8  riBkln»  me  weop,  -r-  Scott,  whcn  I  tlnk  ^^*,f  %«P J^^^^^^^^^^ 
me  now.  1  ^otta  no  o,:ent.  Dut  If  you  go-n«  w»lt,  denn  «eybe  Vm 
hüvtrP^  :'r.Pefirt.      Andr  ge;rn,   boy,    you  peyln'    plenty. 

(SCOTT,   whc   Intcrcit  hCiS  boen   sbi^rply 
•wolfoned,   hRS  boen  pretendlng  not  to 
listen  ©t  ä11#     üe  n^m  enepk«   to  vicih 
wlth  l«pre»»ive  flnmllty) 


Yowig  ?^»n,    your 
l«»t  Chance! 


Scott 

ikhole    futuro'b   t^t  stake!      I   glve   :^'0u   thls   cno. 


V  Iceh 
flood  heavene,     ir.  fcott  —  how  many  tiwo»  do  you  havo  to  hfar 

an  anawer/ 

Scott 
(iia  ho   startu    to   le'*\;e) 
You' 11  regret  thla,   JbJlke,    tlllyour  dylng  dayl 

'     (lo   Pa*rt) 
It'a  all  your  fault,    yc^>  unacrupuloua  rwrddlerf 

(To  LTJiait   wiiO  has  been  looklng  very 
depie&aed  tne   laat   fcw   sieaondei 
0«M  or,,    youl      .«a'll   talk  ^oln^  back. 

Lulfe»! 

mio?     Moll!      Oh,   eurel      .Suro,   liHIlt   «'V^^''^!!' IL.w 
—     {In  hia^ellrlöuii   joy,   -büial  kiaaea  lAicah 

on   both  ohecika) 

Santa  Äarlai  !  >      ^     ,      *.  .^ 

(Be  klaaes   Poart  on  botn  ch#ee.cE   too. 

Mid  thani    -   >'e   starte   tov  «ep) 


Kieab 


1ha t  are  you  cryln^^  <'orY 

(ßtlll  ^eeplpg) 
It*  11  nevor  »  epp^^n  ft.:e!r# 


Lulgl 


7-»0 


MicUi 


Ihtt? 


I;aigl 
!•»«  (!••  Uli  tlnm  Vm  gettln»   a  r«»l  Job  for  d##  flr»t  tim«!*«* 
And  If  1  dOf^*ta  g^t  It,  daim  !•»  havl?^»   ©v«n  bett^r  rMson  for 
orylng# 

Soott 
(As  A  (hisrd  opons  tho  grott   Iron 
door  for  hittf  oftll«  to  Luigl) 
Como  or^»  t)  ovt 

Lulgi 

l««  oominS  ^^*   Scott!   !•»  «omlnM 

(Ho  wovQO  (^xcitedly  to  Mioah  and  Frlodl 
••  bo  runo  oftor  Seott) 

Qoodo-byol 

(To  tho   Qusrd) 
GoodA^byot      X  bo  boekl 

(SCO!rr  and  LUIGl  oxount.     And  tho  groot 
iron  door  elooe^o  behind  thom*     Xammrhi  Of 
KID,  SWQ  «nd  JÜ3TW  ontor  ot  loft#  KID 
!•  corrylng  •  •«•11  p«ctago*     Tho  throo 
•tond  volting  mt  •ta^o  l«ft,  turmotlood 
by  th«  othoro  on  tho  •togo««.   FKART 
looko  probtagly  ot  MICAH,  who  ovold»  hl» 
^lonoo*     SouBdo  of  th»  orohostro  roho«r- 
••1»  whloh  •tortod  •  fowinutoo  baforo, 
Bov  poroi^t  Intormlttontly  through  tho 
romoindor  of  tho  ooono) 

K^d 


(Sealni^  Prledl) 
Josit  plpo  tho  Skirtl 

Justin 
Th^tU  Uiko*s  frlond,    I  think. 


ü^ 


Kid 
(^ith  poinod  rolloh) 


-«u*nAnm 


•  •  •  • 


Je^*  rolox  <»  rol«x* 


Slug 


Kid 


Diso  •oltolnly  Äln't  doln*   »•  no  ^^jcodl     p^aiffiwwniisii. 


Poort 
(Vo  Miooi.»   vith  monooing  quiotnoao) 
1  •uppooo  It  b^««'t  ooourrod  to  you,  Ur.  i^ottiiow,   th^t  undor 
our  OÄonoy  ogrooMOntp   youUl  hoiro  to  poy  ovr  cowpony  It^  füll 
forty  porcont  on  ony  do»l  you  ontor  wlth  Birnboua« 


7-51 


(KICAH  hold»  ft  rlslng  wrath  In  obemk. 
H«  r#fr»ln«  from  looklng  at  Pwrt  or 
aöe!r»»»liig  hl«  dlreotly»     Ma   U  ga»ing 
at  I«old«.      Ätid  now  ha  apeaks   to  tha 
Inatorumant) 


Kicah 


You  knowg  laolda, 
you  ramamhar?  • • • 
alcma  •  •  •  • 


that  bin»   nard^   haavy  nack  of  youra  -•  iah, 
v*all,Tr  a  cartair  paraon  doean't  laave  vm 


?©ftrt 

(raaing  ard  turnlng  to  l©«va) 
Yau  havan't  haard  tha  laat  of  ua,   young  fallow!      Wot  by  a  dam 

aighti 

(Aa  FE AET  axita  through  tha  great  Iron 

door,  MICAH  notlcaa  Kid,  Slug  ar»d  Jtiatln) 


Mioah 


Hallo 


(ApprOßchlng  tham,   with  FHIEDL) 
,   boya!      Uj,    ien't  thla  flna! 


Juatlw 
Mika,   wo  hava   to  gat  back   to  rahaarsal. 
■linuta  • 


So  «a  hava  only  a 


Mioah 
Frladl,    thia   ia  Justin,   Kid  and  SSlug  - 
ao  oftan* 

Friadl 
Vm  Yary  glad  to   know  you,   gantlaman« 


-tha  onaa   i'va  talkac^  of 


Vary  happy  to  «eat  you. 


Hullo 


(lionglngly) 


Juatin 


Kid 


Slug 


Ploaaa   tuh  roaat  yuh,  ma». 

(Iha  TÜÄü£  5^^  ahaka  handa  with  FFjIFDL) 

Juatin 
Kid  hl.»  »omathing  to  »ay  to  you^  Xika* 

Kid 
Aw>   Jaaf  —  naw,    I  oan*tt   Hcfitat! 

Juatin 
ao  on,  Kid!  You  wara  aalaatad  to  do  it« 


7*52 


JLld 
tjh  ««well,   iSlke   —on  uh  —  on  b«h«lf  of  duh  —  duh  — 

(To  riug) 
Aw  rftt»!      1  fuhgetf      I  lolnt  It  ~but  1  fuhgttl •••.Anyhow,   • 

1*»  a  stiok-up  guy»  . 

(TO  Justittp   •«  ^#  h«ii  »  hl«  thÄ  peck^iS«' 
Äol('«»  l»  your  rack#tl 

Justin 
»•11,   ulke  -  *•  »ooTi  ft»  WÄ  n#ürd  yoti^re   Itavln^,   «11  th«  boyi 
of  th«  orcfeetitra  votod  to  draw  on  th#lr  credlts   to  ralst  •  fund 
for  a  glft*     Tho  ÄtrdOT)  »pprovod  tht  collectlon,   «T^d  at  our  ra« 
quaat,  phonad  tha  c!ty  for  a  ruah  dalivary  of  tha  artlcla  wa 
a^raecl  on.      It  Just  arrlvad  thia  mlnute.     An^  aeWa  coma  hara 
to  praaant  It« 

Kid 

(Feetla&a  wlth  ©wotloTi) 
Don't  atrlng  it  out  nowl 

Juatin 
..••.  Kot  much,  Mika,  but  wlth  It  goaa  tha  grateful  and  affaa* 
tionata  regard  of  your  orchaatra«   And  baaldaa^  our  vary  baat 
wlaheB  for  a  fina  e»raar# 

(Manda  MICAH  tha  paoka^a) 


Drlp<»ayal 


^  8  lug 

{Fotlolng  Kid  wlpa  away  a  tear) 

(MICAH  opana  tha  packa^a,   ramoving  fpo» 
tha  box  •  a  baton,   omaireT>ta^  wlth  inlay 
work.     MICAP  and  FFIEDL  ara  »o  daaply 
tonched,   that  naithap  of  tham  oan  aay  a 
word)  ^^^ 

•    (Ab  Mloah   lo  ka   lovingly  at  tha  baton) 
ta  raal  lauddar  o'   poll,   Wika« 


Mloah 


It^a  ->•  baautlful» 


(In  auccanalon,   EICAH  glvea  Slug,   Juati 
and  Kid   aach  a  wtriB  hand-claap) 


Frladl 
(To  raliava  tha   tanaion) 
Mlcah  699iTp    I  -  !••  afrald  «a  muat  hurry  now  to 

Kid 
(Eagar  to  hava  it  all  ovar  wlth) 
Yaaöt  yaan,  Mika  -  yuh  batter  ^at  goin«  I 

Mloah 
Yaa««..  l!5tll,   good-bya,   boya. 


tha  bua« 


7.5S 


Frledl 
Oood-by«,   f#iitl««in» 

»iMh 

ImA  thiT^k  you  -  ^•rj  ■  eh  -  fop  •▼•rythlng* 

Kldii  Sing 
and  Juttln 
(As  UlCm  and  FRIEDL  »ov«  toward  tha 

Oood-bya,  Mika!     Oood-byal     Aiid  ^ood  luakl     aood  luok,  Mlkaf 

Kid 
(Saairrg  SUJCI  wipa  away  a  taur) 

drlp^fyt? 

(Tha  graat  Iro«  door  la  opanad  by  tha 
Oiuird.  FRlüDL  axlta  flrat.  MICAH, 
raaching  tha  door-way,  itopa  fop  a 
Moaant  to  llatan  to  tha  orobattra« 
Ihan  tumlngt) 


Kloah 

(To  JuatlnJ 
üh  -  that  allagro,  Ju«tln  —  tall  tha«  to  taka  xt 

(JUSTIN  raaponda  alth  an  affaotionata 
amlla.     MICAH  axits«     Tha  maÄbara  of 
tha  arohaatra  aoawittaa  wateh  tha  graat 
Iron  door  eloaa  bahlnd  hl»t   to  tha  ao* 
oo»panl»afit  of  a  fada-out) 


a  blt  alovar» 


C  ü  R   T  A    I  W 


77 


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56. 


wasn't  ma  being  transf ormed  all  at  once  into  someone  eise,  but  'I', 
convincingly  •!',  suddenly  liberated  to  be  fully  and  freely  what 
I  am.  And  through  nothing  more  for  that  brief  time,  than  the  vibramt 
effect  of  contact  with  a  licing  example  aided  by  the  force  acedt  of 

art  and  nature." 

Reacting  to  this  with  a  skeptic  smile,  Ruth  thougnt  for 
a  moment  and  then:  "And  this  -  th±s  is  v^hat  actually  made  you  decide 

to  leave  the  law?" 

"Oh,  no  -  no,  indeed.   I*d  say  it  was  just  a  step  toward 
that  decision,  but  a  rather  important  one.   It  iinsettled  me. 
Widened  and  deepened  the  rift." 

"But  wnafc  liidk  finally  did  the  trick  tnenV" 

"Well  —  but  look,  I^ve  already  done  a  hell  of  a  lot  too 


\ 


mucft  tal&ing*   You  re-Uly  want  me  to  teil  more?" 

"Go  on,  for  heaven's  3ake!   You're  not  goin-  to  leave  un    \ 
hanging  in  tne  air  now ,  David!   Pleage  £;o  on! 

A    /David  remained  sofeerly  J?ilent  for  a  moment,  tlien  spoke 
ietly  out  of  what  seemed  to  me  a  still  painful  memory. 

"V/ell,  it  was  some  years  later  that  it  happened ,  Monstrous 
ghastly  era  of  the  brcwn  terror»  Hitler  time.   I  was  sent  to  Europe 
on  a  relief  assignment.  On^   morning,  several  days  after  arrivi/.g 
in  Paris,  I  had  a  message,  a  shattering  one^frora  my  home  city  - 
San  Francisco.   It  was  about  my  beloved  friend,  my  oldest,  Jacob 
Preston.  Twelve  ye  xrs  my  senior  he  was,  but  that  had  never  seemed 
to  make  any  difference  betwoen  us.  Jacob  vras  a  gentle  man  of  rare 
humaneness.  A  kind  of  Puritan  reticenco,  a  Victorian  formality^ 
made  any  show  of  friendship  on  his  part  all  the  more  decply  touching. 
He  carried  in  his  headiji  and  in  his  heart  too,  the  accuöiiaated  /^ 
richness  of  six  differant  cultures.   They'd  all  been  made  lovingly^^7] 

4' 


57  • 


his  own.  His  gift  of  expression  -  the  "wrttteryCiorcL,  the  spoken,  - 

was  extraordinary  in  its  cleaniji  quiet  last-century  eloquencey  y 

its  v/ealth  of  kindling  iraasery^its  grace  and  finish  of  style • 

He  never  published  -  far  too  modesto  But  letter  writing  -  and 

what  letters  he  wrote!  -  this  and  cultivated  conversation  were 

» 
the  par£?jnount  source  of  his  joy,  his  fulrtllment.  Ajdd  now,  pitiless, 

senseless  cruelty,ffa  stroke  that  totally  paralyzed  öne  side  and 

bereft  him  of  speech  and  the  power  to  wiold  a  i>en.  The  word, 

predious,  indispensable  instrument  of  hid  life's  meaning^ denied  him 

now.  save  in  the  pained  privacy  of  his  silent  thou£^ht V/ell^  - 

need  I  teil  you?  -  my  whole  being  ached  with  the  crying  echo  of 

his  unbearable  frustration  -  this  and  a  bitter,  raging  Jobian  'why'. 

the  City 
For  hoiirs  I  walked  about/in  a  daze,  But  I^had  no  raonopoly  on  pain* 

Everywhere  -on  the  boulevards,  in  cafes  and  parks  -  I  saw  iinmistak- 

a^le  reminders  of  other  ftragedies  -  thoGe  that  were  the  reason  for 

my  boing  in  l-lurope.   The  homelesn,  the  refugee^.   Hundreds  of  thom, 

Spent,  frightened,  bewildered. 

"Toward  the  middle  of  the  afternoon,  I  stöpped  at  the 

lovely  terrasse  of  the  Closerie  de*  Lilas,  famous  old  cafe  in 

r 

Montpamasse.  nnd  sat  down  for  a  cup  of  coffee.  At  a  table  next 
to  mine  sat  a  little  old  man,  his  troubled  face,  deeply  lined, 
almost  as  grey  as  his  füll  beard.  With  eyes  of  piety  and  inef fable 
sadnesa  he  looked  at  me  searchingly  several  times  to  make  s\ire 
he  saw  kindliness  in  mine,  the  fellow  feeling  of  a  Jew.  And  then. 


A.n   eermanT-^Vly  >  hesitantly,  he  spoke: 


"Excuae  rae,  please,  sir,  but  -  but  are  you  -  perhaps  - 
one  of  cur  people  -  a  Jew?'* 

1   smiled,  said  'yes'  and  asked  how  I  might  help  him. 
*^You  See,  I  -  i  am  so  lost  -  so  stränge  here. 


Could  you 


maybe  teil  me  where  I  might  find  a  'sh\il',a  synggogue?" 

I  told  him  I  knev/  of  one  on  or  near  ^k    'Rue  des  Rosiers' 
of  the  old  Jewish  quarter  in  the  Marais. 

"Yes,  but  -  but  how  can  I  -  ?'» 

"Which  bus?  1*11  take  you  to  it.  But  look,  it's  too 
early  for  'raa'ariv'  (the  evaning  prayers)."   I  feit  such  an 
acute  need  in  him  not  only  for  practical  help,  but  just  to  talk  to 
someone*   I  sug^^ested  we  spend  a  little  time  together  in  the  nearliy 
Luxerabourg  Garden,  He  accepted  with  appreciation  th^t  was  deeply 
touching.   I  took  his  arm  and  we  walked  through  the  'Avenue  de 
L'Obsdrvatoire'iined  with  great  chesnut  trees  and  into  the 
•Luxembourg* ,  that  unspoilt  relic  of  a  more  gracious  world. 


'3 


We  sat  dovrn  on  a  bencii.  ^  short  distnnce  from  us,  two  little  boy: 

sail 
were  ^iding  their  toy/boats  about  a  lake.  Herr  Mendel  -  I'd  already 

learnt  his  name  -  looked  at  the  children  for  a  moriK^nt  .   lears 

streaired  do\^m  his  face.  And  then  -  then  he  told  me.  He  V7as 

a  Frankfurter.  His  son  Aaron,  his  only,  a  brjlliant  scientist 

and  a  socialist,  had  been  engaged  in  medic^il  recearch  in  Berlin. 

Just  before  the  father  was  forced  to  leave  Prankfurt,  he  received 

wozrd  that  Aaron  had  been  seized  by  the  Na:z;is  and/taken  away.. 

Whereto  he  could  not  find  out..  Herr  Mendal  tried  desperately  to 

get  some  further  Information  about  his  son.  His  efforts  all  proved 

'•^  f utile. 

For  a  moment,  there  was  sil^nce  between  us.  And  thei^, 

/ 
as  though  to  assure  me  and  througl;!be  to  reassure  himself,  he  said: 

"No,  na,  -  Grod  will  save  my  boy;  God  will  not  let  him  be 
destroyed.   He  will  not." 


my  face 


Then  he  looked  up  at  m$_to  see  whaether  he  could  find  in 
a  confirmation  of  his{  faith.  \)r  was  it  not  fait|^,  but 


59  • 


rather  a  mere  aching  hope,  a  desperat©  prayer«   But  at  that  moment 
an  Image  of  Jacob,  my  cruelly  afflicted  friend,  appeared  before 
me  and  I'm  afraid  Herr  Mendel  found  little  evidence  in  myAxpressiion 
of  confidence  in  Godly  concern* 

"Weif,  we  talKed  a  little  longer.  Then  I  gave  him  my  addr_ess 
as  well  as  the  names  and  locations  of  soveral  agencies  that  might 
possibly  help  him*   Finally,  I  put  Herr  Mendal  on  the  bus  that  was 
to  take^xm  tli>5  heart-bre.xking  little  man  as  near  to  the  ear  of 

God  as  he  c^uld  th^n  come."  ^^^y,  ^        j 

"Did  you  -  ever  see  him  again?"^>ith   a^Treri  . — SJao-seeöed 

more  genui^mly-^x^vgd -  tlian  I(d  rt^^vpy^-^^nfwrr-trr^       be 
f   "No,   Gteir,  never." 

"But  after  that?     What  happened  tJntfn?" 

"Well,    l/iust  walKwd  and  wajked  -  wandered  about  restlessly. 

Must  have  covered   I  don't  know^many  miles.      The    'city  of  light    , 

A         ^ 

magical,  as  always,  with  gleaming  beauty  »nt  and  grace,  wqs 

vibrant  with  last-moving  crowds.   But  beneath  the  surface  of 

pleawsure  and  businesa  as  usual  there  ^aLZ^Ufov   a  Jew,  at  least, 

a  charged  quality  of  impending  catastropne J/ At  one  point,  I  paused 

in  front  of  a  church  and  want  in*  WhjT,  I  can't  teil  you.   Certainly 

not  for  its  beauty.   A  vast,  somMbre  cavern  adorned  here  and  there 

with  pieces  of  polychrome  ecclesiastical  bric  a  brac,  figures 

of  a  tawdrinessjthat  it  would  have  taKen  the  blindness  of  a  deep, 

naive  piety  to  overlook»   The  sanctuary  was  empty,  sllent.   I 


e  of  the  nave^  ^nallyQGlose^^^^ 
anguished  figure  on  the  cross^A 
11  ;>iJiiiuwhal  lüpellei,!  by  thn  oarv^ci- 


fix  ach 


Hin'^-  ^'^r 


rppresHntation  not  of  the  godifled  Jesus,<ttiaü  ««liat  alirtwd- 

.»(\    and    aold   te   a  wüi'ld   lii  thu   m*>'kct 


60. 


rnyi?n^tf**^*^^^"  ^Jrffi 


)n>fDut  rather  of  a  man,  a  greatly  good  man, 


daring  and  dedicated,  a  Jew,  a  suffering  fcllow-Jew. 

Andt  as  I  gazed  at  the  face,   it  changed  for  rae  intiD  that  of  my 

anguished  friend  Jacob,  then  of  little  Herr  MendftX,  who'd  lost 

his  boy  and  his  world,  and  then^f  the  murdered  son  himself . 

And  out  of  the  mouth  of  that  carved  f  igure;  quickened  by  my  f  antasy^. 

I  seemed  to  hear  the  ancient  cry  of  my  people:   «My  god^  my  God, 

why  has  Thou  forsaken  me?'"» 

David  paused.   This  intimate  and  extended  self-revelation 
Gamet  I  must  adm±t  ,  as  very  much  of  a  surprise  to  me.,  so 
rarely  did  be  recount  has  own  subjective  experiencesy  and  then  only 
quite  briefly*  (jt  seu^fal -lü  m6-tha..t  hp  ^fnr   trying  Bomowhat  rje^pr^.r- 

laclLJMtk  where  he  loi^w  prRCtical 


1 


.dn' L  avdll,   b^   ohai'ing  himoi 
f,    wa&  he 


bitter  m4»mnriftfl* 


,^HiAA} 


rtJüt 


On  the  way,  I  cö^me  to  th»  •Etoile«.   I  stopped.   The  mighty  2Arc 
de  triomphe*   had  always  move^   me/.   The  climactic  grandeur  it 


providef  for  the  long  sweep  of  the  'Champs  de  Elysees«  in  its 
gradual  ascent  to  glory  -  a  dramatic  triiimph  in  (space/-  the  zenith. 


the  very  emblemi  of  Paris  itself .   But  now?  Now  I  saw  it  rather  as 
mockery,  a  vulgär  mockery.   Triumph  of  what?  I  asked.   Aiways 
always  the  same:   the  brutal  and  the  bei*eft,  the  killers  and  the 
killed..  And  I,  of  th^  both.  One  can't  escape  the  human  or  inhuman 
legacy  written  into  everyone  of  us.   I  looked  dovm.   At  my  feet, 


61  • 


the  flame,  the  eternal  flame:-tomb  of  tue  Unknown  SoXdier» 
Obscene  pseudo-poetry,  I  thought.  Pretentious  theatricälity. 
Grim,  Ironie  glorification  of  man's  wretched  descent  to  anonymity. 

"With  the  lea^  of  an  all-to-ac curat e  f oresight  I  feit  the 
overwhelming  impact  of  the  mass  horror  to  come«  My  slnill  ^Celt 
crowded  with  the  horror-charged  cries  of  multitudes  -v^who  soon 
would  need/no  visa". 

There  was  a  silence  -  a  long,  strongly  feit  öne»^B»tii 

r^   I  recalled  a  book   '*  '    '  '  " 


-ajsp^oaned 


me..   It  concerned  the  holöcaust...   On  a  fly-leaf 


// 


id  had  scribbled 


twenty  or  so  lines  -  lines  of  his  that,  I'm  sure,  have  long  been 


tf" 


iMffäJwfiaÄ 


buried  in  some  deep  layer  of  his  mind.   I  copied  them: 

•»These  wäre  my  people  auid  now  -  / 

Tiiere  is  silent  earth. 
The  breath  of  the  song  spent, 
The  strong  arm  withered, 
The  great  heart  stilled  - 
The  wonder  and  the  glory  of  a  hiiman  life 
DcI4ultiplied  to  six  million 
Worki  ig  dreaming  loving  struggling 
Prayi  lg  humains  «*- 

Shriink  now,  shrunk  to  the  meagre  tenancy 
of  a^nameless  little  hollow 
In  the  dark.  cold  earth." 


David  then  tried  tc  convey 
momentous  day: 


the  culmination  of  that 


"It'a  almost  impossible",  he  said,  "to  avoid  sovmding 

f 

insufferably  self-inflated,  narcissistic,  melodrynatic  even» 

But  anyway  -  as  I  left  the  'EtoileS  I  had  whirling  about  in  me 

a  kind  of  tempestuous  counterpoint  of  all  the  feelings  that  day 

had  yielded:  grief,  horror,  outruge,  bewilderment.  'i'hen  suddenly^ 

like  an  urgent  balancing  to  set  life 's  record  straight,/a  re-kmdling 

of  -  of  what?   Of  what  I  had  experienced  that  memorable  night 

on  the  Carmel  cliff .  Positives  a^i^ainst  the  negatives.  And  "»w^iftÄir 


62. 


somehow  they  f  ormed  an  amalgam  in  my-^cronsclousneßs  -  an  amalgaia 
that  cried  out  to  become  an  Image  thr©\igh  words  on  paper.».»  Well, 
tack  in  my  hotel  room,  I  strctched  out  on  miy'bed  and  started 
writinp".  For  nearly  five  hours  at  high  speed  without  interrup^ion 

I  wrote»  And  as  I  did  so,  I  came  to  feel  for  the  very  first  time  - 

n 
how  can  I  put  it?  -  the  füll  impact  of  my  own  identity, with  a 

wholeness,  a  sureness,  an  intense  aliveness,  specialnessj^- 
spontaneous>  .unintimidated,|in  turn  loving,  defiant,  fantasy-charged 


0% 

I  recognized 

a  complete  oneness  of  myself  and  my  words  on  paper*  Feit  no  bid 
fcr  approval,  ;fe^aim  to  woo  and  win,  A  straight,  strong  affirmance, 
a  füll  active  being  of  what  inherently  I  am.   The  stuff ,  the 
bona  f ide  root  and  soll  to  build  the  rest  of  my  lif e  on  -  if  -  if 

only  I  could,"  (^/-^aU4JL^ 

Well,  David 's  account,  needleso  to  say,  was  a  pretty  large 

dose  to  swallow  all  at  onoe.  ^ov   a  half  a  minute  ^eilWiel  iif-^iiB  ^ 

had  a^^iiM^ibo  say.  Then 

"Actually,  what^s  it  you  wrote,  David?" 

"Oh,  nothing  of  any  importance  -  for  jtnelf ,  that  is. 

I've  never  reread  it.  It's  only  surviving  value  was  in^  -  what 


doing  it  had  done  for  my  life.^^ü  Wu  ^liMi  .liüif  '^iKli**~üiat 
e xpagicncB  on  tho-Oarmel  eliffi   but  f nr  ,,aitrQnanr,   rlfffipr*: 


■d,aftl.f 


ated  and  oi 


Liuu^ITaul. 
It  all  seemed  to  say  to  me^the  crowd  of  powerful 
Impulses,  the  intenee  doing,  the  thing  being  done  ^7'tliis»  for 
better  or  for  worse,  brother,  is  you,  the  fullness,  the  specmalness, 
the  Potential  of  youi  And  I  feit  it  conf idently  as  decisivey  7^ 


^  y. 


(/ 


^aoM 


C^  f 


;^ 


OOO 


J>^ 


/ 


THE   GEHIviAN   DAI'ICE    lll   Ai.I^lRICA. 


SOlvIE   yöars    h^o,    tlie   Gei-iian  stj:le   and   leadership   was 
^  domin*  nt    in   the   iviodern  D-^nce   of  America •      VYigman  made   her  memorable 


V 


V* 


i 


\ 


X  . 


V 


i 


V 


«5. 


15 


i 


X 


m: 


tours.  Her  school  of  donce  was  established  in  Nev  ^ork  under  tv^e 
expert  supervision  of  Hanya  Holm,   Students  of  v«i/rman  and  ^  n  Lab."n  and 
other  leaders  of  the  Gernan  iJance  became  teachers  in  private  studios, 
in  schools  and  Colleges.  Otherx  distinguished  aancess  such  as  ivreutzberg,, 

Georgi  etc.   dol'ghted  audiences  invarious  oartsa  uf  the  country.   ""n 

* 

the    other   hand,   iimxÄXRjawxkimwiaxÄX   those   Americ?:;n  born  dance-s   now 
esteened  as    leaders    of  American  d  nee  pmäve   still   groping   for    styles         I 
of    their   cy;  n,    were    still    in   the   process    of   throwing   off   the    enrlier 
infl'jences    of   theii   careers, 

.  Eventually   two    ir^fluences  made    the:  selves   feit   to    alter  j 

the    oicture:    Such   leading  New  York   dv.ncers    as   Graham,    Humphrey,Weidnian 
went   far    toword  crystalliz^ng    st.les   and   findlng    themselves    artistically . 
Their    influence  began    to    spread   to    other   parts   of    the    country.   The    sharperj 
-ing   of   social   problemsand   the   r.ioie     vivid   sense    of    them  ofi   the   part    uf 
lairge    sectors    of   the    population  gave    to   many   young^dncers    a   fceling   of 
the   need   of   dancing    in   terms    of    cuntemporary  AmeriC:  n   life    und   its 
oroblems    rmd   created   .-n  audlence   rerdyj^  even  eager    to    s:e   danced  Version 
of    social    tragedy  ond   the   hope    of   a  nev;   order.    -^n      the  meantime    too 


dancars   began 
, /jj-hen   in   IB'So,' 


the   pedagogic  methods    «nd   styles^ of   transplanted  American 

to' to    change,    befcraying    the    influences    ßß  American  life./T 

came   Nazism   indi   the   world,    with   all    its   hideous    implicat  tans  •   Wigman 

has   not   visited   our    shures   ]|^.rice.   And  her    connectiuns,    whatever    their 

nrecise   forms   may  be,    with  the    Hitler   regime,    have    caused  deep   and   inten^^ 

resentmenfefe   here.      Many  dancers   iaecane  worried  lest    they  reVeal  a  Germanl 


f 


a 


/K^ 


l  ^U      iyt^cJhJ^ 


note  in  thier  \tD  rk.  *,  Man-y  stuaents 


.  mcux.y  studfents  were  concerned  over  the  results  of 
studyigg  with  German  exponents  of  Dance.   And  tijua  these  two  influences: 
the  development  of  nore  indigenous  ALierlCcm  dance  expression  and  the 
growth  of  a  resentment  agaJnst  Germanic  dance  exoressi -ns  lead  nov;  to 
a  situ^tifm  where  one  is  justified  in  asking  what  is  the  pre  .ent  status 
of  Geri'ian  Inf lu  nee  on  our  dance  life. 

Much  that  has  been  learnt  from  German  darc  e  in  the  pa.jt  in 
bropdening  the  vocabulary  of  Modern  Dance,, in  technicB  1  netr:ods,  in  st.,ld 
istic  essentials  are  deeply  imbedded  in  the  dance  life  of  America,  too 
deeoly  imbedded  to  be  eliminated,  if  they  can  be,  witho  -t  sacririce.   But 
there  is  still  a  more  active  influencd  and  one  toich  is,  I  believe,  entir 
-elv  wholesome.   To  obr^erve  thät  influence  at  Its  best,  one  should  look, 
I  believe,  at  the  v/crk  of  the  leading  product  of  European  iViodern  Dance 

in  the  American  scene.   i  it^  f er  iü  nanya'  Holm,  disting  ;ished  pedagogue, 

in  her  own  name  and 
groun.chJ'reographer  and  soloist,  who  nov;  maintains/solely  under  her  ov;n 

control  and  direction  v/hat  was  formerly  the  V/igman  ähhool  of  New  i'ork. 

Miss  Holm,  through  work  at  Mills  College,  Golorodo  nnd  other  places  as 

well  as  her  school  in  Manhr.  ttan,  has  ext  nded  her  influence  thrcu  ghout 

the  land.  und  what  distinctive  contr-Cbution  does  she  make  to  the  Dance 

üi  f  e  of  this  contitry? 

V/atch  her  classes«   Here  one  sees  a  school  for  the  education 
of  the  dancer  and  no  mere  studio  for  the  trainjiiig  of/  darrce^^s»  Work  is 

careflAlly  gradedin  a  progressive  plan.  The  education  afforded  isxa  no  ^v- 
accumulation  of  a 
mere/bag  oftricks,  no  mere  set  st.le,  but  a  wide  vocabulary  sufficient 

for  various  styles^   ecuinemnt  for  exnressian  in  all  levels  of  dynamics 
and  from  »ää  one  degree  of  tension  to  antother.   A  thorough  and  sensitive 
kn  wledge  is  given  in  percussion  accompaniment  for  dance*   Improvisation 
to  stimulote  the  imaginati rcn  äifenrnates  with  the  careful  working  out 
of  choreograohy.   Training  in  objective  plann t^ng  of  dnce  and  in 


ob,iective  self-criticlsm  is  demanded  but  not  to  the  exclus  on  of 
of  the  recall  of  feeling  appropriate  to  dance  as  in  dcting, 

The  Wide  ränge  of  dynamics  inifvliich  the  dancera  work  makes  for 
a  dp  nee  of  otxr  timeS  dnce  tkat  is  dramatically  alive,  in  which  there  is 
a  sense  of  the  growth  of  life,  emergence  of  eneggy  to  vital  assertion. 
Dance  about  abstracti  CÜ^n:  the  pecullatr  gift  of  the  Germans  • 
^n  using  material  of  life  for  dance  hää  Miss  l^olm  (  and  here  I 
speak  of  her  rather  as  choreographer  aiid  sollst  than  as  teacher)  draws 
Utaon  the  Ame!rican  scene  far  differently  ffom  a  native  American*  There  is 
for  example,  in  her  use  of  negro  movement,  Aifi  her  transmutatlon  of 
Uev  York  move'^e  nt  slang  into   dance  something  of  the  freslmess  of  dlscove 
that  is  laciing  in  the  works  of  most  native  born  ü:nerican  dancers. 


/ 


<f% 


^"X^Vv^  ^f 


^*lf^       /^n  classic  ballet  ,we   find  a   clearly  cryatalllsed  and  reiatlval 

rigid  vocabulary  and  grammar.      We   find  iaasilB»  cleanly  deflned,   basil 

A 
positions   of   the   feet   and  the   arma   and  prescribed  inethods  of   transitionl 

i.e.  movements   of   the   feet, 
from  one   peeition  to   another.     We  find  xsxBSBiixi4x£üUEÄ     steps,/ 

combinatina   of  .steps »/movementsother/thai»  ritann  -MXi,    coabinatiuns 

/r     ^  #'       Q^tbBJ»  baailjf   A/»'Liiii.Tit3  elements 

of  , Steps   and  other/movements,   6B«i  severily  deflned.     These/constitute 


the  Units--   the- laaxl»  words   and  established  phrases   of   the  dance./ 

the  3  8 
language,     The  various   combinations   of/established  elements   are  what 

constitute   composition.     Modif ications   of   these   elements,    as   well  as 
departures   from  them  are   j^no v a _t  jpn s ,    c o n 3  ide pe d  a s  mor e   o y   le 3 s 

revolutionary.     These  '■ttloments  were.evolved  and  maintained  and  their 

A 
Union   in   composition  governed  not  primarily  with  a  view  to    creatlng  hk 

idealized  versions   of  natural  human  expression  and  deportment,   not  m  t: 

an  idea  of   creating   ßrmalized  versions   of  natural  modes   of  activity, 

reactionp,    comr.iunication,   but   to  achieve   the  effects   of  balimce, 

of  grace,  .  ,    .  .  r,      .      ^.-^ 

of  design,/of  lightness,   off lexibility, ,   as    ingratiating   ends   in  them- 

säaves.     To   spectators   emanating  from  the  artificiial,    formal,    ceremon 

GUS   CO   rt    life   this   smflficed.    It  was   a  kind  of  mobile  decoratijn,  K 

as   such   complete,   perfect  and  satiafying  witH  its   elected  framework. 

But   there"«*4*d*    the   demand  for   the  realization   in  and  through  dance 

of   something  more   dramatically   interesting,   of  30  mething  more  humanly 

significant.  fi     ?he  realization  was   to   be    in  and  through  dance.  And  all| 

that  was   known  to   tlB    ballet   people   as   dance,    at   least  as    their  own 

dance,    was    the  ballet   as   I  have   described   it.      It  did  not  occur   to       . 

them  to   probe   to   fundamentala,    to   ask  what  essentially  hasto  be  done 

to   movement   to   make   dance   out   of   it,    to    start  afresh  with  natural 

human  deportment   and  to   ßrmalize   i,t   so    that  it  becomes   dancex  that  Ja 

humanly  aignif icatt.     They   atart^with  the   aasumption  that  ballet   is 

dance   and  the^  merely  atrempted  to   ao   reform  it  that   it  would  take   on 


hufaaH  expresslveness.     Accordl  gly   they    introduced  ao  me  pantom: 
movements,    they  modlfied  the   old  fcrms,    they  grafted  some  new  devlcl 
onto    the   old  dance«   The  basis    of   the   old   art  remalned  and  whatever^ 
left   of   the   old  style   and  the   old  formulae  was   an   intruslon   •    It 
been  developed  v/lth  dlfferent   aims    in  mind  and   It  v/ould  not    coall 
wlth  the    Innovations.   ViThat  resulted  was    not  a   thoroughgoing   humanr 
tion  ofthe   art  of  dance  bub  merely  a  dilution  of  ballet.     And  when 
these  spprious   reforms   are    challenged  their   champjons   are   renrJ- 
with  a  plausible    theory  of   justlf icatlon:      the   history  of   art 
demonstrates    that   all  real  prc  gross,    all   constructlve   change   has 
consisted  not   in  ruling  out   all   that    has   been  developed   in  the 
preceding   era  but    in  preserving  and  reshaping   and  adcling   to     the  be- 
elements    inherited  from  the   past»  How  gradual,    for   exaraple,    was    the 
transition  fron  0   -called  Romantic  music    to    the    so-called  Classic 
music»  How  heavily  did  Beethoven  and  even  Schubert   lean  of   the 
forms   of  Haydyn  and  Mozart.   The  analogy  drawn  from  music   isfalse« 
The   stuff  of  all  music   is   abstract   sound,    a  substance  which  is 
capable   of    intensely  human   expression  without   changing   its    essentit' 

nature»     All   that  was   necessary   to  humanize  masic   was   a  shifting  of 

1 

emphases«      NothAng   very  radical  was  needed  to    accD  mplish  the    cliange 

Specific   ^rms   of  mus^cal  composition,    spedific   chords   andmelddic 

anti- 
figures   donot  have    the  pointedly  human  or  ÄEUi/human   implicati   m 

associations    that   postures   and  movements   of    the    living  human  bjd^ 

have.     To  humanize   the  dance   a  radical  departure    from  ballet  was 

needed.  But    ifwe   consider    thib  dpparture    in  the    light  of   the  fundp^ 

nature   of  dance   and   the   whäile  history  of   the    art,    the   changes    ii 

and   the   demands   of  nev/techAA^^e  were  not  really  viölent.   Gertain 

basic  values   of   Choreographie  iffrm  and  movement   found  in  ballet -and 

indispensable   characteristics   of  all  dance   are  preserved  and  given 


new  application«  Those  aspects  of  the  balüß  t  technique  that  can 

no  longer  be  used  äh±  are  outmoded  because  they  were  evolved  to 

realize  valuea  that  lie  outaide  the  sphere  of  human  expresslon 

or  that  constitute  a  negllgible  part  of  the  fuller  human  expresslon 

demanded  now#  As  a  matter  of  fact,  those  phnses  of  bKllet   that 

the  of  its  m(3  t  character istic  aims 

represent  ±±/most  perfect  attainments/are  preclsely  those  of  least 

adaptability  to  more  humanlstic  purposes» 

To  create  a  humanly  exoressive  dance  ItÄsa  was  necesaary  to 

Start  not  with  ba llet  but  wlth  the  essentials  of  alll  danBe^  in 

relation  to  natural  human  deprtment^  to  ralse  the  latter  to  the 

level  of  the  former/«  The  stronger  and  more  f ully  integrated  is  any/ 

auet:^  ph  se  of  an  art,  the  more  likely  is  it  to  need  the  developkent  of 

a  techMque  especially  to  serve  it«  And  particularly  isthis  evident 


in  an  art 


v/here  medium,  Instrument  and  performer  are  all  one# 


For  here  no  one  element  remains  fixed«  The  pianofortCÄ  has  undergone 
numerous  developments  in  the  course  of  its  history,  -  temperemnt,  timbr| 
sonority  etc..  Thd  changes  faocKx  in  the  instruant  have  demanded  changes 
in  technique.  Furthermore,  even  whl3.e  the  Instrument  remains  practicall 
unchanged  modif ica tions  of,  or  oerhaps  it  wo  ,ld  be  more  accurate  to  say| 
additions  to  technique  have  been  necessitated  by  the  otfii&iuuisx  quality 
and  style  of  new  comp  sitians,  e.g.  the  päino  workd  of  Debussy.   But 
infeeneral,  over  a  very  long  oeiyiod  of  time,  the  piano  keyboard  and  the 

the  method  of  oerforming  it  J«*fre  thmained  the  same  during  changes  in 

of  music      ^      ^ 
character/ranging  from  Bach  to  Schoenberg*   Thus  one  element  at  least 

has  remained  relatively  fixed.  And  the  limitations  of  the  Instrument 

have  established  limitations  u  )on  the  composer.  ^ut  what  shall  we 

say  of  an  art  in  which  every  change  in  style  involves  a  new  ad  ptation 

of  the  Instrument  as  well  as  as  a  new  eqvn'.oment  of  the  pe'-formerj 

in  which  the  composer  is  limited  not  by  the  more  or  less  established 


character  of  a  manufactured  Instrument,  but  only  by  the  limitations 

of  the  human  body  with  its  iolghiyxKdaHiiÄlaiÄX  wide  ränge  of  adaptabilityj 

and  elasticity?  Anew  and  revolutionary  Impulse  or  idea  mo  ivatea  the 

/ 

dance  compeser.  Noth'ng  Stands  in  the  way  of  a  f^ll  realization  of 

the  new  alm  but  limitations  of  the  human  body  itself.  And  it  is  much 

easier  to  train  the  body  to  be  fitted  to  a  new  style  than  to  manufactur 

a  new  instrument,  at  least  much  easier  for  the  dancee«  ıxähxjcxä 

necessities  of 
The/physical  adaptations  of  the  pianist  are  ±iflai±Äiixiayx±ÄJs 

determined  uy  the  relatively  fixed  instrument,  the  necessities  of  the 

physical  adaptations  of  the  dancer  are  determined  only  by  the 

aims  of  the  choreographer  and  the  limitations  of  the  living  body  of 

man«  Perhaps  in  some  ways  the  musical  composer  has  more  rigid  disciplin] 

imposed  upon  him,   'l'he  dancer  may  more  eas  ly  fall  Intö)  excesses  of 

license. 


Now  let  US  see  what  actually  in  the  rev  «lution  whlch  occurred 

in  dance.  The  ballet  people  wanted  more  dramitic  interst,  more  human 

memorab'j  eness  in  dance»  But  they  were  wedded  to  a  traditionxi.  A 

defensive  pride  In  what  they  had  wd  rkdd  feo  hard  to  achieve,  a  deeply 

rooted  faith  in  the  soundaess  of  a  venerable  technique,  a  short- 

sighted  View  of  historic  continuity  in  art,-  all  these  factorxs  kept 

them  from  attaining  more  than  a  feeble  compromise«   Then  came  Isadora 

Duncan.   Bold  of  spirit,  moved  deeply  icdkii  by  the  Hellenic  idea  s, 

natural 
by  the  postures  and  free/m  vement  suggested  by  Greek  sculpture,  by  the 

great  music  of  the  po^st,  ^articularly  the-'üsic  of  the  Komantic  )eriod., 

she   sought  to  create   a  dance  which  was  at  once  dance  and  a  deeply 

human  expression»  Her  great  value  was  inher  viewpoint,  her  inspirat  i  n, 

her  Performance,  the  inf ectftousness  of  her  jsRtimJs  exalted  enthusiasm. 

She  did  not  develop  a  crystallised,  transmittab^e  system  of  technique 

through  which  ixlihers  mlght  carry  out  her  Vision  of  dance.  But  in  ha? 


personal  presentations    she   realized  powerful  dance    of   suatained 
dramatic    interest   and  human   docuinentation.      The    former   was   realized 
not    through   Imposed  plots   as    in   the   ballet   d*    action  but   thro  u^h 
nicusic  and  the   quality    of  movements,   which  served  at    the    same    t  ime   to 
attcfin  the   latter:    sigaifiöant   hiiman  expression»   Then  came   the 


Bermans.     With  thelr 


passion  for   system,    for    thoroughness. 


for    qompletenesy ,    they  developed   sd  mething   far  more   nearly  approaching 
a    crystalllsed,    tronsmittable    System  of   training   calculated   to    fit   the 
dam  er   for   an  art   that   was   x±xhhj5ä  human   exoression   in   terms    of  ssiEX 
dance;      and  they  determined   that    if  dance   was   b  ally   an   art    itmust 
be,    like   other    arts,    free  and    independent.    So    they   sought    to   free 
theartf  rom   subservience    to   music,    bth  as    a  motive    forcd  of    Inspiration 
and   as   a  determinant   of   form.   They   created   the    "absolute  dynce". 
This   dance  v/o    Id  evolve    its    own   foi^ms    in   terms   of   time-space    coiditions. 
This   eagerness    to   develop   ax  free   and   independent   art   led  to    a  phase   of 
abstracti.mism,    a  preoecupation  with  dance   forms,    Visual,    time-space 
dcsigns    for    thelr   own   sake,    But    at    the    sane    tlme,    human  expression 
was   not   lost    slght   of,   The   content,    however,    of   this    human  exoression 
chan^/ed   in  t:ie±r   hands  •      Partlcularly   in   the   war   perlod  and  post- 


w 


ar   perlod,    with  the    jangled  nerves,    the   Romantic   pacifism,    the 


acute   awareness   of   the    contemporaty  world  which  tbese   periods    engendere 
and  a  klnd  of  mystical  naturalism  native    to    tte    Germans,    there  was   a 
revolt   against    the   assertion  of    the  glorifled  past    of  man   inherent 
in   the  Duncan  school,    ^th   its   Bottlcelllan  lyrlcism,    Its  nostalglc 
recre&tion  of   the   Hellenic  herolc    tragdcfcr  ,    linked  to    the  «omantic 
Indlviduallsm  of   the   muslc  of   the   latter    eigbteenth  and   the  nineteenth 
Menturida«      Expression  thus   ranged  all   the  way  from  the    llKeless 
experlBffiJtitis    of   the  Triadiscbes   Ballett,    (carrying   to    relentless 


ex 


treeme  the  preoecupation  with  t^e  form  of  an  independent  art),  to 


hysterical  protests  against  the  horrors  of  war  and  a  haven  from  the 
blights  of  contemoorary  life  in  grotesquery  and  mystlcal  enanations 

and  sentimental  pacifism» 

The  modern  German  dance  spread  to  other  pa  ts  of  the 
World  and  began  to  extablish  roots  in  i.merica.  But  meanwhile  a 
more  n-.tive  movere  nt  began  to  manifest  Itself  in  Amei-ica,  native 
at  least  in  the  sense  that  it  was  not  directly  and  consciuusly 
an  off-shoot  of  German  developments,   native  in  the  sense  that  it  was 
a  revolt  against  dance  influences  operating  here  in  AmeÄdiea(  I  refer 
to  the  adulterated  Orientalism  represented  by  the  work  of  the  Denis 
Shawn  dance),  native  tdio^in  the  sense  that  gradually  it  has  rather 
self-consci  usly  sought  to  'express"  or  reflect  American  life*,  native, 
in  addition,  in  that  it  unconsciously  reveals  rather  unfavorably 
and  Unflat ter^iigly^XRÄ  certain  phases  of  the  American  psyche.  Mää, 
The  Modern  dance^either  in  Ihe  German  form  or  in  indi,;en:..us  forms  has 
not  made  great  strides  in  other  nati  ns  of  the  Euro  ean  contiiBnt  or 
in  England.  ÄHxthKxsssnx  Now  with  the  heel  of  Eitler  forcing  tlie 
German  dance  to  mark  time  to  Eors  Wessels,  the  scene  uf  interest,  for 
güod  or  ill,  shifts  to  the  United  States  of  America. 

The  Center  of  Modern  Dance  in  this  country  is  New  York 
City  and  its  leaders  are  Martha  Graham  and  Doris  liumphrey.   Numericall 
its  following  is  still  small.  §M  whether  one  approvos  or  disappooves 
of  the  Movement  which  they  represent,  it  is  alive  and  kickin^;  and 
its  influence  is  spreading  to  other  parts  of  the  country,  and 
accordingly  it  mi^st  be  reckoned  with.  Theae  >leader3  and  their 
increasing  following  ciäLlm  to  represent  the  American  Dance.  Such 
labeis  are  usua'lly  misleading  and  when  they  represent  a  consci  us 
effort  to  eXTDress  a»  national  individuality  they  are  likely  indicate 
a  dangerdua  tendency  toward  aesthetic  chauvinism  and  syntheltc 


culture»   But    since   the    claim   Is   med  e    It  may  not   be   amiss    to    determine 

BLtJ3t   how   and    to   v/hat    extent    it    is    justified.    In  a   relatively  narrow 

and   suuerficial   sense    the    dance   of   these    exponents    is   American  tty 

not  es 

virtue  of  subject-matter  .at  least  as  announced  in^titles  and  prograinj^, 

^     t   / ' '  ■ '  '','■' 

though  often  •  inqytioualte  i-n  the  dances  themselves^  In  style,  one  c;  n 

find  elements  to  which  the  designation  "American"  may  be  given  as 

indicating  qualities  found  in  American  life  though  certainly  nut 

peculiar  to  American  life,  nof  definitive  of  the  basic  characieristics 

of  the  life  of  America  as  a  whole*   Vigour  in  the  prooulsion  of  movee 

ment  is  siaaxxEts  suggestive  of  a  young,  kjr^As^   raw,  vigourous  people,* 

Consistently  tight,  stiff,  bodies  gM^ jisotiiag;  ;eometric  forms  in  po  sture 


/)& 


W  f 


aöÄ-!:gr2»ö4«lg 
^-^^^  ^'^l^^llx^eav   de  Script  lon/mnj   suggest  the  mechanicai  age  we  live  in  and 

*  /\  our 

its    effects   upon/existence •      It  may   likewise   suggest    the    tensions   and 

sup-^ressions   of  our    chaotic    life.   But  how  particularly  American  are 

these   manifestations?     There    is,      I  believe,    a  deeper,    less    cjnscious 

adji   less   f  lattering  depdction  of 'certain  phase*   of  American  life    in 

A 
this   (iL  nee.    It    is    the  unwitting  betrayal  of   a   cLjingPur  .  tanism,    and 

particularly  of   the  priggish   suppre  ssion  whidi^  r^presenta.'and  which 

is   inimical   to    all  healthy  art.     To   make   t\n.^j^ii9Ai:tj   the  ^ubject-matte] 

of   sound  art   one  must   not -«wrre^y  be    its 'victim,    Wt^be    largely  free 

of    it    and  pro  ject    it   out   ofpast   experience   and   imaginatiöirrecon^:;truc- 

tion.   Por   all  good  art    is    the    comruunication   of   emotioa  and^  involves 

a  disciplined  freedom.  To   betray  häk^x   omb's    own^ suppre ssion  is   merely 

clinical   and  never    carries   with   it    the    larger    impllcatiuns  which  true 

* 

art  conveys.  It  is  ncver  exalting;  It  is  uneventful  when  pas  ive, 
embarrassing  when  active.   Puritanism  is  ashamed  of  emcbtion*   It 

c5  s 

regards  the  exnression  of  emotion/indecent  self-exppsure  •  -^n  morals 
it  extols  self-denial,  stern  aloofness •  In  art  it  advocates  what  it 
calls  "Classic  reserveö,  a  rigid,  austere  Ijnpersonalism.  It  defensively 


elevates    its   frigidity   to   an  aesthetictheory  of  non-comriiit tal 


abstractionisiji,  The    atudent   of  art   is    told   to  move   an  audlence   not 

by  ifeeling   himaelf   and  cornmunicatdag   that   feeling   to    othera    through 

•  /( 

disciplined  exercise   of   the    artistic  function,  but  by  a  calculated 

^KÄKtlKK   consideration  of  processea  of   causation   aud  «rcrtrion  accordingly 
Art   then  can  be   achieved,    so    it    is    thaa  grit,\"/lthout    the   ^mbarassment 
of  trying   to   feel  fully   and  basically  and  communicating   that^feeling 
/T*  others    tiiroiigh  devices  worked  out    in  the   laboratory  of   art*     And   so 
we   find     much  patterned   energizing,    solemn  acrobatics,    rigourous 
depers   nalizations,    jbnmobile  masks,    "cerebral"   designs,    polyjsrhythma 
and  rhythraic  parrot«,   all   allowirg    the   leader    to   appear    to    function 
as   an  artist  without   thetrouble   of  feäing^  and   itnposig©  upon  disciples 
in  their  art   the   precepts   of  puritanical  good  manners.  All  this    ia 
the   name   of  cäiasÄic  art.      And  thus   proceeds   apace   the   preoccupation 
\4  th  tricks   of    technique,    vjith  formal  patterns,   with  masochistic 
distortions,   going  further   and  further   toward   saying  nothing,   but 
saying   it   eneggetically,   vigouro-sly,    so    that   it  might    seem  more   than 
it   really  is  •  But  with  a  blend  of   puritanic   conscience   and  a  desire 
for    spectator  resoonse    (the   desire   to   get   emoti  nal  response  without 
giving   emotijnal   comniunication)    it  works    into   or    tackxs   onto    these 
non-com  ittall  af f an^s-social  imterpretat ions,    symbols   of  human 
signof^icance.      And  the    spectator,    expecting    so    little^is    audibly 
grateful  for   the   concession.  Here   of    course    the   artist   lacks   the 
integrity  of   the   true  Puritan,   who   r   ally  had  the   courage  of  his 
Standard.   Now  what    is    the   podüt   at   which  we  hav  e  arrived?  A  cul  de   sac 
like    that   v;ith  which  the   balfe  t  people  were    concerned  when  they   attemp 
Jred   their  reforms??   Not  quite.  The   ballet   people   feit   the   need  of 
human  expression  but  were  held  back  by  the   art  which  they  had  developei 
But   these  neo-classicists   ha^  e  behind  them  anöiwith  them  a  rieh 


vbcabulary  for  human  expression  in  terms  of  dance  and  a  fear  of  human 
expression  xhä  or  an  inability  to  achleve  it  thrcu  gh  any  vocab  lary. 
Is  this  a  true  classicism  which  they  ha^e  raached  and  which  Is  about 


0 


>P  n 


9 


to  4ajfe    the   subject  of  a  ±revolt.      I   think  not*  What   is   true   classicism 

in   the   arts?  What  was    it    in  music,^  Miat  yras    it    in  dance?    It    involves 

an  equilibrium  on  the   nart   of   those  who   are   emotionally   free*   Listen 

to    the   music   of  Bach  and  Haydn  and  Mozart.   Notwithstanding   the    abstract 

-ness   of   the  medium,   notwithstandirig   tha  fact    thatÜiÄ   centurles,   X 

mechanical    Instruments    and  perf)  rming   intermediär ies    stand  between 

the    comp'sers    and  cm  rselves,    h)  w  fresh,    how  direct,    how  vivid   is    the 

comirunication  to   us    of    the   aotions   of   the    compesers.   How  poignantly 

human  is    the   purged  utterance   of   the  melodic   line,    hov;  dramatic    the 

contraountal  fabric,    how  palpably  alive    the   rhythms,    how  c  mpactly 

documentary   of  huaan   life   the    harmonic   progressives    from  dissonance 

to    dissonance   to   resolution  to   renewed  exoeötancy  of   f.jrther   dissonancej 

to  more   final   conson-  nee«      Look   at   the   remanaitifes   of   the   sculpture   of 

Bericlean  Greece*   How    intensely    is   the   emotion  of   the   sulptor   embodied 

in   the  ifiarble   forms.   \7hy   is    this    so?     Because    these   artists   were   not 

ashamed  of   emotion,    because    they  feit   aciitely  as    they   created  and  when 

they  formalized,    their   vary   self-dlscipline,    t:>  eir   reservä,  ,^their 

regimentation,    1?-»Mr   orgaiz;  tion,    Ifiwtir  pntge,    Ww*r    idealiation  of 

their   er^iotional   expression  heightened  and   universalized   that    expressio: 

and  modified   it   in   the   direction   of  art.   A   perfect   equilibrium  was 

established  between  emot    onal   ex  ression  and  formal   realization. 

Look   at   the   classic  ballet    in   its   ]W  re    form.    Its  background  was   ±iuL 

preoccupation  with  the   formal    life   of   the    court.      Emotional  life   of 

lAy  VA  •^'V  ^ 
the    spectat  ors   was   not   stifled  bat  was   na^'rowed  by   the    life  of   the 

court.      Ease,&luxury,      left   certain  basic   streng ,§müt1oas  which  are 

acutely  aroused   in   our    time   relatively  untouchedj  Emotiöns   of   a 

narrow  scope    and  never    soul-shakingwere    involved   in   con:  iderat iuns   of 


coquetry,    chivalry   ,    lightness   and  elegance,    agility  and  strength  and 

control  so    important   in  milifefery  prowess,    etc.     These  found  fitting 

expression  and   idealisation   in  tiB    classis  ballet.  Again  an  equilib- 

rium  betvieen  a  relalively   small  Palette  of   emotional    life    and  a  formal 

art.      But    turn  to   an  agein  which  a  füll  aliveness,    an   acute   awareness 

og  petinent   factors   in  the   worda   lead  to   passlonate   feelingsof  a 

Wide   ränge.   The   expression  of   these   emotions    is   natural  and  healthf.l. 

It    is   an   inevitabie   oart   of  normal   life   in  our   time.  To   give    these 

emotions   sway,    to   face   them  fran^ly  and  to    transmute   tbem  into 

the   formali.ations/--tMs'is;tig   task.but   It   is   the   condition  prerequisl 

-ite   toaa  equilibrated  art,'in   terms   of   the    life  ofto-day.  ^'eav  and       ^f 

embarrassment  c^/Si^ns   natural  to   our   co:nmon  life  andthe    formulatio. 

of  an  a   t  which  does/Ü^estle  *ith  them  honestly  and  fully  an 


il^  which     falls   to   give  te    in  füll  measure   the^impact  of   th 

t^is  mere  «^t,x,.«^  decadence.   ^J^^J^^^^f -i^^/S^/^eLf^.. 
other   forms  or   out    .f  think  air/     It   is  gp  ing   through  £-  rms  whxch 
to«x^«p«±i«iaixiess8rci.±KnB»x±nx«iaxi±t,xtoxiimHe     are   largely  non-;n 
c.mmittal  and  which  Claim  to    hvae   the  «atest   same   type   oi    ori -in 
as  clas:=ic  ±HMXxÄMX«/iÄiBXxiaxKaxa«MxfaxxmHMXx8x«Kaiyx±M«^ 
but  which  to/i^fact   a  bogus   classicism,   bei,.g  factitious. 


patently   synthetic,   lä^  not   resulting  from  the  gr.  ative  grapoling      • 
with  spontaneous,^  emotions   and  their   natur.l   exoressions,   but  mere 
devlces    calculated  tx.    produce    in  the   spectator   feelings  which  have   n^ 
entered  vitally   into   the   creat  ion   itself .      It  would  not  be   surprisi 
to   find   result:'ns   as   a  reacti   n  aga  ^nst   this   development   a  dance 
that   is   nakedly   literal,    vacantly  naturalistic. 


\ 


Dance   as   Mddium, 


It    is    too   easy   to    attriTbute    the   3lov:nes 


0 


f  i,.odern  Dance  in 


takinc^  root  in  tH  s  country  as 


no  oular   r 


t  to  the  lack  of  K:ina.;sthct:'.c 


un 


res  -)onsivones  -  on 


the  Dart  of  most  oeople,  and  to  voice  tlie  hope  or 


oro  hecY  toat  v;e  are  o 


n  t^^e  threshold  of  a  new  era,  of  kinaesthic 


av/areness, 


General  mo 


XRXS 


gsxH±x  a  kinaesthetic  age,  a  g 


enevR 


•n  0 


f  aesthetic  of 


tots.   A  General  hotors  of  i-esthebics.   The  blame  lies 


orinarily  however 


v;i 


ith  the  dcncers  themselv 


o  o  • 


There  is  olonty  of 


evidence  of  kinaesthetic  a\var 


sness  and  responäiveness  in  our  age 


mus 


ic,  fojthall,  etc 


? 


/ 


/v 


./. 


nrrtuKiiii^'iiMlnuin 


üWMiwuiaM'W* 


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/ 


/   /- 


Ik-^j»^^^^ 


Ä"  /< 


^N»'' 


/^    ;,-«*' 


'C 


■-^ 


A  ^ 


y 


/  / 


L 


■/w' 


^tt. 


/ 


) . 


{  w 


/ 


(• '/ 


/\ 


»Vvj^* 


X^ 


t< 


/J^4A/y\^ 


DA-GE   GOIm'L'EMT:    THE  DAN' GEH   AND    ^  lö    '70HLD, 


\o\    t^e   r^r^o.^y^    ^^  ^  c  o  ft^  ^  n'.  ?^  ■'■    tbst    w^v^e    fools    nohody   but 
hdr»self   ^";^en   shf?    Gx^iliiits    v^^-^'ueness    v;ith   n-'^tensions    to    nrofundlty. 
On    tb  e    otbf^'^   "^nnf^,    If^t-    ber    r^mn^^hrr    t>rit    clnrity   rics    not    imnl^y^ 
liternlnoss.      Tbe    dnncer^s    uses    of  bbs  trr>  ot 'on    ri      not    nfford  ^im    t>^e 
3'cense   h:^    to    self-inciul 'ence   but    to    tbe    contrnry    Im-^ose    u    on  biTri    tbe 
Stern   obli^^'^tion    to    frmd    nnd  maintf^  1n    tb^t    tenu^ns    snd    el^^-^ive    level 
beyond   vrb^^  cb  für t''^ er   abstrrxrltion    does    not    ^-^eifr.V'ten   nnd  universali^ie 
exTession  but   merely   sriciifices   i^iea'-^i^^g   and    conviction  . 


P>^onas;anr^n    cance    is    iT--'>0}'»tr.nt   ^ut    let    noK   drmcer    tbink    tb^-tx± 
tbe   deenest    soci'l.    si^nj  ficance   of    tbe    d.-^nce    lies    in    abatra '*■  tlng    tbe 
rbytb-~ö    and   nostures    of  of   strik^^s    and    exoJ  o'*  t-^t  ion    and   degrao?.ng 
iTiPcnanizati.on.      'i'be    .i.'^nortant   t»^ing    is    not    merelv    to    nostract    and 
univni^saliz^    to    t^e    '^tmost    tbe  ^-^'Ovei^ir- nts    found    in   our   v/orld    out    to    f.  nd 
T^.ry(^~    canti^re    t  b  rnnov  ein  en  t  s    of   deenest    significance    and  mos  t  tiiniversal 
im^ort    and    tben   to    nbstr-  et    them  onlv   as   much   as    is    necessary   to    hffii^tnten 
and    u    iversa'^izG    ex   re.sion.    Let    tbe    dancei^   recognize   h   t    ±kE    it    is    as 
rmch   tbe    -enerally    cba^^'^cteris  tic   •^Tovenents   w    ich  be    siäects   as    tbe    degree 
of   abstraction  ^rrbicb.  be    emoDoys    tbat     1  ends    miversal:!  ty   ofi'  noi't    to    '  i  s 
dance • 


^M^  C{ 


~^,>  0  ^^ c ^o-JUZ^^ 


Many    ^-ooIg   iv^o    ar  e    instensÄly   i'eancn  ä±ve    to    modern   ex^ressions   of 
all    the    other    p.rts,    f-.ino   no    sntisfnction    in  tbe    modern  dr^nne    ancl    a    e 
in    f'ict    freni.inntly    ant  io'^t  bot  tc    to    it.      Why    j.s    t'^is?        l.:usic,    dealin-^ 
in   p    n^:3.re3y   abstrnct    'nedium   cnn  bec^ne    3or>ietbii5g    c^nnlete    in    itself, 

■i-"hf3y 

Painting    and    sculnture,    tbcu'^^    is/doxjs    n^.  t    confine    tli<^m3elv^3    to    r-bat-^r-^ct 

fcr  >'rs,    do    pbstract    tbe   forms    and  rannRomnces    öf    thin^s    from  actuality 

and   render    thej'ri   in  n^^terials    ov  er   ^.vbioh    thev  have    conirol   and  'vH.  ch 

v;ben   comnletec    stay    'Xit,      <^nd    tbus    tbey    t<^o    crn    ^^'^sily  becoi^e    tbe    obiect 

of   ry    c^mrlete    exnQrienoe.      The    drama,    tbai  n;b    it     ■«  y   convent  ions  lize 

and   r?rtificially   arran^^e    t'^e    eleinents    of    >mrna-n    oepsonality      nnd   exnerience, 

gives    lAS    xÄ  re^l:*ca3    of   acti;Rlity  vr^loh   becanse    of    t^-^eir   fiöelity   and 

connrebens  iveness    cause  ns    to   beco-ne    in\D  lu^d   '^nd    to   acceot    tbe   reolicas 

a:   iTue    for   tbe   time   belog.      And   on   tbl  s    nlane   of   assun^d    trutb,    the 

conduct   of    tbe   act  ^ra    on   tbe    stnge   ac'-^deve  a  quality   of   rig'  tness    and 

im^-^^^rtancG  •      But    tbe    d*^  nee    on    tbe    otbe:r^   band,    using    tbe    livin,^    oersona  1 

for-^   as    Its   nsterial,    cnn   n-ver   becor-ie    t>^G   nurely   abntt-'nct    n  rt    tbnt    muai 

tboncrh 

is    nor    pfford    n    cnnnletGly   abstract    exnerlence,      ^Jn  .-eöer, /Tbe     dance:^xtlx7^ 


m 


nay  acbieve    :^bstracticin  s    of  ^^ovement    and     'orm    ,    tbere   aln'oys    remaons 


tbe    troublin.f^    nnlnohüity    of    tbe    "'iving   b'^dy    in   inov ement  •    Now    tbere    3ee^^s 


to   be    inx  rioHt     ^eonle   a   deen    seated   remicrnnnce    ? 


r±  e   a-/,    in  s  t 


unorovolt^d,    i.dln,    rnoveFi.fint .    ür    let   me    mit    ii-    dif  f  erently :       It    is 
ir^DOSsible    not    bt   xtv^iR  attnch    s'^    r.    sicrnif icance    to    p.vf^.vj   ^^uman    mo^^e-^^nt. 
itxOTstxfeBx    Jt  na      be    ex^^res  .1  ve   fKÄKX     'f    some    function  or    eriotlon,    and 
t^-^en    It   must    be   aoorooriate    to    envlroninent   and   surrounding    nxerience:    or . , 
it  n3j  be    exnppi^sive    of   m-ve    nDa-,    and    then   it  must   be   an^rooriate    to 
such  free    irre3T)on  sible   outlet.      In    e't-'^er    eeent    it    takes    on   a    functionaL 
meaning.    The    former    is   echieved  b^r  dramn,    in  v.hich   fr^eTe    is    a   fict  orI 
assumntion    of  9    crucial   Situation  -hich   -ive    exnressions    of   vital 
e-otions    an   an  ro  nr  i/it  eness .    Th-    latter    is   achieved,    fcr     e   ajn^e,    by 


mn 


venpnts    of  n    ^la^^er    in    n    tennis    ^^ime ,    which   is    p    fmmk    ex^^ibition   of 


nlay.      But    t'^-e   dance   v/>n.5h   does    not    oresstn    -over^ents    an   rooriate    to    nüiay, 
and  wMch   on   the    otv-er  ha^^d,    lackes    snecific   character'isnt  io  n  pnd 
a    coT>inr.ehensive      ict^^re    of   a    human   Situation   vrh  ich   orov'oltes    tbe 
dramat-c   assumütion,    fnils   ^vhen    it    offers    -^over^ients    d^önoting    stmng 
p^riotinns,    to    afford   a   bnsis    for   belief   and   the    result    is    a    sense   of 
unOTOVoked   i'eactinn,    emotion    -t    large.    The   s  -ctator   as    a    resiOt   feels 
thet   t^-e    da  nee   ,- -^ounts    to    --uc-   ado   abo^t      nothing.      Very  good  .      But 
why   f  en    an   I   and    thousnads    of   otbers     ^^oved  3a^xx      freouentlv  "bv 
exhibitiois    of   node-n  dancc.      Rre-uently  movements    in   a   danoe   a>'e    so 
nov/erfnl    in    tb  e  ir    -'nestheitc    ef^^^ot    thatwn    feel    their    renerciiss  ions 
nn   ou-^selves    and    t  ^e    aca^mnanving    emotihas    and   being   able    t>^rou-h   nm^tt^n 
mqmorv   onr^    ^m--ination    to    su  -^Iv   tbe    events    in   vhioh   these    emotions 
fit   vre   have    a    fragnent    of    exnerience.      Mmix   Sonetimes    our  m.oocl   wh  en 
we    enter   the  v/itnessin^,   of    the   df^nce   ha  s   need  of    that   mood   and  we 
res^ond   and    t'it    it    intö  out?   ovm  exnerience.      Some    neo-le    ar e   raever   ab]e 
to   nuickly  ±™4i«    invoke   memory   and    ima<^,  inat  ion  to    sun^^y   t^^e   r)ee(^e6 
e]ei-ent3    nor   are    tbev    fo^r^tunate    in    nossessin-:^   at    the    -i-'ht   non  n  t    t    e 
need  of   t^^e   mood  -^liich  the   dance  nove-^nnt    s    ca  n    evoke   r^n-^    v;hjch 
C01O.CJ   be    fitted    into    their   evoerience.    And    teve    are   times    wh  en   all 


of    US    9ve    in   the    nosltion   of    t^i^'se   ^7hom   I   i^.-q  ve    .iu::^  t   cl^sct^bed  •   Thi    is 

Itself 
the    Denaltv   of   an    att   v'i'^ich/fa  ils    to    afford    a    comnlnte    e -• ''erienoe . 

Cid    fps^-^'onecl    ballfit    is    ver^    en.s  ■    to    accent    as    iä5CiQ:KSKXX   as    ^-^en    at    nlaj , 

and.    f'nen   Inov/Gvor   en>'er:i(^ral    it    is    a    comnlet'^   e    oerienoe,   iöH±x    In  bnlle  t 

D^'^cticm     there    is    an    an'^roach    to    (3rama    ann    if   successful   a  'ro'^ds    S'^ne-tbin' 

aonroacinin^',   a   om'  lete    exnerience.      Bi^t   >nodepn   da  nee,    runnii^i^      tne   whole 

gaT^nt   of   bumnn    exnression,    is  ,    ^vhen   it    fails    to     'ive   a   com':>letG     dctnre 

which  ^^ivGß     '\n   emotin  al    exD^^ession    a    raisc-nd '  e^jbe,    is    in  a    different 


n 


osition.    Thj  s    sbould    indlcated    the    imDortnnce    '^f   a  v/e  '  1   develoned 


dance   draina    forin.      It    is    not    ^^aking    a    concessjon    tbroun-.h    o  nriousness 
to    lack   of    tbe   snectators    a^.ile   me■mor^^    and    imal"  ina tion  ;      it    is    be^t 


U"on   f 


oin^  wbnt  all   p:"^eat     ar t   dops:     --ive   a   coinnlete    esnnpience 


w 


living      odyas   melui 
on  account  of   his    use   of    the 
It    is    imoerative    for    the   d^ncer    to    riamember    that/there    Is 

no    3uch   thinfe    In  dsrc  e   f^s    rm   interval   of   comDlete   unevRntfulness,±ÄX(ä 

the    eou'valent   of  a    «p»o?ii#itt   of   untouched  stoneness    in   sculnture,    of 


a   moment   of   nneventful    silence  TbBtwenn   the   move-e  nts    of    a    Sonata^  ä 

ÄxxxÄjtxÄxxiÄxfÄXXixiaXÄX     The   rough,    uncsrved  '  corner  of   t>^e    stote  block 

,    in  a    sculnture   of   rv.ic''-elangelo   or   Rodin  may   aerve   as    a   reminder   of 

A    d^ad'' matter   ct^iteicmr^        3  if e    by    tbe   genlTis   of    the   artist,      The 

interval   of   negative   sllence   betv:een    the   movements    of  a   Beetnoven 

/""WaitS. 
symnhoyy   saya   MimK^    •   'i'hat    is    its    ouroüse   and   its   value.   'i'he     dancex, 

Short    of    the    exit    öf    the   dancer|.  aflorda    no    codnteroart.   A3    long   a3   ± 

the  dancer    is    on    t-he   stage,    whether    in   attitude  ,or    in  movement,    he 

Ä53niHiiQ:?tÄ:i^   exnresses    something,    howevor   uiiliiieuti    liUll^,  "howevrr 


•      He    cannot    say   nothing,   ^'rom   this    simnle    fact    fo 


llow 


two    imoort'Mit   facts:    fisst,    the   choreogra -her   iriust    maint-ojn   an 
unrelenting   vigiisnce    th^t    every  moment    of    tti  e   d^ncö   sf^ya    oreclsely 

what    its    context   and    the   ,ö;ener9l    conce-iti-^n    of   tbe    co   noaltlon 
denaadf.      ^'or   It      ill   not   be  meeTy   a   -on-   exnresaive   oause   for 

.euer      r  a   ^oj.. ^  ^^^^^.f,^ ^^^^^l^JT^Sl^   '''' 
Second,    th.t  pL^^^^^-Str.   vr«h  movem.nt^of^^  stn,^- in  Ite.oing 

v/ith    the    dance    as    ^-    whole    or  liaxx -t^i.Ä-i'll'li  L  "V  liJ 

nose    li'<ewis.    in  hnrr.ony   wlth  th.    chs.ncter    of    the   dr.nce,      Andesa 
t.e    transition  fro.  natural    oosture   or  n^ovement   to   the   formalized 
cbaracter   of    t>-e   dance  movement    ia    ger..ne   to    the   phUos.hid   i.^nort 
0    f   the   danee.      The    Intervala   btneen   t.e   related   numbera    of  a    sroun, 
shou,d    11ke.viae   be   rarked   by   .    moment    of   dntknes .    or.a    bri    f   exlt 
.nies,    the   fa   1    Into   dance    from  natural   c-nduct    is    annro.rim  e    to    the 
snirlt    of    t-e   dance   as   an    idcication  of  different    lavela    of   r.allty 


in   Pirandelloes   ue   style. 


•s^ 


A^  (PVyOL    (l/> 


■^\    - 


V 


A 


r 


4 


'   '-'    ^ 


^^ 


^r-TTF*:   l.iSW   OF    PT(V^'    JM    DAIICE, 


3nvc3    rinor^.n    Srril' nvann    :n 


f'ti 


r 


dense    -^f    BGnutv"    {r)^^^9.s    175-176): 


II 


snd    in    tnin    nl^ne    •*  t    e^prcises    ovpr»    us  .    Tt    a-^ne^ls    to    nur    a  ^""f  oct  ions  : 
jt    d'  PS    not    forrii    fnern.    ßut    tbe    nl-t    is    tbp    5^vnt"hPsis    o-:*    actiO'^s,    Rnd 
is    n    rP'-^rodn.ction    Ol    t'ose    exnpriences    from  v.'hich    our    n^^tion    of-ien 


nnd    t^  i  ''''%s 


is   ori^inallY   der-ived:    for    chpr-  cter   oan   i[;ipver 


'"j 


ob-iervec' 


3n    t-'-e    World      xce    t    ns    --'-'nn? 


i  fest  ed.    m      et 


n. 


"Indeeri ,     -*  t   won]/     '->p 
is    a    SY    bol    pnd    abor 

a 7E X ^ TXT^  t  IS r  --'  XT5  X    •■'  ^'  t  .s 

fhp  datr>,  n>-^ä  t^^p  c>^ 
insnite  of  it  s  naii-e, 
a  su:'-:Tiarv  of  '-'hat  is 
'7l  vps  indivi^'-na]  ity 
AriGtotle  a^^^-on  s^-ys 
tbat  for  V7''^icb  nr-  oi' 
•■^lot,  ^.ivi^^'^,  b^.'-  -its 
involvps    and    sn^.^est 


more    f  undar-ie   t  al  i  y    acc-raip    to    say   t'^t^.t    p    char^^.  ctp    r 
ev'ation    for   a    ^^ecul-lar    .set   of   '-cts,    tbj- n   to    s-v    tnat 

n>^p    a    mfvnif pstatio->    of    chnr^^dter,    Fpr    tV^e    '^p^t^    are 
nr»o,-t:^r    tbe    inferrpcä    '^-^'    nci    1p,    and.  i'    ^^ri-ci    Ip, 

irm^ver     'oret   t^v  n   a    dpscrintion   a   nostpri'ri,    f^.nä 

subsupu-^d  und  er    it.    T^p   ol(bt,    -o-^-eovpr,       is    wh^qt 
to    t  'G    nl''-iy,    nnd    ex   rcisps    inv^mtion;    it    is,    ns 
,    t'-'e  r^.ost    difficnlt    nortion   of   (iram-tio    n-t,    pn6 
ioe    p^'v     trp'^^ing    •^'P   ^^^ost    ine"  ignpnsabJ.e  .    And    t^^  i  s 
nntiire    a    oP't'^in    >i--ct\^rp    '^'^    ^w-^''r\    px    ^"-^'^  pnce ,  xxxkääu 
g    f>'P    etbO^    O''    "its    ncto-i^s.'* 


a   detailPö 

9 


nresp"'  t  ed 


^ress  lons 

GHCP  • 


It   vr'-ulri    seem    to    fol^ovr    v-i^nm    ^^^p    rovc^<^r^'ry^^    tbot    ip    t^      Hp-cp    :^g    to   be 
bu-n-Oy   e^'-ressive    it  --mst    ^'^-vp   aim  so    et^^in^--    anploQ;ons    to    n]ot.      Mot 

x^c^isxx    se   uence    of   acts    .'-i>-d    pv^^ts    n-^  t^r-- 'J  is  t  ^ca  i:i  v 
>-ut    a    cfeneralizn^  Ton    of   niot,    ^    seriiance    of    ^^umnn    e 
tba  t  bavp    a   nsvcbolo^qica  1    ficielity,    a    fi^elity   to   bur.qn    9iir)ev 
Jf   t^-^e    nostnresx    and''niove;Tie>it s    s    oi^Dd    oe    vaque    enou^^.b   tond    ^e 
enon/^h   to      er  -it    t-v     s  -ectator    m   exercise    of    Imagination    -nd 
of  u'^jv^rs-lisnti.-in   of  neanin  •,    tbey    should   be    definite   ano    soeciv^c 
enou-h    ^-o    pnnble    the    s    ec^ötpr    in   a    relptivpl-    sv/ift   movi  g    series    to 
an-'-eci*ite    t'ne  -ean^^    '   ^--^tbo^^t    nonder"^*  nc^.    on   each   item  anü   t'     allow 

'    VP^ipl-io    s    in    im-    -i:.    tivp    vitn]  ity   -h  ch  we   aJi    G'-eriencG    and  v/liich 

t>'e    an  ^reci^:^tion   of    a      Pintln?^    ot   s    scul    ture    by 


a    3  en  s  e 


for 
are 
tbe 


allowed    for    ^n 
ossibil^ty   of 


"^•"-ndepi  nti    ov  er 


it    and   by   reneatec    viev/s. 


:( 


n 


f^y^o.JS 


"'''^  )>'**^*''"^ben    tbnpp    is    rep  1    nrofundity, -when   the 

i:^   most    firmlv     'rasieo,-    tberp   v/ill    '^  ceordin '^,ly  be 


Santa yn na    sp^^s 

liv^no:    cor-   O'"      ^  .^^,  ^         .  . 

feit    inadernac-' ''bf    exo-psr^ion,    and/a  'neal    to    the    ob3erve>»    to    n- ece    out 
^^^^^f^j^^jf^ns    v,nVtb   bis    t  "ondits.    ^'^^ut    tbis    :^-ould    com^^    only   after    t^e 
rces    of/a    optient    ann    well-earned    rrt    bavp    been    ex^Pusted:    ^Ipp 

d^ntb    is    rpp  lly    oonfusi'^n    an^'    inoo^-ri  .^tenoe .    Tv^e    simnles 


our 
reso' 

v;  ^ '  a  t 


is    fpl 


1 


n  q 

f        l  3 


tb^' n^t   bpcor-^s    nnut^er-bi  <^,    if  --e   b-ve    rorotten   bo--    to    s 


^p  p 


Ir 


tl 


l 


"    Tbe    >-^->tnri>    of    nnr  mpte-ials    -  be    tbev  wo^ds,    col'^n-s,    o>'   nlast'C 
,.^^^.-p^,    :|\^,^^gp.,    ^    lip^it    KM-^.bT^'^s>'XX!^xixxx   pnd   bi-s    u    on   our    ex-ression 
Tbe    realit^rlof    pxnrr'ence    ca  n   r)nv  rv   bp   oui-te    -enderpc.    t>^-OJ  ^,h  thesp 
media  r'-i^^-'e"<-^ept  est  mastpr-    of   tbonniaue  vf*ll   i-horpfore    o-me    sbn-t   of 
perfee^    aoeokacy  and    exhpustiveness  ;    t^n^^r    -ust   olv^n^s    ^^^em-  in 
nenunbfa   ''nr"^  V'ri'-.^cs   of   su  'rrestion 


.o 


if    tbe    r 


OS 


t    p/nlici. t    renresentat  ion 


is    to    con-nini^:!tG   p    tmt^. 


X 


V 


tl 


\J.  ciM^^^ 


'  Ct'tA  C4^ 


'^V 


To   attempt   to   avoid  Bin   the  dance  an  expression  of  hiiman 
X   experiencG   is   folly,    flrst,   because   such  expression   can 
give  the   dp  nee  a  memorableness   wh-'ch  it   otherwise  would  not  have; 
secondly,   becauae  we   are  so    conditioned  to  witnessing   the    livirig 
h\iman  bodyqp  moving   in  expression  of  reacti-ns   or   In  work  or   plyy. 


w 


ith  a   sense  of  the   implications   of   the  movenient,    that  we   never  can 


completely   eliminate   the   element  of  human  exoression,    thßt     is,    the 
element   of  a  human   exDeriencing   something   or  acting,  ;  we  never    can 
completely  retard   the  moving    liKving  body   ^    a   three  dimenä  onal 
abstract   form  moving   in   time   and  sr>ace«     At  le'^st  we  will  have   the 
sense  of  the  human  body   engaging   in  nretensioüs   nonsenne,    in  vacant 
play,    in   Dhysical   release,    in  matting  grace  and  mobile   design  for  the 
love  of   it.     The   presence  of   the   living   human  body  moving  will  remain. 
If  the   i^iDression   is  ±±]ii±±JiÄx±Ä  to   be   limited   to    these  unavoidabfte 


residues:(l)    the  result  vhen    not   ludicrous   or   obnoxious   as    a   life- 
negating  phenomenon,    not  so   intended,   will   at  most  be   pleasing  taxiuorx 
but  never  momentous.    (2)   Ig  so    intneded,    it   should  ±t  be  deliberately 
so   deaigned    so    thst   it    can  be   com^)letely  successful  on   its   own   level, 
for   there   are    Irws   of  la^tghter  and    olayax  and    there   is    r^n  art   to 
depict  vacancy«     But  when   the   ai-^.   is   to  show   thehuman  livipg   body 
experienceing   and  doing  more   than    these   thlngs:  How   shall   itx 
be   accomplished?  What  shall  determine   the  movements    and  nostures    to 
be    emT>loyed^(  1)      There    are  postures   and  movements   common ly  ma de 
by     ost  men  4h  psrt  of  states   of  hfting  and    react'ns:    tlr:  e  oosture 
of  meditalon,    the   leap  of   joy,    the  backgard  shrink   of  terror   etc* 
(2^    There  are   functional   mo^smentsx  suchas    the    diysicsl  inoverents 
in  field  or   factory,   marching    eto.      All   these  movements    in  1   and.    2 


are   universally 


and  imniediately  recognizable    •      These  must   be 


modified  throgh  stylization,    abstraction  etc.   sufficiently  to 
heightne   and  universalis-   exoress 


become  part   of   a  pattern  of  rhythm  and  Visual  mobile    design  that 
afford  a  senxe  of  basic  rhythm  and   cyclic   character   of    life,    of   the 
tbe   8terniL§L   scheme  of  moi»«iiiB  nt    in  whi  ch  men  move   and      ave   their 

being but  never  beyond  the  po:int  at  which  ikajcxKK»  their  original 

charecter   can  be  quickly  identlfied   in  the    fast  moving   and  brief 
dance   cotoposition*     ^^ot  only   isthe   character   of  the    inifiiviaal 

Dostures    and    the   individual   items   of   movement    im^^ortßnt.      They 
heve   sj^nificance  deoendeüit   on    their   context,    the     ostures   and 
moveonts   preceding  and   follov/ing*  fhus    the  sequence  must  have 
fidelity  to    psyvhological    laws,    to    the    flow  of  human   exne   ience, 
to   cause   and  effect,    to   habits   of  human    conduct,»    In  other   words, 
there   is    a   lo^ftc   that  must  govern  the    seauence  cf    DOstures    and 
movenents    in   a  dance.    (3)   There   are   pcatures   and   mov  ement  s    endowed 
wlth  a  deliberate   and    nerhaps   atbitrary  symbolism.    If   they   are  part   o^ 
a  general   and  immediately  understood  sign  language   such  as    certajjn 
gestures    that  are   a    comrr^on   oar  t  of  conversation-  nods   of  the  heai  , 
pointing  with  the    flonefinger    etc.,    th-   upraised   fist  of  the    communist. 
the    extended  arm  of  the   fescists   and  naziJt,   they  may  come   into    the 
category  of  1  and  2  but  will  not  h^  e   the   SBBne  vitality  as    oostures 
and  movemtns   spontateAusly  made   in   readting  or    simnle  functional 
movements    •     But  otherwise  wherf^  symbolism   Is  not    a   comoomon   language 
XBODx   inmedlately  grasped,   vhere    so^e  thamg^^t   is    necessary  to   decipher 
its  meaning    it   Is    useless    in   dance.      ""ne   cann   t   even  at  best  say 
very  much  in  mer  e  movement;    the    ideas   can  never   be   very  eil  communicaä 
and  therange  of   expression    is   very  limited.     The  gestures    teil   trings 
already  knovm  and  better  expressed  in  words.     And  while  one   is 
attemnting   to   decioher   the  meaning  thruffglit    the  agency  of   thouglit, 
the  movemtn    is   oassed  and  the   one   thing   that    the  dance   can  do   really 
vvell,   namely,    cotomunlcate   emotion,    is  minimized   if  not   lost. 


/*o 


/ 


.-  -"^ 


J 


r 


c 


I 


CJ 


/Ä  y  Ä 


-7/. 


^ 


t 


c-^ 


n 


.  * 


/ 


/ 


/    '*' 


I 


/f 


./' 


71^9 


f 


% 


V- 


-^ 


A 


f^ 


\^ 


f         \      '   ~ 


/ 


/ 


/ 


I 


\ 


"i 


Hvct^ 


cn/ 


Y 


->* 


♦ 


bH 


U  j.     Li  ^ 


in   the^iaality  of  approa 


■%/' 


ci  ;ondingly  be   aware   of   a 
in  Iiis   \/ork. 


s1 


jj^/'^     -^n  considenng    the  i^lace   of  dance   as   a  medium  for  polemical 
^|^5*-influnQjCLe    Jet    it  be  rene  i.ibered  alv/ays    tliat   Danceas    such  can  nnver   be 

as    co^pletely  definite   and   articulate    in   indirectxHn  ex^ressioi    as   drama 
and   consequently  nev.r   as    clear    in   iriDÜcatiuns,    nur    can  it   ever   achic^e 
the   man-to-man  diroctnoss   of  oratory  as   a  direct  medium*  The   directness    of 
dance, SQ   nuch   heralded  as    a  virtue    of   the   art    consists    in  fehe    aualtty   cf     its 
exppossiün,    i.e.,    the    inmediate   kifiaesthetic   and  associative   effects    of 
movement   witiuut    the    intermddlate    stoj)   of   a    symbul   sudi    as    the   v/ord;    and  n.jj; 
kicxxiälicsEtH   in  tiiaa   intimacy   of   contact    that    the   orator   has   v/ith  his   hearers 
fhe    indirectness    of  dance    lies    in  the    auasi-charcterisat iuns    achieved   and   in 
the    indiraction   char    cteristic   of   its   modes    of   exoressi^n:   wordlessness, 
formalized  and   symbülic  movement:    the   pootic    indirection,      itxKMXXzzsxtioÄ 
iD5m±iB:xtxaxÄXK:atxxHxi(mshxH±      It  doss   not   afford   comoletley   eit^  er    the      silei 


.'  AJ-f: 


/ 


..a    /■'  4 


/ 


f 


/ 


y^' 


/ 


/ 


M 


'-»•^''Tr^*»— 4^„^' 


/ 


tf 


f- 


/? 


■■\    •  i«**,^ 


"^Z-  Lf 


i,^'~-  «»» 


.-■C..-r 


4? 


** 


y^Ui  X-^^^ 


/ 
/ 


•; 


'i 


thougfivivid   implications   of  a  complete  representatlon  of   llfe,    an  authenti 
and  detailed  replica,    as    in  *  ama,    nor   tla     frank   stat.ment   oforatory. 
It   Stands  betv;een,   .vith  a  powerful   contagion   of  ^lowement    tl^  t    is   not  allen 
to   the    drectness    uf  oratory,    vdth  a  quasi-represnatatlonl  qualtiy    tho  t 
partakes   of    the    dram.      And    thi   posltlon  mus  t  be    taken    into    conslderatlon 
in  usins   it   eäther   alone   orin  association  v;lth  other   arts   for   the  purposes 
of  Propaganda« 


THE   MQDhJHI^   DANCE   AS   MEDIUM^ 

rou:2;hly 
We   have    considered/t'ne    cha  r-^cteris tics   w^iich  distinguishxÄ 

the   modern  dance   from  other   tyoes    of  art-dnnce   still    cuttent,    and 
tbe    imoortance  w'  ich,    as    a   result   of   thos  e    characteristics,    trie 
modern  dance   haa   for   us.       Itnow  becomes    nacessary   to  |ööai?»i^W?x:t3a»x 
3KP353BX   regard   the   modern   dance   as   a  medium;    to   define    its   position   anong 
the    '^rts;    to    determine   where    it   differs    from  and  where    it   overlaos 
tre    other   arts;      to  recognize      clenrly   the    limitp  tiona.  w^ich   it 
involves^   h>iiWi-   the  unsurmountable    limitr ti'^nsjbhat /i)ecome   ovident 


and    the'ic::^  yacitiesi   of|,  the   aoectator 


<     caDacities    of   tbe   dancei)^  ^#w*©   ana    •cne'^c:; 

nd   the  .linitations^dnliberately  set  uo   by   vi  r tue    of 


to 


r 


a 


(blie  i'.tti-lÄr.-^öw^r  of  other  orta  to  achieve  beyond  them|   to  appreciate 
what  the  dance,  within  the  discovered  limitations,  can  ac^^ieve, 
parlicularly  wh.^  t  it  c-n  do  better  th-n  the  other  arts,  what  it  xää 

alone  c'^n  do« 

Dance   is    expression   t   ro'^igh  postureB  and  moveme^iis  of   the 

human  body«      But  unless    thesex    oostures   and  movemenis  deviate   f r  m 

the   forms    in  which  '^en  n'^turally  act   and    react   pnd    in   the   direction, 

of  a   heightsned  and  universali^ed   exoression,    we  have    not   dance^  but 

merely  a   Mteral   renlica   of   life,      Accördingly   the   dance   tends 

*  "^  '"  '-  -^pdernis  t 


inevitably  towaöd  abatraction,    toward   formalltyix«  Aiid/dancers,    no»^ 
eager    to   escape    the  uneven|f^l^na^^r^li3^^^ 

§§?^g?H:^^^a^?^§Jcg85^?g^^Si8Ä  tfti'i^ii^^ii?^       m\\%^ 

a   new   classiöism  in  dance,   aa  art   of   essentddlly  Ahstract  design  in 
oosture   and  movemc=?nt.     "^at    they  produce,    even   the  mo»t   gifted  of   them, 
betrays    all   too   often  a   failure   to   recognl-e   the    limitations    inher^mt 


in  their  medium« 


\ 


-1- 


Mu3lc   !;a3   creafeed  a  rieh  vocabulary  out   of  abstract      sound. 
Exceot  ±M±äÄ)dkaiit»in  song,    It  rejeiits   the  humanly  uttered  aound  — 

STD@C1X  XC 

forma   which  have   becone   the   aocppted  xhbxä  Symbols   for/tnlnga   and 
^ÄagSSCS    In  human   Intercourse.     ivioreover,    throu^    Instrumentation, 
lV\lZ^M^X-^\^.^  1  -^^ ""    removed   in-vwHw»s   degi-ees    from  the  quality 
of   the   human  voice.     Dearorative   art   is   free   to  use   forma   so 


zanaxx«  forelgn  to   the  aspect  of  man  and/iila-.JSfi«iBoa-«eö«3  o^-axüan 

^^^^^^^j ^ iiaiirntTrn  or   so   isol    ted  from  their     normal  human  context 

that    they   car^y  but   litlle   If  any  humna  sug-estion.     Thus    these   orts 
can  approxlmate  z  purely  abstract   design 


e*^'tir9ly   free   from 


the   oualitles    of  human   expression    and  human  denlctlon.      The   dance   is 
in  a   r   dicfllly  different   oosltion.      It   exists   only   in  and   throush  the 
the   living  human  body   in  motion— -the  meit  human  of  a^l  human. .TDhoiwmrft- 


.      Out    of   thl3   basic   f-^otvem^rge    two    sLmole    truths ;    firat,    that 
Pft^eäance   cannot   achiev/ourely   abstract   desisn   in   ^7 ^j^^/^^/^;^^^ 


second,  that  efforts  Airected 


r  /        aliipofc   (k 


/^^./  ^r  ^  t  <i 


yJ^ 


"S 


h   r^V^^^^J 


r 


\y 


»nä 


#/  f  yf 


Take   av/ay  the   human  body  and  you  hpive   no  dancer*  Take   av/ay 
movement   from  thet  body   and   you     >^ave   no   dance.   Admit    the  hu^ian  body, 
its   postures,    its   movementa,    but    so    costume    it    in   sbstraqt    forma    r^nd 
30   dehumanlze   the  movements   made   by   these  bodyöy 


.j.r_  forms   as  .to 
oonceal   the   living   identity  of   the  dancer.     What    "3   fe-.htJi»uaT  / 

In   the   first   olace,    the   ruae   U    likely   to    fall.      Por   the   snectator 
enters    the    co.cert  hall  knowing    that   what    is    novlng  before  him 


is  an 


aisguised  human  being  in  action.  The  soectator'a  awarenesg 


of  a  living  oerson  on  the  st -ge  is  not  ellminated.  In  the  aecond  plac, 
the  ränge  of  forms  and  movements  of  which  these  humanly  oropelled 


->? 


(pt 


abstractions  are  caoable  is  very  limitec  v;hen  comnared,  for  axample, 
with  the  Play  of  ab.tract  foms  in  certaln  exoeriH«ntal  .otion  plcturea. 


For  tbia 


ränge  i3  determined  by  the  aize,  the  strength  and  the 


If 


set-un  of  the  human  body.   ^n  the  third  .lace,  the  ±,K.««*vex^*«...i«n 
of  which  such  man-moved  ahaoea  are  capable  can  rarely  riae  above  the 
level  of  a  k  nd  of  mobile  decoratlve  art— .greeable  forma  moving  and 

DUt  -, 

^r.'^^    v.«-»-4-ar.nQ   ww* /1f ck Inff    the   mom0n tou snGSs    oi 
.    interweaving   in  agreeable   ^«"«^JJ^f f^/^f^^^if ^Ity  and   freedom 

the   mobile   abatractiona   which   the    cinema/cn   evolvei  xithxküaclit 
±«te«*tm^   abatracti-  na   that  can  insinuate   the   olay  of  natural 
foroes,    the   formaticn    and  disintegration  of  worlds,      the    rhyth.uf  of 
^  •   "       >^-^M^^t  >:.   ^ ,v>^^  ^^^^^,,,,^  ,-,^        j^n   art  of   dancing 

geometry  has    its   rightf).!    olacö   In  the  world,    but  we  have   a^ailable 


for   its    realisation  means    far  better   than 


/ 

m^m   oeoier-mached 
,.„    . and^flexiDility 

abatractiona   .ropelled  by  an  org.  niam  of   limited  s   rengtl/and  ^ 
,..//^-'      lega;:nrrarma.,«r^heBd  and   torao   that   neraiat   in  *Hintaining   their 

set  relationahioa   to    each  other,.    f^^t   thia    oroblem  of   a  completely 
abstract   dance   ia   after   all  not  very  oreaaing.     ^'or    there  a- e   few 
dancera   se^f-effacl  n^^  e^noagh   to   be   satisfierl   to   remaln  comoletely 
hidden  by^'^oa»^  sVh^ea   and   ^^^^ll^l^Srana  .^^^^^^^^^^^ 

'  Well   then— allow   the  dancing  luaä»/  eitber  Intention ally 
or  unintenticnally,    to  betray   itaelf  aa   a   livtag  huamn  body.      -»bat 
hannens?      Once   tbe   aoectator   ia    aware  of   a    llving   huaan  being   on    the 
stage,   he   cannot  diaaociate   ita  M««.t«    -^oaturea    and  movementa   from 
the  human   force  wbicVp'odScL    them.      Everything  done   by  the   dancing 

.ody   ia   somethlng  l^I-lz  done.      And  -  -  ^\\^"S,,  S?-'^^  ^^ 

.hen  one  behoids   the   Uvin^  bpdy^,;nj  it,/aometb1ng  |^^^^ 
..  .ay  be/the  a.mptom  of   so.e^^nte.n   l.exo^ien   e^ 

human  utterance.    It  may  be/huB«n  action.     O ..     y     ^  _        / 


-u-,>%  /^  C^  /-^'  • 


-i- 


When  the  humon  allveness  of  the  dancing  Instrument  is  once  detected 
eveT-ytMng  w''^ich  It  does  or  falls  to  do  bas  some  human  i-nlication 
for  the  spedtator.  The  very  ottemnts  to  avoid  hu'nan  documentatlon, 
the  very  carelessness  or  indifference  of  the  dancer  wnh  regsrä 
to  auch  doc'-:inentstion  become  in  themselves  examples  of  it.  Thoy  do 
not  make  the  dance  less  a  Manifestation  of  life.  They  merery  reduce 
it  to  the  level/haphezard  exoressi^ns  of  trivlality,  aimlessness. 


inarticul'  teness,  Insanity  in 


human  exnerlence,:  a  rathfir 


narrow  acope  for  a  great  art.  The  dancör  has  no  avenue  of  escane 
excent  the  "winga"  of  the  a'tsge  f-roa  gh  whi  h  he  makes  hia  exit. 
Let  him,  'n  his  zeal  to  create  an  abatract  art,  neglect  cons Ideration 
of  the  human  exoreasiveneaa  of  what  he  does.  He  oroducea  a  -icture 
of  man  using  hia  living  body— the  instrueent  of  love  and  creafve 
labor,  of  ecst^cy  and  aufferlng— as  a  tool  for  tV;e  tracing  of 
abatract  forma.  An  internretation,  oerhana,  of  ±Ä±n   vacant  nlay,  or 
a  clinical  exhlbit  of  the  geometriclan  so  obaeased  by  the  forma  wlth 
wbich  be  workä  that  he  attetmta  tp  live  In  terma  nf  tbem.  Little 
more  thah  tha  tflTLet'biiV'out  of  ""hia  eagerneas  to  evolve  -^leaaing 
patterna,  juxte po^  items  of  in^ivldually  underatandable  oostures 
and  movementa^-without  retard  to  the  aignificance  in  terms  of 
human  exoerience  of  sequence  formed.  The  result  is  a  series  of 
iaoloted  human  -anifeatationa  related  by  aome  scheme  of  formal 
dealgn  but  without  respect  for  the  lawa  of  causation  that  operate 
in  normal  human  life,  without  intelllgible  continuity  of  acti-ons 
and  reactions,  without  loglc  of  äevelon«Btt,  without  fidelity  to 
the  natural  courae  of  human  exnerfencef  a  seouence  that  leavea  e^ch 
item  unauDDorted  by  a  context  tbat  would  give  it  a  nlauaible  ra^iaon 


d'etre  in  humen  terms 


feeaning  as  a  kaleidosconlc  view  of  life  .ith  its  attendonf  philoso-p^ 
oMc  implic.tions,  but.  not  unlo.s  t^c  .ood  and  t..po  a..rom-.i.te  .0 


may 


^    4.    •    ^^      Av,r^    1-Vn*  q    lg   not    Ukely   to    occur 
t:r.ch    an   outlook   ar  e   rnaintamed.   Anc    Uns    is    no  c    - 

wlUhout    the    SDecific    ^-ntention   of    t-    üance.  .      i. 

have    suggestiveness    as   a   de-ction   oi    iree 

But  without   accurate   kno^A-lec^ge   ^nd   delbprate      urnose   on 

pprt,     'ittle   of   va   ue   can  be    acMevea    in   thrt    directi.n. 

Caos   Of   tbe  ^.  -ycbe   bas    its   own   la.s.     .o.t    li.ely   t.e   aance 

.in    ave   litt3e   mo.e   tban   a   sense   er   o.etentious    inoon.rulty,    too 

4.^.1    a^   honest     'lay,    tooself-couac;i   us    to    oe 
formalized  to  be:;   accented   as    nonest      lay, 

14-^   *<v.oi-   In   vppuelY  amus^ng  when   it 
feit  as   healtvy   release;    imcongr^^ity  tthat  Is   vagueiy 

T     t.  *^  ^öt     13  S     Innk     still 

1,   sol.mn,   utt,rl,  annoyln,  when  i-     Is   äebon.lr. 

arawa  n'^^ur^l  conduct    logically 

further«   Sup^ose    tne   aancer/ujun 

o.de.e.,   but    tbrougb  tbe   n.ocess   of   stylization,   of   si- plifiction 
0.    o.   otbe.   f    ™s   of   acst-etic   M.tortion,    .end.rs    uncertain   or 
.nreco.nizable    t>^e   natural  ori.ins    of  bis    nostures    and  .ove.ents. 
T^     result   will  be  a   nicture   of  .--    going   thro.^,h  str.des   and 

nri   .estur-s    tbot   remotely  sug^est   bummn   exoression 
sau^rmings    and   gestures    l 

^    to  be   suscentöble   of  any  of   0  half   aozen 
but    tbr^t  are   so  vague   as   to  be   susceoT^j. 

4..,<.      Knr  Iti  "IV'3  tue   a«»ao  not  30  auch 
,paoe.     Sm.ll  oont,rlbv>tlon  tMa .   tor  It.  „iv 

Of  th,  .nlvers.l  groolng  of  .an  a»  of  ths   n„ticulsr  groolng  of  . 
.,„„*».tng  .,nca.,  .  ph^-anon  th*    la  ^.Jaot-»,  tta.   X- as    for  a.t 

•    ^   r^f   rifinoe JL-farticularly  obj   ctinable 
than  f6r   a   critical  discussion  of   dance^JJ-^ 

•  ■uT^      anai-olned   human   signifi- 
is    the   absence   of  readlly   comnrehensible,    sustained 


i.      v.4nv,      Uke  Modern  Dance,    is   dynamic   in 
cance    in  a   tyoe  o.f  «^^^^ Vi  '  ^  ,^        ^ 

^^^.kU-O^T^       oiavption   as    essential   element^   and 
cbar   cter,   using  /enslon  afä   relaxation   as    e 

L.   ran«e   of   .radati-ns    in    eneBgy.   Life   force^ 
playlng  un-.n    e   wide    ränge   oi     ,i  ^^ 


^- 


mOr'G 


scnled,  Dhr^sed,  marshalled  pH    for  nothinp;  ^!r)K/ef f ective  tban  a  kind 
of  energizGd  ornamenta tinnl 

Among  the  doncers  whom  I  bave  been  discussing  t^^eve   are 
doubtless  sonie  wbo  will  nrove  -  llitaAtly  defensive,  They  will  not 
confess  erwvt .      "^bey  will  vebemently  dissent.  '-Lbe  dance,  tbey  will 
contend, ,bas,  like  other  arts,  Its  c  ^nventions;  and  if,  in  a  dance 
comnosition  conceived  oiimarily  as  abstract  motoile  design,  the  oersDii- 
ality  of  the  dancer  so  obtrudes  as  to  carry  wi th  it  unintended, 
disturbing  human  iTolications ,  it  must  be  acceDt9ed  anc  set  it  its 
Dlace  as  an  unavoidnble  by-product,  r  Convention  of  the  srt  of  dance. 

Or»  if,  "^"Hen  n?^tural  bodily  movements  nre  eroloyed,  humnn  significance 
in  the  seouence  is  s??cfificed  to  formal  demands,  or  Identification  of 
the  natural  so*a?rce3  of  the  m.ovnr.ent-^.  ^recludöd  by  extreme  distcrtion, 
tbese  result3  must  likewise  be  taken  as  convpntions  of  the  art,  The 
acceptance  of  such  Conventions  ,*±ii,  tbey  will  insist,  c,<:^n  be  rende^e 
easy  if  we  remember  t^at  the  donci^g  body  is  not  a  renresentatinn  of 
character  as  in  drai^a:^  but  tbe  -resentation  of  an  artist  -roducing 
beai:ty,  not  a  oicture  of  man  as  mr^n  goin^  through  nonsense  antics, 
but  of  man  the  artist  creating  a  dontinJfuUy  of  d  sign.  The  c.nduct 
of  tbe  dancer,  tbey  will  say,  oosing  and  »loving  in  abstract  designs 
should  not  tee  more  äistracting  or  less  maanAnglul  than  the  conduct  of 
a  musici/^n  olayino:  tbe  fugues  of  Bach  on  a  niano*  Both  are  artists 
fundtionino;  to  commun-'cate  a  -essa^^e  of  aest^^etic  imnort.  Moreover, 
if  tbe  dancer  intenris,  to  some  extest,  a  nortrayal  of  human  exoerience 
or  mepningfül  human  conduct,  but  such  de-iction  is  rendered  va'^^ue  by 
tbe  nrocesses  of  aesthptic  distortion,  that  i^3  nnt  a  deficiency  but  a 
advantage.  ?or  the  vagueness,  ^^'e  ^-ill  be  told,  a'imulates  tbe 
spectator's  ima -inpt 'on,  oromnts  bim  to  en^.age  cr^rti^ly  in  com- 
nleting  the  crysAfellisat  ion  of  meaning  ,  Clt  J^j,  ^  (^^  .ff^g^ 


seem  quite  nlsusibls.   But  a  little  reflectlon  v/i]l  betray  their 
SDec'^ousnGSs.   On«=?  answera  nothing  by  dubbing  a  deficiency  a"cnnventlorii 
If  a  "Convention"  is  so  stu-bornly  obtrusive  ns  comnete  og '^sis  tently 
fo  our  attention  and  to  taint  the  intended  unfold^-ent  of  abstract 
beauty  -itb  the  marks  of  menningless  human  actlvity,  the  "cnvention" 
if  really  essential  argues  agaln^t  the  soundness  of  thexici  art  farm. 
The  naturalistic  theater,  the  conventijns  -hichweare  obliged  to 


a 


cceot    a-e    reminders    of   the    fact    that   whr?.t   we   are  witnessing    is    not 


life   itself  but   a    th^^rtric   rep-esentation   of   it.    To   adjust    ourselves 
to    suhh   co-ventions    is   not   difficult   rhile   we  are    in   the    throes   of 
intense   Afivolvement   with   the   betrayal   of   huaan   exoeri-nce.      In   fact 
they  har  e    ö    positive   value    in    ennbling   us,    throu^,h   the    t  :cit   understand 

ng  between  actors  am  audinnce,  to  oarticinate  in  the  god-like  lobs  o 
fashionlng  human  Personalities  and  events.  Hut  the"conventiCins"  which 
these  dancers  ask  us  to  accent  involve  not  an  assurnntion  of  li^^ex  iax* 
where    there    is   merely   fiction,    but   a   donial   of   life    that    is    oalnably 

existent   before  us.      And    that,    I    submijr,    is   UBPy  difficuDt    if   not 

living  .  ,  ^ 

Imnos^lble    in    the    face    of/human      belngs    posing   and  movÄing    oefore   us . 

The   analogy   of   the   dancer  with  the  musician   nerforming  at    the   oiikno   is 

falsa.     The    person  of   the   xKxfxx   n^anist    is    ;.ne    t-ing,    the    instrument 

another,    the  bodily  movemeris    throggh  which  they  arerelated  a    third, 

*nd    the  rrusic   nroduced  a    fourth.    In  dance,    on   the   other  band,    oeri^orm  r 

artistic 
and   instrument   are  o^e,    xää   e-^cutlon   and/result   kkä   one. 

\¥hat    is    "boauty"in  Dance?    Or,    more   nredsely,    -^^^t    ^s    tbe 
type   of^'beauty"   which  dance    is    oeculiarly    fitted   to    crente?    For    rhythy, 
harmony,    symmetry,    ba^ancö    in  Urne,   m.uslc    is    a    far   m.ore   flexible   and 
powerful   medii^.      Por   t^^-se    same    values    -^n   £pa_ce,    painting   and    sculpi- 
ture    suffice.      The    dancer,    in  uniting   n^e    exclusi^ely   temnoral   and 
the    exclusively   spatial   asnects    of    these    ingredients    of   a    sthettc 


-7' 


Hestbetic 
8S    the   di 
xscs 

CC    ' 


exT^res.lor,,    sncv^ifices    someth^    g   of   the   su 

.^•n.   nf   the  mer.orable    st.billty   of  the    l.tter.   As 
former,    someth-ng  of   the  memui 

.„.v^flc.s,    it   offers    an  added   ord^r   of    exner- 

ffnr.d       Thnt    is   the   revelstion  of    bheae 
v,-«v,   nn   nther    art   can  afford.      J-n"- >- 

1-v,«   direot     vi3ible,ä*namic    emantions    ptmman  j^^^^^^^ 
äaily  Ufer-    ^^^"^  [  cr-ntlne   th«   art   out 

..a  ni,ht.    »  »nit«  .rt  «.  »3  ^^^^  ^^^^  _^^^^^ 

T    ^r^nrinct    of    the   recioient.   une 
of   t^e  normal   conduct  ,,,v.1n2    ^^prActeris tlc 

«hout   move-^Pnt   as    the   dlstln.uishing    ^- 
an,a.g  a.ncers    .bout  .3,,,    f,o.  reoresente£  .ovo.ent 

of   dance:   actual  .ove.ent   as 

.<,      And  w-nereln   does    thp    artistlc 
.n  other   arta.   And  w  ^^^^^^    ^   ^3^, 

.        1-    in    Its    streng   sug-estion   of    me 
„..nt   ne    If   not   in    its  „^^.tract   forms    rnd   then 

r    o    living  man   imoersonating   .^Ds-cr 

«f  qplectmg   l^vjng  man   a-    art  me 
,,3tiflcation  of  select  .„0    .ben  so   to   direot   the 

caoacity   t^ron,^h  move.^ent  .  ^,331^,1« 

..*     1t    fails    to   deoict   anytnlhing   thnt  ir.akes    .1 
movement   th*     i^    ta  ,v*«rw«x«^«si^'=*  J'-'^st   it   not 

.      ifi;zant?        QnxtMx.sthBi-lixl^Km^l^-'^^''«^^''^^ 
or   signifikante  ^^^    involve   a 

^   ^.A  t^'.^t    the   ttne   fimction   ot    d.nce 

be   conöeded  t'^t    T^r  ^   .  .„    f^r-t    lies    In    so 

.  r  natural  human   .^nif estn tions   hut  tn    f--t 

shunning   of  natural  t^ansmuted    ^nto   art 

them  tV^.t    tv^py   fof^i   öesl^n 
humanly   relevant    seq.encet 


Dhe  snectPCle  of  vlgour  »nd  grace  and  rhytnm  prüducec  by  a 

living  boöy  in  formal  oatterns  but  anart  fron  a  com  .rehensible  ynd 

significant  buman  acherne,  can  be  Invlgoratlngly  and  caressinßly 

entertajning  but  little  more  momentous  than  an  audible  composltion 

ca^efully  mo-Jlded  in  sonnet   orm  and  consisting  entirely  of  nonsense 

and  arranged 
syllables  .judiciously  3electeä/:«iSKxihBiKXKU!iH±EH±  wUh  regard  for  their 


mu 


sical  vaüuia.      Good   d-aign?  ^ea,    indöed.      Sensuously   nnd   suggestively 
Dleasing   substpnce?      'i'bat    too.      And    wh<^t   more?    Naught.      ^nö     is    that    i. 


the    end  of  xx±*x  art    thnt  usps    the    living   human  body   directly   as      edlu^l? 


It  may  be   suggested   thpt    foi-  dances    are  trA^ÄiAa^s  t  r '  c  t  ly   formal 
comnosltions    and  they  have    stood   the    tast   of   time    anc   hatd   use.      Perhan3| 
ve   do   wronp    to    exn- et    too   much   of   dance.   Nonsense.   Norm.ally   the 
the    en.1oyHiHnt   of   folk   dences    consists    in   our    active    oarticination   in  a 
socio-thylhmic    exoerlence.      H  d   that    e.nerience   suf  f  ices .      But      hen  one 
13    reduced    to   the   level   of   a    snectator  he    demands    some   depth  of 
sustained  hua«n   s  ignif  Icmce    in   co    tent   to    comoensate   for    the    surrend  r 
of   actual   oartic5-T,M.on    .      He  demands    the   communication  of  an   ordrr   of 
exnerience  which  he  Mms^lf   cannot    initiate   or   carry   through    ..rsonaly. 
Commete    exOicitness    in   dance    t^^ere   should   not  be.      In   fact,    it    is 
imnossible  ."ithout  resuH  ing   in   a    liter-lness    that    is    ha  -dly   les3 
objectv^nable  ik^i   In   dance   than   incom.rehens  itoility .     But   3ug-,estive 
reserve    is   one    t    la.g,    vagueness    anöther.      Th.    former   leaves    a    margin 
of    indefinlteness,    but   stimulates    and  directs    the   creatlve    fu.ctionlng 
4f    the   s.edtator    towardx      recognition.     The   latter,    on    the  other   band, 
grow'ng  out  of   c^relessness,   in   comnosition,    delitoerate    inc.iffercnce 
to    the   communication  of   meaning,    or    a   oo.e    of  mysterious    ae  ,th^    is 
the   danger-sign   of  decadenco, 

Thp    Mresence   of   the  human   Personality  in  dance  äeflmes 

tablishes    Its   character.     When  the   dancer 


th 


he  ecooe  of  the  art  and  es 


-^- 


attemots   to   eracUcnte   f'  at    -.ers-ne  üty  or   to   üeny  m  y  of   Its    rl^h's. 


be  does  no 


t  tkereby  libcrate  ana  oarlfy  the  dancej  he  merely  interfePus 


a 


v'lth   the  realizntion   of    its    üistlnctive    function    and  value. 

There   are,    a-ong   t^e    exoon^nta    of  itiäder^n  Dance,    thjse  who 
noarently   have   no    desire    to    conceal   the   human  nersonallty,    but  m.-ny 
of  -.vhose    comnosltions    are   ..Imost   as  meanin^less    as    thcugh   they   dld. 
In   theoretical  dlcusiAona,    these   dancefa    ln±3  Ist    th^it    "any  daace, 
ho^.eveli.:^   formal  anc    stylized/iÄ-i^anif  es  tot:'ons,    '.-/T-lch  doea    not    stem 
from  life    Itself  will  become  decadent."      Vary  goüd.      They  abjure 
ourely   fe  rm«l   design   in    oosture   ancmoven..nt   a^^th^jssential   ain 
of   dance.      On    the    vV  er   hand,    t*wlr   adr^ireL  ni.^ten   to  addthat    the 
"dancing    is    not    a    comm.ntary   on  ^-ny  mnterial   fect   such  a.   war,   or     ,eace 
ölenty    ,    but    la    in   itself   tue    fact,    the   actu.lity,    the   esaenco   . nd 
thereforenot    translatable    in   any   terms    exce^.t   the   visu'^1  one   of 

Anrwhät   UiesTIdmirers«  say    i.    true   of  many  of   the   com-vositions 
oSsentef  "*Si   dand^rs .        No.  ^x.lust   .iCKtxi...±  .here   between 


ir 


the   two   extremes   ment^oned   ebove  flbes   dance  of   this    nature   have    its 
being?     V/hat  is    its   baiiä   and   what    its    value? 

Presumably  v'hat    isx  meant  by  dance"stemn^ing   from   life" 
without    serv-ng   as    "commentary   on  any  material   f- et"    is    the   uae   of   a 
Wide   ränge   of  dynanics    in  movem-nt  c,nd    the   frank   revelatinn   of   the 
body  as    source   of    the    living    force    that   oroduces    movement,      «ut   what    is 
meant  by  dance  which,    exceot    ^ncider.tally  or  by   Imolication,    avouis 
allusion  and   is    "in   It.olf   the    fact,    the   actuality,    the   essence?? 
This    refers    to    a    conceotJon   of   dance   v/hich  hangs    uoon  a    viewooint    t.-at 
may  be   roughly   expressed  as    follows: 

The  most   vital,    imneüiate   a-d   character istic  modei  of 

riancer    to    soectator    is    the   awalcening  by   the   form  r 


com 'Unlcßt Jon   from 
of  muscular  res'^ons 


GS    in    the    Intier   with  iiusiK   attendant    states    of 


^- 


being.      To    the  XRS±k  kina^^sthetically   sensitive    O'  rson    every   Variation 

in   the    level,    direction,    contour,    ternpo    and   force   of  ä   move-ent  iiÄX 

affords    an   aest^etic    exnerience   as    definite   as    t'  e    effect    of   a   major 

uoon 
triad    or    a    diminishec'    seventh    chord  ixi/the    resoo-^^älve   alditor   of  music, 

it 

and    one   vbich/is    eoually  IniicHHsilaiB   difficult    to    translate    into   verbal 

language.   Accordingly   there    is   a    neculint'ty   dance   meanl  ng   rb5ch 

att-che-    to    cvery  movement    for    t^^e    dancer   enö    for   the    elect   among   his 

spectators.      And    it    is    the    sum  of   donce   mef^n:*ngs    inherent    in  different 

forms    &nd   cualities    of  movement   whD  ch   c  nstitutes    t>^e    v.'Cabulary    oat   of 

which   t'  e    dancer    for    the    largest    oart    fas-ions    his    comoos iti   ns . 

Since    all    d-  nee   movement    enanates    from   the    living  body,    evcry 

item   necessarily    carries    some    imolicatjon,    however    vague    and   remote, 

of   human    s^oerience.    3u1:    the   dancer    in   sliaping   his   work    is    not 

governed   orimprily  by   the    demz-mds    of   description.      And    the    true 

soectator   of  Dance    is    not   he   who    is    vigllantly   on    the      utlook   for 

mimicry   of   natural   human    conduct   but    he   who   with   relEX-  tion   exooses 

vocabul'^ry 
himself    to    the   x^yi^xK^x^Jit^/or   dance   meanin-^.s    and  w^o    h^.s   a 

sufficiently   develooed   kinaesthetic    sens-'tlvltv   to   rece've    them. 
Allusions    to    the    "mate-ial   facta"    of    iife    there   frequently   are,    But 
they    are   unessential;    thsy   are    ox    -a-dsnce   values.      Time-soace   designo 
are    essential.   But    they   are   not    the   organic   substance   of  Donce. 
EaTbher   are    they    the    forms    vhich  that    organic    stbstpnce    takes    for   füll 
realization,    wnd  wh4bh  must   tee   determined    to    a  large    extent   by    the 
KkxxxEtM    nhase   of   that    organic    substance    emoloyed. 

This    is    a   rough  and   oerhaoa    extreme    statement   of   the    caae, 
But    it    is,    I   think,    slbs  tantial  ly   correct.    ^ovj  v.hat    is    the  maximum 
which  one    can  hooe    to    cerive,    however   fully  Mä   taste   and  kinapsthc-ti 
resocn  iiveness   may  be   d-velnjid,    from  dance    evolved  acco-dddg±   to    tli  s 


DO-^  nt   of  View? 


'*^b"^***~- 


-//- 


Y/hst   makes    it    os^-tlculörly   difficult    to    treot   critically    tbis 

coneention 
xiK3c/of   dancG    is    that    one    is    forced   to   rely   very   Iso:' gely  u  on    :ntro- 


SDec 


tiVG   criteria.   One    hp  s   Dractically   no   T.eans    of   kno^ing  how   general- 
ly   apnlicöBle    a re   hi3    own  reactions    and  ho^v    tnne   are    the   exnressi'Jix 
of    the   reactiona    of   others«    I  must   confess    that    I   donot   ratok   among 
thosG    for  whom   each  item  of   dance   rv  verent    affords   an  aesthetic 
exoerience   as    individual    and  Dotent   as    tbrt  which  a   melocic    flgure   or 
a   dominant   seventh  chord  brings    to    the   cultivated  lovf^r  of   n^usic.   With 
this   humble    acmisaion  1   turn   to   the  memory  of  m.^   own   reactions. 

First    let   me   refer    for  a   moment   to   ÄÄXtaxK  my   recollection   of 

relevant  ^  .  .,i,  ^  . 

certa'n/auditory   exoef'iences .   I   olay  Middle   C   on  a   oiano.    ihe   sesult 

i3    Dleasing   but   uneventful.   Next    i-   discover   thsb     ttois    sound  hr^^    found 
its   way   into    a    fugiae   of  Bachx  and    that  thrDUgh   its    elaborate    context 
it    has    acCTU'red   enhanced   s ignlf icance .      I    listen   to    the    fugue*      1   am 
ingratiated  by   the   sensuous   beauty  of   the  Iäkäx   musical   tones.    I   am 
captured  by    the   oervoding  mood  of   the    comD6sition.    I   am   enthralled   by 
the   wondrous    fabric   of    interwoven  voicesx  which  itunfolds.  Here    is   a 
work    of   art    that    is    comnlete,    self-suf  f  a  cient,^±liÄBMÄi^Mti 
abstract.      It    is   XMiäÄiKÄ   a   tanestry   of   sounds    or 
fingers    on   the    keyboEÖd   of   a    oianoforte.    But    It    exi^is    in   the   air    as 
an    indÄ^nndent    totality.    I   am  not    tem;)ted    to    listen   for    allusions    to 
The    "material   facts"    of   human   existence   not    unly  because    I  ^now   at    the 

outset    that  my   search  would  be   vain  but  becai;se    the   objsct  of  my 

humrn 
attention   is    an   entirety   needing   no    soecif ic/ref erences    to    inform   it 

ot   tt   gÄve    it   orjentation.      It   unfolds   an  autonomous   world  of   abstract 

sounds    and   tts    eff^ct  uoon  me    ia  deeo   and  memorabii.    I±  am  comoletely 

satisfied*   I^ext    I   listen   to    the   rendition  of    a    so  ng   of  Schubert    or 

Debussy.     The    enunciation   of    the    text    in   unclear.      All    that    I  hear 

is    a    flow   of  melooy  warmly  >^ersonal1  zed  by   thp    tlmbr^    of   the   human 


J 


oduced   by  human 


-/^' 


voJce*   Surely  nere  is  something  so  tied  uo  with  the   ersonality  of 

a  living  |wxaaiax±iiM±x  man  that  one  sbould  be  exnected  to  demand  of  it 

a  significant  human  documentat  ion  and  be  sorely  dl3a>)oointed  if  he 

falls  to  find  it.  But  strangely  enough  ^  do  not  find  that  to  b^  tbe  K 

case.  And  the  reason  is,  I  think,  very  simnle.  Tbe  melody  is  an  entity 

comr>lete  in  itself.   It  could  be  rpndered  on  a  violin  and  thou':r,h 

the  efiect  would  differ  from  that  nroduced  by  the  llxx±  voice,  the 

essentials  of  t>'^e  nelody   ould  be  communicp. ted  •   Vhen  the  melody  js 

sung,  it  seems  as  though  the  oerforming  artist  has  invoked  something 

and  entire  ^  .  ^  4. 

x3c«i«XMÄii  external/nnd  made  it  oart  of  himself  to  attain  a  heightene. 

I  feel  th^^t  notbing  is  ivanting  and  I  am  deeoly  moved. 
beauty  of  utterance./  But  what  I  hear  next  has  a  raaically  aifferent 

effect.   A  'f^ifted  actor  reads  a  ooem  consisiing  entirely  of  nonsense 

and  inflectlons 
syllobles.   The  timbre/of  his  voiceqp  are  agreeable*  The  Ijhythmic  scneme 

of  the  comDOsition  is  s^tisfying,   The  sequences  of  vowels  and 
consonants,  carefully  selecter  andarrangen  for  thejr  -usic/^l  valnes, 
are  nleasing.   But  the  xbxh±±  v/hole  Performance  xkkkx  f a  Us  to  hold 
my  inte^est.   It  never  rises  above  the  l^v^l  of  the  inconsenuential. 
But  why?   Again  the  reason  is  simnle.   Not  only  is  the  snpaking  voice 
inextricably  bound  u-  in  n.y  consci  o^  sness  with  n^eaningful  human 
exnression,  but  its  mu  ^c  is  too  feeble  too  have  an  indenendent 
life  and  value  of  its  own.  Accordingly  fhe  exoerience  is  incoi.iplete. 
I  listen  for  meaning,  and  I  am  answe-ed  xvith  hM   a  piece  of  beautiful 
babbling. 


now 


turn  to  the  recollection  of  Visual  exneriencos.   I  ente.^ 
a  studio  of  Modern  Dance.   I  see  a  das  s  of  students  at  -ork*  ^   know 
that  tbey  a>-e  oerforming  simole  ex-rciess  in  m.ove-iGnt.  ^!XÜ©^M)SXKX^eK 


No 


There    is    no    ^^vldence   of  a 


attemnt    is   made   to    crente   d|S  io;n 
desire    tp   commont  vioon   tbe^I^^aterial   facts%f    üf®^  ^^'^    ^^^^ 

1    ^^f^^wiftTT*'*i^1^*^— -*''^*'*^^^^   ' 


7 


movem  nt.      J  feel  alive   ivith  strong,   vcried  kftnapsthetlc    resnnnsea 

A 


-n- 


I  exoerience   in  turn  num-rous  »haaMXH*   ty  es   of   In'^lgorstion, 
release,    noise,    suaoenae,.   ^en   thou^-h   I  am  viowlng    livlng   bodies    in 
movement    I   am  untroubled  by   the   lack    of  sustalned  algnlflcnt    exnress- 


ion.   First,    because    I   know   f:at    no    such  exprossion^is    Intended,    and 
secoPd,   beeause   I  recognize   in  the   exo^ution  of/etudes   ix,/functional 
meanln,^:   the   guided  effort   of/sbtdents  »txibuc«  directed   toward 
the  mastery  ofi   their  m  dium.   Through  my  r.actions    to    oxhibitions   of 


am 


unadorned   ^echnirue   in   the   dance   studio,    I   ciscover   that   ' 
canable  of  resoonding   to    "dance  meaninss".     ^*«««c*x««Äx«nx^S«x»Xx 
^^y»xx»HXtxix«M«KÄxaxiH«Ktox«akB]«     But   I   kno^'   also   tnat  -.hat 
I   exoerience    in   the   studio    falls    far   s' ort    of   t. e  depth  and  momentous 
ness   which  HihBZXHrfeaxioHKBxfexHK^feixicH  Äharacterised  m-   reacti- ns    to 


o 


ther  arts.   ^aturally  then  I  look  forward  to  a^eing  recitä  s  of 


dsnce  • 

But  next  I  attend  a  tennis  match.  The  ^ove-^ents  n^ade  by  the 
nlayers  affect  me  »«*xK«xxxä±f  ««rBxtiy  in  a  -ay  not  x«xx  unlllfe  tv  e 
vvay  in  whlch  I  was  affectec=  by  tbe  ex.rciass  at  t'.-e  d.nce  studio, 
exce.t  that  they  see.  to  hove  ,.hk*h.  a  weis^^tiBr  signif icance^as  a 
result  of  their  functional  ef fectiveness  in  the  garne  and  the/»xi»> 
which  they  nlay  in  a  drama  of  actual  contest.   The  raove.-.nts  are  all 
perfectly  integrated  in  the  desi^n  of  the  game   and  the  game  is,  as 
f.rH  as  it  ,^oes,  soraething  comnlete  in  itself.  But  them  contest  is  of 
trivial  imoortx  and  conseouently  its  total  effect  u^on  me  falls  far 
sv^ort  of  the/nemorableness  I  derlve  fron  all  true  art. 

PinaDly  I  witness  a  recital  of  l.lOQprn  Dance  rresfiBted  by 
K^x»SH*HVo?"ou?f  "dance  mean  ngs".   The  movements  are  far  .ore 

varied  in  form  and  ouality  than  those  wV^ich  I  vimvec^  at  t>-e  tennis 
match.   Hut  the  sturdy  sense  of  fiunctional  ef  fectiveness  .nd  f^^e 
thri]l  of  actual  contest  a  e  lacking.  v/h.t,  if  anyth'ng,  i£ 
provided  in  -)l8ce  of  them? 


-/¥- 


Some   of   tbe   df^nces    seem   to   be    mirely   formal   comoosit ions ,  Do    the 
moverr.ents    "stem  from   life''?      Yes,    they   Sstem  from   life".   They   convey 

the   feel  of   energy,    of  balance,    of   c: ntrol.      I   resoond.   But   ho-? 
Pundair^ntally   in  m^ch   the   same  way  as    I   resDonddd.   to    the   ex^rcises    ^ 
aeen   at    the    dnnce    studio.   But    there    is,    of   course,    a   difference. 
To   be^in  ^^-ith,    I   am  aware   of   th«t    intangible   something   called    "style" 
which  tends    to    pr^ovide    a   basic    si^stained    rnood   tbroughout   all   varistions 
■in  movement.      Then   too,    the-e    is    a   sense    of  orderly   develonment   of 
elaments    fthrough  gradotions    and   contr-sts    in   dynamics    incornorpted    in 
in   extended   time-sosce    desi^ns.      In   addjtion,    the    effect   of   move-iBnt 
aftd   -ose    is    heightvened   by   costume,    -usic   and    lir^hting   effects.   My   eye. 
9nä  eP.rCare  gratified.     My  body   l3   ngreeablf     allve  with  reoercuas  iona 
of   the  nlay  of  eaergy  un:  n   the   stege.     The   spectacle    I  am  witnessing 
is    ingrafeiating,   bracing,   vpguely   persuasive.     But   something   is 
lack'ng.    I  recall   tbe   terrific   imtiact  UDon  being  of    the   "Eroica"   of 
Beethoven,    the   "Slaves"   of  Michelangelo,    «he   "Pathe-a   and   Sons"   of 
Turgenieff.      I  recall   the   surrender  of  my   thcu  ght   and  feeling    to    the 
exalted  revelati'ns   of   the  B  Minor  Mass    of  Bach,    the   mediaeval 
aculnture   at    Chartres,    t>-e   Ivrics   of  Goethe,    Shelley  and  Ke--ts. 
I  recall   the   deen,    terrible   beauty  that   cherged  my  -.vhoie   nerscnality 
when   I   reoäP»oh  and    Hamlet   and   Faust.      Prom  such  exneriences    I  have 
derived  n-y  first-hnnd  knowledge   -f   the   -^ot^ncy  of  irrest    art.   And 
when  I   .iudge   tV'Pse   dances    in   the    li   ht   of   tho3<^    exneriencea,    they   aeem, 
for  all   their   eloquence  of   form  pnd   energy  of  dGliicry,    nathetically 
tame   and   trlte.      I   am   sorely    oernlexed.    I  have    not    exoected 
naturalistic  gestures    in  wordless   thester   oieces.    I  would   have 
resented  r   alistic   narretion.    I  have   always   feit  hi.-hlyy  susceotible 
to   the   power  of   llving  movement.     Yet   so   little  has   haooened   to  me 
here.      The    crowd  aboa  t  me  üuia   is   cheering  fi  r   more,      Is    thei* 
yelling  mere  betrayal  of   cultish  frenzyt      Or  am  I,    after   all. 


abnormally   insensitive?      Or    is    tbe  Dance   as   here    conceived   a  decadent 
art*form  even   if   its   tnovements   do  tstem  from  life"? 

Other  donces    follow    on    the   nirDgram.   They   aren     ot   leas   rieh 

in  Dure   "dance  mean^ngs"   tban   the   cormjosltions   which  preceded   them. 

Od   to   a   certain  point 
But   they  add  aug^estioHS  of   characterization./«hey  reveal  novementa 

and   noatures   '-hich,    though   stylized,    inöicate   unmlstakably   tveir 
so-rces    in  natural  human  conduot,   enr'  jkioHyxKHXBHi   arrangements   of   these 
movements    in  seou^nces   thnt   3ug.o:e3t   algnif-'cant   coursea   of  human 
exnerience   or   activity.     They  donot   d^scritoe;    they    Inter-ret.      They 
donot  narrate,   but   they  unfold   the   inevitable^of  human   life.  Well- 
up   to   that    Doint   I   am  alive   with  deeo   excitement.      Here   ä±    last    is 
Dance   f:at   dce  a   to   me  what  only  hk±   ^reat  art   can   do.  But   then,    sudde* 
niy,in  almost   ev^ry   instance,    -/  dead  anotx.     Am  mommt  of   flounderii^g 
vacancyj    Broduct  of  uncon-rollable    exhibitimism  or    ^aoteric   sjnnbollam 
or  academic  Variation  on   e    theme.     But   howevpr   exDlaineö,    howev^r 
.iuatifled,    it   breaka    the   apell.    It    is   an   interlude   thst   reverts   to 
sterile   formalism.    It    is   as    tho'\gh  all   at   once   a   blt   of  fake 
claasicism   is    nerveraely   invofted      to  halt    the  orogresa   of   exalted 
articulateneas.    It    Is    Immaterial  ho^    atrong  andbeautiful   the  movement s 
of   thia  meaningleaa   dera   tu^e.äBe.   One   is    nrecluded   finom  acceotlng  and 
enjoying   it   as    nJ?^  öance''  ingratiat  ion   on      account   of  XHiüt    its   mean- 


,  Thir 


Ingful  context.  Th6re  may  be  a  return  of  rr.eaning  but  only  to  be 
followed  by  other  epiaodea  of  fianÄÄsil»«  ene  getic  emntineas.   I  lea^'-e 
the  concert  hall  in  a  atate  of  dejection.   I  try  to  console  myaelf 
.,vith  the  f-ought  that  oerhaoa  it  is  imoosaible  to  gnlly  grr^ap  these 
dancera  uoon  a  Single  view.   I  decide  to  reneat  the  experiment.   I  go 
to  see  iübstantially  the  aame  nro -ram  again  and  agäin.  I  find  that  in 
moat  inatancea  reoeated  views  do  not  render  meanlngful  ,.hat  I  oreviou.l 
fpiled  to  comDrehehd,  nor  ehhance  the  nomentousneaa  of  the  exnerience 


~n~ 


afforded«      They  merely   develop/f amlliarity  which  alloivs   me    f ulier 
ODDortunlty    to    i-ead   my    ov/n  meBn:^ngs    Into    the   objects    of  my   bGwildermej± 

I    find    mvself    In    t>iG    throes    of   a    one-sided   gness-^ng   game.    To   me    tha  t    ' 

not 
is/the   truG    exocrience   of  r,reat   art. 

Eventually    I   formulate   c  nclusi^n  sx»    "''hey   are   mv   own 

concHisions   based   uoon  my   ov/n   GxneriGnce«   ThGy   arG    n^rsentGd  without 

but    ^n 
dogmatism  xxÄxwilia/the  bGlief   that    if    tbG   reactions    out     ^f  wbnch   they 

grow 
j5X7?x±Ä±icl2;3s/arQ    not    eccertrlc,    they  malpi   be    suggestive    to    others; 

A   frag  nient   of   dance  movement,    äike   a    Single  musical  sound, 
has,    inde^endently   of  fitf   context   and   associational   fcrce,    a   certain 
degree   of   eloquence«      Musacal    tones,    because   tjfiey   are    nurely  abstract, 
can  be    incoroorpted   in  a    comnosition    that    is    corresnondingly  abstract. 
Such   an   abstract    comoesiticn    orovides    a    certain  definite   order  of 
exner'GncG   and    for    that   ordar   of   gX'  Grience    is    comrlGtGly   adecuatG, 
leaving    nothing   to  bG   dGsiDBd.   ThQ    com.noser  has    no   need   of    exKercisin-, 
caution   to   avoid   soecific   human  clocumentktion«    It    could  not   be 

achiGVGd,    if  attfemntGd*      But   so  magical    is    the    notGncy   of   xiixxz 

/musical 
sound   that    if   thG   comTX)SGr   has    raouisitG    Inspiration  and   sklll 


his   wo2?k,    though  failing   utterly   to    comrent   unon    life,    crn   af fect   us 

momentously*   Wtih   dance    it    is   otherwise.   The   simnlest    crp3ture,    howeve- 

the    asnect    of   natural 
formalized,    however   ■  ivorced    from±fei|tHxx±  human   conduct,    xx   carries 

with   it    the    ineradicaftle    Suggestion  of    life«      It   origMates    in   a 

visible    living  body,    and  needs   bu*i   slight  modification    to   reorocuce 


lÄltkfHÄiy   literally   some   movement  .ma de    by  man    in  thG   course   of    X^s 
day**by-döy   living.      His    essays    i/^orm^^i 


CO   Position   involvG   not    thG 


aesthetic    en^ncement   and   extenslon   of   the   vital   meanings    inherent 
4v.   -^«-f-iTnoi    v^odilv   movement,    but  attemrts    at    alienation   of   movement 

from   its    normal   s. 


Not    addition,    not    iden ] 5 za t ion. 


but   subtraction,    negation.   The  result?      Embodied    ^nerc!;y   at    large. 


4^-«t4-' 


i/G'-^.,^'^^ 


J^ 


^:J2lA 


/         / 


/'/^///-/^^^ 


>•    * 


^ 


n 


t/^i 


/?C- 


■u 


f 


/ 


^ 


•v^ 


f     f^ 


y 


/ 


^-    \ 


,^ 


V 


But   3ince    there    are   alw^^ys    vague   reminders    of    life    that   nersist,    th* 
donce,    unless   motivate^    snd    shnoed   by   some   Iäää    identifiable    conceot 
of  ikitp,!    si'znif icnnce,    ia    a    fragmentary    tbing,    pleasing,    even    tonic 
nerhnns,    but    fpllinp;    sbo'-^t   of    tbAt   comole teBiess    and   self-suf  f  ic  lency 
wlthou  t   wbicb    tbere    Cf.^n    '"^e    no    grent    art.      Per     ^"here    a    -nerlum,    if    it 
aoeqka    at    all,    In^^vi^-^blv   soGaka    of   life,    its    momentousness    for    the 
recioient    denends    uoon   ivhat    is    s-^ys    of   life. 

Wbßt    dees    an   art    of    living  move-^ent  gain  by   attemoting    to 
avoid   a    clear,    sustained   unfoldment    of    significant   human    action    of 
experience?      V/hat    comoensation  does    it    off  er    Tor   a    failure    to   reallze 
wkktits    vital   esaence  dictitea?      If,    for    examole,    leaos    and   free 
vigoorous    strides    are   invigorating   as    isolated    ohenomenazi  are    they   no 
doubly   so   when   incornorated    in   a   oattern  of  mounting   struggie  JUEXjatHX 
culminatlng    in  vlctory?      Are   aloofness,    generalization,    f ormallzation, 
±iis.±Kt    inconsistent  with  human  cocumento  tion?    Cer'tainly    not*    Prooerly 
emoloyöd,    they  donot   ebscure   but  rather   bei'-bten   and  univers-'lizB 
the   coin»^-'uniC9t  ion  of   ra:"  human   conduct,    ^.iving    it   a   bropd  n^^'' losonhic 
orientsb  ^on,    a    clarifidd    direction,    an   enh'^mced   eloouence,      But   used 
as    ends    in    themselves,    they    easilv    dege-^era t e,±Ä±H    ^nx    spite   of      ure 
"dance   me^inings",    into   mere    r'hetoric,    devices    for    ind^cing    intoxdcation 


w1th   the    charr^s    of  vocabv^ary  f  or  a  inia'^  own   sake.   This    is    the  greve 

n  ^ 
danger    always    involved    in    art    iq^vations,      It    is    the    oet'il   l'aced  by 

Modern  Dance, 

The  maximum  ofab3tr-3ction  to  be  sanctioned,  if  Dance  is  to 
attain  th^^  levr-1  of  great  artqp/n8§  reaain  merej^  vital  istic  decorat  ion, 
lies,  I  think,  about  midwf=^  between  the  inarticulate  formalism  I  have 
been  discussing  and  the  detailed  litfepaäiness  of  naturilistic  theater. 


j^^  /^l^u.v>  ^  U(f/  /All 


'f^' 


if  daacö  csnnot   achieve   pure   abstraction,    it    likewise   cannot 

save 
communicste    soecific   Images,    facts    or    ideaa,  *3S«*»*/";it'  Ing  s   ineasre 

ranpe   or   if  beyond  that   ränge,    innäer:.:ately.  XiD±sx±axä««x*«xX8Ksr»ix 
je3iBtaxxx      ExceDt    inöider.tally,    the  Dance   doea    not   use  words,  t^xxK^mk^ 

MiDX5EtiT^xKCiS30tadxÄiato3aRä8^stax(i.^xfHxxaxfciiiiHnx±icxx>5XxxxiU^ 

. /^  individually 

•EiSSNe   a  •e    t>^e   devices   ^^hich  xlÄxa/and   in  numb^n-^lGss    combina  tions , 

become   symbxjls,    comnionly^acceoted  uml    -m^nHiDd,    for   a   Million    th:  ng  = . 

Lacking   them,the  Dp  nee    la    lijnitec^in   the    n-esentation  of    ima-es^to    the 
various    as^ects    of  human   ^eraonality  and   such  aociitional    items    as 
atage    nronsrtles    and  sett'ngs    orovide;    in   the    revelation    of   facta,    to 
bare   actu.l  oemonatrst ion  of  vlsible    th^ngs,    both  3tati'.nar.y  and  xülaix 
mobile,    on   the   arage;    in   the    transmisaion  of    id- as,    to   auch   -^elation- 
ahips   b-tween   thinga   as    can  be   enacted  by  human  beinga    t^rough  oostures 
and  movementa    3U   nlemented  b 


traooings    of   the   theater. 
Por   factaal   atntement  or   the   exoreasion  of   idea,    Doatures 
«\Atid  movementa    -.rve    either   drawn   from   itema   of   natural    human   co   duct 
y.'ith  their   änherent   liter^l  descii  ,tivenes3   or   universally  acceoted 
connot.tion^or   ahaned,   w4tho':t   regard   to   natural   human  conduct, 
by   some  more   or   leaa   arbitrary  ambolism.     Tä    at^ötuflea   and  motiona 
taken  from  natural    conduct   are«  not    only  restricted   to    the   betrayal 
of   certain  ohaaes    of   hutran    llfe  and    the   demonstra  tion  of    ce->taln 
facts   and    ideaa    a  -out    it,    but   are    further    limited   by   the    nroceasea 
of  aest-etic  m4dif  ica  tir,n,-atylizat  ion,    simnlif  icati.n,    corr.DOsitlon- 
which  -hile  heightBHing    the  human   exoreasion,    exclude   a    thou^and 
revelatory  d^taila.     And  without   these   tynea    of  modification   there 

would   be    no   dance    at   slli 

On   the   other    band,  iJutxxKHißtMgxaK^MÄXHl  tkJfixxaxiÄXÄg 


XÄÄx^.»Äx«?tx)$ÄÄi)flX|XXIU5 


^^^uÄß&ö«»xx:t^3t^ftfe#xx  ;^ 


S^«7   t«    *«M*n,.na  US,  y  n„st„..s  ,„a  ™ 


vements   as    elementa 


,i,v\J 


T.  M  L 


l-v  L     *- 


of   an   elaborate    sign   language  i>i»xte«ix±±±±±«X  afford   ua    at    oreaent 

xxuMJixaXxiijEX   orimarlily 

very   little   of  value.  Such  a   language/counta/for    fXDresaivenesa 

xxtKXxiiy  not  uoon  *toe   fidelity  of  the   oostures    and  moveinents    to 

outward   s-motoma   of  human   exoerience  and  natural  modes   of  human  activ- 

pnd  universally         " 
ity,    all   irr^Tnediately/recognizahle,    but  uoonpfcsHMXHixiHxxxKilaitKSKy 

foreknowledge   of  a^xinf ensraeaxiKa^XÄX*«  obineae   and   the 

axsHüDotiscHSCxoif   the   nieanings    HBTSKeaenfeHÄx   assumed.      The    Chinese   and    the 

Hindu,s   have/traditional   vocalbulnrles   of  -rb^trary,    syiabolic  gesturea 
^SL^;:;^HKtK   of   tbia   oharaoter.   Ready  comoreheaalnn  of   these   vocab- 
ularies    reruli-ea    special   ^ducatlon,   wUhout   w-ich   intendad  meaninga 
remain   obacure    if   not   unrecognl zahle.  We  teve    no    traditional  aign 
lengusge.     Th   re   are   cur-'BBt   in    -ur    ]lfe,    tox   be   sure,    fragments   of 
ritualiatic   geature  which  t'TO   gh  oeliber-te    aasumotion    carry   aoecifi 
meanings    in    church  aervicea,    folitical  meetlnsa    and   fr-.ttrnal 
gather   nga.    In   some   inst^ncea    theae    foimiulae    and  their    ai-ificonce 
have   become   generally   and    Intimately   known  and   awaken   emotional 
overton.:=a    in  v^at  numbera   of  neoole.  We  have,    also,   xnumeroua 
exoreasi^npl   devicea-   tbe   cDichea   of   noatur^a   al-^ng-   ths  t  de^end  more 
unon  a    tactt    no-ulaf  assent    than  uoon  such   Inherent    literal  deacriotA 
iveneaa    aa    characterizea    -oat   ofthe    elem.nta    of   oantomlmic   com.^u^cafe 
tion.   But  their   ränge   of   expreasl.n    ia  verv   nimiter^.   Beyond   fria, 
we  have  no   commonly  understood  algn   language.      '.Vhat  most    of  our 
dancera   achieve  when   t^ey  «"e.ot  ^  co^y^  f.cta   or   ideas   tloro.  gh 
aymboliam  are   atylized    charadea   oyActeö   -^ataohora,    .o  obvioua 
that   Mry  no   measage  .orth  delivering^  or   ao   v.gue,    ao   deoeüdent   uoon 
Inference,    that   they   are  ho-,eleaaly  be--vilder  ing   ^1^^°^%^^^^^^^^ 
.ncom-^rehenaible.    In^e^'^y,    at   least   the   un  i  t   o/ exoreasion-the  word- 

.  ^    .f-   fb«     fi^ure   Itaelf   is   good   it   cn  be 

ia   definite   and   clear,    and   It    tbe     tigure 

•    .   .   Vi«xS!KK^W  SvmboUam   in  Dance,    if   cleanly 
readHy  aooreciated.VinxüHKKB^P      ..  _.,   .„cor 


/ 

/ 


could 


exterfö   the    total'ty   of   dance    Gx-^ressi^)n  by   adding    to    th^ 


n 


means    of   coto-i.nicctins    facta    ond    Ideos.      Thus    far  very    little   has 
toeen  accomDllshed   in   thn  t   direction. 

Thus    to    date,    the   Dance,    as    \t   exiita    in  Eurooe    and  Ame.:-ica, 
i3,    unllke   the   essay,   woefully   inadequate   aa   a  medium  for   the    exoreaalo 

of   thought.      And   It    ia   my  bellaf   thqt   such   exnresaion,    evsn   If   a 

of   aymbollc   cresturea 
cpystalDiaed    vocsbulary/be   availabäe,    sho    Id  never  become  a   orlmary 

significsnt 
Cancern  of  Dnnce.   i^very  unfolöment   of/exnerience   Imnliea   in  Dsnce   aa 

in    drama    aome    idea.      The   only  au-TDoae    in  going   further   and    crep.ting  XBÄ 

out 
■msia^riiig   nouns,    adjectives,    vaebs   and   adve-ba/of   noae   and   n^ovement 

d  allnw-ng   them  to    dominate    tbe    form   and    content    of/dance   com-oai- 

on    i-    to    -reaent    an   idea    t5nged  with   tbat    neculiar   emotion-nrovokin- 

ality   t'pst   the    living   nämability  of   the   hum?>n    -ody   can    lend,    or   to 

arify   the  d9©per   aignificance  of   the   atuff  of   ex-erienee   and 

tlvlty   of  w-ich  dance    givea    a   formllzed  voraion.      ßut    it    ia,    after 

11,    tn-/rendition,    in   aeatnetically   tran^muteä   form,    of   human  ex,;er- 

ence   and    conduct    for  whlch   the  d^^nce    ia    e   ulooed   beat  and    in  -hich 

it    ia   unrivalled.      ThJ.a;  n^uat,    I   tblnk,    remaln   the    naramount   ob.iective 

of   the    art.    If   the   dance    compoaitim   ia    aoundly  wrought,    aome    idea 

f'  I 

of   largfi   mom'^nt   will    be 

the '«*«haXi««-.^iii-*^ 


^*\n,/'t:    if   Dt    is    unsoundly  'v^rou^ht 


ife^-Äe/ 


<<J 


An  ther  limita tion //   - 


^ 


the  Dance  resulting  from  the  exclnsion  of  thp  word  and  the  denarture^ 
from  natupal^am  ia  t>-t  unlike  the  nove]  -^nd  the  droma  it  ia  IncnrabT^" 
of  datailed  narratlon  and  comnlete  cbaractPriza t ion .  Moreover,  for  th£- 
aame  reaaon,  it  can-ot,  U"e  oratory,  attain  a  comnlete  direct 
co-r^unic-tion  from  the  ^er former  to  .t>^03e  who  ait  before  Mm.  The  dance, 
can  never  really  addreas  his  anectatora.  ^-or  the  elinination  of  ve^rtiil 
language  and  hkä  the  formsliz^  tion  of  attitude  and  moverent  reault  in^. 
a  baf  to  intimacy  and  an  excluaion  of  much  that  is  indiaoensölie  to 
füll   contaclb.     The   much-dlscusaed  directneaa  of  dance  aa   a  medium 


-x/- 


refera    not    to    ita    ef f ectlxveness    in  man-to-men   atatement   but    to    the 
imme.isfcy  with  .vhich,    throu^h   oowar   to   provoke   musci^r   resoonaes   and 
tbelr   emotional  acconoaniments,    it    can   transmit    •  nacted   ex.erience. 
The   aoectatoräS    senae  of  kinshlp  with  what    tr.ns^irea   on   the   at-^ge 
rnay  .t    timea   be    e.hnnced  by   the   d.ncer   throu^h  making   them  part   of  hi. 
Portrait   of   ex^erience,    dancing   frankDy   toward   them,    aw.y  from  them  or 
othe.4iae   in  reference   to   them  as   ^.aaive   charact.rs   ov   sym^ola    in   a 

formalized  drama.   But   cl:^aer   than   tbis    the  dancer    cannot    come    to   hia 

soectatora.     He  may,    of   courae,    occaai'^nally,    for   comic   or    -lloaoohi, 

effect,    croo   formality   and   ste^Ä   out    ot      is 

inte^ludr   of   flirtation   :-ithA±^xxs**s«=»  But    there    t^^e    effect    la 

Po^i-    i-v,oi-    ife    ia   a  breach,    a  deviation   from   th 
denendent   uoon      he   very   '^'\^l^^\J,l^l,,,  ..... 

norm  of   :^  ia   art.  The   dan  c  e ,  ^.«»«x±**±±,   in   ita  meflhod  of  aflectlng 
t^ae  .«ho   witneaa    it,    is    in  t^  the    character   of   ita    exzessive 
content, .aaentially  an   indirect  medium,    an  a.t   of  reoreaentat ion . 
The   ouaMtiea   of  wordlesanesa   and   formality  .hich  diatinguiah  it   from 
the  naturaliatic   re.resentat ion  of  drama,   iikewiae  keeo   it   from  auecess 
3n  direct   addreaa.     For   theae  .ualiti.s   wh^ch  in   reoreaentat ^on  affor 
freedom  and  elev^tion  of   exnreaaion,   become   in  attamnta   at   direct 
addreaa    the   annoylng   evidercea   of   self-imocB  er-    inc,rr 

Not   only  do   the  -ant   of  verbalizatlon   and   the  mainteAae^e 

..        ^f.    4-v.rMi7V.i-   nnd    the   de/2;ree   of   contac. 
of    formality   llmU   t-e   ex-resäion   of   t>^.ou.',ht   and    tn  s 

'        ..^fot-  T.      but   in   coniunction  with  anothe' 
betvveen  äxkkx  oerformer   ana        ectat  r,    but   m   c      .  ^^^^ 

factor   tbey  render   dif  f  icult/auccessful   -w.unicat  ion/.ithin^^the      . 
Domain  which  rightfuUy  belonga    to  dance.  Tnat   factor   is    the/brief 
and  transitory   c.aracter   of   tbe.  soectator' a   aance    ex.er.nce.    Por  him 

o.^t^on    h-a    its   being   entlrely  with^n    the   fe-;   Ilpeting 
a   d?nce    comnosition    n   a    x-^s  o 

u^    r.   Y,    i-^anqp   nt   will   before 
4    ^^    fnr.    nts    Performance.      He    c*  n    oause   ^^i    v^j^j. 

n    .  T^«    n^n    re-ulote    the    temro   of   nis    re.cing   of   a 

a  ^A'ork   of   sculoture.   He   c-n   re.,ux.  te 

■n- 


crention 
But   B    6.f\nce  xvimyiSiK±±±mJi/offev3    no    corresDon  dln,-?^   ODn5rtun5-ty   for 

sustained   Observation  and   review,    exce-)t,    of   course,    the    nrivilege,    all 

too    infrequent,    of   a   second  view»      And   ^ven   ^hat,    as    I   bav  e   ai©eady 

no-n'ed   out,    is    valuable    leas    as   a   mesns    of   elucidation   than   as   a 

a    feellng   of 
means    of   develoning/fami liarityx   that    temnts   us    to  xjbxäxjsixixzix»  give 

own 
wur/intemt^efeAions    tö   the  -ork.      Acoord-^^ngly   ü:    is    imoerä:  Ive    that    th. 
^  self- 

dance   composer    ex  reise    the   hi ',hest   d-gree   of   caution  and/di  sc  inline 
in    the   selection    and   trer.tment   of   his   suhject   so    that  his   coneeotion 

can  be   re-dily   communicated   to    tSie   soectator,      it    is    very   easy    for   xa 

the 
±iuE   dancer   to    fall    into/attitude    of  self-indulgence    that   atti^ibutes 

the    oerolexity   of   h'^s    soect^tors    to   his   ovm  ^rofunlty   and    their    obtuse- 

these    helnless    onlookers 
ness«   Prenuently  an   attemnt    is    nade    to    feäHcate/±kBX3DDHÄtjaa±HKSxii7^  by 

nublication   of   nrogram   hotes.      It    is    a    futile   business,      Programm 
notGs    ^ven   at    best   a-re   clumsy   oro-s    and  when   necessary   for    comorehenslo: 
convert   what    should  be   a    fresh    exoerience   of   realizati.n    into   a   swent. 
search   frr/fulf illment   of   a    orintec      ro,;iise* 

AI]    nen    exce    t    the    bl  •    d    snd  the    imbecile   ußö^  :'3ta,:!d   and 
are    irtercüted   in    thc;   imnlic-  tions    of    tne   nr.  turA  conduct   of   tbe   human 
body.    The.'e    is    no   good    reason  wby   tliat    understr.nding   <:^nd   interest 
should   not    be    carv'ied    over    to    versims    of    co>iduct   modified    to    enhance 
a^d    universalize    cxnression*      Yet    that    is    very   f requentl;^  the    c^^se. 
There   are   many   thousands    of   i^eoole   who,    though   deenl      moved   bv   the 


C'jmo 


lex  abstr-ct  beauty  of  Bach  fugues,  iiho   thovigh  resnorsive  to  the 


decoratlve  charm  of  Amerjcrn  Incian  notter^y,  basketry  and  voavjng,  vrhu 
tho^Tgh  strono-ly  affected  by  th^  aest^  etic  *.xxt>2X  innort  of  much 
modernist  abstract  nairitir^,  rho  though  stirrec  bv  the  simnlified  and 
distorteo  forma  of  XEixliixE  the  humrn  hody  in  oriniitive  and  sonie 
twentieth  certüry  sculot.re,  wr-o  t  -^^h  receptive  to  the  aooeals  oi 
natviralistlc  t>'e'  ter,  remain  singulr-rly  u  touched  by  the  inodern  L>ance 
add  in  many  cases  are  vehemently  resentful  of  it.  ThdsÄ  attituoe 


-/s 


may,    on   the    oart   of   sonie,    be   accoun '.feed   for   by  a   hard-minded    literal- 

r 

ness   which,    though  xica±:fBmiäj5Äxlayx±ERiiBiaBiÄSx±awÄXÄ:KÄfex±xxıiKinxl2axÄ>s.. 

unresistant    to   arrts    that   emrjldy    inanliii'j  te   material   abstractly  or 

animate 
iixlxg/inaterial  naturalistically,    Is    shocked   by  unrealistic   uses    of 

human 
the   living/body«     But   on   the     -art   of  most,    the   indlf ferenee   or   ^ntipa   hj] 

is    traceabää,    I   thlnk,    not    orimarily    to    thls    rigid  factud  iam  not 

to   an   ignorance  of   the   aMs    an4  values   gif  Danceii^,    but  rat  her    to    the 

Stubborn   folly  of   dancers    in^^-iJbi»g^,to   rbaRe   the   s/ectatorx   into   thei. 

conf idence,3[]a±±lBiH»tiyxtca:xKKÄi!iBx    Jn  tß^M'^  to    ^lake    their   workä 


intelligle    to    hlm   in    t>:e  minute    fragment   of  t  ime   allotted    for  ±xje1k 
jSKXKÄxttiaiQX   d^ncG   exn-r1  ence,    in    failing    to   become   artic^^late   ^rdthout 

literaln<?ss  • 

There   are   other   lim   toti-ns    in>^erent    in    the   art   of  Dn '  c  e    th^ 


\ 


concern   n 


ot    the    chnrscter   of    nosture    ?^nd    rvoverr.e   t   but    their    relnti  ns 


to    s^ace   and    sound,   Lei:    me    cite   a    few   examnles. 

The  whole   of   a   danceqp  can  norm.ally  be   seen  by   any  spectator 
from  toly   ßne    ooint   of  liew  and   all   the   spectators    remain  to   one 
side   of   the    stage.      One   can  walk   around  a    oiece   of    sculoture.   He    canriot 
make  a   similar    excursion   around   a   dänce»     Accordingly,    if   the   dance 


is    to    be    nerf or'^''ed 

hall,    it  should  be 

Here  ap.ain  is  an  el 
f reguently  ignored, 
that  a  reminder  see 
sees  an  erisode  in 
rigVit  angles  to  the 
choreo-^ra  her  that 
should  be   aooarent 


on  the    stage   of 

the 
conceived   in   ref 

emenfe^ry  ^^^    sei 

narticularly    In 

ms   justified«      '^ 

which  dancers    ar 

fäiötlights.  It 
the  movemnts  of 
to  t  '6    soecta  tor 


an  ordinary   thenter    or   recital 

res  tviction  s   lifinased   by  a 
e r ence    t o/un i  1-^  t e r al    v is  ib i  1  i t  ^' « 
f-evident    truth.      But   i*    is    so 

'^roun    comnoaitions    of  Modern  Danct, 
ccasion«^lly,    for»  examnle,    one    sees 
G   grouopd    in  ^    strai'ht    line   at 
is    nresumahly   the    ^ntentioQ     o^^    the 
all    the    dance-3    in    '  h  is    aljqnmöiit 
.    But    nf?turally,    what    is    done   by 


tVtose  wo    are   ne   rer    t>'e   backdroo   is    more   or    less   xkäkääIhäx x    obscure 

by   the    positions   and   -lovements    oT    those    are   nearer    the   footlights, 

Often   too.    a    choreograoher ,    for   the    ouroose   of    crcating   s.vmi.etry, 

/ 
ttern^'^^iovement    directed   toward   the   footlights   with   an 

identical   nattern  of  movement  directed   tovard   the    backdrop.      Butfor 


offsets    a    oa 


~^s^- 


\ 


advnnce, 
the    SDect<9tor   tbe   form^r  movemnt  has    the   quality   of  KBÄisxxiHx/ 

the   Intter    the   cuainy  of   recession,    with  the   resu.lt    that    the    effect 

performed 

of  true  symmetry  is  not  achiBved.   If  the  dance  is  to  be  xkääHäIää/ 

in  a  circus-like  building,  differnnt  Problems  are  rresenteö,  for  there 

each  section  of  the  audience  sees  the  d^nce  from  a  different  -oint 

dancing  • 
of  vie\v  and  tbo  dancer  is/for  all  sides  at  once. 

It  is  also  Imnortant  to  remerrbe^^  thi-^t  formal  d^s^gns 

conceived  nrimarily  on  a  horizontal  olane  can,  when  nresented  on  the 

stage  of  a  tOHvtntional  theater  buildi-ng,  be  fnlly  aonreciated  only 

by  nersons  sitting  in  the  bacl^rows  of  the  balcony.   Not  only  ai'e 

these  many  too  v'eak  of  heart  or  streng  of  nride  to  avail  themselfes  o 

that  lofty  vantage  Doint,  but  the  seating  capacity  of  tnat  section  of 

the  theater  is  neeessarily  limited.   Moreover,  in  the  Modern  Dance,    \ 

Y/hich  often  counta  so  much  uoon  the  play  of  energy  and  the  subiilB 

the  s-ectator's     4lJÜQÄxa»ÄıHtÄX 

movements  of  hands  and  f eet,/enJoyment/is  greatly  imoaired  by  beiiig 

too  far  removed  from  the  st^ge.   ^n  other  words,  then,  those  sttting 
close  to  the  st  ge  cannot  fully  anoreciate  the  floor  patterns  and 
those  sitting  high  enough  to  aopreciate  them  are  sp  far  away  from 
the  stage  that  many  other  values  of  t'^e  Modern  Dance  are  lost  to  them. 
Unless  the  dance  is  to  be  nresented  in  a  building  so  constructed  that 
that  it  enables  -ractically  all  of  the  snectators  to  have  füll  vlev; 
of  the  stage  floo»  without  bei^g  too  far  removed  from  it,  the  choreo§r. 
gra^her  will  be  wise  to  decide,  before  working  out  -is  x^cmäb  comnosi 
tion,   whether  he  nrefers  to  äjcx^  cater  nrimarily  to  the  stiff-shirte^d 
gro  ddlings  or  the  far-EWay  tenants  of  the  gallery.  fn  the  former 
case,  he  will  not  lay  major  stress  u  .on  floor  patterns.  In  the  latter 
c-se  Kiilx  he  will  be  in  a  oosition  to  do  so  with  impunity. 

Another  condition  which  must  tee  obr^erved  is  this  :  Distance 
of  the  sn^ctator  from  the  stage  is  necessary  for  a  synthesis  in  vision 


^   ^ 


c»^; 


'^^ 

-% 


of   two   or  more   sections   ofa  dance  grouo   considerably  aeoai-ated  from 
each  other   in  s    ace.   But   limlts    are   set  u->on   the   dlstance   at  whlch  he 
can  nlace  himself  by   the   fixed  dlmensions   and   seating  arrai^ernents 
of   the   audltorium  as   well  aa   the   aize   and   consequently   the   visibillty 
of    the   d-nclng  bodi«3.   Thus    certain  reshrictt  di  s   are   nlaced  unon    the 
dancB    composer    in   grout)   choreogranhy.      If,,for    ac  ample,    a    -roup    Is 
divided   mto   two    sections,    one    close    to   the   fi^ht   slde   of   the   stage 
add   the    other   cloae    to   the    left    slde,    it   is   virtually   imnoss^-ble   for 
ß   gpectator,    even  when  sitt^ng   in    the  back   oart   of   the   balcony,to 
View   the   move-ents    of  both  simultaneously.      And    if ,   when   the   tu'o 
sections    are   so    seoarated,    one   of   them   is    in.ctlve,    concentration 
U'^on  the   movemnts    of   the   oth«r    is    likily   to    be    inte..f.red  -"•Itb^by^ 
awareness    of   the    first   and  a     fear   of   missing  what    it  .-nay  at   any/«fl«iJiL. 
begin   to  do.     But   even  in  static  moments,   when  neither   section   is    in 
movement,    such  -.ide   aeoaration   is    inadvisable.   Por   since   the  soectator 
is   obliged   to  View   the   unUs    sucoeasively   ,    if  he    is   t     xisx   see  both, 

it  rendera    the  achievementx   of  a   sense   of  u-ity   in   design  difficult,    . 

t)G!LiöV6S 
if  not   imoossible,      If   the   choreograoher  iHÜs/that   this   aeo^ration 

is   reouiTed  by   the   subject-ma  tter  of   the   co-nosition,    then  u-leas 
a   fsel  of   dlscortinuity   iä  diso   detnanded  by  thesub.lect-matter  sfxikjt 
the    sectiona    shoulä  be   vislbly  related  t^rough   the   urgency  of   Dosturei 
in   each   to^ard  the   other,    through  connecting   olatforms   or   through 
lighting   effects   and   orooerties    that  tend   to   tle   to.^et-er   the    scatter.d 
elementa.    It    is    not   witho^t    Ironie   signif icance,    I    t.oin.,    that    the  most 
frecuent  offenders   against   this   basic   condition   of  group   composition 
on   the   stngeare   not   thoae  who    are    xnterested  ^rimarily   in   the   cre.tion 
of   frankly   theatric   dances.     They  apparently  have   learnt   the   simole 
i„,4MXBfxii«rulea   of   stage   oroduction.     Thoae  moat  often  guilty  are 
rather   the   choreogra -.hera  who  with  palned   aloofnesa   devote   thelr 


energiea    to    the   realization  of  abstract   dance  Ä-a^gn. 


,•'  V»'' 


Prom  these    ohawes   of  the   nroblem  of   the  rexltion  of  cance 

to    snace    .^rowin;.   out   of    t    e    nhy3iolo-,leal    limitations   of    the    snectator 

dance  . 

we    turn   to   a    considBrntion   of   tfee  xiiqw/soace   as    an   exnreasi  -nal 

factor    in  cance.      Unl3ke   music,    the  D«nce   cannot    exlfet    indeoendentof 
an   .BVlron.^ent.      ^^ot   only   does    It    neses.arily  have    Its   toelng   in   soace 
but    the  width,    depth  and    h64^,ht    of    t-e  ÄxxM   a-ea   r^served  for    it    snd 
the   shane,    coior  and  texture  of   DBe  enclosinP,  suff.ces   of   that   a^ea 
greatly  af^^ect    the  modd    of   the    comnosition.      These   sur-gaces      -ray   be   so 
d^slgn^d  as    to   render    them  re.ltively  unobtrusive.   But    fneii-   neutrality| 
though   it  m-a  y  allo..   a   fuller   concentratlon   on   the  dancing   figures, 
does^-ot   co.olete   y   liber.te   the   d.nce   from   the    effects   of   its    environ. 
„.ent,      For    the    neutral    charecter   of    the    enclosare    itself    lnv..ts    the 
ä«nce  witha     specific  cuelity  of   e.oression.  And  if  an  enclo.ure    is 
flisnensed  ^>^ith  and  the   dancing   figures   a.e   oicked  out   of   space   by 
light   or   if  a    cyclorama   is    so   emnloyed   as    to    create   the    in^oression 
of   an    indefinite    a    ea,    the    very   vagueness    and   o^enness    thus    suggested 
in    themselves    lend    the  dance   a    narticular    craracter  wh^ch  i^    other- 
wise   .ould  not    ^eve.    Since    the    effects   of  tisible    environ^ent    cannot 
be   avoided,    it    behooves    t>^e    choreogranher    to    -^lan   M.s    comnosUion, 
,n   relat^on    to   a   snecific   tyne   of   setting.      Many  dances,    for    exa.oie, 
iose   much   of   their   in^e^de.    c.iso  vigour  by   or.sentatlon  b   fore    the 
soft    folds    of   a    velvet   backdroo.      Others    are    rob.ed  of   their   desited 
intlmacy   and   directness   of   aooeal    through   the   v.stness    sug.ested 
b-   use    of   a    cyclorama.      I   shall  discuss    tbis    oroblem  more    fullv    in   a 
later    ch.nter.   Let    it   suff.ce   to    e.  hasi.e   at    tW.  s    noV  t    the    inescaoa 
hie    effects   u.on   c.nce   of   the   cuality   of   its    environn^ent   and  to    ,ive 
.arning   of   the   dnngers    involved    in    the    choreograoher« s    indifference 
to   th'ia   nfeifeae   of  dance   nroduction. 


4-      „^1^    tvio    pf;^ppts   of   v'sihle    cmviron- 
Ifjc   the   dance   cannot   avo  id   the    et  .  ecis   ui  ^ 


•-*•.    •  ' 


f       / 


In   this    resnect    the   dp.nce,    by   re?son   of   its    use   of   tJne    llv^ng   huaacn 

body    in   nosture   ^  nd  rr.ove^^.ent ,    differs    essentially   from  painting   nnd 

sculpture«    I    ■  ove    visited    art   galleries    dur:*  ng   x      r^omenade    C':^pcörts. 

orevio-isly   vi.-wed    in    silence 
I   did   not    find   tbfit    t^-e    effect    of   fpmilisr   stptues    and    c,*^  nv^ses/v/as 

anoreci'^i  oIt^  altered   by   a    backgr'^und   of  musical    sounds  ♦    ^ov  TtÄd    I   aware 

of    any    cbange    In   my    Teactlon    to   q    ^art^cn'''^^    ^lecfe    of   sculnture   ov 

r^aintec'i    landscanBie   u^on   viewjng    3t    to    tba   accom.^j^ninient    of   a   Mozart 

sympbony    after    seein^^^    it    to    tbe    tj    e    of   l^one-ooem   of  Richard   btrauss, 

A    like    indeoendence   of    soi  nd    csnnot    be    exoerienced    'in  Da    ce,      üivery 

soundproduced   simulfeaneously   with  a    nosture    or   rnoverent    in   dance    tend. 

to    modify    its    effect   u  on   the    spectator.    Silencö    in   Dance    is    not 

merely   an    inocuous    sbsence   o"    sound   thpt    enables    the   dance    to    fj.ourish 

autonomously,      In   association   vrith  human   conr-uct    it    has    deeoly   rooted 

imnlications    that    imnress    tne   bodily   man"^  f  est^  t  ions   ^'1  th   specific 

in   reäation    to 
exoressive    character.      The   whole     -roblem  of   souna   r3nd   silrnce  *±tkx/ 

dpnce    I    sball    make    tbe    sub.iect    of   an    extended    discussion    in   a    later 


DO 


rtion  of  tbis  book»   But  I  belif^ve  it  is  imnopt'^nt  to  stress  -^t  tv^^a 


Doint  the  necesr-^ity  of  ^rnat^ng  them  not  rerely  äs  convnnient  adlunct:: 
but  a^  vital  and  inescaoable  elements  in  dnnce  oroduction«   Vigilance 


w 


ith  retard  to  tbe^t  nro-eruse  can  never  be  relaxed  riith   i'^'unity. 


Thus  far  we  bave  considered  t'-e  negative  elements  charact et^is- 


tic  of  the  dance  as  an  ?^rt  mecium.  It  now  remäins  to  determine  wbat 
the  d-^nce  cnn  do  better  than  other  arts  and  what  It  alone  cnn  do  • 


The  dsnce, 
Im  ress  ive  nalnab 
human  figure  '^'ith 
flux,  or  caotures 
:into  a  memo-^able 
followed,  The  dan 
äbäkx  tbrough  ext 
nose  is  feit  as  a 
action,  and  v;here 
be  made  exo"!  icit 


like  sculnture, 
ili^rj?"  of  aotual  V 

como]  ete  susta  *  n 

it  in  a  rnomnnt  o 
fixityqf  'vith  m^'f^e 
ce,  on  the  Askta 
Bnded  natterna  of 

nr^-lHde  to,  anÄ 
in  the  füll  signi 
t  rogh  a  context 


reve?^ 

olume 
ed  ba 
f  act 

SU-"'^ 

other 

actu 

inter 

f  ican 

of  li 


Is  forms 
.  Sculnt 
lance  or 
ion  and  f 
estinn  of 
band,  le 
al  moveme 
runtion  o 
ce  of  a  o 


ving  mobi 


that   hflve    t>^e 
ure    ""    vests    tbe 
renose    "^n   a   world   of 
Pfie-^es    that    morrent 
-hat    nrcceded  and 
ads    the   hunian   figure 
nt    wherein   tbe   held 
r^culmi^"tion   of 
hrase   of   action    can 
lity«      -'■'he   dance  m^Lgr 


'^r~ 


be  viewed  as  a  nattfeerned  denictlon  of  the  humsn  fl-ure  In  the  nrocesa 
of  cont-^busly  becomiiing  aculnture.  Ho";ever  nuch  f-e   sustaineö  attitude 
may  at  times  be  stressed,  as  It  Is  in  a  number  of  t^-r-    solo  dances  of 
Martha  Graham,  it  is  the  nrocess  of  becomtng  that  constitutes^tbe 
essence  of  Dance.  Ifone  ^:;ere  to  examine  the  motion  oicture/of  a 
Modern  Dance  comoositioh,  he  woold  find  even  its  raost  .egat*  flow  of 
movemnt  dftvided  into  a  long  series  of  »i»Mi«   ostural  itema  wlth 
varying  degrees  of  sculotural  value.  In  the  oerformance  of  the  dance, 
most  of  these  items  are  so  merged  in  the  continuity  that  they  c.nnot 
be  seoarately  identifled.  In  a  sense,  what  the  cinematogranh  does  to 
the  individuel  ±±1«  o^otogra-h  on  the  film,  the  dancer  does  to  the 
individual  oosture  or  minute  fragment  of  moven^nyf  the Jitring  body, 
The  value  of  a  dsnce  deoends  nrimarily  unon  the^humanistic  signif icancel 
fully  com  unicnted,  of  the  context  of  each  com-onent  element.   Itsx 
most  distincMve  furction  lies  in  the  realization  of  aRXHKtHxi  plas- 
ticity  at  once  in  time  and  s.pce,  in  the  achieve«nt  of  a  lif e-^otiva tedl 
continuity  of  three-dimensional  forms  that  oonveys  the  sense  of  ODganicj 
gro.-th,  of  develooment  carrying  imolications  of  basic  human  imnort. 

Like  painting,  t  e  dance  can  create  oictorial  comoositions 
but  with  the  valuable  Substitution  of  actual  oepth  for  the  re.resented 
fifeird  dlmension  of  the  former-  art.  And  though  it  cannot,  wlthout 
sacrifice  of  its  essential  ouality  of  mobility,  hold^a  oicture  long 
enough  for  sustained  and  varled  oercettions,  it  affords  as  compensatio: 
the  creatively  enjoy-^ble  exnerience  of  v;itnessln,  the  orocesses  of 
formationz,  rodific-  tlon  and  dissolution  of  harm.-ized  tableaux. 

^       NO  less  than  sculoture  and  Da^nt'ng,  t>^e  Dance  Is  ^ble  to 
give  re:-,resentations  of  movc-ent  t-rc«  gh  such  au..-estive  devices  as 
Is    linear  rhythm  (th.t  is,  flow^ng  interrelat  ons  of  lines),  re :ulor 
re.ttition  of  a  figure  so  as  to  form  a  serlea  in  soace,  jradation  of 
sizes  in  ^  senuence  of  like  sh  oes,  crescendo  in  color  from  neutral- 


ity   to  brilliance.      But   to   these   devices    It   adcs    the   vltäl   inf^recient 
of   acta.l  movement.      And   the    ^vallability    to  D.once    of  re  .r^esented 
«Hisxsidt   as3t  well   as    actual  move.-ent    offers    5    twofold  advants-e. 
On   the   one   hand,    the   su-gestive   d.vlcea    ,iu3t   referred  to    canb  be   em- 
nloyed  to    corroboirifee   and  enhance   the   dynamic   effe:  ts   of  actual  move- 
ment.  On   the   other  hand,    they   can  be   used   to   tüeate   the   Suggestion  of 
motlon  oo-osite   In  directlon   to    th.   actual  .TOve;.ent    and  theretoy  ^ive 
tfee   feeling   of  strugqle  bet^^-een  onoosing    inner   forces.     Staged  drama 
ig   likev;ise    caoable   of  vitalizing   the   values   of   sculnture   and  nictorial 
comoosition  and  of   uniting   reoresented   witb  actual  move'nent .   3ut    in 
doing   so,    it    is   hamnered  by   certain   factors    from  wMch  the   Dance   is 


of 


free.  These  factors  include  tbe  general  standard/naturalism,  the 
demands  of  nlot  unfoldment,  and  the  rigiditdes  -   s-.lting  from  the  use 
of  the  sodb^n  word.   Since  the  Dance  is  not  obl-^ged  to  meet  the  test 
of  strict  ra-urallsmy,it  is  free  to  stylize,  si.plify  and  othcrwise 
modify  the  oostures  ^'nä   mover-:.n*3  borrowöd  from  matural  human  conduct 
and  thereby  to  enhance  the±4  exor essiveness .  And  inasruch  as  it  is 
not  subject  to  the  r^straints  of  olot  and  dlalogue,  it  can  inte  ;rate 
these  oostures  and  movenents±K  in  extended  b.t  closely  knit  time-space 
designs  through  -hich  they  overcome  the  fragmentary  character  hlch 
they  have  in  the  naturaliatli  theater  and  enrich  each  other  in  a 
continuity  of  elevated  documentationx  -hich  staged  dramsr  cannot 
nrovidp.  In  every  medium  the  total  ccroosition  must  -Iways  in  itself 
form  a  oattern.  Oth^r*ise  it  lacks  tk«»  comoletenesa  and  ||,lf ^^"^{^J^i^; 
iency  indispensable  to  a  work  of  art.   In  drama,  th^s  .att ern/lP*KäC5^ 


fff  the  10  Uc  imolied  and  the  a.velooment  reoresenteo  ^feft  the  ^s^equence 


ixiHiÖc 


ed 


words,    f-e    so-.;    ds   heard    >'nd   t    e    torms    seen 
in   toeethor,    constit  'te    a    oerfect    oesign- 


to   the   audience.     In  other  w 
do-ot    in   the-.selves,   when   ^^^^^^    ;^r  Ind*  arran^eri   as    to   r-veal    ch 'racter 

But    the   hum.an  -^^i:    '    ^°^^f   !:    tsfylng      altlrn.    In    a    s.      cHy 
pnd    t^ll    a    Story,    does    form  a   s- "ciai^y  j-^  o 


comrose'    O.pr.ce,    lo-fver,    tbe    tot'  1   visible    n^enomen:-n    Is    b    -^ood 
^eslgn;    pnd    if,    in   pddition,    fr    r-omositlon    roializes    the    ootenti    1- 
itifs    of   the   -iödium  for   hurn-n  documerta t Ion,    it   unfolds,    through    the 
visible  lEKic*   scheme,    in   formellzed   o.tl~-ng,    a   secuence   of   exo-riencea 
find   eoisodes    that   is    likcwlse   feit  as   design.   Thus,    the   well-f -  s    ioned 
and    sis-lficsnt   dance,    throu-h   its    -enera  15  zlng    tre.v.  tnient,    achievea   a 
at    once   two    Orders   of   aesthetlc    form  thst   become   one.    And   tnis 

cresfion    of   a    com-lete    human  desi  m  and   a    co!r.-)lete    formal   desirrn   and 

it 
tbeir   oerfect    unionit/i  s    nlone   witli-'n    the  --ower  of    the   xxee  Dance, 

arrong   oerformed  a^ts,    to    atteln. 

Moreover,    since    it    is    freed   from   reliance   'Joon   the   word,    the 
D*,nce    is    caofble   of   comnlete,    unbroken   immediacy   in   the   ouality  of   ita 
com-'unlc"tion.   »e   heve    äL  ready   considered   the   Blrcumscri  ntions    that 
result   fron   excluslon  of  verbal    ex-resslon.   Th-re   are,    ho-ever, 
comnens-^ting   advantages.     The   soälaen  word,    Uhough   as      m:re   sou  ^d, 
as   a    fragmant   of  music,    it   m-y  arouse   emotion  directly),    as   a   symbol 
of  meaning   o-erotes   by   awakening    -^n   ima:e   wh^ch   in    turn,    through 
association,    may  orovoke    emotion.    Bodily   movement,    on   tne  other   band, 
aftects    the    soectator    immediately  by   induclng  muscular   resDonses   wlth 
accomoanying    emotions.   The   drama,    to   the   extent   that    it   relies    u^-on 

the  word,    csnnot  rival   the   mre,    sustaJned  directness   of   feeling 

ren  ction 
xxsxxxjai/\:hich   cbaracterlses    the  Dance, 

Another   distjnctive   aävant-ge   afforded  by  Dance   lies    ih  the 
fact    that    by    rising   abovo   tbe    IJteral   and    the   soeclfic   and   attaining, 
^«1thout    sacrlfice   of    intell  i.^ibi]  ity,    a    ouelity  of   generali-ed    exoresss 
Ion,    it    orom-ts    the    s-ectator    to    ßnct^on    creat^vely    in   suDniying 
details   and  bringing    the   füll   tex^ure   of  meaning    to    crystall isetion. 

No   discussion  of   the   Iwodern  Lance   as  Medium  v.-ould  be 
comfiletö  wMBh  failed    to   mention  its    fitness,    throgh  cualities    alreaüy 


/ 


discuased,  to  serfe  as  the  or.ly  renl  focal  no:'nt  for  a  meeting  and 
s^nthesia  of  iiiÄXseveral  arta.  We  hove  already  seen  how  iXLExüXÄÄX 
it  incoroora  tes,  and  by  use  of  actual  movenient  enlivens  some  of  the 
valuGS  of  scul:)t  re  and  cainting  and  gives  them  dramatic  contextj  that 
is^  to  say,  ^^e  have  seen  how  it  taKes  these  arts  of  imace  and  gives 
them  dyn.'^mic  being  In  exoressive  divisions  oftjme«   But  there  is  anothe; 


a 


rt   v/hich  cries    for   admission   to    this    Convention   6ß    its    sisters*   Thrt    i, 


music»      Modern  Dance    is    in    itself   a    sort    of   Visual   ^'^i^isic.   Thij  should 

ch^racterist ics • 
be    evi<fient    from  m^'   oiscussion    in    the  IhxIi    Inst    c^''^nter   of    its/jjixjoy 

73xli^xxG[fxBDXXBSxx3^äÄKi5Te^wifehxtfe«xärtx®fxJfc]Ba±ÄaxtxSäcgKR5ix  Whn t    is    lack 

ing,    however,    is    the   rriRo-ic    of  abstract   sound.   The   des  ite±    to   unite 

music   T'i'ith   si2;nificant   manif es tations    of   humarv/SüuluU't    haß    a    long   and 

for   the    largest    nart    unhaooy  histücy.      But    the   many   failures    of    the 

oast   hnve    not   killed   the    im-ulse,   J:iov;ever   much   the   attemots    to    achieve 

this    Union  m*^y  merit   our    scorn  when    they  grov/   out   of   r.n   es  :;erness    tdj 

oersonalize  music   and   to    foist   specific   liter^ry  meanings   upon   it,    v/e 

must   recognize    the±Ä    .iustif ica tion  when   they   arise   from   the   oassijnate 

Äa   roundeda 
zepl   to    'nvest   human   ^xnression  with  a   completene3S,;^^xx*ii  ??nd/momentous| 

-ness    thnt   no    one   art   alone    can  HKiQ±BXB:xx  aff^rd«  The     failure  of  ooera, 

the   use   of 

is    due    larvgely,    I  believe,    to/those    elements    of   örama    of  ^'hich   the 

elements    t-pt   m^ke   stubhorn 

daace    is    free:    natura  lism,    nl.ot,    dialogue^^ütgJc^-J^merht^/thrH  t    i'-iect    the 
lite^al,    the   specific   nnd    tv^e  a^sthetic^lly    irrelevant    ihto    ex-^ression 
through  the   humen      ersonality   and      revent    its    ^erfect    frsion  w   th   t^e 
abstroct   art   of    ^usic«    Hemove    t^iose    obst?cles    and    em-l(7y   formalized 

dynamic   movement    of    the   body   and   a    com.olete   merger  wi  th   !rusic   can   be 

the        elaborate 

ilished*      The   bast?rd   concocti  -ns   wltnessed    in/r^roductions    of   ballet 

nish  no    argument    to    the    contrary     The   ri-'dity  and  relatively 

non-dynamic    character    of  ballet  x±xl^,    .nd    t^e   nar^^o.ness    of    its 

voaabulary   render    it    incapable    of  meeting   .usic   ^^'ith  success    o.tside 

of   a    lim^ed   s.hore.   But   the   Modern  Dance,    on    the   other  band,    v;ith 


accomn 
für 


32' 


its    comorehenslve   nnd   f l«xib]  e  voc^bulnry,    Us    use    of   t^e   wh^e 
body,    its    exT^lorntlon    of   dynamlcs,    csnnot    onJy  use    rusic   as    a 
valuable   ad.lunct    to    itaelf,    but    con   -^erfectiy  unite   *ntb   It    in    the 
cre-^tlon   of  a    comnoslte   art. 

More    of   t-is    later.    Suffice   now    to    say   tha t  xoursait   of  a 

svnthesis    of  arts    does    not    necessarily    Im  Uy  a    lack   of  felth   in    the 

self-3uflciGncy  of  any  one    or    the    contrJbutive   ar-ts    as   an    .xoreaaive 

xxtx  mef!:-um  not    indicate   a   desire    to   üpmonstrote    on   art    in    ter.-ns    of 

not 
anothsr.      S-^ch   a    synthesis    is/nronose(-  MHxaxBx    as    a    Substitute   for 

the    :nd6nendePt    nrosecttlon   of   each  meäi::in  by    those    oeculinrly   suitec 

t-^    that   medl'jm.    It    is    arvocotec    as   s   means   of  a-ri-lif  Ic."  tion   and    inten- 

sific'tion   thpt   will    r^sult    jn   «    c]o3er   ao-roacb    to    total   bunan    exoröss 

Ion  on   tbe    exaDtel    Ipvel   of   nrt— a   r^epns    of  affording   an    errotinnal 

com:-r>ebension  at    once   of   tbe    r^art   of   H  f  e    t>^at   can   be   reäes^ed   best    if 

not    solely    in   sound,    and    the    ^ert   of    ] if e    tha t   can  be   revealed      est    if 

.         T    T      4.  human 

not   solely   through   the    oo^turesa   and  move-^nts    of    the  Mxxzig/bocy, 

Some  vaDues   of  aculoture  and   aaintlng   are    incoroorated   in   the    fabric  of 

dance  mewement   and    thet  movement,    by  virtue   of   its    comr.unica  tive 

dlrectnesa   and  the   generalized   qulity  of   ex-,ression   which  it   develoos 

through  aesthetic   treatment,    will  cdialesce   com-letely  with   the  abstract 

art   of  music,  The   result?     iisxxx±sx±ias  At  wore   aide   is    the   snhere   of 

P'irlfied, 
music:   enhanced,   iBBicxiixBSVuniversääized  forma   of   the   natural  utter- 

ancea    of  human  feelinc^,    Communications    of  a    thousand    inner    exneriBHces 

tbat    norm8l3y   never   -each   tbe    ievel   of  V0C8lity,/transrrutp t1  ona    of   a 

the 
myriad   of  ÄXiätl8iÄ/-^benomena   *hat    constltute    t>^e   audible   envjronnent   of 

llfe.     AtjQ  the   ot>^er    3ide,    is    the    SDhe-e   of  dr^nce:      ^-tterned,    forraliz^ 

natural  *  '    --uxL.a±iz«i 

versi-ns    of/bodily   reacti    ns    to    emotional    ex^erlences,    of   the    numberless 
ty   es    of   nhysIcHl   action   that    coiriDrise    the    ext^rnal    ]lfe   of   rr.an,   Thes    e 
two  worDds    are  bron^^ht   together    to    enable    the   art   recioient    to    fcel 


the  total  irrnact  of  llfe  in  terms  of  art»  They  fortify  and  suDDleipent 

sc>'^  otVicr  as  crest^-re  sdcs  to  sneech,  ps  utt^r^nce  betrnvs  t^iQ   reaction 

to  work  or  nloy,  as  flight  sh^'ws  the  r^^s  nnse  to  v-e^rd  forewarnn  'f^^s  of 

moaning 
danger,  as  the  suilliKS^/of  vrlnd  t^^  ro  gh  nathetic  fallacy  TJdlces  the 


melanch  ly  of  man,   Or  tiey  xxxx  oonose  each  other  in  con  traountal 

in  Jlfe    often 
reäationshin,  as/emotion  is/at  odds  v/ith  actinn,  as  man  struggles  to 

act  in  thä  face  of  thwarting  auditorjxx  memories,  as  an  inimical 


wo 


rld  of  a    thousand  voices    nits    itself   against    the    constructive 


endeavors    of   men»  As    aest'''etic    totalitarianism  that    -^ust   win    its   füll 
t)lacG    in   the  waxiÄxHfxxxx   life   of  axtx  man« 

They  who    go    to   dance    for    intell^ctual    enlightmnrrent   ard 
docmed   to   disannointment    no    less    than   those   who   aooroach  it   with   the 
exnectation   of  witnessinn;   nure   abstracto*  ons    in  moverent    untinctured 

bv   sus^f^estions    of   the   woes    and    esstacies,    ^be    enter^rises   and    defeats 

^"  .      bod^y 

of    humanity.      There   are   many   tH  n^^s   wh^' ch/p-ov  e-ent    can   communica  te, 

many  rr.ore   which   it    can   not.   '^he   s&und  dancexxlxxks   conmoser    is    ne 

who   knows   wtoat    ben  be   said   through  his   medium  and  how    to    select   and 

treat   >^is   material   so   that    It  will   say   orecisely  what   he    chooses    to 

knows    lust 

convey.  The  wise   SDectator   of  Dance    is   he  who/what   to    lo-k   for    in 

distinguished 
exv^ibitions   of   the   art,    sot    that  kÄXÄXj  when  fxxx/woikrks    are   oresQBted 
he   ma^7   fully   r.p3pond    to    them,    unhamoered   by   the   resistance    that    so 

frenuently   fol'^ows    a    fruJtlBäs    expectation   of  va^ues    that   lie    outside 

the  ir 

±2^xscoDe*Hf     To  be  sensitive    to    the  Visual  aspects    of  fine   act^ng   is 

'  Modern 

to   be   far   along   the  way    toward   an  anoreci^^  tion   of/Dance.   Resoonsiveness 

to   )Btafeuralistic  gesture   and   stage   busAness    can   easily  be   develooed  to 

a    noint  where  one    feels    the   need    of  an  art    in  wh 'c  h    t>^ey  wil]    be 

emancioated    from  the    s^ackles    of   nat iralism  and   integr^ted    in    extended 

time-scacG   d^^signs.      It    is    the    task   of   the    d^ncer    to   m-et    that    nepd. 

The   result   may   go    far   beyond   th-atric   dancing.      But    it  ÄÜitxxHX    is 


jy- 


imnortant  for  tbe  dancer  to  recognize/the  reiatlons-'^in  betw^en  H.  s 

9vt   and  the  non-snenkin^  nhnses  of  ocf^ng.  i  believe  tb.'^t  one 

veason   for  tbe  relative  s>^.a]3ness  of  tbe  dnncö  audience  in  America  Is 

tbe  in^Brior  ouality  of  bodily  move'r'ent  on  tbe  o-^ort  of  rrost  American 

actors,   -^n  the  face  of  thi  s  conditicn  it  becon-es  »xxixjaüx t h e  obligat!..: 

of  tbe  doncer  to  bis  soect^tor  to  bridge  tbe  gap,  to  lead  bim  gradually 

from  thecter  to  free  dance. 

The  Dance  as  medium.»*«.  It  is  notKnisMi  encugh  for  the  dancer 

Ot^wobjective 
merely  to  knowthe  limitations  and  resources  of  >^is  •  rt  as  arcode  of 

Bo's  and  Don't's,  They  must  enter  tbe  deenest  levels  of  bis  osvche 
and  he    synthesi7ed  t>^ere.   He  must  exoeri  nee  t '-^em  muscularly.  emotion- 
ally^  as  well  as  inte]  lectu^  11  v.  '-^bey  '^ust  mould  rnd    become  nprt  of  bis 
tfl^ste,  bis  aestbetic  feel  as  a  dancer,  so  tbst  wben  tbey  disci '  line  bis 
work  as  a  com.rospr,  tbey  create  in  bjm  n^t    the  sense  of  obedience  to 
externnl  deT- nds  but  of  fid^lity  to  bis  en] i^btened  seif.  Until  tbe 
dancer  feels  tbe  oualities  and  effects  of  movementxs  and  tbeii  reäation.s| 
to  t'-'G  visible  and  audible  environn^ent  of  uminc  as  naturelly  and  as 
surely  as  tbe  sculntor  -fj^r "^"^  the  su^^ace  texture  and  stubborn  resistancej 


of  stone,  he  has  not,  ho^'^cvcr  oEBfeptly  he  ^ay  h^^ve  masterec  the 
nlej^'Sing  acrobatics  of  s^ütf q,  attained  to  the  first  .l^evel  of  cre^-tive 
art.  And  until  he  has  dovelooed  a  graso  of  tl^I^  effects  of  dance  u-on 
tbe  s^ectator  as  sensitive  and  urerrjng  as  the  the*  tric  sense  of  a 
mature  actor,  he  is  unre  dy  für  public  "erformance  and  sbould  confine 
hidsr^lf  to  g:\nnn'=Ätic  solAloouy  5n  tbe  studio« 


S^' 


ä^t  Cl  ^h 


U'\\  ex 


'a/i  o(  44/^^' ' 


u  J  .>^—  Pantomime  ceases  to  be  such  when  It  is  filmed*  Por  the  muteÄ| 
ne$s  of  a  Dicture  is  natural  and  self-understandable.  A  direct,  espressl 
-iye  special  meaning  lies  only  in  silencd  of  a  living,  actual  creature 
who  can  also  speaB:/»  Silence  is  no  characteristic  quality  but  an  occur-| 
©nee,  Only  the  living  being  can  achieve  silence«  Pictures,  are,  like  ^\ 
V^^things,  merely  mute.  But  is  not  silence  coestensive  with  solitude«? 
Is  Pantomime  as  the  representsb  ion  of  an  occurence  between  persona  out 
of  the  spirit  of  3ilence(music)  thinkable?  Is  not  the  sold  dance  much 
^    ^  \'    more  the  only  adeauate  form  of  expression  of  thls  inner  state?  Par 
ity  ^   //.  less  mea:iing£ul  is  th  silence  of  the  Single  individual  than  of  tv/o  or 
^/  H   several.  When  one  v/ho  is  alone,  is  silent,  it  may  be  out  of  a  necessit; 
-a  negative  one«  But  with  two  or  several  silence  first  attains  a  mean- 


Sl    V  V 


V^ 


<^' 


V\    ^ingful  purpose,    an   intelligibility,    füll  of  hidden  mea  ling,    a   connected 
medium,   Silence   is   no    longer    in  thera,    It    isin  that  which  appears   as   a 
xOy    ^'^'Xspecial  sohere   in  which  they  move.  And  the   :uost  secret  relations  be- 
t.     S  come  apparent   tlirough  gestures   of   the   spirit    in  thäs    sphere   of    the 

/spirit. 

The  pedanfes   of   "pure   style"  will  not   surrender   and  will   say: 
granted  the    dance  poetry  and  paatomime   can  also   represent  experience 
between  oersons,    still   this   can  not  hafe    any  rati^nally  comprehensible 
\\^'      content,   any  fiible  which  can  also   be   told  v:ith  v/ords,    because   for    that 
it    is  necessary  to   have  gestures,    to  mark  words  o^ct   of  which  a  dramatii 
equivalent    is   realized.  And  as    already   said,    the  right   fo   every  art 
lies    in  its    irrepäißcibility» 

Ask  a  woman:"Do   you   love  me?"   And    she  merely  nods   mutely 
instead  of   answering.   ^hat   constitutes    indded  a  yes   but  has   a  different| 
^Y''^^     meaning   than   if   she   had  kaid  yes   audlhbly.    Indded  she   has   not   said  it 


A' 


/    \ 


^' 


^   .'f" 


sine   it  would  have  been  false.   The  mute  gesture  of   indication  has   a 


different   content   of   spirit.  which  comes   out   of   »he   depth  of   silence, 


/•  ■   >a 


^  A  i  t  <-  /\   ^ 


'     f .' 


/- 


^>X.4 


/ 


\ 


AP   onmethlnß  c  'ncrete  and  intelllgible  is  meant«  In  this,  the    \ 

forma  of 
the  moving  element  of  the  mute  nod  the/pantomime  are  f  und.  To  express 

this  one  3ilkewise  may  not  speak  on  the  speaking  atage*  For  It  Is 

unsayable«  For  silence  lies  not  dnly  beyond  words  but  betweean  words« 

And  the  irrational  sphere  is  not  only  a  iaystical  :RS±±mi3^:x±±ts:p^^t 

dreamland  1  ing  apart  from  the  natural  rational  life,  but  it  is  the 

est  blished  atmosphere  of  our  rnost  real  and  e/ery  day  reiations,  which 

have  a  certsin  import  to  the  ^nsayable,  to  pantomime«  To  extract  this 

out  of  the  mäjcture  of  the  naturalistic  and  to  form  it  in(b(b  a  homo- 

geneous  system  —this  is  the  task.  Donot  the  other  arts  derive  thei' 

f. 

stuff  out  of  such  an  extraction?  Poetry  takes  the  word,  painting  cold; 
sculpture  form,  all  out  of  the  conglomerate  of  the  same  natural  life« 
On  the  other  side  of  this  truth  there  may  be  mystical  ecstacies  but  no' 


a 


w 


rt»     This    I     would  es  )eclally  emphasize  because   out   of  the  pedantica] 
ill  to   a  pure   style   in  the  Modern  Dance   and  specif  ically   in   the  most 


significant    (the  Wigman  school),    äi  direction  has   developed  v.hich  leads 
to    the   emptiness  of  abstradtion.  Abatraction  is   the   opposite  of   the 
irrational«    It   is    the   construction  of  comprehension  when   is   has  not 
become   empty  ornamatit«   SchHnaÄtlc   symbols   of  an  immaterial  and  bloodles 
romanticist   outloo]f   thteeaten  as    a  daager«   Only   the   obgiective    is 
irrational  which  can  never   be    completäy   contained   in  a  form  of   thought 
But  here    is    the   truth  of  our   real,   possible  modern   life-the  änly  subje 
of   every  art«    It   is     t  he  chaos,   which  dance   poetry   like   every  other 
poetry  must   bfing   into   ißrm  ,    a  form  which  fahsions   one  of  the   extractei 
elements    into    an   image    or   simile   of  the  whole«  And   it    is    thus    that 
panttoime   becones   entirely  clearand  intelllgible   and  requires   no 
written  explanation«     And  now   the   question  of  the   final  distinctioi 
between  dance  poetry  and  pantomime«   Even  a  s   a  well  danced  shimmy  is 
of   course   dance  poetry   if   it   if   it  unconditionally   should  be   fitted 


forma  of 
into  a  categ)  ry  of  human/expression«  i^rom  the  photographically  true 

delineation  of  a  surging  sea  to  the  ornament  of  a  meandering  line,  v/hic| 

presents  this  natural  phenomeriün  in  a  styllzed  form,  there  are  coüntles; 

because  shaded  tran^sitions  from  naturalistlc  copy  to  1d  the  most  extremj 

decoratiVB  stylizatlon*  Only  pedantry  Inckingfantasy  can  be  rigid  and 

count  the  categor4ds  here  and  prescribe  the  boundaries«  Also  theart  of 

expressive  movement  expresses  an  occurence  of  naturalistic  truth»  The 

naturalistic  d  amatic  oantomime  will  have  an  unstylized  similairjjj  with| 

presented  reality  whlch  in  pure  decoratä^e  (iL  nee  can  be  hardly  or  not 

at  all  recognized.  Bath  are  formdd  out  of  the  sanae  stuff  of  the  silent 

v;orld  and  to  some  extent  are  the  same  language,  which  is  compressed 


out  of  prose  into  verse,  thedance  t  us  prod  cing  not  a  develooment  out 
of  foreign  material  but  an  organic  ehhancement  of  the  same  pictures  ofl 


m 


vement.  It  is  certainly  bestif  one  man  still  in  the  most  extceme  ±bxj 


forms  of  meandering  imagine  that  he  still  hears  the  seething  of  the  xsji\ 

wavBs  •  For  the  resilience  of  every  great  art  consists  in  this,  that 

hot  from  victory 
one  st  11/feels  surounded  by  danger,  as  the  subdued  chaos  rises  amid 

the  enforced  yoke  of  unyielding  ß  rms« 


y 


)> 


\ 


u 


PART  TWc. 


lOjty^^aß^-^ 


^ 


TBE  Dancer  resding  this  book  haa.  alraady  begurj  ^tp  grow 


to  discuss 


impatient.   It  is  relatively  easy,  he  ^k^ 

theoretically  the  functlons  which  dance  can  perfnrm  in  tbe  world 

of  our  time.  What  he  really  wants  to  tmow  is  hov;  the  dancer  can 


best 


rendrr  tbese  serviees»  This  auestion  can  be  anwwerec 


only  throu^rh  a  careful  examination  M   dance  as  an  exoressive  medium« 
But  v:hat  kind  of  dance^   In  eaÄlier  -ages  I  have  boldly  stated 


that. 


j.ht<  tT:< 


modern  dance 


aJo^ 


But 


tha 


t   ha^^jSiAnif 


.*   ,'f 


ificance#fcr    us. 

I 


since   the   oresent   field  of  art-d^nce ,  includes   a   nurjiber   of  diff< 


styles   or   schools,    it 

y 


>i 


u   on  me   to    indicate    the   relative 


values  of   these  different   tyres     ±ä  and   to    establish  why  I  am 

from  conside^^ation 
justified   in   eliminating/jctiaDe   fi)  rm  s   of   dance   expression  other 

than  the  modern     dance, 

of  great 

Now  and  again  vve  are  honored  by  visitations/fiiff  MizJtxx^ialx]u[a 
dancers   from   far-sway   l^nds,   wbo   biring   toAt»La_.JiWa^g    distingul  shed   , 
examDles  of   tradition  al   art  n*  tive   to   the   nerforming   artist.     fiflsx 


f ana"  ic  neq-orthodoxy  of  oost-v/ar   ultra-modernists   and   tbe 


f   tbe  vali:!e   to  us    of   these   exhibitions   srracks   of   the   shallow. 


^^C£iS  yi  • 


bell^lgerent   rigidij^y  of^  our   p^esentr-day   newlyreda« 

c 

no  one  sensitive   to   dance  values   can  v/itness   the  art  of  a  Shan-Kar  or 
a  Mei  lang  Fang     without   experiencing   an    exalted  aesthetic   satisfactioitij 
And   if,    in  addtion,    he  understands   the   signif icr-nce   of   the  many 
symbolic  movements   and  postures    emoloyed,    he  can  receive  through 
these  ar'tists  an   enhenced  emotional   compreheniion  of   the   cultikres 
which  they  renresent«  and  of  v/hich  tleir   dances   are  XÄXintegral 
parts.      ^n  the  other  feand,    these  outstanding   examples  of  al4en  arts, 
3iimuaila«»xfHiiyxBHÄ»ss*HHÄ  evan  when  we  are  fully  sensitive   to   thel# 


\ 


i 


/ 


\ 


we  fully  comprehend  the   '^ 
-iv  if  ever  afford  us  that 


dance  va*^^3  which  they  cori-< 

syiibollsmStJ^ch  they  emoloy,  rl 

momentouane3  3  of '"ex^erlence  that  many  exoresslons  of  a  cruder  ■ 

domeatic  art  provlde.  Por  ua  they  a-e  rarely  if  ever  living  art. 

But  .»hy?  13  not  great  «tt  univeraal?  X««xii>±x»Hiyx«i±h±»xth.xS»«ta±± 

No'.  There  are  definite  limits  that  tlme  and  place  impose.  These 

traditlonal  dancea  carried.  over  from  remote  timea  and  diatant  lands^ 

are  parts  of  aporoacres  to  life  whlch  in  most  instancea  have  little  or 

n4  relevance  to  the  moöea  of  thought  and  feillng  and  action  through 

which  we  attemot  to  meet  the  world  we  live  in.  And  thl3  ia  true  not 

only  ofdancea  emantting  from  Indla  and  China,  "^t  ia  true  also  to  a 

ce  tain  extent  of  traditional  dancea  that  originate  in  countries  much 

closer  to  owr  own  in  culture  such  as  Spain. 

in  this  country 
If  the  nrese-tation/of  these  time-honored  exoressions  of 

far-removed  culturea  were  limited  to  occasional  recitala  by  visiting 

artists  treye  would  be  need  of  saylng  little  beyond  eXT)re33ing  our 

gratitude  for  their  American  tours .   But  such  is  not  the  case.  The  .'e 

are  thousand  3  of  American  dancers  wl  o  dedlcate  their  careers  to  lk> 

st  dy^ng  and  attempting  to  peproduce  >«d  or  Interpret  the  dancea  of 

India,  China,  Java,  Siam  and  Spain.  What  they  produce  ar^,ount,tox 

alBiost  invariably  to  crude  dance  traveloguea,  fkke  museum  oieces, 

patlettc  vulgär izationa.  And  these  oretentioua'ex^onenta"  are  in 

most  instancea  little  more  than  courlers  for  culture  tourists, 

dancing  by  rote  in  a  foeeigh  accent.  They  believe  that  they  can 

be  dance  artists  without  enduring  tbe  labor  naina  incident  to  the 

creation  of  all  good  art.  It  requirea  no  snecial  critical  insight  to 

discover  the  error  of  their  ways,  However  industrloualy  they 

memorize  the  postures,  rhythms  and  move  ents  of  these  foreigh  dances 


that  are  integre lly  oartsof  fully 


flowered  cultures,  ibtt« 


'^ 


L 


ho^vGver   nainstaking  .in  thelr   ourch.ae  of  ^uitalile   coatumea,    some 
crudity,    30IIB    fialse   emnhaais,    some   stlffness,    some  Ineotnessof 
spirit  will  be  sure   to    ««i±«K«±/it3elf  to  remlnd  us   thab    v/e  are 
seeing  Mary  Johnson  of  Perria  gone  IKSUiX  Oriental  or   orlmltive  or- 
SDaniah.      Perhaps   a  renascence   of  vaudeville    in  ^vMch  mimetic 
adroitness    ia   prised  for   its   own  sake   will  orovide   a   just   place  for 
these   zealous   Champions   of  forei^i    cultures. 


A 


From  tha   exoticism  of  traditionsl   dances   of  bther  lands 
we   turn  to   an/ilrepressible   grandmother  who    is/willing  nAAiüiu  to 
die  as   gracefully  as  once   she   lived,   who   refuses    to   achieve   ln».u.rtality| 
"^"^'tiough  the  llf«  of  her  descendants.      I  refer   to  the  Ballet. ^^^^ 
Here   we  have   a  hard  nut   to   crack.  Bor   the  Ballet   con ta ins/atch  inat 
we   arei  loath  to   sacrifi   ce     but  ;nore   that  we   are   forced  to  reject. 

The  brilliant   facility  of   legs   aad  feet^  the   finässe 

,r^^^  .nri   n^^i^gg-  I g^ift  ^m'\M,    the  msstery 


expreasion,  -thQ  wina. 
of  formal  desigt«  .hich  it  achieves— these  are  elements  of  etern  1 
value.-ttt^dance.  On  the  other  hand,  from  several  points  of  view 
It    ia   stubbornly^«.*  hopeleasly  dated,nnä   Inflexible. 

To  be   fully   conaider-ed,    the  ballet  must   he   reg'.rded  not 
merely   ns   a   tyoe  of   technique  but   also,    and  nrimarlly,a3   a   style 


embodying  c.rtain  c^efinite   cliches^of  x«.HX..*x.f  _  ooatu^e   and       , 
mlv'ement.  '  /..«  when   so   aonroached  its   linitat'i.ns   anö    i..ele»a«ces 
ere   evident.     On  the   one  hand,   ii«..x.i±«i««   the   .an^je   of  hunan      ^ 


-r. 


exoreasive.eas   of   these   cliches    is   very/M?^^^.   ^^-'^S   -"^^^^^ 
for    the    largest    p.rt    to    delicte   coqufetry,    acrobntic   a,ili^y. 
elf in   3evity,   wistful  fr.gility,   roccoco   courtliness,    fairy^tale    . 
fantaay,   Now  and  again   enteroriaing   choreogra^here  attempt   ^M^Jb 

-3- 


Gxtend   tMs    rprif^^e.      The   -rfisults    are    inverifibly   lamentable.      Witness, 
for    exarnle,    the  manv   attoTiots    to   loroducö   vislble    •■^^'Unternarta    or 
interoretstions    of .  svinnhonies  ,  ^¥i    the  RomnritloüV'^lY) .      The    traoitional 
cliches    serve    tolor^-bly  well   for   scher^i.      They   can    crjve   tr  e    effect    of 
stacatto,    of  üizicatto.   They   are   adenuate    for    tfee   markin  ^    of    certain 
szforzendi*      They   are   halb!   soirietimes    eoual    to    the   deirands    of   a    lyrica" 

rondo.      But    -n  pasages    of   tense   draina    their   airy   li:  b    cnatter    is 

t'  e 
either   an   irrelevance    or   an  annoyin^   aistrj:  ction,      Fory'mas  sive 

harmonic   nrogressions    of   Choral   eoisodes    they  have   no    e   uivalent. 


ÄKÄÄH   Smooth,    graaual   Crescendi  and  dimuendi,    the  slow  rise   and 

fall   of  oower  AndLivided   by   the   narkings   of   beat   they   cannot  renresent. 


For   melody  sbS   eamoosed  of   sustained    tones    or   of  brief    ton^s    related 

but  a  ^.  ■  '^-' 

in  a    legato    flo-.v    they    can   .^iv  /little  more    than  ±^/tracingX|  of 

dotted    lines   which  disturb   the   sense   of   contMnity«    It    is    difficult    to 

ima-5ne   anytÄAi^   more   ludicruus    thnn    the   satined    toeQchiroIng   and 

fuffled    töp-spinning   of  ballerinas    to    the   ach'ng   *t+-erance   of    the 

hörn   in   the   slow   movement    of  Tch«- ikowsky»  s   Fifth  Symohony.      And   it    is 

just    such  nonsense   as    thii    trat   the   ballet   masters    are   driven   to    in    thei| 

desnerate   attemnt    to  widen    the   rBH»   eJBoressive    sco   e    of   tle   cliches. 

They   seem  serenely  unaware   of    th?    fact    that   the   passi  nate    intens ity 

of   the   music  which  thyy  employ  äsää*   does   not   alter    the    effect   of   the 


old  formulae   save    to   further    em^)hasize    their    insiölÄity..   Whe|f(^ 
-jL1i81    torid,    the    cliches   rela^    temt^orarily   into    oanotm^me,    what  we    see 
is    a    literalness    of   re^resenta  tion   lecki.ng   thfl;    momentousness    ODf  w  ; 
,re    entitl   d    to    demand  of   L'ance« 


-^- 


o* 


On    ^-hc    otbfir   band,    rhen   tbe    c^chns    are    emnloyed    ^rimprlly 
no«   as    meöi.a   of  human  ex^rcssion  l?ut    fcr     t^eir    o-n   aeke   as    elenenta 

t«  COmnOSltlOtT   1   /f  /, 

In  P    formal   comoo.  ition,   -ith  unity  of  xi!HXM3?MxilB/style,^  aotnes^j 
of   costutoe,    settägg  nnd  rnusic,    the   result    is   at  best    a   kind  of 
animated   decoratlve  e.-t.   ^he   floor    oai  terns   moy  bG  sgreesble.      The 
attitudes   and  move.nents    ':ay   reveal    oerfection   of  balance,    refine..ent 
of  msnner,    airlnesa   of   carriage.      Gravity  may  be   audacioualy 
comuÖEedx   tiirough  leaos,    atepa    suii  lej_j)olnte3    and  other  devices. 
The   rhythms   of   the  rnuaic  may  be   visualized  wilh  verve   and   exactitude 
The   virtuouslty   In   leg   coloratura   msy  be    ,\\   \\    iiiiihp  nMi^g.     Yet   the 

^,hole   achievement  arousea    little   r..ore   tten  a   suff.ce   reaction.      3ut 

ingrediants 
why?      In  the   first   olace,    the  s±HMKtat/of   the   comoosition   are 

governer    by   tradltion  and    the   tradltlon-^l  voc^^bulary  has    lost    Its 
),       .       ?;    freshness   and  significance   for   us .      The   geometric    floor   des-gns 

;  .    '^.of  ballet   have   grown  atale,      ^'hey  are    freouently   ecualled   and 
,/       .      ^sometimes    excelled    in  Knights    of  Pythias   parad.s    and    in    t^:o    high- 
''   /"^r  "nowÖPBÖ  revuea   of  Broadway  ^vhclb  tisi   through  »ollywood  have  become 


a  matter   of  daily   diet   for  .ultitudes    in   every    ::srt   of  the   world. 

The   clict.es   are   limited  not    only   in   thelr   scooe  of  human   ex.ressiveness 

but   even   in  their   ränge  of   formal  deaign,   for   they  exclude   a 

t   ousand   oossibilities   of  mobile   sculpture.     A  danced  defiance  of 

gravity  as.  an  end   in   itself^haa   lost  much  of   its   .1^  for^^an^age 

in  wich  men  are   faced  wlth   the   dire  need  and   consumed  v/ith/nasaionate 

ÄstBiic±Mit±JOB  zeal   to   advance   aolddly  and   cons  ^ructively  uoon   the 

earth  and   in  which  aviation  nrovides   wings    for   a   sv'.e-^ing  occunancy 

of   apace.      In  ballet    -.ne   never    f   eis  x   the   deen  natural    identif  5  ca  tlo 

of  man  with  «.^rth,    *««- nevcr  witnesaes   a^confe^slon  of  we^ightj^o  be 

overcome.      There    ia    floati^g,    gliding,    leaning.   All    ia    m^^^x^  oirj. 


WeiPht   is    concuered   In   the   tralnlng   school.     What  w  aee^ Jn   the 
,H^^te?    13    the   füilshed  product-llghtness .      In   ths|dance   comoositlon 

tbere   is   no  M.R±Ma±xB±   emphasis    of  wäight   to/contrast  wlth  lightnesa, 

a   livlng  body 
no  betra?  al  of  the   dram*  Ic   nroceaa   of/overcoming  Kilgioixx   its   own 

weight.     'l'here  may  be   crispness   or   nusnce,   x±±pBHRxna±JUE±Äg/or   taut 


^ 


^1 


J 


h   f  / 


aasertiveness,  mincing  st^ps  or  leaoa— all  is  ligntneas.  Accordingly. 

1. 

freedom  from  the  tie  to  earth  thst  might  have  seemedÄ  a  momentous 

becomea  ,   ^ .     .     i.  « 

achlevement/merely   the  sustained  key,   hhe  unrelentmg  at  .oaohere 

of  the  whole  dance.  The  result?  An  uneventfnl  exhibition.  &xmat^x 

disnlay  of 

ft3?S5?     Moreover,    even   the    aDectaculrr/acrob^tic   bravur^  wtthin   tbis 

'  chp.r>pcterizeri   by 

lyric  register  has    lost   -.uch  of   its   aüoeal.      For  our   age   is/HBJsyafx 
an   nxcesslve  athleticism   that   reveäia  many   facets   of   the   01-0-^=33 
and   a -mty  of   the    living    nody    that    lie  beyond   the    limlta    limosed   by 

the   cliches    of  ballet.  

sUghtness   nf   resno-'se  twentieth-century 

But   th9/zKix±±M-xiH!ä±l'«HKBM»  of   the  xxDBS(EHicb«da5K^ ne c ta  t or 
strictly  ,     es^aya 

to    the  HMKiy/form,-?l  comnositi'  ns   -hich  the  ba  llel/Ä;tet3««pcbacxb<K.>pa«xäa» 

is    not   due   solely  to   the   ataleness   of   its    traditi.nal  wocaoulary. 

It    i3   trpceabi*   in  lar-ge   oart   to   the  very  n-  ture   .jf   auch  comoositi.ns. 

When  the   ballet  adheres    to   formal  design  as   an  end   in   itself,    it 

reciucea   the   daacers   to    the   nlane   of  mere   elements   or   figurea    in  a 


'  / 


.   .-i'-P^  decorative   ■  rt   of  nidtion.     To  most  inen  and   women  (bfi   to-day  such  a 


■   Xf^i.      life-negPting   anectacle     ia   obnoxioua.      In  orevious    centuriea,   when 

formality  Hf   in  human   intercour^e  v;ra   fj>r   -or«   nronouneed   th- n   it    is 
tow  neonl.   r-robably   feil  othprwlae.     A   consideration  of  what   the  ballet 
meant   to    them  ia   outaide   the   nrov^nce  of   thia   book.   Suffice   to   say   th  t 
they  38W   in  ballet   ihe   ceremonial  gr.ce   of  court   life   elevated    to 
the   sr^ere    of   art    snö    accordingly   t-*«^  found   the    forralism   easxer    to 
accspt.     WG   have  no   auch  Conventions   of   daily   life    to   ca  ry   over. 
We   can  only   aay  that   no  art  w-. .  ch  falls    to   riae   above   the    level  of 


the   decorative  can   ever  be    truly  memorable»     At    tbis    ooint    It    is 

betv/een 
imorrtant    to    recognize    that    there    is    a    r   dical  dif f erence/a/rnerely 

decorptive    art   and   an  abstract  art  luxanxaTaxtrHEtxmBÄlBun   such  as    is 
eaeiriDlified  by   the   fugues    of  Bach«      Music,    slnce    it    em-loys   abstract 
sound  as   ±±x  medium,    c^:n  be   deeply    exoresslve   without    sacrificln^ 
the    irnersonal   ci^ality    of    classic    formolity.      Abstr-  ctness    inheres 
in    the   very   stuff   out    of   w':  ich    "usic    is    fashion-^-d .    But    the    Situation 
is    r9cnCFi]ly   diffei-ent    in    nn  pvt    of  which    the   very   össence    is    the 
is    the    livjng  moverinnt    of   t""'e   hurnnn  boc'.y.      V/hen  the    soectator    sees 
living   nen   füozen   into    oostures,    regimented    intox   oat^erns,   whipnea 
into    ste:)S    and  whirls    and   leaos,    all    formulated   in   accordance   with 
a   Standard  of   fiormal   oleasureableness    and  witho\t   regard   to    their 
significance    in  hiiman   terms,    he   mny,    if  not    too   gre-  tly    annoyed, 
find    the    exoerience   divertingly   charming   but    certpinly  never  more  than 

fcrivinl« 

\Vhenethe   ballet    "reforms";      v/here    it    frees    itself   to   a 
consid^rable    extent    from    the    cl  iches    vhi  ch   tr^clition   d^mands;    where 
it    ab^^ures   both  str'ct    formalism  f^nd    n^ntomimic    lite^'olness ;      ^"here 
it    attempts    to    -^ut   the   "hole   hody   of    the    dsncer   to   work   ancJ    to 
utilize    its   movements    orimarily   for   a   hurr.an   '^xoressivpnss    enhanced 
by   the    modifying   and  marshallin ;    p-ocesses    of   art,    there   is    but    littl   e 
left   of  bnlle  t    save   a   relic   of   the   brilliant   facility   which  it   develops 
and   the    traces    of   a    style    that   stub   ornly   r   fuses    to    oisaooei i.      And 
here   we   see    the  ballet    ap)roaching,    on  ti   -toe   nerhans    and  with  a 
rigid  batea,    the  modern  dance.      But    the   approach   even    at    oest    is 

feeble   and   ineff ' ctual«      For   the   ballet   has    develooed    no    technique 


to    serve    these    l*?rger   and   freer   eims,      It    still  views    technique 
solely   in  terms    of   the   classic    training   ^nd   snob-^is'^ay  refuaes    to 
to    Incoroorate    the   rigou-ous   and   comorehensive    technique  devel^^ed 

_7- 


„,,„  t,ch„lau,  .ltho„t  «rrlng.lf  »ot  *..!«/-->  t-^»*  ^^  ""'  '" 
o...  Zn  ^3»  e..3.e  ,.,,..n.  ..e^.snoejU  .oa.  See»  t„  ..  ,l.,ea 
„   t.o   oat*a  ot  llnb,  novl-g  on/nl.b»  h-n^e.   ,t  oP.osUe  enas 

„  ,,e»t  ,na  .el»tlvelKi.ia   -1™-     "«1«"'^  •»«  "^'"^   °°"'-°' 

4-    ^cußinnfld.      movement    sDoears    to   hsve    Ita  - 

5n    the    torso    are   not   d^velooeü.      .ov         ^        ^  ^^  .    ..^,,..  ''.^.^ 

.„e,»U0„  .t    t.e    ,,o,„.,  ana  ii^  '  the......  e,  ..e  .oa,.  ,  T.e  .M.,t, 

t„  „oauce  .  310.  le.ato  no.  o.  »«-«  -"»"  "-*-'  "'^  ^°^» 
,3  not  «oMevea.  The  -lae  ränge  of  V'^^^^l^r^A^ ^^^l'^,,^' 
aeu.e„tel,  secineen.     Tne    .oo.  aee„3   cHvia/a   into   t.o^H*  "" 


/. 


-^'^^^'     .    .V.      V.        .  hndv  is    strictly  curtailed   in  favor  of  a    certain 
t*gr??ge   of    the  human   Docty  is    sLii-^^u-j 

quallty   of    effect.      And  when  a    dancer  wUh  t      3    c. 
,...n,.B   enters    fi.lds    in  .Mo.  th.t  oualit.  of   ef.ect    is   of  .erely 
incidental  value   o.   irrelevant. l.is   Performance   is    in-^Ja^ly  a 
3tun,d.03.ic   of  naturalistic   .estures,   K.M«*«.Wc liebes,    and 
^.^.^^^^n^^?^r.s    of   tve   l.near   asnocts   of  modern  dance. 


W/r-Hv^^^''"^^^'^^ 


Mssw.h^ve.  the.  oassive   »m 


/X:^ 


The   '".r«*©?*«^  of  ^^^^^^»^  /^       //-/  

,„..^ate'r.Äe;  of  .oK-he,  .t,a  ooncee'.lons  .^r^Jt^f.»   "^Ive, 

f^ea  nea'a  ana  In.es.ity  t.at  «an.  *^x„>..».«.»»"-.x.....a«- 
,^„.^x,mx  .»thentlc   one.tive   exoneaalon.  Thua   tne  .eilet, 

1„   lt.  .oaennlze^     form  aa  ,ell  aa    Ita   treaitlon,!  form,    le   of         „ 

4-      rio,        Perh^ins    cvp-tuplly   there  .(«rtll 
rel-tively   little   value   to  us    t-d^y.      fern  / 

f,n/orsone'of   its    best    elements  ^ith  the  modern   dance. 
be   a    siaccessful/o  f    sone    ji    -' >-^ 

nt-fip   t-o    •ustify   hone    for   t'-e 
Until  now  we  h"ve   seen  very   little   to    .übt 

achievement    of   such  fusion. 

.Odern  dance  without  mention  of   that   phase   of  the   «rt  .hlch 


3t.nä3  bet^veen  them  and  wh  ch  in  many  ouartei-s  ia  still  current. 
TM.  is  tbe  interoretive  naturalism  of  the  Duncan  School.  Vlewed 
no«,  its  importance  is  largely  historlc.   Howev.r  little  value  one 
may  att«ch  to  its  revitalizlng  effect  upon  the  Russian  Ballet,  he 
must  concede  that  as  a  orecursor  of  the  modern  dance  it  performed 
a  momentous  service.  Its  limitationa  of  technique  and  sub.iect-matter, 
its  subsevvience  to  r^usic,  its  l.ck  in  cVoreo.r.nhy  of  susta'ned 
flow  of  signific.nt  movement  hBve  been  rectified  by  the  develoopants 
of  tho  ModP.n  Dance  in  Germany  and  Amer^-c.   But  even  tbe  st.ge  of 
nro..Bess  sf  att-ined  by  the  ,reat  Isadora  is  but  in..ecn,ately 
renresented  byt^e  work  of  ^er  fOlo.ers.   ^or  almost  Invarially  they 

V,   •  „  1-v.ö  Rnttlrellipn  lyricism  of  her  art,  at  tre  ex-ense 
ovpremnhesise  tne  Botticexxx.u  j-^f- -^ 

of  the  authentic  depiction  of  tra.ic  grondeur  ^n  which  she  was 
unioue.   Moreover,  their  com.ositions  are  n.arly  alwa.vs  marred 
^y  a  statuesoueness  of  style  which  in  the  case  of  Isadora  herseif 
.as  off-set  to  a  considerable  extent  oy  .n  extraordinary  oowcr  of 
self-oro.iectlon.  The  emul«tion  of  sculotur-l  -ose  may  still  have 
its  ri.htful  olace  in  the  art  of  Dance.   But  what  is  so  disturbing 
in  the  Dunc.nes.ue  danci^^?  which  one  witnesses  no-ad.ys  are  the 
va«ue  and  uneventful  nromenöäes   from  monument  to  :.onum.^nt . 


Duncan  Uber.ted  the  dpnc.  fr-  the  cllcV^es,  the 


circumscribed  tec-^niaue  and  na^row  exnresslo.oi  outlook  .~f  the 
ballet.  The  Mod.rn  Dance  h.s  .vailed  itself  of  the  liberation 

A^-a    ^ w^nT  1  pfi  t  Ions  •  is  builoing 
,vhich  She  achlevoc,  and  acceotms^  its  iir.nllc.tlons, 

a  broad  and  vital  art  uoon  them.   it  has  air.a«iy 

still  evolvlng  n..  conce.ts  and  the  Systems  of  technicue  necessary 
for  their  reali^ation;  .ithout  being  too  orouo,  however,  to 
borrow  certain  tradition^l  devices  when  they  are  necessary  for 


^' 


desired  effecta. 


When  one    "'itnpsses    a    oro^ram  of  Modern  Dance    for    V-^e    first 
tlme,    w^.at   he   no^ices    at    tv^e    outset    is    tbat   many   nostures    and 
movements    are      reserted    tlnat    are    ^ot    usurlly   Sf^en    *n   or^.c-r    ohases 
of   art-csnce;    ■'■^^t    some    of    these    ^ostiu-es   f>nd  inoven:ents,    however 
formrlized,    bepr    an    easily    recqgnizable    -relat^on    to    the   nnrr.al 


form',    of    condud     in   daily  human    lifejthst   oth^  ^"S^,  tr-Tiirh  AJ-inr    r    11  j,^,.., 

ij^Ai-ke^the    vei]  iza  t  iotii 

r-^Hk  X  ■■>■■.♦ 


to   betrp 


(XAAA/^ 


^^^S^-W^^'  nc9ti:rali^stic.  d^erivptions  ^and    »^■«fJjjjX 


a   fuller    and   freer   use   of   the   blody   tJr.ar^  ^as    nermii 


\A^< 


ted   in 


\ 


the    dnncing    body   \s    tre-^ted   both  as    the    llvj.ng    instrument    of   human    -*   ^  > 
exoer   ence   andaction   (but    far   above    ^ "^ ^  .  1  Jjf fü  1    r^-"^- ^^^.^ -"^^   sn6.  as     ff^^ 


clay   for   formal   com.oosition    in   oqsg   and   a  ct5on,/ with   e    comnrehens  ivenessl 

/  \  ^  ^i 

i    hitherto    un  <  nov^n    in   dance,, 


y^         ^ff   ;/  snatial     cTf^K^'i^^^* 

\i\  /   .^      /^>chieves    not   "»nly    a    vast    number   of   new/fb  rma-^^Tt    also,    in    and   through    \ 


But    fürther   Observation  v/ill    show   that    tho'  Modern  Dance    „^ 


t/, 


A 


K  '\  '■ 


A 


/ 


w/fb 

these    form.s    a    nev;   ruallty   of  move-^ont.      The   dance    hps    hecon^e    dvnamlc. 
.  .  ^  /  sn  '  the 

l^v^  Energy    is    no    longer   donsidered    aa/obnoxious    nrereouisite    to   XK/exr.res    - 

Ion   of    "oure"  motion^   and   accofd^r^ly   as    somethlng    to   be    concealed. 

It    is    no    1  'nger    treated   solely  as    the  ji^^i^Sf^ iTu  1  means    to   aesf^'^etic 

f^  and    GXhibited 

effecta    but    is   deliberately   and  frankly  zkj^xxiIrä   em-jQoyed/as    an 

essentiel    ingredient   of  dance,    subject    to    al]    the    nrrcesses    of  acstiie'ic 

modif icatlon.      Energy   is    the    source   of  movement«      Thro   gh   the  willin^^-. 


ness    of  Modern  Dance   to    exoose    it   end   to   pl'^y  uoon   it,    not  only    ia 
dance   movement   generally    infused  with   new  vitality   bvt   many   pattecas 


and   shadings    of   move^-'-ent    are   relea  ;ed   for    use,    which«.:uo4iJ-d. 


^"^ 


k^ 


^nvQiljblo   without    auoli    raTpnsurfl   ?nd   \\^^%\^[\ 


i/ 


/' 


■/o- 


In   other   -ords.    Modern  Dance   haa    created  a   vocabulary   of   dynamies. 
It   regards   r^ove^nt   not   only   as   sequence   of  time-soace^forms   but   as 
maBifeatation  of   tbe    asaertlon   of   eneugy   ^nd   the    la  .t^ae  ai/enevgy. 

It   utilizes    the  «x«SssWof    the   nlay  of   ene-^gy   as    an   aestnettc   end 
in    ifeljelf.      UnliKe  bnll-t,    whlch   atresses    sustaineo   biäance   and   acta 
of   nrooulslon   aa    iaol=>ted    o>.enomena,    it    is    vltally   concerned  with 
.radationa    of    «nergy,    wUh   alternatlona    of    tension    and    relaxation. 
By   CO  — tlea'i   arrsngerenta   of   the   differen-    ty  ea   .nc   oe^i 
Bnd   rel"xal:ion,    It   becomea   a   bighly  önveloeed  ar-t    of  vitallatic 
exr^ression  • 

The   dynamic   aonroach    to  movement  v.'hich   the  Modern   Dance 
haa    exnlored  anc    ex^^Dolt^d  bssnumerous    facets   and   leada    to    diverse 
stylea.'^la^SOT^^^    the  force  of   gravity   Is   vi^ibly   conceoed 
in    the   dance.     TIb    oerfomer'a    conouest    of  welght,    slight    or    .-onaidfir- 
s.le,    .radual  of   audcn,    aa   vvell   aa    •  1a    controlled    aurrender   to  .*ight 
i,B«^   enter    into    the    texture   of  bis   cance.  Hia    limp  body  may  be 
infused   with   energy   until   it   has   riaen   from  x»    inert  maaa    to 
,«^SS^i;>.lance,/oa:a!S..?r?:^aion   or   v.olent    aasertion.^^Hia 

:XBZ|^   force  witb/cf?lm  and 
ita 
gradualnesa   of   releaae  »   as    to   give   the   aenae   of/yielding   on   ita   own 

terma  ±»x*kx>o«   to   the   dem.nds   of   earth,   or  .Ith   auch  audden  ard    com«i 
.:lete    let-go   as    to  apnear^dc^violence   to    the    r^H^H^fJ^^H 
gravityx  and/cheat   it  by^cipation.xl     But    it    U    not    onl,    in    the/ 
creacerdi  and  dimtneundi  of   force   th^t    the   values   of   controlled 
eight  manifest   tbemaelvea.     The   aimoleat   and  moat   even  flow  of 
movemnbnt   of  an  arm  or   leg   can  become   eventful   th^ough  the  main- 
tenance   of  meaaured  «±gk±   energy  and  ^veightx  which   it  betraya.^ 


tenae  body  may  be   drained  of   accuAulated 


w 


er 


U 


(i  et  Vt/CA^-t^  , 


-// 


ÄHiDÄtlauEX  Someti'^ies  tbe  nlay  of  d^memlcs  in  dance  takes  the  sirnole 

form  of  an  enlarged  bodily  response  ^-o  the  rhythm  of  breathing.  These 
is  naturnlly  a  slightly  visible  exoaa35on  in  inhnlation,  a  slightly 
*4s]!)1g  c  ntraction  in  exhr'lation« .  The  whole  of  the  sensitively 
self-awere  body  of  the  dnncer,  now  relaxed,  reanonds  to  thia 
alternntion  of  outward  tendency  and  inwf^rd  tendency,  until  it 
litera'ly  dances  breathing.  The  execution  of  the  fundamental  life- 
mairtääning  function  seems  directly  transmuted  into  eloquent  movement, 
But  thjs  nhase  of  dgncing  is  rudimentary  and  limited.  «Ve  must  look 


further • 


It  is  a  mstter  of  comTon  knowledge  that  among  the  ohysical 


manif estations  that  accomnany  or  enter  into  an  emotional  statel  is  a 

certain  ty^ e  anddegree  of  tension  or  limonessj  aüd  that  in  certain 

i 

extremes  the  muscular  ^henomenon  carries  over  into  rotor  activity« 

Witness,  for  exai^.nle,  the  stamoing  of  r?ge,  the  leaning  of  ioy,  the 

recoil  of  terror«   The  soundly  trained  d^nc^r  of  the  Mod  rn  Scho^-l 

has  develooec3  a  hi^h  de'-^^ree  o^""  awareness  of  the  muscular  nha^es  of  all 

tynes  of  em.(btional  exnerience  snd  the  ability  to  extend  ^'  em.  into 

and  directness 
movement  with  a  readiness/that  aooroximptex  the  snontaneous  activity 

of  the  extremes  above  rrentiot^ed.   Gradually  tiriese  characterist ic 

muscular  accom^-^animents  of  emotions  and  the  movements  they  result  in 

assume  for  the  dancer  an  almost  objective  reäJLity«  *B±xHniyxBWDxiDjEx 

zjiÄı±x±jQÄflaxm±xKiii^x  ^e  becomes  able  to  peproduce  them  at  will. 

And  assuming  that  their  exhibition  will  oruvoke  in  a  sensitive 

spectaibor  corresnonding  muscular  resoonses  witBi  attendant  emotions. 


he  selects  them,  modifies  them,  organlzes  them  until  they  becoire 
extended  comnosit  ions  of  dyn'-mic  ruäility  and  emotional  imnort.   Thus 


-/^ 


the  birth  of 
we   hav^ exnressionism   in   dance:    the   evocation,    the   mobile    embodiaBnt 

of   personnl    emotions.   But    ex^ressionism   is    not    the    fiiaa}.   word    in 
Modern  Dance,      We  mi:ist    oroceed   still    fu  »ther. 

Some    dance-^s    utillze    the    voeabul^ry   of   dvnarrics    to    cori^iunl c^  te 
a    ren^e   of   nersonal   exr)erience3    which,    though  havlng   a    feeling    tone, 

cannot   be   accurately   catalogued   as    specific    emö(bions.      They   ace 

oäe's    own 
perceotions    of/inuscular   states    and   changes    together   wiih   the  tmulxKX 

3Gnses 
xtat3BXHlx5aBlMgx35KiBhx±kHyx»xHÄKKÄX  ±ÄK±/of   being  which   they   produce. 

for   eaamole, 
The   awareneas/of  weight,    lightness,    balance,    tension,    relaxation^   and 

the   feel   of   stability,    aliveness,    physical    susoense,    or  h*  rmony  v;hich 

each,    according   to    its    character,    the   degreea  ÄfxitxxjQXBSSXÄX   and   the 

part    of    :)art3    of   trie   body   in  which  it    is    '^resent,    af  f ords ;    and   also, 

recognition   of 
the/change   from  one   degree    to    andjtker   of   any   of   such  muscular    states 

or    from   one    of    sv:.ch  states    (bo   another   an   from   one   of   such  states    in 

one    nart  o  f   the   body   to    a    lice   State    in    another    n-  rt   of    the   body, 

along   with   the   dynamic   sense   of   nei-^'g  ^hich   each  of   such    chan^es 

ef  f  ects  •      These    e-  ner'iences^iiiÄjjÄx*fcBiKaHtic?ri9.iTHÄxaEc:5Xxi!RKx±s:xxSHkxiUi 
and    the    com^^iunica tion    of    them  may   hpve  xxxxxiKKKSxaf x 

±iQBXÄKHEKXSx5xÄa3XX»f»XXiXlgX±flxl^«XBXHt±B!XSXÄXB    ZJS^HXdx±XH;^HX2I±XXXX 

emotional  overtones  resoectively  for  the  dancer  -"nd  the  spectator« 

r«i5XXÄxt3C!«3tlXÄXXX«XBi^XXKBXäjBX±XiXHXXiXXı3EXXKtXXXXJDJI^XKÄXXiÄXX 

here 
But  to  the  dnncers  I  jcxxx  am/d:*  scussing  xixtkiaxBalxitqi:  that  is  beside 

the  oolnt.   They  regarel  tjle  exoeriences  as  self-jus tifying  and  their 

duplication  in  the  soectator  as  the  nrimary  aim  of  d^.nce«  Bdidily 

movement  ii  treated  orimarily  neither  as  emotional  exoression  njr  as 

transference  of 
xixÄ]Q±jB  mobile  design  but  as/kinaestr.etic  exoerience«  Every  variaticn 

within  thte  totality  of  th*s  ex^erience  has  as  much  -^ndividuality  for 

a 
these  dance^^s  ashas  each  degree  of  intensity  of/color  for  the  painter. 

each  chord  for  a  musical  com.noser»   And  out  of  the  Items   hich 

constitute  the  different  degrees  and  nhases  of  kinaesthetic  exoerienc. 
they  build  thei;p  dance  comTDOsitions  .^  C^^^X  /  "^^^^    y  s^     y    -^ 


•f  ^ 

x- 


Thus  far  we  heve  cons  idered  the  oart  \n    ich  dynamlcs  »1ä:^x  jjjt» 


olay  in  the  dancer^s  com:  unication  of  bis  personal  experience*   Let  u« 
now  exaMJie  how  ±j^/six%'  ^ntor    into  hJLs  identif  ica  tion  of  himself  with 
the  World  externp.l  to  him.   ThB  Dance  of  Deed*   The  ner:&6rmer  of  iModern 
Dance  does  not  merely  fill  so-'^ce,  adorn  snace,  nunctuate  snace*   He 
aeals  -'ith  it.   He  may,  to  begin  with,  treat  soace  merely  as  snace, 
here  he  gradually  overcories  t>^e  weip;ht  of  '-43  ownbody  untll  t^^e  air 
seems  to  carry  him.   Ke  exoands  in  sonce  jmti±±    in  a  creseendo  of 
Imr  rious  assertion*   With  encircling  noverrents,  strongly  weiglited, 
he  seem.s  to  emhrace  s.jace  and  make  U  -is  own.   On  thexother  hand, 
he  may,  thro|[gh  the  dynamic  oaality  of  x^is  movements,  creste  the 

imoression  of  objects  and  forcea  in  soace  with  which  he^ferings  hiriisel..- 

mo V  em  en  t     ^.P  /  ^  /tjA 
into  re'Jation.   Through  the  mere  outward/of  his  hand,,  \ju\AK\/hj 

may  back  incr.asing    may 

measured  force  he/appear  to  pu  h/xx^   obstacles.   Through/limnhess  he 

revenl^/surrendfr  to  oo-üsing  forcea.  By  sudden  and  comolete  let-go 

of  weight  he  may  deoict  defe.t,   Here  are  but  a  few  of  conntless 

exa-nles  that  could  be  offered.   Then  again,   he  m»y  sub.itute  for 


these  im;^gined  forces  an 
other  dancers  with  w>^om 


d  obiecta  in  3oace 


the    ^  ivin^^  o'^loabilD  ty  of 


f  yy 


he  enters  anto  cou  tless 


And  here  we 


UlßLRXtXXHX 


.  C^   yO-*  ^^ 


for 


to  say, 
loneu  cateor 


ractzce 
ies  is  U88d  alone  ar.d  lu  t-e 


y^j^"^ 


Dth.Hrs 


Mo.^t  daace  composltions  incoroorate 


^X±«XHXXHXX  0 


the  aonroa 


chesx  together  with  variou 


non-dynamic  factors« 
be  Seen  to  .redomina 


But  frequently  one  of  t^  ese  categories  will 
te  in  a  XÄXi^ÄXix  a  comoosition  or  in  the  general 


st^ae  of  a  narticular  dancer  or  choreograoher 


Conceiv  r'.ng  the  vjh  le  body  of  the  dnncer  as  ah 
Instrument  of  dynamic  exioerlence  and  exoreaaion,  üxHÄxlaiax  the 
Modern  Dance  «nables  thatk  body  to  nove  as  an  org?nic  unlt  and  the 

moverents  of  individual  oarts  of  the  body  to  visibly  grow  out  of  the 
whole  body«  -^he  torso  is  oermitted  to  deoprt  from  the  er^ect  rigiflity 
which  it  maintpinar'  in  balle J,  en  ;nge  in  the  dynamic  ol-'^y  of  tension 
and  relnxatlon  and  to  nnrticin^^te  1n  mov  -^riönt«   Accordl  ng]y,  the 
whole   body  can  annep.r  in  attitudes  of  assertion  and  response  '^nd  act 
as  a  living  totatlty«   Moreover,  tho  torso  Is    recognized  and  fully 
revealed  as  the  source  of  energy  thnt  oroduces  the  movemsnts  of  arrns 
and  ledis,  visiblv  origlnating  and  »Ilk±1  s>cx3?iK3;xix  ^:^nter.ing  into  those 


mo 


vements*      Asa   a    consequ^-^nce,    the   activity   of   the    lirnbs    o'^tently 


B 


rows  out  of  the  center  of  the  boay  instead  of  appearing  to  start  at 


the  joints,   The  arms  and  legs  no  Ijnger  ,ive  tlie  imoression   of 
nimble  rods  on  hinges .   The  movements  have  xxx±iıxxjDiÄÄÄ0[i  a  large 
vitality  Ädd  orga  lic  convlction«  They  Rve   csn-ble  of  coi^pleting  the 
dpscriotion  of  long  unbroken  lines  3L±   tbat  start  at  the  denter  of  the 
body.  Le^s  can  ^nove  in  grent  free  strides.   Arms  c«n  r^nch  outward 
w5th  god-like  l^-rgesse.  T>^e  simolest  novenent  c^n  be  Invested  w*  th 
the  sense  of  a  totality  of  man,  for  his  ->^o]e  body  is  '^livp  i^it  and 

coritributes  td  it. 

It  is  not  unly  in  the  natu-e  and  scone  of  individual 
moveents  that  the  co;  tribution  of  the  i\iodern  Dance  is  evident,  but  also 
in  the  role  assigned  to  those  individual  mov^:^.rß  nts  in  the  texture  of 
the  dance  comoosition  as  .s  whole.   Generally  speaiiing,  the  Modern 
BöhCGl  refuses  to  view  dance  orimarily  as  a  series  of  indif ferently 
related  attitudes.   It  considers  movere  nt  not  merely  the  me-ns  of 
connecting  nostures,  xatxKUBXxi^t  or  of  carryin^  them  by  locomotion 
from  nlsce  to  nlnce,  not  merely  the  means  of  afford^ng  oer^'odic 


-/s- 


relief  from  the  statte  through  soect^cular  le^^r^s    and  whirls  and 

runs,  but  as  the  very  stuff  of  dance*   It  is  not  eantant  with 

heightening  the  exoressiveneas  of  transitions«   It  insists  that  the 

flow,  tbe  continu  ty  of  movement  is  itself  the  language  of  dance,  and 

thr^t  susifea'ner'  nost^ires  m^^rely  nPDvide  ^vmctu'^  ti  on,  c^dence  o-^ 

dramatic  arrest  of  ac^'on  or  serve  as  snecific  >T^otifs  '">^ich  must  find 

their  nlaces  in  a  basic  oattern  of  mobility.   And  the  use  of  dyn^mics 

and  a  momento^- sness  • 
tends  to  ^--.ive  tV^^s  texture  of  '->^otion  an  j  nevitabi]  ity/  Aak  nhrase  of 

r^ovement  in  a  certain  de.-^ree  of  tension  aeams  to  den^and  a  nhrase  of 

relaxed  movement  for  relief,  or  a  ohraae  of  movem-  nt  in  :!;reater  tension 

closer  relative 

for  ±3QZ±iiKx/aDT-)roximation  of  a  sug  ested  goal.  An  eoisode  of/limo- 

g  Q öms • 
ness/in  the  natmral  rhythm  of  a  livin;;';  body,3S?©e3»8  to  imoly  a 

reolenishment  of  energy  th^it  leads  organically  into  resumotion  of 
iKUXS  vigourous  move^rient«  Controlled  relaxation  makes  oossible  a 
legato  flow  of  slow  motion  X'itta5»:t  that  carrles  the  imoressiveness  of 

1  ^      ^.-..■hf    GortinuDty  of  n^ovement  aooe- rs  to  h^ve  a  Bnndar-.ental 
revealed  weight«   uo^- l  j  nuj.  L.y 


rig^tness  • 

Having Wi*ia  a   vostly   enr-ich.d   voc.bul-ry  and   broad.ned   outlook 

to,<^ether  with    Vob    forms   and   styles   wMch   they   K-^ve    ^.nan-^red,    tbe 
Modern  P.nce   h.s    -^rde   s    declaration   of    its    indeoendence   nnd   self- 
sufficiency  as    an   art-for^i.    It    refuaes    to   be   aubservient    In    form  or 
3ub3ect-:.atter    to    resdy-madi.  music   aad   at    times    dispenses    with  the 
use   of   music   comoietely.      It    likewiae    r.fuses    to   be   s«- vile    to    t.e 
ch.racter    and   aima    of   story-telling.   ün   the   other   hadd,   when    It   uses 
music    it    cnn      chleve   a    closer    corresoondence  .vith   its    es3e.,tlal 
oualities    th.n  any   other   type   of  dance.   And  when   it  devotes    Itsäif   to 
formnlized   tiarr.tion   it    aonenra   unrlvalled  nmong   tbe    categorles   of 
b   di?v    exnresalon    1.    dramntic   unfoldmont   and  de>th  of   inainuation. 


-A- 


7) 


Through  confession   of   wei.^ht    in  moveiriGnt    the   Modern  Dance 
can   ^-ive   nl^^al^sun-estlon  of    the  niÄSsiveneas   of    the   b.dy   of   orchestral 
3  0und/-4iJöWi^t^e    conti  nujty   of   slow  motion  rhich   its    controlled 


rel^xption   mak-s^pos sible,    it    can   nroduce   a   convingyng  replica^.of 
Ic^gato    in  melodic   line    and    harnionic    orogress  lon^/'^fiai^i^  the    fre^dom 


of    its    move-ents    it    can   bring    to    the    eye    a    co^^ternp-t   of   the   wide 

deen  bass  x 

r.-n^e   of   musical   oitch  from  XÄX^x±Hw/to   xxx?rxklxiuK    extreme    treble.      \ 
N^_^^^  Visual  /^ 

yi^:$hrough  alternations    of    tension   a^nd  relax-^tion    it    c-^n   af  fofd/corres  oond 

ence   iRxxaxKicixxJc  v/ith   nuance.l^ith  dissonance   and   resolut ion^     ^iCiww«Bfh 


2-V 


g' 


'-/ 


or   oart'sof   th 


it    can    illustr^te  x 
and   conrraction    in 


different    degrees^of,  the   v/hcyle/body,    t^^rough   -.radual   concuest   of  an 
t^^^^^^  diminution   of   energy    to^^ether   with 

surrender    to^iSh^,/it    ^"^   eloquently   corroborate   creseandl   and  ^ 


the 


dimlnuendi  in  xiSKnjä  unbroken  sequences  of  so.md<^  Throuan  variety  of   ^ 
movenients  and  dynaraic  interplay  amon^  diff^i^nt  units  of  a  grouo 


/Oit  cnn  fully  demonstrate  conttxaountal  exoressionx  in  rnusic. 

^t^I^iat^  of  it  clott'  aonroximation  silently  of  all  nhases  of  -usical^  ^ 

\  successfuMx 

utterance,  it  c^n  develoo/in/contraountal  onnosition  to  music,  or  . 


\ 


can  enter  into  ef^'ect^'ve  antin^^onies  with  rusic  -he^r-ein  silently 


♦-- 

V 


musical  dnnce   alternfjtes   -.Ith  unvlsu^liaed  d'.nce-li"e   music.      Thro   gh   n 

and  tenancies  ^- 

its    freer   and  moi-e  varied    divlsiona/of   3oace,on   bo'^   vertical   and  ^• 

horiz'.ntal    -lanes^than   the    ballet    acMsved,    In   adltlon    to    its    suooler 
linear   descrintiona    in  s.ace,    it   can   nring   the   snectitor   sure   and 
sensitive   visualizations    of   the   architecton  ic   values    of    compositional 
forma    in  muslc.     Many  mo-e   exa-inles    couid  toe   xiKaHxil«   nresented   to 
indicate    the   close   viaual  harmonisa tions   with  n,usic    that    the  Moaern 
Dnnce   af f ords • 


The  foregolng  discusslon  of   charßcteristics  of  Modern 

Dance  shoüld,    I  think,    suffice   to    indicate   th,i  t  when   it   turns   to 

con  bring   to    It 
formallzed  narration  it  isxxxDxMsxaf/a   scope,    a  fttness   and  a 

memorpbleness    of    ex-rfisslon  nrver   before   nchievod, 

Vie-ed  as   a  whole,    then,    the   Modern  D^nce   apoears   as  txx 
KmteHdiJBiuitxDi*  a   gre*     renaacance   ftfl  sMXHHsiHiitxxrtx      the  Art   of 

co-munic-ntion  throuth  taod   ly   movc-ert.     Whether   th"t   art  be   vie-ed 

in   terms    of  ,  . 

nrlmarily  «x/'-'^büe    forraal   design,    or   M   e-otionsl    exnresslon   o- 

transference   of  kins^est^etic    ex^erience,    it   has    nmfited    incalculpbly 
by   t^-^e    innovations    of    the   iv;odern  Dance.      Ba3icai:iy,    the      roceaa 
trrough  -hich  the   toodern  Dance   hes   been   and    is    still  bein-    evolved 
is    one   not    so  much  of   excluaion  as    of   suoplement,    en^arge-ent^.a^iir 
entence-ent.      Elinlnationa    of   D^.sl    modes    there   have  URElaHSiXHÖi^f 
obviously   been,    but    in   the  main   only  where    those    modes   have   been 
utterly  drained   of  vital  neaning   for  us,    or  where    thoys  ase   so 
integrally  o-.rt   of   a   frozen     school   thr.t   they  cannot  be  used  wUh 
other   and  newer   rrodes  without   destroying  untty  of   style,    or  where 
they  demand  a   technique   th'^  t    is   radically   at  odds    -ith  tho    tyne 
of    .hysical   develontnent   rerui-ed   -enerally   for   the   re>  llzatlon  cf 
broader   nurnoses.      Considered    in   its    totalty   to   date,    the  Modern 
Dance   is    not  a   crystallized  style   in   the   sense   thiat    the   ballet   lax 
a   crystallized  style.   Rather   is    it   an   annroach,   broad  and    flexible 
and  free,    incoroorating  variou s    styles    fnat   are   related  by   certaln 
com-on   characteriatics   of   techni  ue,   vocabulsry  and  puroose. 
Sacrificing   so   little  and  acding  so  r.uch,    it   is,    I   submit,    the   only 
Phase    of   dance   ort    that   has    vital   significanee   for    contemoorary   life/ 


-/P" 


Now  and  a@ain,  over  a  long  atretch  of  yeara,  poetle 


phUoso^ers.^Ü-ua'thelr  vislons  of  "the  dance  of  llfe%  The  whole 
of  life,  th 


forte  of  that  drt  j«  dance ♦  The  in- 


maÄe  a  work  of  art  out  of  his  life  and 


dlvldual  can  and  ahould 
the  product  of  hls  creative  existence  will  have  the  easential  quality 
of  a  dance.   The  modern  man,  sternly  realiatic,  atubbornly  realatant, 
diaillusioned,  atrug^ing  In  a  mad  world  of  turmoil  and  deapair,  haa 
but  little  if  any  patience  with  auch  a  view#  Aa  an  Interpretation  he 
finda  it  romantically  looae,  aa  a  metaphor  inept,  aa  an  ideal  vapidly 

remote* 

But  if  the  eligenciea  of  the  con^Ämporary  acene  make 

unacceptable  the  concept  of  life  aa  a  dance,  thoae  of  ua  at  least  who 
atill  have  faith  in  the  value  and  potency  of  art  at  all  timea  and  under 


all  ponditicns  may  find  an  ^lement  of  auggeativeneaa  in  the  poetic 


-the  pi : i lo 3 o^.') ri e r's • 


A 


The  titanic  c*lsis 
thrmgh  which  we  are  paaaing  demanda  a  freah  conaiderr^tion  of  theif' 
reiltlon  to  social  life.  Art  and  Life  become  intensely,  vivldly 

aasoclated  in  our  conscloi  snesa,   We  are  determlned  at  once  to  make 

the  proceaa  of  Its  creatlon 
art  aerve  life  as  fully  and  deeply  ä>  ooasible  apd  to  defend  It/againat 


the  attacka  and  abuaea/^cldeLiyt  W  social  iücÄnx  uphea^     ümxtixAxaa. 
«e  have  need  to-day  of  art  that  la  aa  truly  and  palpably  oltte  aa  life 
Itaelf J  art  ao  powerfully  allve  that  it  can  be  feit  amid  the  vlolence 
of  our  time;  art  whlch  atrikes  deep  by  interpeeting  life  in  kind;  art  > 
which  can  make  Irreaiatable  tta  and  vlvidly  relevant/ideala  of  balance, 
harmony,  aerenity,  ao  remote  from  present  life,  by  projecting  them  through 
the  very  atuff  of  life  itaelf.  We  need.  In  other  worda,  art  which  can 
Interpret  andaddreaa  life  directly  in  terms  of  itaelf,  and  which  can  do 
ao  without  atralnlng  to  a  polnt  where  it  will  be  fa.iae  to  ±±»±«  ita 
esaentlal  nature  aa  a  medium,  with  ut  aacriflce  of  integrlty,  without 
loaa  of  power  to  exalt  and  enchant, 

Life  ia  movement.  And  in  a  period  of  major  ctlsia  movement 
■  becomea  draatic,  violent,  complex.  All  the  arta  are  Important  at  all 
timea.  But  in  auch  a  period  we  have  apecial  need  f  an  art  in  which,  £.  r 
the  reaaona  glven,  movemnt  ia  not  merely  repreaented  aa  in  psintlng  or 
in  aculpture,  not  merely  auggeated  aa  in  music,  not  merely  deacribed  aa 
in  the  novel,  not  merely  fragmentarj  and  conditioned  hy  other  faceta  of 
expreaaion  aa  in  the  drama,  but  in  which  movement  ia  free,  total  and 
aupreae.  Such  alone  among  the  art«  ia  Dance.  Por  not  only  la  it 
replete  with  life,  alnce  ita  very  aubstance  ia  living  movemm  t  of  ttie 
human  body,  but  it  employa  that  aubatance  aolely  and  on  the  plane  of 
formallsation  and  la  thua  capable  of  mouldinglt  into  auatained, 
complete  aeathetlc  exoreaalon.  C/^ 


\. 


If  tuen  we  are  c  mstrained  to   deny  that   there   la   a   "dance  of  life 

have      at   least   the   solace  ,,    .  ^a**.*^^  r,r  vmmnn 

xu^we  Mtatk/that   there   la   a  life   of  dance,   a  living  rendition  of  human 

experlence  with  the  peculiar   force  and  fasclnation  «^^J^^J^^^**''  °^ 
dance«     la   there,    in  4ther  sxz  worda,   the  ^aaibility  of/inrwiir«ii*t«h±«gx 
through  the  developmenta   of   the  art  of  movene  ntx   itailf,   th«t     deep 


deaire  for   a  thoroughgoing   interrelation  of   the  «felXALAtiJae  vlrtuea   of 

dance  with  the  cond.ct  and  eventa  of  human  experlence  that  hA3    calle* 

forth  the  vlaion  of   "The  Dance  Of  Life"?      If  life  cannot  be  made  to 

conform  to   the   ideal  featurea  of  dance,    can  dance  be  made   to   embrace 

elevated 
and  MÄMxixkiM  communicate   in  Ita  own/terma   the  M»«lBXKÄ*xiW!dQai»»i 

^  "^'''"Tnä  varied  featurea   of  life»  without  aacrifice  of  ita   eaaential 


^ 


values  aa  dance?  living 

Certainly  the  mere  fact  tjhat  dance  eraploya/movement  of 

the  human  body  ia  not  auff icient*]Jto '/uatify  an  affirmative  answer  to 

these  queatlona,  though  there  are,  of  courae,  many  rapturoua  writera 

on  dance  who,  apparently  viewlng  dance  with  virginally  imaginative 

eyea,  would  have  ua  beüAve  ao.  And  pUrely  form-  1  dancea,  however 

well  they  demonstrate  the  dexterity,  grace,  power  and  diacipline  of 

the  human  body  in  the  production  of  Ijreaiatlble  rh^thma  ahd  b*«rt4m 

deaigna  clearly  donot  eatabliah  the  J*i!fe  we  demand.  And  thi3.i3  true 

7,equally  of  the  charming  and  exuberant  aimplicitiea  of  ^«^  dance 

'%he  brllliatly  wroght  artif icialitiea  of  claasic  ballet.  What  then  ia 


h 


needed  if  '.e  are  to  have  a  true  and  comprehenaive  identif icatlon  of 


rtg»***! 


an 


^^^^^♦■■««»T  The  e  muat  be  »«^■»l^^t^«a^g*wT^i*1^»■/embodiaH^lt  in  dance,  a 
r^^reation  in  terma  of  dance  of  aignificant  aapecta  of  human  conduct 


-i^^  '"^ 


of  movement» 


./ffancet  la  far'  from  unknown  to  the  history  of  the  art 
Witness,  for  example,  numberless  functional  dances  which 
are  practical  parta  of  the  daily  llvlng  of  primitive  peoples,  dances 
which  are  fraught  with  deep  human  significance  for  those  to  whom  they 
beloig  and  which  have,  even  for  the  unititiated,  a  marked  aesthetic 
appeal«  Witness,  for  furtheA  example,  the  highly  developed  Äances 
of  varioHS  Oriental  civllizations*  These  phases  of  dance,  however, 
are  mx^xmxntJiiaxtLt   parts  of  cultures  that  are  alien  to  us  and  spring 


from  needs  and  conditio!  s  remote  from  our  own«  Ihe 


Occidental 


modern  has  lang  h^d  need  of  a  corresponding  art»  Why  that  need  .remained 
for  30  loi  g  unaaswered  we  may  leave  it  to  the  historians  of  culture  to 
reltte#  The  fact  remains  thät  Western  ^ivilization  has  been  sadly 


lacking  a  vital  dance  art  that   ould  reiflect  and  vivify  our  lif§;  a 
dance  art  which,  in  the  Vreaticn  of  forma,  would  draw  upon  the  rhythms, 
the  actions,  and  the  shapeda  tygical  of  modern  iife  and  which  would 
carry  the  aesthetic  appeal  of  formal  beauty  in  movement  to  the  furtheat 
reachesa  of  eventfulness  by  making  it  thejeexpression  of  the  mfiods  and 
relevant  m^mories,  of  the  forces  and  relationships,  ofthe  adventures, 
±lBH  the  aspiratiohs,  the  struggles,  the  creati  -ns,  which  comprise  our 


wo 


rld«   It  would  be  not  less  an  ärt  of  dance  bacause  more  a  relfection 


of  human  experience«   It  would  be  an  art  of  pure  movement  no  less  than 

the  most  strictly  formal  dance,  but  far  r icher  and  more  vital  since 

express 
that  movement  would  grow  out  of  and  jjfapTniaaa  and  address  the  Iife  of 


the  people«  No  half-way  process  of  trnasmutatlon  would  aa^j^laa  be 
acceptable»   The  suavely  pdorned  literalness  of  x  capital-lettered 
reproductiona  of  pedestrian  deportment  in  rhythmic  schemes  would  not 
suff ice« 


(.^ 


Cold,  atale  devices  of  a  vacant  foraaliam  -warmed  over,  stlrred,  fiävored 
all  to  be  dumped  into  a  literary-dramatic  stew,  ao  as  to  satisfy  the 
demand  for  jbba^axt  "human  Import"  wMle  capitulati^  to  tradition  and 

pride  in  vlrttosity these  too  would  be  ruled  out«  Nothlg  short  of  a 

new  vocabulary  which  consists  ormovement'' ref  ined  and  moulded  into  pure 
dance  while  preserving  and  enhancing  the  essential  featurea  of  the  norms 
of  behavdour  that  describe  human  life  will  do»   Such  an  art  would  repres- 
ent  a  füll  and  vital  bringiiBg  together  of  dance  and  life«  It  would, 
in  fact,  be  a  true  realization  of  Life  in  Dance«  ^ 

9- 

The  mere  fact  that  no  widespread  cry  for  such  an  aist  has 

been  heard  doea  not  argue  againat  the  exlatence  of  a  comnjon  need  for  it. 

Men  have  been  mightily  occupied  in  other  directiona«  k   general  demand 

for  a  new  and  aerious  art  never  ariaea  apontaneoualy^  from  thoae  who 

would  conatitute  Ita  &udiance«   5he  test  of  that  need  would  be  the  degree 

äf  reaoonae  to  auch  an  art  when  preaented»  And  even  tk«A  at  beat  a 

period  of  education  would  be  neceasaryl  a  conqueat  of  cryatallized 

prejudices  and  a  direction  of  attention  to  new  vaikmes« 

y(A^"^      During  the  laat  few  decadea  a  revolutionary  trend  in  the  art 
r^'  ha  a 

)      of  dance  haa  been  witneaaed  in  America  and  Central  Europe.  What/occured 

in  ballet  I  donot  ccn  iader  part  of  that  trend.  The  Ruaalan  Ballet,  It 

la  true,  underwent  certain  reforma  calculated  to  azksxiJLxx|»zflUtauet±x]cx 

afl«ÄXXÄÄ|iÄm±ÄBx±ÄxttaxDüunmmitÄxi:mKxlÄi±ÄX  to  enhance  expreaaiveneaa*  But 

it  froved  unable  to  overcome  the  force  of  traditionx  in  technique  and 

atylea  auff iciently  to  kxlHSxdüoB  create  a  true  and  thorough^o^ng 

modern 
reapcnaiveneaa  of  dance  to  jMÄiJci/life«  The  trend  I  refer  to  waa  and 

la  aomething  ouite  different»  Ame;pica.  produced  the  dynamic  piuneer, 
ladora  Duncan«  In  Central  Europei  JUU«  appear^*"  the  powerfVil  Influencea 
of  Rudolph  Von  Laban  and  Mary  Wl^an  wjkth  their  many  ^is^^^sHished  ^  ^ 


And  at  present.  In  America,  there  are  such^dlatAiguls-hod  leaders  as 
Martha  Graham,  Doris  H\un|hrey,  Hanya  Holm  and  Chrles  Weidman.  However 
much  these  Htists  may  differ  from  each  other  in  technique,  style  and 
approÄCh,  certain  fundamental  cbaracteristics  they  clearly  have  in 
common«  And  on  the  brals  oll  theiie  common  cbaracteristics  their 


eadeavors  may  properly  be  treated  ja   together  as  parts  of  a  Single 
trend*  Por  lack  of  a  better  designation,  we  call  that  trend  "Modern 


Äance'^» 

long 

This  latest  development  in  the/history  of  Dance  is  still  in  its 
infancy»   It  carries  vast  potentiali^ies,  as  yet  but  little  more  than 
touched«  Muh  that  is  memorable  it  has  certainly  already  given  tox  the 
World.  But  the  largest  part  of  what  it  has  produced  to-date  and  is 
now  producing  is  charscterisilxed  by  blundering,  groping,  flirting, 
marking-time*  "^as  it  met  the  test  which  would  demonstr^te  the  existence 
of  a  com  on  need?^Has  it  fhus  far  been  rewa;pded  with  a  numerically  large 
and  Wh) le-hearted  response^.  Gonsider 


/-' 


A    ^ 


h  g   the  rapidity  ofmost   developme  nts 


in  cur  day,  I 


feel  justified  in  sayirig,  in  the  face  of  mueh 


ballyhoo  to  the  contaory,  that  it  has  not*  Tnne^there  are  in  various 
parts  of  Europe  and  America  hundreds  of  busy  studios  devoted  to  further 
-ance  of  Modern  Dance*  MmBfc3wiÄUDauBiuKBK*:|^  ^)ng  list  of  concerts, 
lecture  demonstrations  and  other  events  of  Modern  Dance  are  pa^nt^d 
eadhi  season  and  each  year  the  number  of  events  and  the  sizef^of^ audieacD 
are  lar^er  than' the  year  preceding.   In  many  cuarters  of  nurope  and 
America/has  either  become  part  of  or  to  somedegree  aupplanted  physical 
educstion\n  the  traditional  sense*   ?n  America  it  has  been  Incorporated 
in  the  curricula  of  a  great  many  universities,  Colleges  and  schools« 
But  fco»  all  this,  when  all  additions  are  completed  and  all  reactions 
are  recorded  it  remains  true  thä  modern  dance  has  thus  far  neither 

quantltatively  nor  in  quality  of  response  appreciably  affected  the  life 


of  the  people« 

Many  reasons  may  be  asaigned  for  thäa  state  of  affalrs  that 
lesve  the  dancers  themsftites  blameleas»  Great  masses  of  people  have  never 
been  exposed  to  Modern  dance»   Of  these  many  live  in  quarters  where,  Hat 
spiärBr  the  developments  I  have  menti  ned,  they  have  no  opportunity  to 
see  any»  In  America,  most  of  the  outstnading  dancers  reside  in  New  York 
and  tours  are  still  an  Innovation^  and  relatively  limited«  Hitherto  the 


tea 


means  ofradiation  of  influence  from  the  dance  centers  iwere  slight»  But 
then  there  are  la»  Je  niimbers  of  people  to  whom  Modern  Dence  is  accessible 
who  fail  or  refuse  to  Bee  it»  Some  have  a  traditi  iialprejudlde  against 
all  dance s  they  think  it  Immoral»  Some  are  cnvinced  all  dancing  is  effem- 
inate  and  will  have  none  ofit#  Many  are  tau  gji-mii  ded  factualists  who 
are  convinced  that  all  dancing  is  necesaarily  meanlnglesa  and  worthless. 


Many  heve  seen  Performances  ofballet. 


found  them  empty,  and  conclu- 


ded  that  no  type  of  dance  could  possibly  interest  them«  Many  are  bajlet^ 

manes  cestain  that  all  modern  dance  is  rank  diletanteissm«  Others  are 

devotees  of  Oriental  dance  and  scorn  Modern  Dance  for  lts±  lack  of  a 

"tradition"«  And  a  very  great  many  just  don't  go  to  concerts  ofany  sort. 

But  what  of  the  large  army  of  those  who  have  attended  many 

conerts  of  distihguihed  modern  Dancers  and  who  heve  failted  to  respond? 

^egree  of 
Some,  we  are  told,  lack  or  have  failed  at  least  failed  to  develop  the  / 

kinaesthetic  Bespoi siveness  necessary  to  fche  enjoyment  of  Modern  Dance« 

Others,  we  are  meminded,  lack  the  capacity  to  f idd  pleasure  in  any  formal 

art  expression,  and  tnere  is  no  reason  to  expect  that  there  will  be   < 


an  exception  in  the  daae  of  Moder  nuiDance«  Still  others  have 


fv 


not  been  properly  educated  to  a  recognition  of  essentially  dance  values 
and  thus  looking  for  others  values  are  disappointed«  Still  others  are  so 
literal-minded  that  they  aris  disturbed  and  annoyed  by  the  poetic  indlr- 
ection  of  dance  expressiun  and  the  necessary  elusivenessand  abstractness 


of  dance  symbo^s* 

But  thia  Is  very  far  from  the  whole  case«  There  are  large 
ninnbers  of  people  to  whom  none  of  these  reasons  apply,  who  have  seen 
Modern  Dance  and  If  not  bored  or  annoyed  by  it  have  been  at  best  but  mlld|jr| 
pleased»   J  have  spoRen  to  a  great  many  persona  both  In  Europe  and  in 
Amer'ca  whoj  I  have  reason  to  believe,  and  typical  of  kiosts  mrre#  These 
persans  glve  no  evidence  of  natlve  deficiency  SSl  lack  of  development  of 
klnaeathAtlc  responslveness«  ^hey  ejcperlence  strong  motor  reactlons  to 
mu8lc#  They  find  keen,  active  joy  In  witnessing  the  streng,  perfectly 
controlled  and  finely  effective  movements  of  a  tennis  player,  a  basket- 
ball  player,  a  swimmer  even  when  engaged  lux  merely  In  practivework 
where  the  excitei©  nt  of  the  game  is  lacklng«  They  derive  a  certain  amont 
of  simple  exhilaration,  if  no  Inspiration  from  wat  di  ig  presentations  of 
various  forms  of  folk  dance«  They  experience  no  little  phyaical  excite- 
ment  from  displays  of  ballet  viptuousity«  Accordiiigly,  they  doio  t 
appear  to  be  icking  in  sympathetic  muscular  reapcnsiveness  with  its 
attendant  emotions.  Moreover,  they  are  deepjy  moved  by  the  fugues  of 
Bach,  the  aonataa  of  Mozart,  and  find  speciments  of  formal  deaign  in  th  e 
grap' Ic  arts»  So  apparently  they  are  not  le  ft  untouched  by  formal  beauty 
in  the  arta«  ^or  do  they  fail  to  readt  favorably  to  formal  creatlons  in 
movement»  They  find  pleasure  iA  the  unf  Idments  of  clavilux#  And,  what 
is  closer  to  the  point,  they  are  fascinated  by  stylized  theatre  and 
find  grest  relish  (detached,  to  b©  sure,  since  it  is  somethjng  allen 
to  their  life)  in  the  dance  art  of  a  Shan  Kar  ob  a  Mel  lang  Fang. 
They  are  lovers  of  poetry  and  are  not  troubled  y  indirection  or  elusive- 
ness  of  expression«  They  have  read  much  concerning  the  aims  and  values 
of  modern  dance»  They  are  fully  aware  of  vital  intentions»  Time  after 


time  aifiter  time  they  have  attended 


k7-) 


Demonatratifiins   of  technique« 


and  compo3ltion#  Time  after  time  after  they  have  attended  concerta 


given  by  the  leadlng  exponents  of  Modo«  n  Dance  in  this  cai  ntry»  At  best 

save  in  a  few  rare  ins 1 ancea  where  really  thrilling 
these  concerts  liave  been  feebly ,  ingratiating  to  them,/at  worst^  and  far 

/      ^  ^^ ,,,     .  ^;^, 

more  frequently   they  have  beeja  hovf^pv  annüyiftaaffT#  '^  ^^y* 

ile  know  vAi£ 


Now  these  peeple  know  what  it  is  to  feel  the  vital  impact 
great  art,  to  be  illumined,  exalted,  transported 


of 

by  it»  They  are  tr  ubled  b  by  their  failure  to  be  similarly  affected 
kyxJtkBlxxfKiiÄÄExioLxhBXÄdfcadtiÄKiyxÄllBBiÄÄ  by  Modern  Dance •  Where,  they 
ask,  does  the  trouble  lie?   Is  tbere  something  lacking  in  them?  Is  there 
some  stränge  key  to  this  art  which  they  lack?  Or  is  there,  periahance, 

some  common  shortcoming  in  the  practice  of  the  art  or  in  the  practit ioner sl 

?l 
Or  is  it  xxxxxftxxlz  simply  not  given  to  this  medium  even  at  best  to  affori 

the  depth  and  momentousness  of  ezperience  which  other  arts  can  give? 

■^n  my  opinion,  the  dancers  themselves  are  for  the  largest 

pr  rt  responsible  for  the  sense  of  disappointment  felf  by  these  people 

and  for  the  failure  which  they  symboliza  M  ±kui  Modern  Dance  to  become 

thus  far  a  more  widespread  and  powerfi  1  factor  in  comtemporary  life« 

And  ^   say  this  not  without  givi  ng  füll  weight  to  the  other  causes 

mentioned»  I  am  convinced  that  *hatever  eise  may  be  said, Modern  Dance 


u/^^-^ 


f       X  0 


A 


has  not  yet  on  the  whole  beeh  fullf  and  fairl^r  testad  and  that  for  tMs 
dancdrs  themsleves  are  jbk±  to  a  large  extent  reapoaible»   It  will  serve 
them  no  good  purpose  to  seek  snobbishly  or  defensively  excuses  outiide 
themsleves,  nor  to  be  deafened  to  critical  protests  by  the  applause  of 
their  ardent  devotees.  I  for  one  have  great  faith  in  modern  dance  as  a 
medium,  as  a  means  tff  interrealting  life  and  d  nee.  But  I  beleive  that 


mo 


st  of  even  the  best  of  it  as  presented  in  Amer  ca  t-day  is  hardly 


worthy  ^   the  propoganda  which  its  leaders  woüld^if  they  co  Id,  set  in 


^ 


motion  on  ita  behalf  ♦J  But  deapite  all  ita  ahortcumiigs  4*- represents^ 


J 


■-r-^ 


/ 


/ 


>  •  t 


"^.c^t/^^  art 

the  only  healthy  and  Import an t/dance  influence  in  our  country.  And  for 

thi3  reaaon  it  la  imperative  to  determlne.  more  clearly  what  it  repreaentaj 
acutally  and  potentially  and  just  how  and  where  ita  exponenta  h«  0  failed 


siV    ,■      / 


I 


-/ 

The  dancers  have,    on  the  «hole*  failed  to   comÄ  to   terms 
du»  deeply  and  comprehensively  enough  with  the  world  they  live   in  to 


/A  ^^  create  an  art  that  will  tr^ly  re£lect   and  move  fehat  world.  They  have 
P^"-        failed  to  graap  clearly  and  completely  tha  relation  of  thelr  art   to 
Jb  that  World,   and  consequently  to  fully  explore  and  ttilize  the  reaourcea 

-  ^        of  thelr  art   in  the  IL  ^ht  of  that  relation.     They  have  not  yet  attained 
a  concept  of  the  place   of  Modern  Dance  among  the  arts  clear  enough  to 
■•''to  reveal  both  the  jnusuz^  inherent  llmitfctiona  and  the  ne.essary 
directims  of  a  medium  which  employa  living  movement  of   the  human  body 
aa   the  atuff  of  a  formal  art  humanly   informed,    3nd  so   thr»oughly  feit 
'  that    it   ia  no  mere  external  guide  but  an  Internally  Äi*rf.it  condition 

.   ing  force.     They  have  not  yet  come  to   a  füll  and  aenfeitive  recognition 
"        of  the  functions  and  effects  reapectively  of  the  various  devicea   through 
,hlch  movementa,    apontaneous,  playful  and  practical,    are   converted  into 
dance.  They  have  not  yet   completely  aolved  the  peculiar  problems   of  an 
art  which  aims   to  be  humanly  aignificant  while  formally  aound.  These 
ahortcominga  are  betrayed  not  only   in  ttielr  dL  acuaaions  of  their  workj 
they  are  evident   in  well  over  ninety  per  cent  of  the  compoaitiona 

preaented» 

It  ia  to  theae  mattera  that  I  mean  to  direct  the  present 

writitig.  The  taak  ia  one  which  I  face  ii0t   wlthcarT  many  misgivings  and 

a  large  meaaure  of  humility.  Por  thoae  dancers  to  whom  much  of  what  I 

have  to  aay  will  not  be  new  the  book  ia  intended  prlmatly  aa  rerainder 

and  clarifier.  To  present  devoteea  and  potential  apectators  of  the 

Modern  Dance  it  ia  offered  aa  a  meana  of  heightening  intereat  and 


enhancing  appreciatlon,  and  as  an  aid  to  the  crystallization  of  a 
crltlcal  challenge,  general,  active  and  sound,  that  ahould  have  a 

healthful  influence  up  n  the  work  of  all  «ancera  who  are  not  content 

SO  lö  Iv 
to  eteince/for  themselves  ZJtmju  and  cliquea  of  worahjipful  dlsclples. 


7 


/; 

r  ; 

/  / 


/ 


WlilTHER  DANCE. 
üUTLIN   E  OP    THE  BOuK. 


I. 


M    /    \.  VVe  are   interested   in   shaolng   the   cc  rse   of   the  moäern  dsnce. 

To   do   tiil^  v;6  mist   flrat  understand  Um   relation  of  the  dance   to 
contemnosasffy  life   from  two   nointa  of  view:    (a0  what  must    the    dance 
take   from  conteinr>or«iTy  llfe;    (b)    wha  t   can  the  donce   glve   to 
contenporary  llfe:-  both  consldereö  wlth  reference   to   the   constructively 
dynamic   annreach  to    llfe;   and  aecond     we  must   examlne   the  *  nee   aa 


m 


edlum  the  better  to  achieve  thls  take  and  f^ive. 


II. 


Understanfling  the   true   relation  of   the   dance   to   contemporary 
llfe   in   the   light   of   the   conatructively  dynamic  view  of   life; 
knowing,    fr  om  the   viev^oo-nt   of   that  aoproach  to    life,   why   and   how 
and  wv,at   the  dancer   muat  dra-  from  the  world  he    lives   in;   kndwing 
to   some   extent   tbe   limltationa   and  Dotentialiti es   of  the   dancö  aa 
medium,    snd   also,    the  bPÜc   charac^eriaticä  and   oroblems   of  the  world 
of  to-day,   and  ^ccordingl;-   t-e   g^neräj   tyoes   ofservice  which  the  dance 
can  render   th^t   world,   we  must  now  aacert^in  more   s-eciflcally   in  what 
ways    that   service   can  be   rendered,    i.e.   Y:hat   thinga   snec^ically  the 
dance  täcHxÄmiut»   can  and   ahäald  do    for   the    oresent  -.vor Id.     / 


/ 


PART   TWO. 


KNOWIWG  v-hat  Services  the  dance  can  and  should  render 
contemnorary  life,  we  next  want  to  learn  those  ideas  that  will  help 
the  dancer  to  perform  them  as  well  as  possible.   Tkese  ideas  center 
about  the  nature  of  iata  the  dance  itself . 


(/) 


I. 


Yie   are   to    exaniine   the   nature   of  dance.  Dance   Is   a  feig   terra. 
There   are  msny   tyoea   of  dance   evenwiUin«     the    sphere   of  art-dance. 
What  we  would  aay   of  one   tyoe  might   not   apply  4»o  othr-r    tyoes.     There   is 
no  D   int   in  discusaing  all   tynes,    ^f   there  is   any  tyoex   that   is   very 
T,uch  more   imnortant   to  U3    than  the   others.     Therefore,    let   ua    lock   at 
the  main  tynea   of   art-dence   no?;   current:- 

(1)  stage   Dresentation  of  tradm-nally  racl-l   and   nationaliatic  dances; 

(2)  ballet; 

(3)  free   dt  nee,    including  : 

DunceJiesque   interpretive  dancing; 

modsrn  dance; 
Through  crltical  aopraiaal  of  these  different   atyles  and  the   eliminati- naj 
and  mergersxx  whlch  such    crltical  apprWsala   result   in,        we   f^'nally 
arrive   at  modern  dnnce  as    the   auhject  of  our  dlscussioil. 


II. 
We  have  hefore  ua   for   consid-ration  the   modern  dance.      In   orde 
that  ■  we  may  view   it  without   either    extravagance  or  äircumscrlotion 
we  muat    eatanllsh  the   true  domain  of   the  modprn  dance  among   the   arts, 
we  inust   consider   the  modern  dance  aa   a  i4*dium.      This   involvea   a 
determination  of   (1)   what  the   dance   cannot  do ;    (2)   what   other  arts    can 
do  betten    (5)   what  the   dance   can  do   as  wH   as   other   arta;    (4)   what 
the   dance   can  do   better   tten  other    arta;    (5)   what  the  dance  alone 
can  do . 


III 


Having  thus  establisheu  t  e  true  domain  of  the  modern  dance 
we  are  ready  to  examlne  in  aome  detail  what  the  dance  can  achieve 


»     "-^ 


/ 


This    involves   a   conslde ration   of   two   subjects:    the   vocabulary 


of  modern  äancö,KK3ä  i.e.   ih  e  jaiii«r  form  of   dancej   and  the 
xxiuxulxxx  character  of  expressive  content,«  i.e.   the  inner   form  of 


danc  e • 


VOCABULARY. 


In  considerirg    the  vocaftulary     we  Hat   treat   o  f    the  devices 

which  the   dance   can  use   to   heighteh  and  universalize   exnreasion;   to 

understsnd  Ihe   true   functions   of   each  of   these  devices   as    well   as    t>ie 

limits   and  wiöest   noss ibllitftes   of  each  device.       *hese  devices   are  of 

two  Kinds:      (iJdirect^dBVicesr  I.e.   devices    in  ^»Ailj  move.ment,    the 

essence  ofdance;.(^)    allied  devfoes,    tho^e  borrowed  from  other  arts.. 

'»  Dosture   and 

The   direct   devices,    these   in  bodily/move-nent,  ,consist   in 

deviations    from  the   natural  and   literal   for    the   mrposes   of  heightenin 

,  afforded  by 

and  universali.ing   exression  above   the    level  «iE/the   usual   oostures   and 

daily 
movements   of  the  human  body  in  ordlnary/lif e .     Among   the  main  of   such 

devices   are:*-   (1)    abstraction,    Including  simolificat ion   and  3t,lizati»n;| 


(2)   relnforcement;    (3)    desigji  in  t-i^«!^  ?mce  ,and,  dvnamica. 


"^   The  allied  devices,    those  toorrowed  from  other  arts,    include 


the  follo   ing; 


(1)    Gostume:    including   fo-m,    color   and   texture. 


C2)   Scene : 


(3)    Sound: 


including   tbe  absence   of  backgr-jund; 
defiried   enclos  ed  dancing   space;    the 
form  and   colot   of   scene,   HXÄiiastZÄi±HX 
ıxi±5kt^xtiDBXBe±Buii   including   dlfferent 
styles   of  st^e  design;      the    or  chestrat  ion 
of  light;    the    actual     movemnt   of   scene  or    its 
comoonent   parts» 

including  silence,  dlfferent  us es  of  music 
and  non-musical  sound  effr^cts,  and  speech; 
syntlies&s   of   arts» 


CHARACTER    OF   EXPRESSIVE    :ONTENT> 


WE  must   now   turn  to   the  character  of   e   pressive-^^ntent,    the 
innei»   form  of  dance,   for  which  thl  s   vocabulary  is   to  be   emoloyed. 


I  Iw  e    already   indicated   the   subject-matter  which  dance  may 
handle.     Here    i*    is    my   ouroose   to   deal   with  the    types   ofa   exoressive 
content   that  such  aublect-matter    csn    take  on  thro^igh  the  voeabulary 

hereixjfope  descrlbed,/ 

y^    Th^  extremes   a-e   Dantomime   and   ahstraction.     Applied  art   of 
Dance  will   tend   toward  the    former.      Pine  Art   of  Dance  xvill   tend   toward 

the   latter« 

The   limits   of   the    direction    toward  pantomime« 
The  Limits   of   the   direction   toward  abstraction: 

(2)    the   essentiAlly  hunan     aspect   of   dance; 
(I)    the   limite-   value  of  decorstive  dance; 
(8)    dance  beyond  decorative   art; 

(a)    need  of   exoeriential  design,    i.e« 
/o)  a   osychologically  valid  and   physio- 

logically  valid  sequence   of  human 
ex ->re3sion3;   directed  and   informed  by 
some  human  aim  or  basic  view  of  life. 
(bjneed  of  harmonizing  the    experientlal 

design  with  outer,   visible  design» 
(c)    varioMS   forms    taken  by   the   experien- 
tlal  design,   TOiployed  differently   in 
aoDlied   art   of   dance  and   fine  art    of 
dance,   may  be   distinguished  by   the 
^  the  degree  of  directness    of   exoresslon] 

used:—  Degree   of  theatricalization 

Danced  or^tory-direct   ex^ressionl 
thro '^ gh   da nc e  by  a  man  as    such 
to    other    n^en:   dancii^g    to    or   away| 
from  them«    In  apolied  art   of 
dance   thi  s   is    exbortation   ;    i  n 
the    fine   art  of  dance    itis    a 
transmission, directly,    a   sharing] 
of  experience. 

Dance   pa^eant-celebration  of 
actualities   with  s   me  degree     ■ 
of   theatric  representation  •    In 
ap^)lied  art  of   dance    ti:^^    is 
provocative,   ia^l^^pr^ 
|,    .       ^    exaltation»   Kxpr  mental   aeTIgn  i 


% 


/^ 


Dance  stDliloguy«  generallzed 


reoresentation  of  a   ch'^rocter 
externalizing  his   orivate 
feelings«   Not   so  much  an 
abstract  Version  of  natural 
moveMöths   as    symbolic  movements.l 


Dance  drama-  Generalized 
reoresenfeätion   of    characters« 
Profile    of   essentiaL    sequence 
of  plot.      8onceived  as   fable 
in  ap'^lied  art  of   daace  and  a 
a  sort   of  abstrnct   drama   in 
f-'ne  art   of  dance. 


Part   III. 


Dance  as  part  of  a  general  ari-  of  movere tt. 


'L^^.<JL     C^    V^^vo--^^,   ^ 


THE  FOKUS  OF  HUlviAN  EXFR?JSSIüN  IN  DMICE 
Without  form  there  can  be  no  art.   But  thou^^.h  the  basic  attributes 
üf  form  are  the  S'ime  in  all  media,  its  snecil'ic  character  anü  the 
Problems  incident  to  its  creation  Vary  from  art  tu  art.   In  oure  music, 
for  example,  it  is  brought  into  being  through  the  organizatiun  of 


8 


bstract  sjunds  orimarily  cm  the  basis  of  their  sensuous  effects.   But 


these  effects,  through  the  ootency  of  their  emotional  oruvoca tiveness 
and  descriotive  sugges tlveness  lift  the  tonal  art  above  the  decorative 
level.   In  drama,  on  the  other  hand,  form  consists  in  the  Organization 
of  sDeciflc  human  hanoenin-s.   And  tlie  selectiun  and  arran:;ement  of  these 
haDpenings  is  made  v/ith  the  aim  of  nro-'.ressively  hei'^.htening  interest 
and  involvemrnt  in  a  revelation,  through  action,  of  the  truths  imolicit 


m 


ma 


human  character  and  exoerience.   In  other  words,  music  uses  abstract 
terial  and  ;ivds  it  a  soecific  furm  of  general  Import;  drama  employs 


concrete,  soecific  material  and  molds  it  into  form  snecific  in  details 
while  §eneral  in  signif icance . 

Dance,  in  the  character  of  its  form  and  in  the  method  of  ci'eating 
that  form,  has  features  in  common  with  both  music  and  drama.   And  the 
neculiar  problem  of  the  dance  composer  is  the  reconciliation  of  these 
diverse  features.   The  distinctive  conditioning  factor  of  the  dance  is 


nctual  movement  through  the  iJvinr;  human  body.   And  this  factor  in  itself 
must,  for  ourooses  of  analysis,  be  subdivided.  On   the  one  hand  there  is 
movement;  on  the  other  hand,  the  human  body.   Movement,  unlike  sound, 
can  never  be  a  purely  abstract  nhenomenon.   Sound  can  be  and  n^wadays 
(through  radio  and  nhonograoh)  freouently  is  heard  and  anpreciated 
entirely  apart  from  any  sense  of  an  associated  physical  body  otlier  than 
as  a  ourely  producing  agency .  7ti<^  pf^^ctfo7,r^4^    c^  fO<^<t,  i/  d-^ct^   t/A 


1. 


depend  upon  our  perceotion  of  a  Dhysical  body.   Movement,  on  the  other 
band,  can  only  be  percelved  through  our  nerception  of  something  in 


mo 


tlon.   The  thinKs  in  motiun  may  themselves  be  albstract  forms,  such,  a 


xxxfor  exRiTiDle,  as  spherea  or  cubes .   'i'hese  forms  may  carry  suggestions 
of  their  own.   Bnt  the  suggestions  are  likely  to  be  so  vague  and  general 
in  character  that  the  movements,  particularly  if  they  are  strong,  clean 
and  well-designed,  v/ill  occupy  practically  all  of  our  attention  ana  the 
exoerience  we  thereby  have  is,  to  all  intents  and  Durposes,  one  of 
abstract  motion.   Such  motion  with  its  vocabulary  of  rhythms,  dynamics 
and  inflections,  may  provide  innumerable  aesthetic  experiences  of 
decorat ive  order  pnd  as  such,  constitute  a  kind  of  abstract  aance . 

But  in  dance  as  we  commonly  knov/  it,  the  thing,  in  motiun  is  the 
living  human  body  v/hich  affects  movement  in  tv/o  fundamental  ways.   In 
the  first  place,  through  the  character  of  its  set-up,  it  defines  the 
forms  and  dimensiuns  of  movements  and  through  the  limits  of  its  energy 
and  a-^ility  establishes  the  maximum  of  dynamics  and  temoi  in  action. 
In  the  second  place,  through  the  ineradicable  sense  of  a  living  human 
presence  in  actiun,  which  it  maintains,  it  gives  to  every  human  r:iovement 
the  stamn  of  a  human  manif  es  tat  ion,   liow  if  there  were  only  the  first 
condition  to  contend  v/ith,  that  is,  the  physical  limitatims  uf  the 
Instrument,  we  might  conceivably  derive  through  ak  bodily  activity  a 
kind  of  abstract  dance,  restricted  in  the  character  and  scuoe  of  move- 
ment.  But  confronted  likev/lse  with  the  second  conaitirm,  that  is ,  the 
inevitable  humanizatiun  of  la  movement,  we  fina  the  Situation  radically 


a 


a 


Itered.   For  this  condition  precludes  the  possibility  of  a  purely 

bstract  dance  through  the  agency  of  the  human  body. 

V/hat  then  are  the  soheres  aopropriate  to  human  danceV   Just  hov; 
far  and  in  what  directions  do^s  the  humanization  of  movements  through 
emnloyment  of  the  livin/';  body  condition  the  dance  which  it  briniis  into 


2. 


beingT   smce  the  numbar  of  movements  and  attltudes  of  which  the  human 
body  is  caoable  is  ralrtively  limited  and  since  .,e  are  accustomed  in 
dail.,  life  to  witne.s  a  lar-e  varxety  uf  tlv.n  ",ith  definlte  human 
significance  (snontaneous  betrayals  .f  emotlons,  .^estvv^s   accüm,.anying 
soeech,  the  arbitrary  but  cotr.rumly  under.tood  symbola  of  movement 
vernacular  such  as  nods  of  the  head,  aoolause,  manual  traffic  sl,;nal3, 
etcÄ  and  a  hundred  forms  of  nractical  and  olayful  action)  almoat  any 
exhibition  of  bodily  deoortment  is  likely  to  sus-eat  somethin.ä  familiär 
in  ordlnary  life.   But  if  the  dance  comoosar,  borrowin^  the  aonroach 
of  the  musician,  treats  budily  movement  and  posture  ourely  as  abstract 
material  for  time-soace  desißn  and  entiiv,ly  wlthout  any  conacious  alm 
at  HX  humnn  exoression;  if  he  consciuusly  builds  form  entiraly  uoon  the 
directly  aensuous  and  not  at  all  upon  the  asxHBlsiaxi  associational 
effects  of  movements,  throu/',h  use  of  formal  devices  discuused  in  the 
chaDter  on  Vocabulary  he  achieves  vvhat  may  be  termed  Pormal  Dance  and 
±H  if  in  the  creation  of  this  Pormal  Dance  he  exolores  Mnd  exoloits 
available  resourcas  to  the  utmost  and  is  able  to  confine  himself  to 
movements  and  oostures  so  molded  and  placed  that  thay  never  nointedly 
recall,  th^ouj^h  they  may  vaguely  suRP.est  the  norns  of  3ip,nificanb 
human  deoortment,  or  if  they  do  pointedly  recall  auch  denortmant  but 
are  so  reoeated  or  otherwise  treated  in  an  ^fewe  formal  scheme  that 
they  obliterate  immediately  any  auspicion  of  an  Intention  to  be  humanly 
expressive,  then  he  achieves  a  certain  level  of  dance  inte^i-U-y,  which 
KMZ±  provides  simole  dance  ingratiation.   It  may  be  Dleasing,  even 
exhilarating  but  it  can  never  be  deenly  moving  or  truly  momentous  .   But 
^vhjf?   Is  not  ourely  formal  music  often  deeoly  stirrinj^  ana  memorableV 
Yes,  but  there  are  differences,  very  imnortant  diff  erencc.s .   Wot  only 
has  music  the  ootent  magic  of  tone,  which  movement  cannot  rlval,  not 
i  only  does  it  posaesa,  throußh  Instrumentation,  a  vastly  greater  ränge 
of  dynamlca  thsn  movement,  not  only  ia  it  caoable  of  an  infinltely 


3. 


g 


reater  varietv  of  color  thPou:;h  the  timbres  of  jnstruinenta  and  thalr 


combinations,  not  only  has  it  the  Dower,  through  its  complate  abstract- 
ness  to  evülve  a  lar  (^reater  number  of  forms  and  far  ;reater  formal 
richness  than  a  formal  dance  can  achieva,  but ,abovelall,  it  is  comnletely 
free  from  the  limitationa  of  the  humnn  body  with  its  definin-:^  quality 
and  its  circumscribed  scope.   In  music,  the  living  body  is  merely 
perf ormer .   But  in  dance,  even  the  moat  strictly  f..<rmal  dance,  the 
living  body  in  movement  is  not  only  oerf ormer,  it  is  Instrument  and 
medium  as  well.   And  though  the  dance  comooser  succeeds  in  so  treating 
the  movements  of  that  body  that  specific  indications  of  significant 
human  conduct  but  rarely  if  ever  intrude,  v/ith  a  consequent  greater 
formal  freedom,  the  living  humon  presence  ia  remains.   It  is  with  us 
during  every  mowient  of  the  dance.   And  v/hat  is  this  livin;  human 
Personality  en,gaged  in  doing?   It  is  m?^iking  rhytlims,  unfolding  energy, 
describing  forms,  --  iax  all  for  their  own  sake.   It  is  engaged,  in  other 
words,  in  oure  Dlay.   The  olay  may  be  vehement  or  lyric,  it  may  be 
frivolous  or  solemn.   But  it  is  still  play,  something  dune  for  its  own 
sake.   V/hen  the  pianist  nlays  a  piece  of  formal  music,  he  ^•lor^ks_  to 
communicate  the  composer's  coioj  ept,  füll  and  complete,  of  an  ideal. 
When  the  dancer  oerforms  a  strictly  formal  dance,  he  works  too .   But  the 
result  of  his  labor  is  merely  a  picture  of  mon  playing  with  rhythm,  v/ith 
energy,  with  forms,  enacting  formal  beauty  --  a  very  oleasant  form  of 
recreation  to  engage  in  and  often  very  agreeable  to  observe.   Man  is 
naither  es^rientially  out,  of  tl-ie  nlcture,  as  in  music,  nor  deeoly  and 
momentously  alive  in  the  picture,  ss  he  is  in  fwtjoie .   !öq^x±xks 

The  true  artist  demands  something  more  of  himself  and  of  the  art 
to  which  he  dedicates  his  life.   Since  the  sense  of  living,  man  cannot 
be  eliminated  from  the  substance  of  his  art,  he  recognizes  the  necessity 
of  making  man  significant  in  it.   And  how  does  man  attain  signif icanceV 


4. 


Eithar   by   his   ov/n  achievements    or   b^ing    invested  with  ö.    reflected 

glory. 

Sinca  dance  is  essentially  an  art  of  rormalization  the  danoör, 

in  8lrning  to  glve  it  momentousnesa ,  seaks  a  method  of  treating  his 

medium  that  will  heighten  its  import  without  sub.iecting  its  formal 

character  to  too  great  a  strain,   This  he  may  hone  to  find  in  brin^ging 

dance  into  alliance  v/ith  great  music.   Among  the  masternieces  of  tonal 

art  w  he  finds  worksv/hich  sing  deeply  and  memorably  of  human  life  and 

its  Ideals.   By  so  shaping  his  dance  thnt  it  pictures  the  dancing 

f igure  in  active  Identification  with  such  music  he  endows  man,  as  uicturei 

in  dance,  with  s  reflected  s ignif icance .   And  since  music  is  a  nurely 

formal  art,  tha  dance,  molded  to  corresoond  with  it  and  thereby  to 

visualize  the  grandeur  ■  hich  it  suggests,  can  likewise  remain  a  formal 


art . 


But  valuable  and  gratifying  as  the  results  .f  this  nrocedure  are. 


they  do  not  comnletely  satisfy  the  true  artist  in  dance.   For  their 
mornentousness  is  not  achieved  solely  or  even  primarily  ttoough  dance 
itself .   It  remains  then  for  the  dancer  to  attemnt  to  Droduce  the  desired 
effect  by  maans  of  the  significance  of  human  action  pres.  nted  through 
dance  movement.   So  the  dancer,  still  thinking  of  movement  first  and 
always  in  terms  of  formal  design,  endeavors  to  broathe  human  import 
into  that  design,  without  substantially  altering  eitlier  his  conceotion 
of  comoositim  or  his  metl'od  of  nrocedure .   He  may,  on  the  one  hand, 
concaive  of  cartain  movements  as  symbols  of  humnn  meaning  and  by 
incorporating  them  in  his  dance  feel  satisfied  that  he  has  invested  his 
work  with  large  significance.   These  symbuls  are  arrived  at  in  either  uf 
two  ways.   The  dancer  may  be  intoxicated  with  the  Durely  formal  appealx 
of  certain  movements  and  envisage  them  as  part  of  a  formal  scheme.   He 
sees  no  reason  why  they  should  not  be  symbols.   And  so  by  a  jühIjo  -rrt* 


5. 


concatanation  of  more  or  lass  arbltrary  assumotlons  he  becones  convlnced 
that  the  movements  stand  for  certain  specific  phases  of  human  exoerlonce. 
Or  he  may,  on  the  other  hand,  devalop  the  aymbols  by  starting  v/ith  a 
vague  notl.m  of  sorae  asoect  of  human  exoerlence  and  then  by  a  series  of 
more  or  less  arbltrary  assumotlons  arriving  at  movements  which  for^hjjn, 
express  that  exoerlence.   Well  then  -  having  formulated  these  symbols 
throußh  one  process  or  the  other,  he  Incorporates  them  into  hls  formal 
pattern.   He  may  go  so  far  as  to  glve  hls  dance  a  title  whlch  he  thlnks 
v;ill  provide  a  clue  to  the  symbollc  slgniflcance  of  his  movements.   But 
whether  these  movements  v/lll  suggest  to  hls  audlence  the  meanln;;s  whlch 
he  has  read  Into  them  or  foisted  u .on  them  never  aeems  to  occur  to  hlm. 
Nor  does  he  seem  In  the  least  concerned  over  the  nosslbllity  that  they 
may  ^ust  as  likely  and  just  as  logically  be  vlewed  by  the  audlence  as 
Symbols  of  meanlngs  dlametrlcally  opoosed  to  those  v/hlch  he  has  Intonded. 
But  having  satisfied  hlmself ,  he  concludes  that  he  has  enlivened  and 
enrlcbed  hls  formal  dance  pattern  v/lth  imoortant  human  documantation. 
ün  the  other  hand,  he  may,  Instead  of  manufacturing  synibuls,  select 
certain  natural  movements  ohai'aoteri.^tlc  as  betrayals  of  emotional 
reaction,  as  forma  of  communicat Ion,  or  as  other  klnds  of  aellberate, 
nractical  actlm,  and  by  subjectlng  them  to  aesthatic  modlf Ications 
so  formallze  them  that  they  can  fit  cong.nlally  lato  n  formal  design. 
And  so  he  makes  them  the  motifs  of  a  strlctly  formal  oattern  and  develops 
them  m  accordance  wlth  strlctly  formal  conslüerations .   And  having  thus 
started  .^;lth  and  developed  some  signlflcant  fragment  of  human  movement, 
he  feels  satlsflod  that  he  has  ralsed  his  dance  above  t)ie  level  of  the 
decorative,  above  the  level  of  a  picture  of  man  at  play  and  given  it 
human  imoort.   vmether  in  the  process  of  transmutation,  the  original 


6. 


movenents  have  become  so  nltered,  that  there  remalna  no  lonser  any 
aussestion  of  the  natural  prototypea,  ia  a  ouestlun  tl.at  doea  not  diaturb 
him.   In  fact,  if  the  natural  aource  of  the  dancs  motifs  were  too 
readily  discoverable,  he  should  fear  accusation  on  the  gr'jund  uf 

obvlousnesa  or  llteralneaa. 

%ä5  And  -"hat  of  the  spectotors?   What  benefit  do  tbey  derive  from  theae 
attei.ints  at  humanizatlon  of  dance  Irraort?   If  the  amb.la^  and  the 
formall'-ationa  of  natural  conduct  are  not  claarly  au-3estij|-,  not  only 
does  the  dance  fall  as  a  human  exoression,  but  even  the  enjoyment  of  ita 
formal  virtues  Is  marred.   Por  the  effort  to  aay  aomethin,-  ia  evident 
even  when  the  resul  a  are  ambiguoua  or  unintelll^^ible .   And  the 
3TDectator3,(that  ia,  all  but  the  cynical  who  are  convinoed  that  ,fe^ 
danceYSsxH  never  can  say  anything  vvorth  bothering  about)  having  detected 
sorae  alight  evldence  uf  an  Intention  to  achieve  human  exoreasiun, 
attennt  to  dlacover  what  the  dancer  ia  trylng  to  aay,  and  -.vhile  maintaln. 
ing  a  tenae  and  sweaty  search  for  aome  continuity  of  meaning,  are  dia- 
tracted  from  an  en.loyment  of  the  dance  as  a  formal  v;ork. 

But  let  US  aasume  that  the  choreograoher  succeeds  in  evolvin^i; 
aymbols  that  carry  an  Immediate,  luclu,  though  gsneral  suggeativeneaa^ 
and  in  so  modifying  elements  of  natural  conduct,  that  umnistakable 
traces  of  the  original  remain  in  the  formalized  veraiona.   In  such  caaea, 
v,hat  the  apectators  viev;  are  fragmenta  of  human  expreasion.incornorated, 
either  aa  motifa  or  incidents,  Into  a  formal  deaign  u-hich,  s^x  in 
princinle,  in  method  of  constructiun,  in  total  viev;,  has  not  been 
developed  differently  from  comnoaitians  containing  no  auch  elements. 
Effort  is  made  to  erect  the  whole  structure  of  the  werk  not  in  accordanc 
with  the  develoPment  demanded  by  the  human  Implicationa  of  the  humanly 
meaningful  material  emnloyed  but  only  in  accordance  with  the  formal 

4-^.1  >.,r  +-v,nt  rnntprial.   And  the  resultaV   They  are 
posaibilitiea  auggested  by  that  m<.n-rxax. 


7. 


such  concoctiuns  as  variations  on  a  theme  of  flight,  a  sarabande  on  a 
theme  of  obeisance,  a  pattern  on  a  theme  of  pugnacity,  --  wherein 
fra^^ments  culled  from  crucial  human  happenings  are  developed  as  though 
they  were  nothing  more  humanly  significant  than  musical  scales  or 
geometric  f  igures  .   Meanin/^,  enjoys  no  continuity,  but  is  either  totally 
lost  in  the  labrynths  of  formal  time-space  design,  or  utterly  v/ithout 
significant  context,  bobs  up  helplessly  now  and  again  only  to  be 
oeremptorily  wiped  out.   Has  the  dancer  advanced  beyon^  the  unmomentous 

soectacle  of  man  engaged  in  olay?   Certainly  not.   He  has  merely 
aopropriated  bits  of  labor  ond  love  and  terror  and  ecstacy  to  toy  with. 
A  moment  of  significant  action  captured  ond  reproduced  on  a  canvas  is 
something  x  comolete  and  enduring.   One  can  dwell  upon  it  and  there  is 
not  bin;;  to  keep  the  imagination  from  supolying  what  oreceded  and  followed 
it.   But  in  dance,  the  context  of  that  moment  of  action  is  actually 
suDolied«   And  if  the  movements  which  occur  before  and  after  it  are  not 
in  some  way  related  to  it  in  terms  of  human  life,  that  moment  of  action 
neither  has  human  si'^^nif icance  in  itself  nor  invests  the  dance  v/ith 
any.   \Vhat  is  necessary  then  is  that  the  total  of  all  these  related 


mo 


vements  must  form  a  scheme  with  beginnin,g,  development  and  end,  that 


constitutes  the  substance  of  a  sig.nificant  human  document.   And  all  this 
is  no  less  true  of  formalized  action  than  it  is  n  of  action  naturalistic- 

ally  oresented.   Xiox 

The  nossible  bases  upon  v;hich  movements  may  be  related  in  a  human- 
istic  seouence  are  numerous .   Ther.may  be  development  through  orovocations 
and  reactions  in  movement.   There  may  be  amoloyment  of  certain  recognized 
patterns  of  human  conduct  in  normal  workaday  living,  in  dreams,  in 
phantasy,  in  insanity^  There  may  be  use  of  ideas  and  Ideals  the  soundness 
of  v.hich  holds  together  the  movements  through  which  they  are  visualiz.-d 
in  dance^  Bnd  still  other  bases  of  relation  there  are.   But  in  any  event, 


8. 


the  dance,  to  be  truly  memorable,  must  reveal  man  relating,  Interpret in^',, 
raoresenting  or  enacting  sornethin.p;  of  vital  mument .   Not  only  does  a 
movement  that  is  in  itself  gripping  through  the  sheer  character  of  its 
line  and  dynamics  become  doubly  gripning  v/hen  it  is  seen  as  the  cause 
or  effect  or  continuation  of  another  manif estatiun  to.-,ether  with  which 
it  forms  a  aignificant  human  exnression;  but  even  the  simplest  bit  of 
deportment,-the  lift  of  a  Shoulder,  the  turn  of  a  hand,  the  nod  of  a 
head  --  can  become  deenly  moving  through  a  soundly  wrought  context. 

And  nov;  \ve  have  veached  a  point  v/her e  v;e  can  recognize  the 
Deculiar  oroblem  of  the  dancer  with  rogard  to  form.   Unless  he  fashiuns 
a  good  formal  design  ;vith  the  character istics  of  unity,  harmony  and 
balance  in  terms  of  rhythm,  dynamics,  line  and  mass  in  movement,  he 
falls  to  create  a  dance-   Ün  the  other  hand,  unless  he  achieves  a  good 
humanistic  design  through  significant  arrangement  of  human  manif estat ions 
his  dance  is  destined  to  remain  more  or  a  less  trivial.   Accordin^^ly, 
these  two  tynes  of  design  must  become  one .   A  Single  form  must  be  the 
realization  of  both.   The  musician  has  done  his  Job  v;hen  he  creates  a 
Durely  formal  design;  the  dramatist  has  performed  his  taslc  when  he 
or-^anizes  human  haonenings  into  a  significant  scheme.   The  dancer  is 
obliged  to  oerform  both  tasks  as  one.   How  can  he  achieve  this  fusion? 

He  must,  to  begin  with,  recognize  the  relative  imoortance  in  his 
medium  of  these  two  tyDes  of  design^.   The  drama  is  primär ily  an  art  of 
exDlicit  human  documentation.   To  achieve  its  and,  it  utilizes  all 
necessary  means :  --  dlalogue,  naturalistic  action,  and  fullness  of 
detail.   In  doing  this,  it  sacrifices  formal  purity  in  terms  of  visible 
effect.   Dance,  on  the  other  hand,  is  an  art  concerned  nrimarily  with 
¥^   ruality  of  expression,  rather  than  with  the  novelty  or  comoletenass 
of  the  content  of  exoression.   To  realize  its  puroose,  it  sacrifices 


devices  that  make  for  accuracy  and  fullness  uf  human  documontation. 

9. 


A3  a  reault,  It  can  say  less  but  is  able  to  comaunicate  ±h  what  it  does 
3ay  with  n  klnd  of  sustalned  and  hei^htcned  eloquence  that  is  peculiarly 

ita  own. 

Human  expresaion  and  tha  shapes  and  seouences  ^*lch  it  demraida  must 

inforra  the  formal  exoreaslon  and  determine  ita  character.   ür  nerhena 
it  -'ould  b3  more  accui-ate  to  say  tbat  human  exoression  must  .be  distilled 
into  its  formal  equivalent.   'i^o  be^'.in  ^^xU^i    tho  cr.ation  of  a  purely 
formal  deaign,  aoart  from  humanistic  considerations ,  and  to  attemot 
thereaf t.  r  to  infuae  it  with  human  Import  is  gross  folly.   The 
choreo-raoher  should  make  un  his  mind  at  the  outset  whether  he  desires 


to  create  a  purely  decorative  dance  or  a  humanly  signif icant  dance .   If 
he  decides  on  the  latter,  he  will  be  wise  in  most  cases  to  go  straight 
to  the  necessary  human  material  and  t.  let  it  dlctate  the  fundamentals 
of  form  from  the  outset.   He  will  clarify  and  strio  to  essentials  the 
enisode,  the  exoerience,  the  process,  the  idea  or  the  ideal  Y;hich  he 
has  elected  to  dance.   He  will  ascertain  the  basic  sequence  of  mov.-ments 
necessary  to  the  communicat ion  of  his  sub.lect.   From  that  noint  his 
imasination  is  brought  into  nlay,  disciolined  always  by  the  dsmands  of 
clarity.   That  Imagination  will  determine  the  modes  of  transmuting 
natural  bodily  manif eatations  into  dance  movements,  the  forms  of  symbols, 
the  emnhases,  the  moods .   He  v;ill  find  that»  freed  of  soeech  as  an 
essential  element,  of  naturalistic  forms  and  details,  bis  material  will 
lend  itself  readily  to  transf ormations  into  formal  design  in  humanistic 
term.s.   If  the  result  of  such  creative  labor  is  not  a  comoosition  which 
answers  at  once  the  demands  of  formal  dasign  and  humanly  relevant  form, 
then  the  deficiency  can  be  traced  either  to  the  inaopropriateness  of 
the  sub.iect  for  dance  or  the  inability  of  the  choreogranher  to  create 
dance  out  of  the  significant  stuff  of  life.   Thare  is  nothing  in  the 
sequences  evident  in  human  life  that  is  inherently  inimical  to  .;ood 

10. 


formal  desir.n.   The  talent  uf  the  good  choreor^rapher  lios  in  the 
abillty  to  convert  those  seouences  into  the  art  of  movement,  v/hich 
v/hile  being  very  different  from  the  rav;  picture  of  life  will  suggest 
always  the  sources  of  its  origin.   The  early  stages  of  the  process  v;hich 
I  have  described  v/ill  not  in  themselves  insure  a  good  dance .   Glarity 
of  meaning  will  not  comoensate  for  undistinguished  movement  or  thinness 
of  choreogranhic  texture.   3ut  v/ithout  those  stages  or  som.e  equivalent 
of  them  no  momentous  dnnce  can  be  realized. 

If  the  dance  comnoser  be  njnong  those  v;ho  find  their  initial 
dance  Inspiration  not  in  a  humanly  significant  subject  but  in  a  ohrase 
of  movement  or  a  rhythmic  figure,  it  is  incumbant  unon  him  to  discover 
how  it  (or  some  modified  version  of  it )  fits  into  a  formalized  Version 
of  sotjie  Phase  of  significant  human  exnerience,  and  then  to  build  uoon 

thatxxBl  discovery. 

There  is  no  easy  route  for  the  comx^ositi m  of  a  humanly  valuable 
dance.  It  reouires  at  once  a  sure  sense  of  ^hkiäk  formal  values  and  a 
deep  insight  into  the  forces  that  shaoe  human  life.   It  reouires  a 


oassiona 


te  zeal  to  speak  deeply,  memorably  of  life  in  a  v/ay  that  only  ^p^ 
the  exalted  lan-uage  of  living  movement,  elevated  to  dance 
äx   can  do.   It  demands  that  the  dominant  drive  of  the  dance  comooser  to 
his  work  be  not  an  intoxication  ;vith  formallam  in  movement  for  its  ovm 
sake,  supnlemented  by  nn  opoor tunist ic  desire  or  sentimental  scnse  of 
duty  to  snice  and  col.r  his  formal  design  v;ith  something  of  contemporary 
human  imoort,  but  rather  so  oowerful  an  urge  to  nro.iect  an  intense  and 
vnvid  scmse  of  human  life  that  nothing  short  of  the  momentous  exnression 
of  living  movement  freed,  ourged  and  integrated  in  dance,  v/ill  suffice. 
It  demands  likewise  that  v/ithin  the  dance  composer  there  be  ever  alive 
and  vigilant  the  critical  intelligence  as  censor  and  guide.   That  censor 
will  at  every  moment  insist  that  means  be  perfectly  fitted  to  ends . 
Humanistic  motivation  does  not  necessitate  a  sacrifice  of  formal 

11. 


rectitude.If  the  subject  matter  is  ^uited  to  dance  and  the  chüreo/-:;raoher '  :| 
talent  is  sound,  the  final  result  uf  his  v./ork  should  be  a  form  thürour;hly 
satlsfying  aesthetically  and  completely  suited  at  every  point  to  the 
develonment  of  the  subject.   In  fact,  each  ui'  these  character istics  of   ^ 
the  form  v;ill  aonear  to  be  due  to  the  other.   There  will  be  no    oossibilit^' 
of  sayins:  --  "It  is  good  choreesraohy  but  unclear,  meaningless . "  There 
will  be  no  nossibility  of  sayin,-'»It  is  humanly  true  but  poor  in  design," 
It  is  not  enoup.h  that  the  dancer  asoire  to  the  creatiun  of  works  which, 
constitutia^-,  good  formal  desir.n,  have  the  added  vertue  of  suggesting 
something  of  human  imoort,  so  that  the  spectator  will  be  gratefully 
surDrised  that  a  comnnsitiun  which  affords  him  dance  oleasure  also 
nrovides  some  hints  of  living  meaning  and  accordingly  will  be  indul:;ent 
of  ineotness  ^nd  sunerf iciality  in  human  ducumentation.   It  is  nut 
enou/?,h  that  the  dancer  comoose  for  those  who  exoect  dance  to  be  cryptic, 
and  who  are  rather  nroudly  pleased  at  any  bits  of  s:7i:iiiboli3m  which  they 


can 


detect.   Ke  must  be  imoelled  to  comniunicate  ttoough  movement  a  sense 


of  life  30  profound  and  glowing  and  clear  and  richly  colored  that  nothing 
Short  of  all  the  enhancing  devices  uf  dance  will  suff ice .   Then  and  then 
on]y  will  form  arise  as  the  füll  t^    flowering  of  Tie  single  imnulse  that 
leads  strai-'ht  from  the  desire  to  depict  life  '  n  dance  to  the  attainment 
of  a  perfectly  suited  dance  form. 

The  crying  need  of  the  dance  world  today  is  the  very  unification 
which  we  have  been  discussing,  of  the  two  aoDroaches  to  form  reouired  by 
a  huijianly  ex.rressive  dance.   Technical  comoetence  is  fast  becoming  a 
commonnlace.   Taste  and  inventiveness  in  formal  choreograohy  are  not 
rareties.   And  eagerness  to  brin,;  the  contemoorary  human  scene  into 
dance  is  everywhere  evident,   \7hat  remains  oitifully  unaccomolished  for 
the  largest  part  is  the  creation  of  Choreographie  form  out  of  human 
material.   So  that  it  truly  becomes  an  expression  of  life  in  dance. 

That  this  is  true  should  not  be  at  all  surprising.   The  aesthetic 


.2  . 


revolution  which  culminated  in  the  ci'öation  of  modern  dance  cunsisted  üf 
tv/o  forcas  v'hich,  thüußh  nut  opoosed  to  each  other,  v/ere  certainly  in 
need  of  reconcilin  t  ion .  On   the  one  hand,  thero  was  i-evolt  a^-ainst  the 
negligibility  of  human  exDression  in  art  dance  <'ind  the  stalenass  of 
forms  v/hich  had  been  \;orn  down  to  the  level  of  clich6s.   Accordinp^ly, 
there  was  demand  for  sound  human  exoression  in  terms  of  dance.  On    the 


0 


ther  hand,  however,  there  was  revult  a^^^ainat  the  subservlence  of  dance 


to  other  arts  -snd  insistence  uoon  a  reco^'^nition  of  dance  as  an  independen' 
and  seif -suff icient  medium.   This  called  for  freedom  from  explicit, 
literal,  nattative  olots,  emol.  yed  by  ballet  d'action  (to^'^ether   ith 
pontomime  and  descriotive  decor)  in  its  attemot  to  humanize  the  classic 
ballet  and  to  :;ive  it  sustainad  dramatic  interest.   -It  llkewise  demanded 
liberatlon  from  the  forms  and  character  of  Dreviously  comoosed  music, 
Darticularly  music  of  the  Momantic  period  emoloyed  by  Isadora  Duncan, 
with  its  communication  of  soecific  oersonal  feelin:s.   Here,  in  other 


w 


ords,  ".as  an  elimination  of  certain  devices  theretofore  empluyed  for 


humc^nizin,^^  and  drano  t  izin/_;  the  art  of  ivA)Vi"]Orr\^  , 

V/e  see  then,  at  once,  two  facets  uf  .me   revulutiun,  the  one.   bent 
upon  fuller  human  exore^ision  in  d?nice  and  the  other  fi^^hting  a  ^ainst 
humnn  exoression  throUN.^h.  borrowed  devices  already  in  use.   To^ether  . 
these  two  asoects  of  the  movement  meant  the  achievment  of  human 
exnression  through  distinctly  dance  values  --  vital  diicumentat ion  that 
would  conform  to  the  essential  requirements  of  dance,  and  dance  that 


AV 


i/ould  be  renlete  with  humanistic  su.y^estion.   'i'his  was  a  formidable  task, 


fascinatin.r^  in  the  challen.;e  -;hich  it  offered  and  the  anergy  and 
ingenuity  which  it  demanded.    For  it  meant  not  only  the  ruling  out  of 
pnntomime,  literary  olots,  ballet  cliches,  theatric  effects  and  the 
insoiration  and  suooort  of  romnntic  music  but  the  positive  task  of 


e 


volving  new  devices,  new  forms,  new  relat  ionships ,  as  v;ell  ps  the 


lö. 


technioue  to  mnke  them  usable.   In  other  v/ords,  it  meant  the  creation 
A 

of  a  formal  vocabulary  (without  v?hich  there  can  be  no  dance)  that  v/ould 

comniunicate  huiian  axoerience.   But  so  great  v/as  the  preoccupation  with 

the  develonment  of  this  fortnoJU''  vocabulary  that  it  tondod  to  becorae  an* 
e 


nd  in  itsalf .   Not  only  was  there  a  failure  to  utilize  it  for  clear 


inte^^rated  huxnian  expression  taut  the  elements  of  tha  vocabulary  itsalf 
threatened  to  riova  further  and  further  from  human  life,  with  inventivenes 
runninr,  wild  in  the  diraction  of  comolicatad  rhythms,  ;;rotesquely 
extreme  stylizations ,  abstract  energizing  and  elaborations  of  strictly 
formal  oatterns  --  oresumaüly  all  for  their  ov;n  sake.   The  transmutat ion 


of  sip;nificant  schemes  of  human  manif  es  tat  ions  into  their  formal 
eouivalents  seemed  for  the  larr'^est  oart  to  be  x^  all  but  for-otten.   if 
we  re;^,ard  the  v/hole  of  the  modern  movement  to  date,  this  descriotion 
fits.   And  notable  axceotions  only  aid  to  hei{:;hten  the  Impression  of  the 
general  trend. 

Among  these  excentions  the  outstanding  figure  is  that  of  Mary 
Wigman.   V/hile  this  great  dancer  was  in  the  throes  of  contributing 
immeasurably  to  the  vocauulary  of  modern  dance,  she  succeeded  no-arly 
always  in  makin^^,  that  vocabulary  comoletely  tlie  servant  of  her  creatlve 
Visions.   In  fact,  one  had  the  feeling  that  her  additions  to  the 
vocabulary  grew  not  out  of  academic  exper imentation  or  detached  inven- 
tiveness  but  out  of  the  vast  need  of  her  creativa  ima  -ination.   In  her 
greatest  dances,  her  exnression,  though  extremely  genaralized,  never 
failed  to  carry  pov/erful  human  Suggestion  and  sound  progression  of 
human  exoerience.   Tha  formal  dasign  ^md  the  humanistic  scheme  were  in 
these  cases  complataly  united.   Tha  formlS' ^^:^,  without  compromise^ 
to  grow  entirely  out  of  the  latter,  and  the  latter  aopeared  to  demand 
the  former  for  its  perfect  cormnunication, 

Wigman» 3  success  in  this  bahalf  is  traceable^ largely  I  believe^ to 

two  basic  elemants  in  her  art.   ün  the  ona  band  through  her  strong^ 

14. 


I 


clear  and  characteria t ically  Teutonic  s.:nse  ^^f  the  philosoDhic 
imDlicatlnns  of  all  haDoeninns  and  relations  in  spaco,  she  v/as  able  i  at 
the  same  time  to  conceive  formal  tim-e-snace  Dotterns  as  syrabols  or 
prototyoes  of  baslc  human' exoerience  and  to  reduce  hadily  movamönts  and 
postures  to  atostract  concepts  of  relations  in  nnd  to  space .   Such  con- 
cents  embraced  not  only  relati.ns  of  dirferent  uarts  of  the  body  to  each 


other  in  action  nnd  in  attitude  but  also  ralatlons  of  two  ov   more 
dancin'^  figures  to  each  other  i«tü  relations  o^  one  or  more  dancing 


.^r;  ^. 


',fU^ 


'tt.^s- 


1 


rrTTTT-WrentT  raiäht  hffvs   ranained   for    the    si^ßctat/jc   examolas    of 
formal   tlrae-aooe   oattei^ns  j^  dependenr^for   hunan  aljrilf  icunce  ^*94ry 


UDon  s 


iiülLi^i       _  ,-1:11-11-1 11  im,    but   for   a   factor   which   constitut 


es 


the  other  basic  alement  of  her  art,  namely,  the  use  of  a  v;ide  ränge  of 
dynamlcs  in  movement.   Through  numberless  i^radations  of  energy,  through 
couatless  variations  in  the  alternation  of  tension  and  release,  these 
abstrqct  relations  in  tine  and  space  becaiie  intensely  humanized,  nower- 
fully  dramatized,  without  reco  irse  to  naturallsm  or  r.sort  to  oroßram 
notes.   Here  was  an  art,  broad  In  Its  s  ;eeD,  elemental  in  its  deoth, 
universal  in  its  implicatiurt;  an  epic  art  which  enacted  1iit«  essential 
profiles  of  human  conduct,  'vhlch  communicated  basic  pattcrns  of  human 
snergy,  which  dramatized  inK  fundamental  relations  in  human  ex)erience. 
The  simole  extension  outward  of  curved  arms,  which  ordinär lly  mi;;ht  mean 
anythinr,  or  nothin  ;,  became  throu-h  a  crescendo  of  energy,  a  -esture  of 
vast  and  mi;;hty  embrace.   Hov-  little  of  colnrin;.',  detail  was  «  needed  to 
make  this  an  exalting  exoression  jf  the  hi'.mnne  /.^atherirv,  to,<',ether  of  men. 
The  slow  rise  of  the  body  from  an  inert  mass  on  the  -round  through  a« 
gradual  increase  of  tension  became  not  merely  the  overcomlng  of  gravity 
but  the  very  emergence  of  life.   Resistance  to  the  pull  of  gravity 


15. 


becomes  more  tnan  a  pxl,^  ^  j.^.    i 


Throup.h  sliyht  variatlons  in 


•.  ^r^atm^nt  it  is  converted  in  turn  t    into  a  strucßle  against  the 
t'^e  to  ona's  natlve  soll,  tl.e  fi.ht  of  the  miner  a.ainst  his  ciarR  lot, 
the  efrort  or  the  farmer  for  release  .rom  the  land.   .he  tense,  sud.en 
fall  becones  the  connuest  of  the  forces  of  earth,  the  more  relaxed  and 
gradual  fall  a  uillinn  surrender  to  the  peace  of  earth.   A  sinple  .alR, 
.   V.   UV  nnd  limp  suß'asts  the  labor  imnosed  by  snatial  extsnt;  v.hen 

4-  ^-p  r^  n*  ai-onnp    In  r'rouD  Clane e  we 
taut  and  broad  of  stride,  the  conquest  of  dist.nce.   m  ,.    . 

.itness  a.ain  d.na.ics  .ivin.  vital  i.n.ort  to  fornal  arran,e.nent .   .here 
ean  be  re.istance  to  the  opnosln,  forces  .hioh  pull  the  nasses  apart. 
There  can  be  the  victory  of  the  force  .hich  dra.vs  elaments  to,ether. 
^here  oan  be  the  force  .hich  dostroys  the  energy  necessaty  for  the 

.V  tion  of  th.  unätY  of  men .   There  can  be  the  sro«in;,  stran^th  of 
preservation  oi  tue  una  u,/ 

an  axt.n^ion  of  a  .ass  in  soace  -  the  .lad  nro.,ress  of  brave  :aen  .a.in. 
the  earth  their  o.n.   There  can  be  the  tonse  shrinlcin,  to,ether  of  men 
throu.^h  terror  and  common  need.   There  can  be  com:nunication  of  force 
from  man  to  man  to  man  v,ith  a  3-.th  of  collective  po.er.   These  are  but 
a  verv  fev,  of  the  oossibillties  of  a  dynamic  art  built  unon  formal 
elements  v,hich  it  .uic.ens  .ith  vital  imnort.   It  is  an  art  that  is 
bracin,,  in  its  «enerality  of  scone  and  stron,  enou^h  to  direct  the 
3u..estions  .hich  each  snectat.r  may,  if  he  choosas,  suooly  out  of  his 


ovjn  individual  exoeriance. 

Hov,ever  much  one  may  have  disliiced  the  .itchy  grotesoueness 
depicted  in  some  of  her  compositions  and  the  traces  of  oost-.ar  shell- 

•  .Ol  vph^mance  betrayed  in  others;  howevar  much 
shock,  of  almost  maniacal  veh^^mence  oolic^v, 

one  may,  in  these  days  of  professad  revolutionary  realism,  be  out  of 
svmnathy  .ith  her  mystical  naturalism,  and  her  leanin,  to.ards  sugges- 
tions  of  occult  forces;  ho.ever  much  he  may  daolora  the  absenca  in  her 

.  ji.        \.A  ry\^    -1  n  -t-  -^ -^ n  1  o  V  .  ( f  b 0 1 h  3 exe s 
'  ^-p  -hi^n-t-  hnlance  anci  variety  whioli  mtor ,oj_.,./  --l 
f^rouD  v;ork  Ol  tnat  oaxanoc 


16  . 


can  affoi'd,    and   however   rnucli  ha  may  be    tamoted    in    thasc    latlr-r   cays 
U'    Vje    nrejudiced   by    her    rc;i:)uted   caoitulation    to    the    forces    üf   Naziara, 
he    cannot    deny    that   Mary  V/i^iifian    is,    or    at    l.oast   xjfis   v'hen  iae    last    sav/   her, 
the    one    truly   enic   dancer    of    our    time.      Who    that    has    säen   lier   danca    can 


V 


C  V  O' 


er  fordet  the  pov/crful  s  nse  v/hich  sb.e  cüniriiunicated  of  a  deen 


Identification  v;ith  earth,  of  a  vast  humane  embrace  of  the  world^  of  a 


dramatic  grov/th  of  livinr^  amvßj,    of  tra,;ic  resistance  to  tlie  foi'ces  of 

of  harmonization  v/ith  or  struG;';!^  a,;ainfU  natural  foi^ces,    ^ 
destruction,/;^f  prodi^al  abandon,  of  heroic  assertion  --  of  the  lull 

glory  of  human  aliveness  in  pain,  in  ecstacy,  in  deliberate  surrender, 

in  titanic  revolt.   Here  was  an  art,  extravagant  at  times,  often  morbid 

in  intens ity,  but  passionately ,  heroically  alive  --  the  essence  of 

drama  in  laovement. 

Few,  if  any,  of  the  follov/ers  of  Wigman  in  Eurone  have  manifested 
that  wealth  of  energy,  that  concentrat ion  of  nuroose  and  clarity  of 
intuition  necessary  to  create  v;orks  that  have  generality  of  scooe  v/ithout 
sacriflce  of  essential  clarity,   power  v;ithout  tur  '.idity  .kK±  A  number 
of  them  have  ada  )ted  her  means  to  lesser,  thou:;h  still  valio,  ends^yK 
The  V/igman  anorcjach  to  dance  XKJSXSßixtxjsKX  creation  requires  for 
distinguished  success  a  certain  kind  of  temoerment.   It  is  a  temoerment 
which  is  completely  at  home  with  abstract ions,  ex:)eriences  strong 
aesthe-  ic  resoonse  to  them,  finds  release  of  creative  forces  in  their 
contemnlation,  •  nd  revels  in  the  opuortunity  to  infuse  them  with  life. 
To  Americans  in  general  such  a  temoerment  13    foreign.   The  average 
American  is  fact-minded,  practical,  definite.   He  thinks  and  feels  in 
concrete  terms.   He  ivorshins  commün  sense  and  is  susnici^uas  uf 
abstraction.   The  bigness  which  he  adores  is  tlie  bi^-ness  of  dimensions, 
or  the  aggregate  of  oarticulars.   Accordingly,  an  apnroach  to  art  which 
Starts  with  abstractions  is  false  to  him.   And  this  has  been  borne  out, 


I  think,  by  the  modern  dance  in  America.   Hative  exoonents  of  ip.odern 


17. 


M,^,.lenn   dnnce  in  this  country  came  down  wlth  a  heavy  case  of 
abstractionlsm.   And  the  malady  i.  still  far  from  cured.   It  has  alvays 
seerned  to  ne  an  abstractionism  that  was  forced,  vrithout  roots,  neither 
convinced  nor  convincing.   It  has  seerned  a  means  of  reraainins  ener/',etic- 
ally,  nretentiüusly  non-comnittal.   It>ils  sometines  looked  as  thou  ;h 
"The  Last  Puritan"  defied  hls  herita-e  and  went  in  for  dancln-,.   Uantlng 
to  be  Americanally  athletic  on  the  hi;.;h  nlane  of  art,  but  embarrassed  by 
the  necessity  of  betrayinr-',  emotlons,  the  American  dancer  hid  behind  the 
lonri  füll  skirts  of  abstractionism,  and  creatad  a  "neo-classlc"  dsnce. 
Even  v.-hen  there  vms  a  manifest  des  Ire  to  comraunicate  somethin.3  of  human 
im-Dort,  there  accom  )anled  that  desire  an  aLnost  morbid  fear  of  being 
artlculate  lest  the  result  be  less  than  dance . 

Kecently  there  has  been  a  reaction  a^ainst  this  extremism.   And  it 
is  no  mere  accident  I  balieve,  that  the  most  di3tin,;uished  works    that 
this  reaction  has  thus  far  yielded  have  -iven  evidonce  uf  a  mothod  of 
comnosition  which  starts  v.-ith  the  natural  forms  of  human  deoortment  In 

veryday  life  and  develoDS  then^  accordinr,]^  to  some  humanly  si;.;nif  icant 
acheme,  into  n  satisfyinß  donce  form.   For  this  is  the  nrocedure  conäenio 

to  the  American  oersonality. 

The  reactions  have  been  and  still  remain  hirihly  diverse  in 
character.   On  the  one  hand  there  have  been  the  earn^st  experiments  of 
youthful  revolutlonariea  v/ho  in  thelx  effort  to  Kive  their  dance  un- 
mistakable  social  sisnificance  have  concocted  v;hat  are  little  more 
than  forma lized  charades  aided  by  orinted  mottoes  on  banners  and 
accomnanyin/5  recitatiuns  of  texts .   ün  the  whole  they  have  been  clear . 
But  excoot  in  a  few  outstandin-  instances  nothing  more.   Then  there  have 
been  the   orks  of  those  who  still  think  and  feel  essentially  in  terms 
of  formal  dance  but^s  a  concession  to  their  social  conscience,  or  the 
temner  of  contemporary  audiencef,  have  attemiited  to  humanize  their 


18. 


dances  by  occaaional  lapsea  into  bald  pantomime,  sudd lernen ted  by 
leni^thy  program  notes  desii^,ned,  oresumaüly,  to  establish  that  the 
dance  as  a  v/hole  ia  not  as  meanine;le3S  as  It  seeiis  .   And  then  there  are 
^]!?iaa[SxaK±i  the  v/orks  of  those  artiats  vvho  read  into  their  beautifully 
conceived  formal  comoositions  a  cryptic  symbollsm,  the  unly  clue  to 
which  outside  of  periodic  suggestiona  of  human  exoression  are  orovided 
by  brief  titles  Drinted  n  the  nro,^^;ram.   Amon^:  such  artists  is  the  most 
distin,c;ui3hed  dance  talent  which.  American  has  produced  since  Isadora 
Duncan.   I  refer  to  iviartha  Graham. 

A  number  of  Mis3  Graham' s  comoositions  are  deeply  moving  human 
documents,  '••hich  gain  immensely  by  her  brilliant  d.-  nee  treatnent.   These 
I  exclude  from  oresent  consideration.   And  there  is  no  need  at  this 


p 


oint  to  dwell  upon  the  many  süperb  features  of  her  art:   her  dis- 


tinr.uished  sense  of  linear  design  in  both  posture  and  movement;  her 
outstanding  ability  so  tu  simolify  and  stylize  as  to  give  linear  effects 
their  Maximum  purity;  her  highly  individual  gift  fnr  the  creation  of 
memorableness  of  pose  and  epigrammatic  phrase  of  movement;  her  genius 
(far  too  rarely  invoked)  for  oenetrating  character ization  and  deft 
Satire  projected  ^vith  fine  economy  of  means;  her  strong,  clean,  incisive 
technioue;  her  adroitness  in  using  cos  turne  to  enhance  the  effect  of 
movement.   It  is  these  very  outstanding  virtues  which  make  doubly 
regrettable  the  deficiencies  manifest  in  so  many  of  her  v;orks .   And 
these  deficiencies  are  imoortant  to  note  here  since  they  are  resoonsible 
for  r^larin,"  failures  in  human  documentatiun  tlirough  dance.   If  Miss 
Graham  elected  to  remain  entirely  nithin  the  sphere  of  purely  formal 
dance,  there  could  be  little  reason  to  cuarrel  with  her.   But  in  many 
of  her  works  the  title  indicates  an  intention  at  humanistic  expression 
and  the  movements  betray  just  enough  hint  -f  an  effort  to  sneak 

signif icantly  of  human  life  to  make  cjne  look  for  meaning,  but  not  nearly 

19. 


)i     %tT^   Clf^-^]^^^  ^^   ''V^^/  ^^  Z^.^'^iS-'/'^'''  ^^^^-^1^  i-C^ixyJd^^ 


i^  4  jj y-ji^  tf^  i^ 


f     »^ 


X^fn^^AATTT- 


i» 


*^v>-  f  >-v.     i  <r .- 


enou^>;h  to  lllüminate  the  soectator.   ^nd  since  ^ne  knov/s  that  tha 
V'lua  of  dance  lies  in  the  scoue  of  hmv  it  can  aoeak  of  v;hat  it  says, 
rather  than  in  the  acope  of  vvhat  it  can  say,  one  is  sorely  troubled  ov.;!' 
the  spectacle  of  so  much  how  v/ith  little  or  no  clue  to  vYia t .   '±he  im- 
pression  is  created  of  a  oerverse  effort  no_t  to  say  what  one  wants  to    ^ 
say,  of  a  stran-e  affectation  of  usinc  dance  to  DUt  into  lan^ua-e  that 
nobody  understands  thin:;3  that  everybody  knows . 

It  is  my  belief  that  when  i.iiss  Orpham  fails  to  präsent  forms  which 
are  as  lucid  in  humnnistic  exTiression  as  they  are  irnnressive  from  the 
viev/point  of  formal  choreograDhy,  the  failure  is  due  lar-ely  to  two 
simole  facts  :  first,  that  sha  has  evolved  a  dance  style  to  v^hich  she 
attemots  to  fit  human  meaning  instead  of  choosinß  and  evolvin^;  forms 
because  they  are  oerfectly  suited  to  communicate  that  meaninc,  and 
secund,  th^t  the  style  itself  is  sin;:ularly  unfitted  to  liuman  ducumenta- 
tion.   In  the  first  place,  there  is  an  excessive  use  of  pose,   It  is  as 
thou^h  th..e  dancor  ^.ve^'o  in  love  vrj  th  ^^tylized  -^culpture  and  treated 
novement  as  an  extension  or  Elaboration  of  it,   Pose  is  a  xt:)i±   stran:ie 


m 


obiect  of  emphasis  in  an  art  of  which  livin/-  movement  is  the  essential 
stuff .   In  life,  oose  may  be  the  deportment  that  accompanies  con- 
templation.   Dnnce  Incks  the  v^ord  necessary  to  reveal  the  contr;nt  of 
that  contemplation.   Pose  may  be  a  device  of  exhibitionism  v/hich  makes 
one  the  darling  of  every  enteror  isin/^  photoi^raoher .   It  would  be  less 
than  fair  to  accuse  Miss  Graham  !e^  employinß  it  for  that  ef f ect  .   Pose 
may  be  a  means  of  rest.   Miss  Graham  does  not  ^^enerally  so  treat  it. 
It  may  be  the  content  of  a  moment  of  suspended  .nction.   Too  many  of 
Miss  Graham»  s  attitudes  are  unchar^^ed  with  suspense.   It  may  be  the 
product  of  Inhibition,  sometimes  frankly  confessed,  sometimes  thinly 
dis-.uised.   It  may  be  due  to  other  causes  or  nurposes  .   Whatever  may 

be  Miss  Graham*  s  motivation,  'consciuus  or  unconsci.jus ,  this 

20 . 


overemphasis  of  pose  söriuusly  limits  tlie  expressive  scope  of  a  v/ordless 
nrt,   Not  only  does  it  create  too  many  moments  of  unevantfulness  in 
terms  of  human  expression,  but  its  static  effect  is  carried  over  into 
aotion  itself.   Movement  tends  to  assume  the  character  of  interludes 
bet^veen  attitudes.   There  is  little  if  any  sense  of  joy,  of  compulsion, 


0 


f  inevitability  in  action.   Kather  is  there  a  feelin:';:;^  of  the  dancer's 


reco'-'.nition  of  the  fact  that  dance  demands  movement  nnd  tliat  nose  is 
forsaken  out  of  a  conscious  nnd  conscic}ntiou3  ref^ard  for  that  demand 
rather  than  out  of  a  stron^  drive  toward  action.   It  sometimes  seems  as 
thou:^^h  the  dancer  hod  carefully  olnnned  patyis  UDon  the  floor  and  in 
snace  and  then  feit  a  cU  ty  to  traverse  them,  really  preferrin^^  hov/ever 
to  stay  put.   Dance  thus  assumes  the  aspect  of  an  ex;)ression  of 

« 

inhibition  with  fra/^ments  of  comnensatory  activity.   'i'he  ran^e  of  human 
exnression  is  thus  sorely  limited. 

To  this  overuse  of  pose  must  be  added  another  feature  of  l.iiss 
Graham' s  style  v/hich  interferes  with  effective  human  djcum^ntation, 
namely,  a  shunninr,  of  dynamic  play.   Practically  all  movements  are  taken 
at  a  high  key  of  tautness.    Formerly  a  stiff  neck  v/as  ;iust  a  stiff 
neck  with  a  local  habitation  and  a  name  •   Now  it  appears  to  have  spread 
and  become  a  dance  style.   The  srov/th  and  waning  of  energy  in  movement, 
so  indispensable  to  human  exnression,  is  eliminated.   Expression  ^dÄmaö-^i-r 
KHK  depends  upon  contrasts.   With  the  rulin^g  out  of  dynamic  play,  it 
deoends  entirely  upon  the  spatial  rankes  and  dir ect ions* of  movement.   The 
v)ocabulary  of  dance,  none  tu-o  large  at  best,  is  pitifully  impover ished. 
For  where  all  movement  is  x  physically  streng,  all  movement  becomes 
expressively  weak.   There  is  nothing  to  build  from  or  to .   Force  becomes 
static.   Movement  threatens  to  become  strictly  formal  and  dance 
decadent.   For  dance  as  an  exoressive  art  builds  as  much  upon  movement 
as  the  result  of  imnulsive  or  Durposive  energics  as  upon  energy  considerea 

21. 


as  the  organic  means  of  movement.  All  that  remains  for  exnression  Is 
the  assoclational  ^alues  of  actlon,  suggeati^ms  of  the  norms  of  human 
deportment.   öf  thia  Miss  Graham  has  llicev/lse  taken  care.   The  third 
element  of  her  style  is  an  extreme  use  of  stylization.   The  dan^^ers  as 
well  as  the  values  of  stylization  I  have  had  occasion  to  dlscuss  in  an 
earlier  chnpter.   Miss  Graham  goes  the  limit.   Gharacter istic  subtle 
inflections  in  movement  are  eliminated  to  a  point  where  richness  of  the 
snectators  experlence  provides  no  aid  in  his  effort  to  Identify  the 
sources  of  the  geometrlcized  results .   IVhat  then,  is  left  for  the  human 
documentation  v;hich  this  gifted  artlst  ,rofesses  t..  intend?   Arbltrary 
Symbols.   A  sign  langua;;e  reouiring  special  pre-kno-vledge  and  understood 
solely  by  the-ipecially  initiated.   An  outstretched  leg  is  impressively 
raised  to  horizontal  position,  adorned  by  the  cautious  draping  of  a  skirt 
Is  this  the  miracle  of  lov/er  limbness  brought  into  harmony  with 
horizon?   ür  is  it  just  the  eternal  v-onder  of  living  legness?   und  wliat 
relation  dnes  it  bear  to  that  v/hich  precedes  it  and  that  which  follov/s 
it?   And  what  is  the  final  result?   A  great  dancer  who  possesses  the 
genius  to  create  a  -/ork  of  such  deep  and  lucid  tragedy  as  "Act  of  Plety" 
and  a  v;ork  of  such  deft  satire  and  süperb  taste  as   "Pessimist"  proceeds 
through  long  essai^s  of  pretentious  movement  gibberish,  works  character ize^ 
by  a  kind  of  labored  sophistication,  a  patently  cautious,  detached 
fabrication;  works  raarred  by  a  strangely  unrelent*^  ouality  of  priggish 
activism,  v/orks  that  croate  the  Impression  of  a  piece  of  highly 
stylized  sculPture  wound  up  for  action,  proceedin^.",  ^ta  a  fev;  occult 
vements,  stopping  in  pose,  starting  again,  stopping  in  another  pose, 
d  finally  running  down  to  the  end  of  the  comnosition;  v/orks  that 
culmlnnte  in  moat  inatances  neither  in  a  climax  of  heightened  vitallty 
nor  in  a  poetle  nuance  that  suggests  the  eternally  and  wiatfully 
unansverable,  but  that  merely  stop  or  peter  üut;  v,orks  with  no  conacious 


mo 


an 


22. 


breadth  of  spirit,  vilth   no  largasse  of  comiiiunication. 

It  is  not  ^vithout  irony  that  Martha  Graham  is  constantly  pleading 
for  an  American  dance  and  that  many  of  her  ardent  admirers  believe  that 
she  is  the  paramount  force  in  its  creation.   America  is  a  land  of 
vast  exnanses,  of  yuuthful  extrava..^anco ,  of  prodir!;iou3  abandon,  of  raw 
boldnoss.   It  is  a  land  of  fierce,  large-scale  competition,  of  mopning 
jazz,  of  miners  and  cowboys,  of  gigantic  standardizations ,  of  millions 
of  farmers,  factory  hands,  stevedores,  of  millions  of  helpless  and  hoDe 
less  unemployed,  it  is  a  land  of  turbulent  rivers,'of  rugged  mountains, 


0 


f  soaring  skyscrapers,  of  titanic  machines,  and  where,  I  ask,  does  the 


substance  of  this  vast,  temp^stuous  gauche  and  cacanhonous  cuuntry  of 


0 


Urs  find  exoression  in  the  dance  of  Miss  Graham?   In  stilted,  static 


tableaus  of  the  frontier?   In  frozen  movements  of  Oriental  lamentation? 
In  the  attractively  garbed  gestures  of  a  Continental  imoerialism?   In 
the  svnthetic  naivete  of  primitive  mysteries  culled  fron  the  kexican 
Indian  Southwest?   Martha  Graham  is  headed  straight  for  a  decadence 
that  is  so  energetic  that  she  may  lose  sight  of  it.   And  that  is 
lamentable.   For  hers  is  a  very  great  gift. 

I  have  advisedly  dwelt  upon  these  aspects  of  her  v/ork  in  the 


P 


resent  chapter  for  I  believe  that  the  shortcomings  of  \;hich  I  have 


vrritten  are  exami)les  of  the  unhappy  results  of  a  failure  to  recognize 
fully  and  clearly  the  implications  of  a  humanly  xl^RiÜzsxRt  exoressive 
dance  as  a  medium,  and  of  a  false  approach  to  compositiun  in  that  medium. 
Another  aoproach  to  humanly  expressive  dance  and  one  v/hich  is  at 


and 


once  far  clearer,  more  thürou,;h-,;oin£/  direct  than  that  of  i.iartha 
Graham,  far  more  natural  to  the  American  temoerment  than  that  of  Jigman, 
and  far  simnler  in  intenti.m  than  either,  is  exemolified  in  the  works 
if  Gh.'^rles  V/eidman,  on   artist  of  distinguished  talent  but  r.':ther 
shockin<-lv  uncven  achievments.   V/eidman  is  a  suoerbly  gifted  conico -tr^v^ic 


J^AAA^-^ 


f"^     IVs 


r. 


V-t,  2?).\  ^ 


t4vvX 


mime  dravm  nnturslly  to  dnnce  thnni^ji  th.e,    scope  ^^-hich  its  quality  and 
B  voca'oulary  afford  him  for  bcoadening  the  ran^e  and  3harpenin[^  the 
character  of  aatlric  Mnd  dramatic  expreasiun  throuf^h  movement.   The 


reduction  of  manners,  gestures  :•!'  coLitriunico  tlon,  varimas  tynes  of 

practlcal  action  nnd  spontaneous  betrayals  of  emotion  to  rjiytlimic 

patterns  nnd  the  mechanizat iui]^,  the  stylizati  ^ns  and  the  distortions  of 

these  nümerous  ohases  of  de^)ortment  all  serve  adiriirablv  to  Doint  liis 

carlcatures  ond  to  land  a  r)oi';;nant  beouty  to  his  sober  portrayals. 

This  IS  a  natural  nnd  a  simple  approach  to  the  art  of  movement.   But 

If  he  ^vere  content  to  stop  there  his  work  would  amount  to  little  more 

than  a  borro-  in^  of  dance  devlces  to  aid  a  v/ordless,  formolized  f oi",m 

6^    theatric  dxor*ession,  and  v/ould  fall  far  short  of  a  realization  of 

integrated  dance  conceptions.   ;/hen  V/eidman  is  at  his  best  that  is  far 

from  the  fact.   Many  of  his  composit  ions ,  thou:;h  they  give  evidence  of 

k    starting  v;ith  natural  human  der)ortm.ent  as  material  and  develop  clear 

humanistic  forms  anproaching  fables,  reveal  nt  the  same  time  sustained 

even 
ond  integi'ated  Choreographie  thought.   And/v;hen  he  approaches  frankly 

formal  dance,  as  in  his  suoerb  visualization  of  the  first  laovement  of 

a  suite  of  Roussel^  his  basic  m.ethod  of  aporoach  Stands  him  in  good 

stead  and  he  retains  a  consistent  lucidity  of  humanistic  Suggestion. 

In  all  of  hi:^  more  successful  comDOsitions ,  the  büdy,  no  matter  how 

formalized  his  movements  may  be,  is  always  respected  for  what  it  is, 

--  a  living,  human  Instrument.   Thnt  he  betrays  serious  faults  cannot 

be  denied.   i^'requently  he  dues  not  carry  far  enough  his  conversicn  uf 

natural  deportm.ent  into  dance  and  the  result  in  such  instances  is  an 


u 


neventfullY  literal  nantomime.   At  times,  he  seems  overcome  with 


Choreographie  scruples  and  the  consequences  in  these  instances  are 

shockingly  dull,  labored  episodes  of  formalistic  paddin^;,  ob jectionable 

in  themselves  and  doubly  so  in  contrast  witli  the  i.Quminating  d.-cumenta 
tions  from  which  he  lapses.   I  have  often  thought  of  vvhat  deiicious 

24. 


satirea  he  mi",ht  contrive  on  the  sore  subject  of  hls  all  too  frequent 

prolixity.  . 

But  vrho  that  has  ./itneased  such  süperb  realizntions  o3"TraKf(itions"  , 

"Candide","ln  the  Theatre",  and  oortiüns  üf  "Quest"  will  not  wlllingly 
baar  v/ith  these  weaknessea.   Hls  scope  of  ex^ression  mny  be  limited  and 
represent  but  a  ralatively  small  segment  of  the  total  dance  domaln.   But 
the  imnortance  of  Charles  Weidman  to  the  conteiaoorary  dance  life  of 
America  cannot  be  fairly  measured  by  the  dimensions  of  his  exnressional 
scooe.   His  broadest  significance  lies,  I  think,  in  his  yenius  for  trans- 
mutin-  natural  human  conduct  into  dance  without  obliterating  the 
essential  su-^estive  pualities  of  the  natural  nrototyoes  on  v/hich  he 
builds.   It  lies,  further,  in  his  eloouent  demonstrations  of  how  dance 
can  bec  .me  a  method  for  the  enhancement  rather  than  the  obscuring  of 
human  exnression.   It  lies,  lilcevvise,  in  his  clear  aporeciation  of  the 
iraoortance  üf  the  evolvin-  choreogranhic  forms  out  of  humnnistic  schemes. 
There  is'in/Ms'work  a  clear  imollcation  of  the  basic  fact  that  formal 
choreography  of  itself  is  JÜÄöAf  a  very  narrow  field  offering  but 
limited  po33ibilitie3  of  invention,  and  that  the  hope  for  continuad 
freshmess  and  vitality  in  dance  lies  not  in  rhythmic  eccentricity  and  in 
atrocities  of  distortion  but  in  the  ado.tion  and  sensitive  conversion 
of  the  numberless  3hadin;s  and  sequences  of  slgnificant  human  exnerience. 
The  v;ork  of  Charles  Weidman  is  a  brilliant  examnle  of  an  anoroach  to 
dance  ^vhich  ifi  fundanentally  harmonious  nith  the  American  teinperment 
and  caoable  through  diverse  talents  of  infinite  develonm^^t  anc^xtension. 

The  extreme  preoccupation  v;ith  formalistic  '  ''    "''     '  "^^'^ 
half-cücked  abstractionism,  v;lth  technical  innovations,  that  has 
characterized  so  much  of  modern  dance  in  America  to  data,  was,  I  suppose, 
an  unavoidable  incident  of  a  necessary  develooment.   It  has  not  been 


25. 


\ 


n 


w 


ithout  value.   It  has  aided  the  extension  cf  dance  vocabulary  and 


providad  thö  physical  equinment  necessary  fov    its  use.   And  now,  if  dance 
is  to  flourish  as  a  livin.';  art,  it  muat  urogress  further  in  the  direction 
of  utilizin^  and  transßormlnp;   humaniatic  toatterns  so  that  it  may  become 
fully  and  sip.nif icantly  articulate  as  a  humanly  exoressive  art. 

Let  US  now  give  a  few  moments  üf  thought  to  some  of  the  main  types 


0 


f  humanistic  fornx  available  to  dance.   It  is  logical,  I  think,  to 


consider  them  in  the  light  of  the  difference  bases  of  relatiunship 
between  the  dancer  and  his  snectators  which  they  imply. 

V/lien  a  person  appeai^s  before  the  public,  his  contact  with  that 
oublic  mav  be  on  any  of  several  different  levals  of  directness.   He  may 
lead  as  well  as  contribute  to  a  comnosite  exnrossiun  ■■■hoi'oin  he  and  the 
public  both  actively  participate,   'i'he  occasion  is  usually  one  of  com- 
memoration  or  celeb.x^ation.   Various  types  of  public  gatherings  serve  as 
exaiiiDles  --  festivals  of  cominunity  sin-;ing,  College  rallies,  the 

* 

ceremonies  of  fraternal  organizations,  prayer  meetings.   In  these  cases 
the  particioation  of  the  public  is  actual,   But  there  are  many  artistic 
presenta  tions  which,  t-king  thoir  cuo  froii  tbeso  fo'M'Ls  of  social  express- 
ion  are  so  conceived  and  executed  that  the  oublic,  though  it  remain 
silent  and  immobile,  is  made  to  feel,  through  the  riuality  oi!    the  artist's 
expression,  that  it  is  not  mere  audience  but  partici:)ant  in  a  .joint 


a 


ffair,   The  subject  matter  is  some  cherishcd  memory,  some  accomolislment. 


some  ideal  or  some  hooe  of  general  imnort.   The  basic  function  of  the 
artist  here  is  to  present  an  observance,  reverent  or  exultant  in  nuality, 
in  which  his  externalizations  of  his  own  aporopriate  emotions  v/ould 
arouse  like  feelings  in  the  audience.   In  many  ämcüsukä:^  cases,  seouences 
in  such  comoositions  may  on.ist  of  little  more  than  a  purely  formal 

treatment  of  an  easily  recognizable  and  nrovocative  symbol  of  the  subject 

du 

of  observance.   This  development  of  formal  devices  may  be  calc ulted  to 


26. 


\ 


celebrato  the  subject,  to  expresF5  and  heighten  the  audience's  involvement 

wjth  it  throw^h  radiatin,^  a  sense  of  Joint  humage,  of  Cürnmün  exultation, 

of  general  exaltation.   It  rriay  be  designed  to  hunor  the  subject  by  such 

glowlng 
elaborations  as  will  suggest  its  )0 tentialities ,  to  /uvö  it  the/voice 

nnd  raimant  of  grandeur  which  it  deserves.   And  yet  the  result  v/ill  not 

be  a  ourely  formal  design  because  it  embodies  man' 3  deep  Identification 


w 


ith  the  sub.iect.   It  becomes  tlie  Joint  and  deeply  feit  exnressinn  of 


many  man  using  formal  beauty  as  an  idealizing  and  glorifying  agency  and 
infusing  it  v;ith  livin^g  warmth.   3uch  are  the  achievments  of  many  of  the 
great  c^iural  eoisodes  of  the  B  Minor  Llass  of  Bach  and  of  the  final 
movement  of  the  Ninth  Symphony  of  Beethoven.   Gan  it  be  done  in  danceV 
I  have  already  attemoted  to  shov;  that  dance,  unlike  music,  cannot 
achieve  true  memorablaness  unless  its  formal  design  is  the  embodiment  of 
some  significant  humanistic  sßheme.   What  can  there  be  in  such  a  dance 


a 


s  I  have  described  that  meets  the  demands  of  this  humanistic  schome?   It 


is  the  unfoldment  of  the  natural  course  of  develooment  of  men's  Joint 
sense  of  cotnmemoration  or  celebration.   It  may,  for  example,  be  the 
cumulative  ä  progression  of  a  fugal  form,  wherein  one  man» s  orojection  of 
the  mood  of  reverence,  of  faith,  of  ecstasy,  affects  the  conduct  of  a 
second  man  who,  while  the  first  is  v/ell  on  his  expressive  way,  imitates 
his  movement s,  and  the  dance  motif  thus  announced  and  maintained  by  one 


a 


nd  d^HkÄR  imitated  by  another  is  thereafter  taken  uo  successively  by  still 


others  so  that  a  vast  and  exalting  mobile  tapestry  is  gradually  developed, 
headed  toward  a  powerful  climax.   Here  each  man» s  observance  is 
corroborated  and  heightened  by  the  like  expression  of  others,  each 
beginnin,-  at  a  differr-nt  point  of  time,   The  whole  v/ork,  based  upon  the 
progress  of  man' 3  emotiöns  through  preoccupation  v/ith  a  common  memory, 
hope  or  Ideal,  becomes  a  kind  of  Dance  Ode.   This  is  a  type  of  dance 


27 


rieh  in  its  posslbilities  of  deep  and  powerful  expression  that  is  far 
too  infrequently  prasented.   It  is  the  moat  direct  of  all  phases  of 
dance.   Por  in  it  the  dancer  appears  not  as  an  artist  oerfornlA.;-  for  an 
audience  but  rather  as   a  human  hein,s  obsarving  something  of  great  imoort 
wlth  K  hi3  fello^v  men,  v;ho,  fiiguratively  and  in  the  quality  of  their 


emotional  aliveness  are  dancinj4  with  him. 
contemnorary 
Notable/examoles  of  the  Dance  Ode  are  very  rar 


e . 


"Totenmal",  here- 


tofore  nentioned  in  anothar  connection,  v.-as  conceived  as  a  aolemn 
memorial  to  the  war  dead,  and  to  the  extent  that  it  succeeded  in  the 
realization  of  its  nurpose  partook  of  the  type  of  dance  .;hich  I  here  have 


in  mind. 


'Variations  and  Conclusiün"  of  Doris  Humphrey • 3"New  Dance", 


(Nev;  York  CitVf  constitutes  the  culmination  of  one  section  k  of  an 
extended  v,ork  professing  to  deplct  "the  growth  of  the  individual  in 
relation  to  his  fello.vs  in  an  ideal  state".   It  is  an  excellent  examnle 
of  the  dance  ude,  an  sxciting  composition  of  celebration. 

Miss  Humohrey,  v,ith  her  distinguished  talent  for  organizing  large 
.Touos  into  dancerrich  in  contraountal  interplay,  imoellint^  in  vitality 
of  movement  and  arresting  in  polyrhythmic  and  multirhythmic  natterns,  is 
eminently  weil  eauipped  to  create  dances  of  brilliant  festive  character. 
It  is  my  ^y^±t±^   conviction,  hov;ever,  that  ambitious  works  such  as  "Mev; 
Dance"  would  evoke  far  deener  response  if  the  basic  subject  matter  which 
they  develop  v;ould  be  made  more  fully.  explicit^  through  the  suggestive 
quality  of  formalized  movement  itself  and  if  the  vocab.lary  emi.loyed, 
instead  of  bein,^  so  largely  confined  to  the  develonmants  ■  of  a  rather 
specific  and  eccentric  maimer  of  movement,  were  so  extended  as  to  make 
dance  exoression  at  every  sten  completely  faithful  to  the  reouirements 
of  the  general  thame  and  the  moods  which  it  dictates. 

To  broaden  a  particular  manner  into  a  general  style  is  alv;ays 
langer  .US.   Por  inevitably  it  leads  either  to  poverty  of  axpression  or 


28. 


I 


to  0  meretriciüua  and  mechanical  inventiveness  as  a  means  of  achievlng 
diverslty  .-ithin  seif -imoosed  limits .   True  dlstinctivencss  of  style  is 
the  .eward  of  deeo  self-searching  on  the  part  of  the  creativa  artist.   It 
emanates  fron  the  deapast  levels  of  his  natura  and  develops  unconsciously . 
It  is  revealed  not  so  much  in  the  consistent  sal.ctiun  and  davalo.ment 
of  a  cartain  Phase  of  the  v;hula  available  vocabulary  of  a  medium  as  in 
the  subtlety  of  treatmant  of  that  vocabulary  utilizad  in  stern  and 
sensitive  obedience  to  the  thame  selacted. 

The  next  level  on  v^hich  a  person  may  appear  before  the  pi;blic  is 
examolifiad  by  tha  art  of  the  oratur  .   Since  orimarily  he  is  angaged  not 
in  .1oinln.T  with  the  oublic  ^n  a  conposita  exnression  but  rather  in 
spaakins  to  tha  public  as  an  audienca,  his  ralation  to  it  is  somawhat 
less  direct  than  the  w^  ona  just  described.  Still  his  medium  is 
characterizad  by  a  high  degrea  of  diractness.   For  though  he  may 
represant  n  causa  or  an  Institution,  ha  speaks  as  himself,  in  his  ovm 
nama  and  identity  and  not  as  a  represantad  character.   The  form  of  his 
utteranca  is  dictated  by  tha  ordcrlinass  of  logic  nacessary  for  conviction,| 
^fx^  modified  by  and  somatimes  completely  dominatad  by  considarations 
of  emotional  apPaal  required  for  oarsuasion.   If  ha  is  a  very  gifted 
spaakar,  his  contant-form  is  embodiad  in  an  agreaabla  axternal  form, 
re-aizad  through  rhythm,  tha  sansuous  valuas  of  spoken  sounds,  as  .all 
as  the  inflactions,  dynamics,  and  tempi  of  dalivary.   No«  ±.   there  is 
not,  I  believa,  in  terms  of  dance  alone,  an  eoui.alant  of  oratory. 
dancar  may,  it  is  true,  b.  the  quality  of  his  glanca  and  by  tha 
diraction  and  charactar  of  his  movement,  take  an  audianca  into  his 
confidence  nnd  to  some  oxtent,  danca  t_o  the..,  as  .all  as  .^oil  them.   He 
.ay,  to  a  dagree,  astablish  a  airect  oarsonal  contact  .ith  tham.   But 
lackin.  the  spoken  v..ord,  that  diract  contact  can  nevor  ba  com. lata.   For 
the  absence  of  verbal  ax.ression  s.ts  uo  a  barriar  and  the  spectators 


The 


29. 


have  no  v;ay  of  knov/in^^  (prurrram  notas  will  liardly  auffice)  that  the 
dancer  is  directly  addrassing  them  and  not  reoresentinj  •  olmraoter  v/bich 
he  means  to  hrlnß    into  r\    f ictional,dramatic  relation  v;ith  them.   Even 
v/here  the  dance  accomoaniviis  s    spbken  text  c'}irected  to  tlie  audience,  onci 
is  fashimed  to  heighten  the  eff-^ct  of  that  toxt,  unless  the  v/ords  are 
nctually  delivered  by  the  dancer  himself,  the  comolete  direct  contact  is 
not  achieved.   Por  the  Convention  of  the  (jancer's  muteness  remainLi  as  an 
obstacle.   Insofar  as  the  dancer  can  attain  a  de^^ree  of  direct  contoct, 
his  dance  nay  have  the  character  of  an  exhortation  or  an  irniiiediate 


commun 


ication  of  his  own  reactions.   In  the  former  case,  he  is  fcced 


V'f 


vith  the  dan/7;er  of  inarticulate  bombast,  tk  in  the  latter  case  the  dancer 


of  raw  emoting  and  pantomimic  literalness.   He  would  be  v/iser  to  avoid 
both  of  these  perils. 

And  this  leads  me  to  the  next  level  unon  which  a  person  nay  appear 
before  the  public  nnd  the  one  chnracter I st ic  of  most  dances,  namely 
theatric  representation.   Here  we  see  the  artist  n.-t  as  himself  but  as 
the  renresentation  uf  somebody  or  something  in  an  exoress  or  im'jlied 
fictional  setting.   His  contact  yjlth   the  public  is  indirect.   He  üoes 
not  address  it.   He  merely  makes  availnble  for  its  perceiition  a 
representation  with  which,  tlirough  accentance  of  a  fiction,  it  becomes 
identified.   Theatric  reoresentatiun  is  not  confined  to  public  spectacles 
It  is  evident  everywhere  in  lifo.   "Alli«  the  v/orld's  a  stage*'  in  o  sense 
für  more  literal  than  that  which  Shakespeare  suggested.   And  so  essential 
is  this  orocess  to  a  füll  understanding  of  many  of  the  most  imnortant 
types  of  humanistic  form  in  dance  tliat  it  demands  a  close  exanination 

0 t  this  Point . 

XioÄKixiK  In  essense,  theatric  reoresentatiun  is  the  process  of 

deliberate  transf ormat ion  of  variuus  asoects  of  one ' s  personality  so 


30. 


thot  he  appears  and  acta  and  feels  dlfferent  from  v/hat  he   really  is  for 
any  of  a  wide  variety  of  reasons .   The  r.iotive  imj   be  a  desire  for  such 
^''/S^differentiation  as  will  afford  rellef,  more  varied  allveness,  increased 
richness  in  the  tapestry  of  exDerience.   It  may  be  the  need  of  more 
outlets  for  numerous  facets  of  one'a  oersonality  than  tha  hiuiidruin 
character  of  actual  daily  livin/;;  af  f  ords .   It  may^he  yearning  to  live 
out  tha  nofc^ntial  total  ty  of  one's  seif  v;ith  a  datacmnent  and  f oreknov/ledg^ 
and  Hcnstery  rarely  attainable  amid  the  rigors  of  daily  axistance.   It  na., 
be  the  ambition  to  appear  better  or  ^-reater  than  one  is  and  to  enjoy 
thereby  n  heir;htanad  salf-esteem  and  tha  anhanced  tribute  of  othars. 
It  mny  be  the  zeal  for  self-realization  throu^h  the  craative  achievment 
of  makin:j  somethin^;  out  of  ona*s  seif. 

Theatric  reoEesentat ion  may  be  exparienced  actively  and  directly 
by  olayinf^,  rolas  In  lifa  ov    jn  sta^e.   It  may  be  experianced  indiractly 


a 


0 


nd  more  or  less  passivaly  through  Identification  with  actual  nersons 
r    enac.ted  characters  and  feeling  one»s  seif  m.aded  and  colored  by  their 


qualities,  functiuns  and  attainmants.   It  is  this  last  mantioned  form  of 
the  exDerience  which  one  enjoys  as  membar  of  Istr^  thaator  audianco,   Ihe 
actor  plays  a  role,  onr;ar^,es  in  theatric  renrasentation  v;ith  the  fora- 
knov/lad/^e  and  assent  of  tha  audianca .   V/hen  his  deportment  in  the  part 
he  Dlays  is  strongly  expressive  and  clearly  defined,  thare  is  a  tendency 
on  the  spectator's  part  in  a  very  litaral,  psycho-phjsical  sanse,  to 
reli^e  within  himself  the  charactor  oresented.   This  is  accomDlished 
through  kinaesthatic  resnonsa,  through  silant  imitation  and^awaKeninc 
of  emotions  which  accompany  the  imitative  response,   ",/hen  the  snectator 


is  sympathetic  to  tha  character,  the  reflective  experiance  is  likely  to 
be  intensified*   And  involvemant  with  the  cause  or  issue  of  tha  dramatic 
action  through  which  the  character  is  unfolded  further  heightens  the 


.51. 


r eact ion. 

V/lien  the  soectator  enters  the  theater  he  knov/s  that  what  he  is  about 
to  see  is  not  life  itself  but  a  theatrlc  Representation  of  it.   Anci  the 
proscenium  arch,  the  entre-actes,  the  style  of  Droduction  and  other 
factors  continue  to  remind  him  of  this  fact.   Consequently,  he  feels 
within  hirnseif,  at  the  same  time,  a  reflection  of  the  life  that  is  being 
enacted  on  the  sta//,e  and  an  awareness  of  the  actor's  creative  ^n^ocess  of 


s 


elf-transformption  and  a  lively  participation  in  that  creative  process 


In  other  words,  he  not  only  tends  to  feel  hiinself  bej^^n^  the  characters 


on 


the  sta/^e,  but  also  feels  himself  bein/;  the  actors  in  procoss  of 


portrayal.   At  one  müment,  one  facet  of  this  cornoosite  exnerience  is  in 
the  ascendant,  at  the  next  moment  the  other.   And  it  is  this  contraountal 
sort  of  exnerience  which  constitutes  the  ti;^ue  and  distin^uishin^  essence 
of  theater  enjoyment . 

Nov/  I  hove  Said  that  theatric  representation  is  the  level  upon  v:hich 
the  dancer,  in  most  instances,  apoears  before  his  soectator s.   He  dancos, 
in  other  v/ords,  not  as  himself  the  artist  directly  address ing  his 
soectators  throu;i;h  movernent  but  as  a  representation  of  somebody  or  sorne- 
*  thing,   But  it  is  evident  that  because  dance  is  v;hat  it  is,  this 

representation  must  differ  materially  fron  representation  in  the  drar.iatic 
theater.   Since  dance  does  not  enoloy  words,  except  incidentally,  and 
since  it  ab.iures  naturalism,  detailed  individualized  character izptions 
and  füll,  exact  replicas  of  scene,  Situation  and  event  k:^  are  virtually 
eliminated,  and  generalized,  suggestive  delineations  and  progressions  uf 
event 3  ndvance  to  tha  foreground.   But  this  must  not  be  regarded  as  an 
inadequncy  of  humanly  exnressivo  dance.   Theatric  representation  in 
dance  must  not  be  deprecated  as  oartial  or  fragmentary  but  considered 
rather  as  a  distinctive  type  of  representation,  uith  pecjliar 


advantages  of  its  ovm .   And  what  are  these  advnnta;';es?   They  consist  i 


n 


the  effects  achieved  throu.r^h  the  numerous  devices  discussed  tin  the 
chopter  on  vocabulary,   By  maans  of  these  devices  human  duciunüntation 
throuf^.h  movement  and  poature,  may  be  clarified,  intenaified,  universallzed . 
It  may  be  invasted  with  the  3Ug,>^estiveness  of  ooatic  indirection.   It  may 
be  kindled  \i/ith  exalting  philosophic  and  sociolof^ic  insinuations  •   It  may 
take  the  form  of  anacted  satire  and  exhortation.   It  may  be  sharpened 
into  üutlines  of  mamorable  epiu-ammatic  force.   And  sinco,  throur^h  these 
devices,  character  ond  axperlence  are  rendered  in  generalizad . termsj 
the  spectator  i3  afforded  large  scope  for  the  supnly  of  individualizing 
and  completinf^  detail  and  is  thus  oromoted  to  jarticinate  actively  in  the 
Creative  nrocess  of  theatric  reurasentation. 


Y/hen  formo  lization  is  not  merely  an  instrumant  for  jbscurity  and  an 
excuse  for  acrobatic  exhibitionism;  v;hen  coiomunication  of  the  darker 


(^ 


K 


emotions  avoids  ^the  ham  doncin'r.  of  seif -Ventilat  ion  and  the  '  classicism 


It 


of  frozen  sobs  on  see-sa^/s;  v/hon  symbols  neithar  defoiarate  into  obvious 
and  lifeless  charades  nor  remain  stern  guardians  of  the  dancer^s  vital 
secret\;  when,  in  other  words,  the  andancemant  of  human  conduct  and 
experiance  is  .^overnel  ly  intaf,rity,  comriir:  sense  and  healthy  imaj'^inat ion, 
the  fruits  of  theatric  renresentation  in  danco  are  many  and  unioue, 

Many  sober -minded  dancers  are  so  fri;htaned  by  the  ^vord  "theatric" 
that  it  is  nacessary  to  emphasize  that  v/hat  is  maant  ijy  theatric 
representation  in  dance  is  meraly  a  certain  tyne  of  indirect  oxnression  -- 
expression  throur^.h  revealin^;  a  representation  rather  than  by  direct 
address.   Ivluch  so  called  '^theatar  dance *^  has  none  uf  it.   On  the  other 
hand,  a  very  large  part  of  most  purely  concert  dance  is  dofinitely 
characterizod  by  it.   V/lien  the  modern  dancer,  in  the  liiost  ganeral  terms, 
donces  fear,  lova,  fliglit,  labor,  hata,  drive,  regimentation,  v/ar ,  these 
human  exneriences  are  embodiad  in  and  communicatad  tlii''ough  the  living 
Personality.   No  matter  how  deei^ly  and  faitiifully  the  dancer  may  draw 


33. 


upon  liis  -n.vn  oei-'sonal  exDeriance  and  hov;  ea,:;er  he  may  be  to  )roject  it  as 
his  ov;n;  or  no  matter  how  hard  he  may  try  to  abstract  experiences  from 
their  normal  sattiir^s  and  inoidents,  --  when  he  moves  uoon  the  stap^^e 


a 


s  the  living  embodiment  of  one  or  more  human  exnerlences,  the  dance 


whlch  he  oerforms,  if  it  hava  any  value  at  all,  is  accented  by  the 
spectator  not  as  a  direct  communication,  not  as  a  public  shov/lng  of  the 
private  life  of  the  dancer,  not  as  an  exoeriential  essenee  at  large,  but 
as  the  renresentation,  however  ^eneralizad,  of  a  human  nersonality. 

The  tynes  of  humanistic  form  in  dance  v;hich  are  marked  by  theatric 
representation  are  numerous.   Let  us  consider  a  fev;  of  the  most  im^^ortant 
0  f  th  em • 

To  bef;in  v;ith,  there  is  the  dance  of  pure  or  abstracted  characteri- 
zation,   This  is  type  oortraiture  throu{;;h  dance  action  v/hich  doos  not 
relate  a  story,  describo  an  episode  or  domonstrate  a  theory.   It  consists 
mcrely  in  the  selection  and  arran;j;ement  of  character istic  aspects  of 
bodily  deDortment  --  all  duly  formalized  --  supplemented  by  suggestively 
symbolic  externalizatijns  of  those  phases  of  subjective  experience  that 
normally  have  no  visible  outlets  in  real  life,  and  further  aided,tDerhaps, 
by  descriptive  makeup,  costume  and  other  dovices.   Inasmuch  as  thore  is 
a  deDarture  from  the  forms  and  details  of  naturalism,  the  character ization 
is  necessarily  generalizod.   Very  f^ood.   But  what  holds  such  a  dance 
together  as  a  humanistic  form?   Havin^^^  no  narrative  or  euisodic  sclieme 
to  drawn  upon  nor  any  theory  to  visualize,  v;hat  can  the  chüreo:^raohar 
use  as  a  basis  for  a  signif icantly  human  sequence  as  a  basis  to  develop 
his  selected  materials? 

In  drama,  it  is ,  to  a  large  extent  through  the  develooment  of  nlot, 
the  tests  to  which  that  plot  puts  the  oersonages  in  the  play^  and  the  v/aya 
in  \^'hich  those  tests  are  met  that  v;g  derive  our  knov/ledge  of  the 
characters.   In  character  sketches,  such  as  those  oresented  by  Huth  JJraT)er, 


o4  . 


much  the  same  is  true.   But  when  characteristics  are  isolated  from  the 
tissue  of  livinr^.  events,  how  are  they  to  be  assombled;  so  as  to  become 
not  merely  a  catalog  oi'  qualities  but  a  hmnanly  3ir;nificant  art  form? 
It  is,  I  beliave,  by  arranging  them  in  a  design  v/hich  itself  nay  serve  as 
a  Symbol  of  the  life  of  the  character.   That  design,  may,  for  examole, 
reveal  the  recurrence  v;ith  rhythmic  regulär  ity  of  a  certain  dominant 
ouality  or  exDerience,  follov/ed  in  each  instance  by  a  contrasting 
oualitv  or  exoerience  constttutin';  the  reaction  to  it  or  relief  from  it. 
Many  tynes  of  oersonality  reveal  this  cyclic  form.   Dijt  the  dosign  may, 
on  the  other  hand,  exhibit  the  persistence  and  grov/th  of  one  Impulse  v/hich 
colors  or  absorbs  or  roots  out  other  ohases  of  life.   Or  it  may  betray 
the  bitter  warfare  between  oDoosing^  demands  of  a  nature,  the  assertion  of 
each  met  consistently  ana  thwarted  by  the  rise  of  another,  with  a  result- 
ing  imnression  of  tragic  frustration  as  a  keynote.   These  are  but  a  fev; 
examoles  of  numerous  designs  which,  as  methods  of  ordering  the  materials 
of  characterization,  will  serve  to  symbolize  different  types  of  Personality 

The  most  distinguished  examole  of  the  dance  of  pure  characterization 
which  I  have  thus  far  seen  is  Martha  Graham»  s  deenly  tragic  ''Act  of  Piety'^ 
Höre  is  the  grimly  vivid  portrait  in  dance  movement  of  a  Dur itanrvically 
inhibited  woman.   The  severe  costume  and  coiffure,  the  sickly  tense, 
dravm-in  bearing,  the  driven  v;alk  --  these  establish  immediatoly  and 
sustain  tliroughout  the  work  the  dominant  ouality  of  a  oersonality.   They 


g 


ive  relevance  to  all  other  items  of  expeession  and  establish  an  underlyirg 


unity  in  human  tori.is  .   A 


cts  oerformed  in  the  course  of  the  dance  are  either 


Ucv 


formalizod  versions  of  acti^rj  deportment,  character is tic  of  such  a  'X-rson, 


o 


r  exnressionistic  renresentations  of  stifled  Impulses,  secrot  yearnings. 


hidden  conflicts.   The  oeriodic  reoetition  of  each  ol'   these  motifs  of 
experience  provides  an  appropriately  taut  rhytlim,  suggesting  at  certain 
moments  the  opoosing  Claims  of  different  facers  of  a  oersonality,  at  other 


•■7  C" 

00  • 


momants,  the  complementary  contrast  -i'oiving  out  of  a  dire  need  for  rolief . 
And  thus  the  v;hole  v/ork  achievas  a  ciuality  of  inevitable  continuity  and 
forms  the  hard,  lean,  syinmetry  of  bitter  f i-ustration- 

The  dance  of  pure  characterization  is  thus  capable  of  orovidin,^^;  an 
experience  that  is  unicue  as  the  result  of  a  combination  of  factors.   It 
oresents  a  human  oortiT^it  throuf^h  livin-  movement.   In  abstractin-  the 
essential  features  of  a  oersonality  from  elements  uf  individual 
idiosyncracy  and  details  of  event,  it  not  only  universalizes  the 
deoiction,  but  impels  the  soectator  to  share  in  creation  by  suDplyinc  the 
minutiae  and  motivations  necessary  to  comolete  the  picture.   Throu^h 
simplification  and  other  asuects  of  f ormalization  it  renders  the  living 
portraituEe  memorable  through  sharoen^in^^  outlines  and  enhancing  features 
of  deDortment.   And  by  arran-in^  characteristic  oualities  in  a  seouential 
scheme  v;hich  reoresonts  the  basic  rhytta  of  a  type  of  lifo,  it  reduces 
to  the  span  of  a  few  brief  moments  a  continuum  of  oersonal  haoDonings 
which  Covers  many  years  . 

Another  humanistic  form  involvin^^  some  deßvee    uf  theatric 
reoresentation  and  one  frec^uently  resorted  to  is  what  may  be  termed  the 
Dance  of  a  Pattern  of  Exnerience-   Here  we  find  the  dancer  rüCü:;nizinß 
that  each  of  many  basic  psychic  states  nnd  other  human  experiences 
(for  examnle  -  fear,  curiosity,  oue;nacity,  insanity,  religiosity, 
desnair)  not  onl.v  either  has  V  charaoter ist ic  manif es tations  in  bodily 
deoortment  ai^  or  can  at  any  rate  be  sucG^stively  ropresented  by  syijibolic 
movement  or  nlso  that  it  has  more  or  less  typical  forms  of  develooment. 
I^nd  it  is  these  forms  of  dovolopment  uhicli  he  makes  the  humanistic  forms 
of  dance.   He  may  start  with  a  common  event  nottern  in  v/hicli  cortain 
emotipns  become  operative  (such,  for  example,  as  the  >)roce3s  -..f  conversion, 


4-  "^ 


'  Volt,  the  spread  of  rumor)  or ,  bein/;^  more  ambitious,  he  may 


beßin  with  p  more  or  less  abstract  idea  of  the  pro/^ression  of  an  ei'iotion 


7S. 


onä   atteiapt  to  give  it  embodiment  and  realization  in  livinc  movenont . 
But  m  .ither  case,  he  strips  Ms  chosen  naterial  of  detalls  of  individu.l 
Personality  and  incldentals  of  eplsude,  untll  v;hat  is  left  is  the  stark, 
easential  nrofile  uf  a  typlcal  exueriential  schome.   This  he  subjects  to 
formalization,  to  clarify  exoresslon  and  to  enhance  its  effect.   l'he 
result  is  a  dance  that  sives  a  vivid,  Intcnse  awaraness  of  the  oror.ression 
of  some  ohase  of  human  lifo.   The  basic  form  Is  laid  dovm  by  the  forces 
which  determine  the  coursos  of  human  reactlons,  modified  only  by  the 
dictates  of  clarity  and  dramatic  ef f ectivenass .   It  is  necessarily  beyond 
the  province  of  such  a  dance,  beyond  its  por;er ,  in  fact,(3ince  it  is  a 
generalir.ed  depiction)  to  make  explicit  the  comprehensive  subtle  Operation 
of  causation  in  the  orocess  which  it  unfolds.   The  senuence  of  haonenir,:3 
should  be  sufficiently  familiär  to  the  spectator  as  the  result  of  general 
exnerience  to  enable  him  to  feel  and  acceot  at  once  its  truth.   And  thus 
untroubled  by  whys  ha  may  concentrate  upon  wtiats.   And  the  dance  then 
performs  its  true  function  nhich  is  not  exolanation,  but  a  direct 
ouickenin,  of  exoerience,  the  yieldina  of  a  fuller,  sharper  feel  of  lifo, 
in  tbis  type  of  dance,  character i.ation  is  not^n^.peralized;  it  is 
likely  to  be  reduced  to  the  minimur.,  subordinated^to  tho  requirements  of 


a  \'io 


rk  .hich,  above^all,  aims  at  the  revelation  of  a  pr'ocess  v;hlch  is 
spplicable  to  many,  if  not  all, ' types  of  men. 

in  Anna  Sokolov;'s  "Speaker"  (New  York  City  1Ü56)  an  adroit  and 
excitinö  solo  v;ork  built  u.on  the  ßestures  of  a  demogosic  orator, 
significant  secjuence  in  human  terms  is  achieved  through  a.akenin,  the 
spectator- s  i.,irained  sense  of  the  development  of  an  exbortative  soeech 
headed  to.ard  a  olimax  of  .ersnasion  -  the  process  of  conversion.   Here 
the  absence  of  v.ords  v,here  they  normally  belong  sharoens  the  satirie 
edf'G  of  the  action. 


; 


In  ßernlce  Van  Gelder 's  ''Rumor"  (San  Francisco  1936)  an  Intensely 

dramatic  three  ninute  group  dance,  vie   -vitness  in  rapid  succession  the 

incaotiün,  soread,  half-hearted  resistance  to  and  final  acceptance  of 

a  false  raport,  drivinf,  tnrou/j;li  a  crescendo  of  dynamics  to  a  catastrophic 

close.   In  this  v/ork,  the  humanistic  form  lies  in  the  definite  event 

scheme  appropriated .   And  that  scheme  proved  a  wise  choice,  for  every 

essential  element  in  it,  not  only  lent  itself  naturally  to  dance  treatment, 

but  gained  iramea3urabl^^in  force  and  ironic  Insinuation  tV)rou-h  the 

emoloyed 
devices  of  f ormalizatio^j:   the  use,  for  example,  of  canoh  in  novement, 

to  deoict  the  soread  of  rumor  and  the  over Coming  of  the  resistance  of 
one  after  the  other  of  different  oersons  .   This  hi;';hly  charged  and 
effectivo  comoosit  ion,  (somewha  t  too  brief  for  v;hat  it  contains)  is  an 
excellent  example  of  formal  design  and  humanistic  desl.r^n  become  one 
throwsh  ßoin,;;^  directly  to  everyday  life  iiü  for  materials  and  sequence 
and  shapinc,  them  vrith  Imagination  and  common  sense  untainfeed  by 
pretenfeiousness . 

There  is  another  humanistic  form  on  the  level  of  theatric 
representation,  a  very  imoortant  one,  wherein,  as  in  the  case  of  the 
dance  of  a  pattern  of  experience,  liuman  experiences  are  abstracted  from 
details  of  oersonality  and  event,  but  instead  of  being  oresented  so  as 
to  reveal  a  dance  Version  of  their  character is t ic  forms  of  development 


a 


re  so  treated  as  to  embody  and  represent  some  idea  or  theory  of  the 


dancer •   Such  comment  upon  life  or  Interpretation  of  it  is  achievod  in 
dance  largely  throur^h  the  im:)lication3  of  the  variuus  methods  uf^ 


a 


esthetic  modif icat ion,  oarticularly  of  the  different  types  of  time-soace 


desi.^n.   Iiere  the  dancer  becomes  poet-ohilosooher^  and  the  dance,  if 
successful,  the  suggestive  and  onotionally  provocative  embodiment  and 
enactment  of  an  idea . 


58, 


The  dancer  may,  for  example,  be  fascinated  by  the  notion  that  a 
considerable  number  of  diverse  human  actions  are  but  different  manifesta- 
ti'jns  of  una  baslc  iiriDulse.   He  desires  to  giva  this  idea  realizatiün  in 
dance .   He  may  so  nlter  these  diverse  actiuns  that  they  all  conrorm  to 
a  certain  rhythmic  fi^T^ure  and  betray  certaln  aualities  in  cornnion.   He 
may  arrange  them  in  a  graded  series  soi.hat  that  action  will  come  last 
which  appears  to  be  most  remv:)tö  from  the  first.   And  then  finally  the 
first  may  be  reoeated  so  that  by  .iuxtaposition  v;ith  the  last  of  the  saries 
it  v/ill  Clinch  the  jmport  of  the  dance  vrith  strilcin;^  effect.   Thus  the 
dancer  achievas  a  symboiic  rendition  of  his  idea  through  a  humanistic 
form  v;hlch  makes  a  ,_;ood  formal  dasign,  hav  ing  somathin^;  of  the  character 
of  a  theme  and  variations  with  the  attainment  of  symmatry  tiirough  the 
restatement,  in  closing  of  the  initial  action  theme. 

There  is  no  phase  of  art  dance  in  which  the  annoyanca  of  obscurity 
is  more  glaringly  and  more  freouently  evident  than  in  the  dance  of  ideas . 
And  this  cannot  be  traced  entirely  to  the  inability  of  dancars  to  think 
clearly  nor  to  thair  lack  of  a  sanse  of  responsibility  in  the  matter  of 
communication.  It  is  due,  in  large  measure,  I  think,  to  thair  failure 
to  recognize  tlie  human  imolicatinns  inhärent  in  formal  design,  and  as  a 
result,  a  falling  back  unon  an  arbitrary  sign  language,  unintelligible  to 

m. 

most  people  and  usually  failing,  even  when  understood,  to  evoke  an 
emotional  resoonse.   Most  types  of  formal  design  afford  ready  skelaton 
Symbols  of  many  ideas  oartinent  to  human  life.   It  is  necessary  only  to 
people  them  .ludiciously  and  to  humanize  them  sensit ively,  to  convart  them 
into  living  represantation;^ ,  readily  intelligible  and  highly  provocative, 
of  many  valuable  concents .   It  should  raquire  but  a  momant  of  reflection 
to  recügnize  how  such  formal  faatures  as  rhytlunic  recurrence,  thematic 
development,  symmetry,  asymmetrical  balance,  fugal  cumulative  progression, 
can  be  so  treated  as  to  becoma  cloarly  suggestive  symbols  of  fundamental 


39. 


thou;>;hts  about  life.   It  is  not  enough  tliat  the  dancer  ciiscover 
intellectually  the  aooropriataness  of  a  formal  pattern  for  the  renresenta 
tion  of  nn    idea;  he  must  feel  that  appropriateness  with  the  poet  in  hin. 
And  the  sense  of  the  representativa  values  of  forms  should  be  so  deeply 
part  of  him  through  traln-ng  and  k  experionce,  that  when  he  deaires  to 
create  a  dance  Version  of  an  idea,  somethin^x  aporoximat ing  tlie  ri^ht 
form  for  its  communication  will  naturally,  spontaneously  occur  to  him. 
It  will  nut  have  to  be  hard  wrou^^ht  out  of  a  labored  pr  'Cess  of 
nssamotions  and  inferences,  with  forced,  wooden  results,   What  I  am  here 
discussing  should  not  be  mistaken  for  the  unsound  orocedure  of  creating 
a  form  out  of  nurely  choreo.-^raphic  zest  and  then  attemptin^'  afterwards 
to  determine  whn  t  mennin-;  can  be  read  into  it  or  pulJed  out  of  it.   l'he 
false  and  fabricatod  character  of  thJs^  oourse  is  likely  to  be  all  too 
pntent.   It  is  one    ':}  ing  to  select  a  form  for  tYe    cciui  vnicat '  on  of  an 
idea  because  that  form  naturally  meets  the  requirements ;  it  is  quite 
another  thin^^  to  select  a  subjoct  because  it  fits  a  form  ?  Iraady 
evolved  or  selected. 

In  the  dance  of  a  pattern  of  experience  and  in  dances  of  narrative 


a 


ction  the  basic  seou  nces  to  be  observed  in  the  presontation  of  m/ove- 


me 


nts  are  more  or  less  literally  nrovided  by  real  life  itself .   V/here, 


however,  the  dancer 's  aim  is  to  visualize  an  idea  through  living 
movement,  natural  experience  is  not  likely  to  lay  down  forms  of  sequential| 
develonment.   For  in  such  cases,  the  dance  is  not  a  representation  of 
action  but  a  renresentation  of  an  idea  tlirough  action.   Communication 
depends  uoon  the  suggestive  oofeency  uf  individual  movements  and 
postures  and  of  the  total  form  in  which  they  are  arran;ged. 

ITo  form  of  humanly  exoressive  dance  oresents  greater  difficulties 
for  the  choreographer  than  the  dance  of  ideas .   But  when  those 
difficulties  have  been  fully  surmounted  there  are  rieh  rev/ards.   What 


40. 


nve    these  rewarcisV   New  and  startlin^  ideas?   Hardly.   I  have  already 
shov/n  how  limited  dance  is  in  the  sciope  of  its  Dower  to  corrirnunicate 
ideas.   'i'he  rewards  lie  rather  in  the  richnesa  and  intensity  üi'  feeling 
corrir:iunicated  throu^h  the  i-epresentation  of  an  idea  and  in  experiencing 
that  feelinf;  for  or   v/ith  re^^ard  to  or  in  association  witli  that  idea. 
Thou^ht  becomes  visibly  and  poetically  alive  with  feeling  and  feeling 


is  molded  by  thought • 

Nov;  in  a  sense,  every  humanly  exoressive  dance  is  a  dance  of  idea. 
In  the  dance  ode  the  subject  of  celebration,  if  not  in  itself  an  idea, 
at  least  carries  the  implication  of  one •   In  every  characterization 
there  lurks  a  ganeral  conceot  concerning  human  life.   And  is  not  every 
dance  of  a  pattern  of  experience  the  demons tration  of  some  basic  fact 
and  every  narrative  action  the  Illustration  or  embodiment  of  a  truthV 
To  be  a  dance  of  idea,  then,  a  v;ork  must  be  orimarily  and  not  merely 

A 

incidentally  or  merely  inferentially  the  symbolic  presentatlon  of  an 
idea  and  that  presentation  must  dictate  its  essential  humanistic  form. 
In  it,  the  danced  personality  is  not  a  character  in  a  story,  but  the 
representat ion  of  a  human  type,  appropriate  to  the  subject,  and 
suggesting,  through  the  quality  and  sequence  of  his  actions,  some  idea 
pertinent  to  his  life. 

A  very  good  example  of  the  dance  of  ideas,  is,  I  think,  Ilanya  Holmes 
reverently  delicate  solo  work  entitled  "In  '^^uiet  Space'*.   In  this 
strangely  beautiful  dance  IViiss  Holin  reveals  an  ancient  tr'uth:   that  it 
is  given  to  man  to  bring  into  his  workaday  existence  a  certain  renev/ed 
freshness  and  breadth  of  outlook  and  exaltation  through  attainin^r,  a 
momentary  sense,  gradually  developed,  of  liberation  from  the  Claims  of 
physical  earth  --  a  liberation  not  merely  of  the  body  from  the  pull  of 
gravity  (as  achieved  in  ballet)  but  of '  thou,';ht  and  feelin^g  which  in  turn 
affects  the  body.   And  how  does  Lliss  Hnlm  enact  this  truth  and  externalize 


41. 


the  inner  experience  which  it  involves*?   Through  the  centle  vibrating 
of  off-stage  gongs,  a  suatained,  space-f illing  softly  raciiatlnr;  undefined 
sound  is  oroduced  vdiich  ''ives  that  intense  sense  of  quietude  that  affects 
one»s  imnression  of  sDace  giving  it  a  kind  of  aliveness  of  its  ovm,  free 
and  far  from  the  world  of  solidities,  boundless  and  airy  and  serene. 
Into  this  snhere  the  dancing  figure  steps  with  a  tread  so  delicatv-ly, 
so  Cf^utinusly  molded  as  to  suggest  the  absence  of  sure  flooring,   The 
ouality  of  movement  is  such  as  to  give  the  feelin;  that  there  is  nothing 
palpable  but  the  body  itself  and  the  air  v/hich  surrounds  it.   A  tri- 
dimensional  area  of  si^ace  is  defined  by  luvements.   The  dancer  enters 
that  area  and  appears  gradually  to  evaporate  into  the  defined  voluine 


un 


til  ^vhat  is  left  of  it  is  little  rnore  than  a  living  vertical  line, 


light  as  air,  which  can  rise  into  reinote  regions  of  space  and  float  upon 
it.   A  sense  of  divorcement  from  the  harried  existonce  of  physical 
earth  hos  been  attained.   And  t-en,  sten  by  steo,  there  seeins  to  be  a 


return  of  the  body  to  the  earth  oY  w^ä.   There  has  been  liii«  a  momentary 


CL^ 


s 


ense  of  the  dissolution  of  materiality  and^^fc^  soaring  of  the  spirit, 
a  brief  interlude  of  exaltation  that  enables  man  to  return  refreshed^to 
the  heavy-footed  world  of  struggle  .   What  maices  this  comoosition  a^dance 
of  idea  than  a  oiece  of  vapory,  myst^py  calisthenics ,  is  the  logic 
implied  in  the  rise  from  earth,  the  achievment  of  momentary  elation 
apart  from  earth  and  the  return  of  the  pilgrim  body^  to  the  earth.   The 
beautiful  syminetry  of  the  formal  design  thus  becomes^the  means  of 
v^xpressing  the  dancer '  s  idea. 

Among  the  ideas  which  the  dancer  may  desire  to  communicate  through 
dance,  there  are  some  which  are  concerned  essentially  with  f ormlessness, 
with  Chaos,  with  discontinuity .   And  how  can  he  here  create  a  form  which 
will  comoly  with  tlie  requirements  of  dance  and  still  be  the  true  express^ 
ion  of  his  ideaV   Such  a  problem  confronted  Sophia  Delza  in  the  creation 


:2. 


of  her  ''Surrealist^  Solemnity"  (New  York  City,  lÜo6).   In  this  incisively 
satirie  work  whlch  LIjss  Delza  termed  '*a  kaleidoscopic  plastic  invention", 
there  v/as  achieved  a  projection  ttirough  movement  of  a  conceotion  oi'  the 
nature  of  decadence  in  modern  life.   The  lack  'f  or;r<;anic  orderliness  of 
Progression  was  the  substance  of  the  conception.   The  dance  consisted 
of  a  presentation  in  ranid  sequencv.  of  highly  diverse  fragmentary 
epidodes.   The  ludicr ousness  of  their  juxtaposit ions  v/as  the  main  ooint 
of  the  dance.   And  how  was  a  feeling  of  unity  acliieved?   Paradoxically, 
by  the  very  discont inuity  among  the  successive  items.   The  episodes  are 
related  to  each  other  only  by  the  unrelatedness  characteriatic  of  the 
subject  matter.   Unrelatedness  becomes  the  key-note.   The  dance  is  not 
long  in  progress  beforaSi  the  spectator  begins  to  expect  the  unexoected. 
And  it  is  this  very  kx^  consistent  feeling  of  exoectati.m  which  gives  to 
the  work  a  nuality  of  continuity  in  terms  of  its  human  substance.   In 
such  a  composition  formal  integrity  cannot  be  i^erfectly  achieved.   But 
if  the  humanistic  säo.  eme  is  clearly  enough  conceived  and  strongly  enough 
projected  it  may  to  a  considerable  extent  comoensate  for  the  lack  of 
perfect  formal  rectitude.   In  Miss  Delza' s  dance  the  dominating  singleness 
of  imoression  amid  these  diverse  ei^isodes  would  have  been  even  more 
comoletely  realized  than  .ticx^^xxsjCÄ  it  was   if  some  of  the  enisodes  had 
been  so  cnrtailed  as  to  have  more  easily  blended  into  a  kaleidoscopic 
effect. 

Now  we  come  to  another  humanistic  form   and  one  in  which  theatric 
renresentation  is  seen  in  somewhat  more  familiär  settings.   Let  the 
dance  comooser  select  a  number  of  related  human  actions  and  reactions 
and  arran-;e  them  in  a  pattern  of  events  tliat  tallias  with  general 


e 


ixnarience.   Let  him  render  the  dance  personages  so  definitive  that 


they  aporoach  clear  cüt  tyoes .   Let  coloring  and  stress  be  so  empl  lyed 
that  the  thought  and  feeling  of  the  spectator  are  directed  toward  a 

definite  objective.   Let  f ormalization  have  its  way  in  Converting 

43. 


natui'al  deportment  into  dance,   The  reault  13  a  ])hil.osi  ,)hical,  sei  ri'""' '- 

rv   r.:r>t.l  c'once  fable  --  a  y;ork,  that  is,  in  which  essential  elements  nf 

tbe  dance  of  cbaracter Izat ion,  tha  dance  of  a  pattern  of  eXüöPiance,  and 

the  c3ance  of  idea  are  unitedß)  to  con^titute,  in  dance,  a  skeleton  human 

narrative  v;ith  a  point.   It  is   because  the  ])uint  is  niore  or  less 

made  J<iJ^t , 

consci^)usly/to  dlctate  the  course  of  the  action  that  the  work  is  a  ■^•■^11^ 


1  1  T.!  ^•\ 


It  is  Illustration,  provocative  demon.strrit  ion  rather  than 


inter;rated  drama .   Gumulative  susoense,  and  betrayal  of  the  füll, 
subtle  complex  laotivations  of  conduct  --  the  earmarks  of  trua  drana  -- 
are  lackin,-;^.   Accordin^^ly  the  3a(]uence  of  hapoenin;£;s ,  which  constitutes 
the  humanistic  form  of  the  dance,  counts  fop  conviction,  upon  the  ready 
reco.cnition  and  verificatiun  n'hich  it  finds  in  the  soectator's  knovledge 


a 


nd  exnerience.Bnd  the  value  of  the  dance  lies  priifiarily  not  in  the 


novelty  of  its  revelations  nor  in  the  mountin>^  susoense  of  its  narrative, 


CM  I 

but  in  the  movin^^  cuality  oi'  exoression^   The  üistinctive  character  and 


intensity  of  emotional  response  to  a  story  outline^  due  for  the  lar,^j;est 
part  to  the  nuality  of  its  dance  unfoldment. 

The  dance  fable  may  be  in  the  form  either  of  a  solo  v/ork  or  a  ^r^oup 
comoosition.   In  the  former  case,  the  dance  is  likely,  in  many  in.stances, 
to  be  in  the  natura  of  a  dramatic  monolo.^^ue,  v/herein  the.  relation 
between  the  danced  character  and  other  oersons  uhose  oresence  is  merely 
ima--,ined  is  indicated  throu^h  the  uuality  of  the  dancer's  movements. 
In  the  latter  case,  one  witnesses  tha  inter-rela t ions  of  different 


dance  characters, 


the  relations  of  an  individual  to  a  /^roup^  or  of  two 


or  ];;ore  grouos  to  each  other, 

The  p;ro\viA'^  preferance  at  the  present  time  for  extended  dance 
works  (requiring  as  much  as  forty  minutes  or  nore  for  oerformance)  and 
the  increased  demand  for  human  ducumentation  in  dance  are  leadin,^ 
naturally  tu  the  use  more  and  more  of  the  fable  as  a  humanistic  form. 


44. 


i'he 


Por  the  narrativö  orofile  of  Its  action  .nd  tha  humrmlstic  differentia- 
tions  of  .er3üna;>.3  -vhich  that  action  reouires  make  it  relatlvaly  easy 
to  sustain  Interest  and  to  zive   fall  vK.i,;ht  and  developmant  to  a  aubject 
of  human  imoort.   It  is  not  surprisin^  to  find  that  rnost  of  tho  extonded 
„orks  racently  croated  by  Doris  Humphrey  and  Charles  r/eidr.ian  nre  In  the 
nature  of  dance  fahles.   I  have  already  nentlonad  the  many  virtues 
whlch  distingulsh  these  works .   I  havö  also  naoe  refarances  to  some  of 
thelr  short-comin-s:   lapses  Infeo  obscurity  on  the  one  hand  and  lanses 
mto  the  obvlousness  of  bald  oantomlne  on  the  other.   These  deflclencias 
should  serve  as  a  .varnln;  to  all  ■vho  v.-ish  to  create  dances  In  the  forin 
of  fables.   In  no  tyoe  of  dance  are  eplsodes  of  unintelllr;lble  of 
amblguous "dance  meaninü"  more  offensive  than  In  :^ne  whlch  sets  the 
3oectator,at  the  outsot,  .-n  a  claar  path  of  narratlve  Interüst.   And  in 
no  type  of  dance  is  the  tem)tation  greatar  to  relax  into  litoral 
deoortment  to  insura  clarity  even  at  the  cost  of  cance  integrity. 
paramount  naed  in  craating  the  dance  fable  is  to  find  a  method  of 
treating  the  sub.iect  selacted  that  nerraits  a  consistent  style  of  dance 
movement,  v;ithout  sacrifice  either  of  clarity  of  develoomant  or  the 
sustainad  elevated  charactar  of  dance  ex')res3ion.   V/hen  one  recalls,  for 
example,  Miss  liumohrey's  unfortunate  mlnlns  of  "The  Matriarch''  in  "With 
Mv  Ked  Pires"  he  feels  constralned  to  remind  dancers  that  althuugh  dance 
formalization  can  often  oroduce  deft  caricature,  the  f ormalizatiuns  of 
natural  depoi'tment  that  result  in  carlcature  do  not  always  constitute 
dance.   The,  consequence  may  often  be  mere  stiltod  pantomine  that  unin- 
tenticmally  rldicules  the  parformin;-  artist  himself  hardly  less  than 
the  charactei»  which  he  has  made  his  tarnet. 

V/ith  departures  from  the  irregularities  and  details  uf  naturalism 
in  the  dir.:;ctiün  of  f ormalization  there  is  no  reason  v;hy  the  hunaniatic 
form  which  conatitutes  a  fable  shuuld  not  be  a  thorou/^hly  satiafyin^.; 

45. 


result  w 


formal  design.   The  enliveninc  challenae  and  richness  of  texture  of 
narrative  action  even  when  it  Is  generalizad  and  illustrative  in 
character  make  the  fable  a  partlcularly  fellcitous  form  for  danca  in  an 
ase  üf  social  uoheaval.   But  it  mu3t  be  romembered  that  the  dance  fable 
will  have  but  slight  value  if  the  quality  of  its  unf.ldment  is  not  the 
paramount  concern  of  the  choreogranher .   If  the  story  interest  and  the 
"message"  get  the  upner  hand  and  become  nrlmary  enc,3  in  thomselves  the 
111  be  little  more  tlian  obvious  and  wo  öden  allegories,  neither 
8b9ürbin:^  enou;h  aa  atorf  nor  iiluminat  ing  enough  as  lessons  to  hold  an 
audience  in  a  busy  and  troubled  world. 

Having  brought  humanly  expressive  dance  to  thls  level  of  explicit 
dramatic  action,  we  are  now  confronted  v;ith  an  inportant  ouestion:  -- 
how  much  closer  than  the  fable  can  dance  alone  cone  tovvard  a  realization 
of  the  dlstinctive  values  of  Integrated  drama?  miat  are  those  valuesV 
True  drama  reveals  the  roots  and  füll  texture  of  huna  ^  character 
essentially  through  action,  and  develops  action,  in  cumulative  susoense, 
primarily  through  the  de  >iction  of  human  reactions  and  the  assertiona 
and  conflictsof  human  '.iHs.   Consaouently ,  every  item  of  the  action 
apnears  to  flow  naturally,  inevitably  from  ^vhat  orecedes  as  the  result 
of  the  ooeration  of  physical  aud  psychological  forces  and  not  according 
to  an  author-made  orogram  or  argument .   l'here  is  no  loophole  or  margin 
throu-h  which  the  audience  becomea  conscious  of  the  dramatist's 
Strategie  plan,  mission,  ideal  or  theory  and  of  v;hich,  as  a  result,  the 
action/Serfly  illustrative.   The  action  gives  the  effect  of  being 
natural  and  seif -suff icient ,xxiiasxHKiiH  and  any  precept  or  Instruction 
involved  is  so  insinuated  that  it  seams  to  be  ourely  the  result  of  the 

auditor's  inf erences . 

But,  needlass  to  say,  the  füll  realization  of  these  values  of 
integrated  drama,  depends  as  much  uoon  the  nature  of  the  dramatist's 


46. 


materials  as  upon  his  skill  and  seif -discipline  in  usin-  them.   Included 
in  these  materials  are  spaech  and  naturalis tic  action.   And,  as  I  have 
already  pointed  out,  to  explolt  these  devices  to  the  füll  Tor  the  ourpose 
of  creatin,'-^  the  most  comolete  humanistic  furm,  he  sacrificas  oerfection 
of  external  formal  desi^^,n.   Tha  dancer,  on  the  other  hand,  deliberately 
sacrifices  soeecli  and  naturalism  to  attain  formal  oerfection.   Let  us 
determine  just  what  this  sacrifice  on  the  oart  of  the  dancer  implies. 

Speech  not  only  provides  the  means  wheröby  persons  in  the  play 
exoress  thou'hts  and  feelin-;3  neces.iary  to  complete  individualized 


characterizatiuns  and  which  cannot  be  exoressed  through  movement  alone; 
it  is  also  important  as  the  means  of  axolainin-^  action,  of  comnle^ting 
action,  of  furthering  action.   Many  actions  of  a  person  apoear  absurdly 
p.ratuituous,  if  not  comoletely  meaningless,  unless  one  is  aware  of  that 
persons 's  motivation  in  the  form  of  his  own  thou^hts  and  feelin^s,  \;hich 
can  be  sunnlied  only  tlirough  \/ords  .   In  many  instances,  verbal  exoression 
is  so  essential  a  part  of  action  in  aidinr^  the  fulfillment  of  ito 
function  that  virithout  words  the  bodily  movement  apoe  rs  not  as  an 
Cirtisti«-  \"-j    iistiriad  abstraction  but  as  an  eccentricity  at  odds  with 
the  author's  Intention.   In  niunberless  circums  tances ,  tha  bodily  deport- 
ment  of  jne  oerson  constitutes  the  raaction  to  the  spoken  v/ords  uf  another 


p 


erson  for  which  there  is  no    Substitute  in  movement.   Omit  that  verbal 


provocation  and  tha  deoortment  has  no    raison-d' atre .   The  int arch.an.^;e  of 
words  in  itself  is  a  kind  of  action  which  freouently  thara  is^not  p;ood 


reas 


on  to  ra]:)lace  with  movement  but  ivhich  cannot  be  so  replaced. 


Thus  by  eliminn tin;-;  the  spoken  word  the  dance  nut  only  excludas  tLie 
possibility  of  com  .lete  raconstructi^^ns  or  recreations  of  individual 
Personality  and  embodiad  varsiuns  of  tha  orocasses  of  causation 
operative  in  human  charncter  but  it  also  limits  the  scone  of  actions 
which  can  be  presented  with  clear  comraunicabil  ity  of  imr)ort  and  0^ 


^1. 


Irnjo:^ 


situations    onjj  ev.jnts    nnd   rolatlonshlpa   v/hicn  r 


aX 


nu st  b e 


incluüed  in  the  vie^v  üf  life  aa  it  Is  reallzcd  n  in  any  üood  drama. 
MoBeover,  a.  a  conaenuence  of  these  curtailmentS;  evan  that  minimum  of 
complexity  in  plot  structure  necesaury  in  drama  for  the  maintenance  and 
gra-th  of  susoense  is,  in  .most  Instances,  very  difficult,  if  not  impossibl, 
tl  achieve.   In  a  prevl:m3  cbapter  I  noted  vari  us  usages  oT  spnech  with 
dance.   '^'hese  usages,  imoortant  as  they  ars,  cannot  go  very  far  toward 
investing  integrated  dance  with  the  values  of  full-fledged  drana.  For  nut 
onl   are  they  limited  in  charactar  and  function;  they  serve  or  are  associi 
ated  with  non-naturalistic  movament. 

■Ln  v/hat  ways  does  tha  ore  .-e.vation  of  naturalism  enter  vitally  into 
the  creition  of  dram?   Thejp  are,  in  the  first  place,  innumerable  subtle 
incidents  ^s4j4  and  irreguäar ities  in  natural  human  conduct  which  are  of  the 
very  essence  of  pe  'SO aal  exoression  and  which  are  important  in  drama  for 

v;hat  they  contribute  to  the  füll  betrayal  of  human  character  and  the  comp: 
pretensive  develöpement  of  dramatic  acti.n.  It  is  theae  very  elem^mts 
(disQussed  in  the  chapter  on  vocabulary  )  v/hich  the  forma lizations  of  danc 
eliminate.   In  the  secund  place,  there  are  countless  bits  of  nrosaic  acti. 
in  daily  life  that  are  xf  ihddsoenaable  to  a  dram-  tic  )icture  of  the 
fabric  of  life  and  to  the  advance.ment  of  dramatic  action.   If  they  hapoen 
to  iänd  themaelves  r  adily  to  formalization  and  to  gain  exnresa ivenesa 
throagh  thenrocess,  they  may  contribute  to  äh«  aporoximatiun  of  dramildc 

on  the  leval  of  dance.  When  they  are  not  suacentible  of  ad- 
vantageous  formalization  (and  Ih  cou  ntleaaÄKSJCX  inatances  that  is  the 
caae)  the  attem^ota  to  aubject  them  to  aesthetic  .nodif ication  result  either 
in  troubllng  vagueneaa  or  unintentimal  abairdity.   ^n  the  other  hand, 
i^they  are  introduced  in  thelr  native  form  intä  a  com^osition  conceived 
generally  in; terms  of  dance,  the  diacrepancy^etweon  the  naturaliatic 
itema  and  their  fc  rmalized  cont^xta  roba  the  v;ork  of  aeathetic  unity. 


expreaaai  ->n 


48. 


0 


ThU3  it  seema  to  me  beynnd  disoute  that  realization  of  the 
füll,  true  substaace  of  drama  in  ternsof  dance  is  Impossible  and  that 
"dance  drana"  is  little  more  tl^an  a  name.   V/e  have,  of  co.rse,  seen 
elem::nt3  of  dance  movement  and  doslan  utillzed  as  parts  of  a  style  of 
theatrical  oroduction.   Recall  the  memorable  Performances  of  Hatoima. 

4.   „-f  Av,t-a-p  in  Np-v  York  Citv.   But  in  these 
Witness  thö  süperb  achievements  o.   Artef  m  We..  -orn  oi;,,y. 

casea  there  are  plays  t.  start  v;ith.   DlaloRue  remains.   Likewise  many 
eoisodes  of  naturallstic  detail.   The  design  is  dramatic,  not  Choreo- 
graphie; thnt  is  to  say,  the  oresentati.n  as  a  whule  does  not  c .nstituäe 
a  perfect  formal  design  but  only  a  humanistic  desi^n  contalning  many 
formalized  elements.   V/hat  we  adnire  and  relish  is  the  enhancement  of 
dramatic  nresentotiun  through  devices  borrov;ed  fron  danee .   And  since  the 
fcrmalizations  are  usually  esoecially  called  for  by  the  whimsical,  exotic 
r  fantastic  demands  of  the  conceotion  their  .luxtapositi  ms  with  natural- 

ijtic  detalls  are  not  usually  jarrins« 

we  have  also  seen,  on  the  other  hand,  ballets  d'acti.n,  v;herein 
dance  clichSs  sive  way  to  oantomimic  action  and  literary  olots  suoplant 
r^'t^rmal  choreogra.hy.   The  resulta,  alr.ost  iuvariably,  are  uneventful  as 
dance,  inadequate  as  drama .   Thus  neither  fornalized  dramatic  oresenta- 
tion  nor  ballets  d> action  can  be  correctly  cited  as  examples  of  drama  in 
the  form  ofl  dance.   Well  then,  how,  if  at  all,  can  ve  ,ratify  the  oersis 
tent  desire  for  dance  of  sustained  dramatic  interestV   Certainly  modern 
dance  has  a  3tyle  and  vocabulary  far  better  suited  to  elevated  dramatic 
exoression  than  any  other  form  of  art  uance .   Still  that  does  not  funda- 
mentally  alter  the  Situation.   '.Vhat  is  here  needoH  first  of  all,  is  a 

clarification  of  the  iroblem. 

To  ask  how  close  dance  can  come  to  an  embodiment  of  the  distinc-| 
tive  values  of  drama  -.vithout  sacrificing  its  integrity  as  dance  is  of 
no  avail.   To  ask  how  far  drama  can  be  formalized  without  .ieopardizln,; 


-49- 


8 


ov/n  ar 


its  charaoter  as  drama  is  likewise  futile.   If  dance  is  to  antor  the 
sohere  of  drama,  it  must  :)e,  Trom  the  dancer'fs  viewpoint,  aither  because 
there  is  a  ohase  of  dance  ex)r3Ssion,  natural  and  true  t.)  the  medium  that 
reoresents  a  logical  ext  ans  Ion  of  t-ie  dancer^s  v/ork  and  that  inavitably 
oroducas  cartain  drama tic  vn.uas,  or  because  ha  faels  called  uoon  to  ar)ly 
certöin  asoects  of  his  art  tu  hai,-htan  the  af f activaness  of  drana  avan 
though  it  mean  a  conpromise  of  the  inta;-^,r  Ity  of  d.'tnce  as  an  indenandent 

rt.   In  the  former  case,  ha  thinks  and  faels  entiraly  in  terms  of  his 

t.   He  aims  not  to  see  liov/  close  ha  can  come  to  drama  without  viola- 
tino;  the  limitations  imoosed  by  his  ovm   medium,  but  to  discovar  and  raaliza| 

the  furthast  and  daeiest  dramatic  raaches  of  dnnce  as  dr-nce,  so  that  it  na;. 
attain  th..  riebest  human  texture  of  which  it  is  caoable-   The  rasult  will 
be  not  a  hybrid,  not  a  comoromise,  not  an  iJl  conceived  place  of  wordless, 

formalizad  theatra,  noV  .  '^dance  dra:nA",  ':y'-    -r^y^r    -hat  mi/^ht  ba  called 
a  drama  dance^  ■-  choraQgra>)hic  v/ork  that  is,  abuve  all,  trua  to  its  dance 

seif  and  in  beinf,  so  reveals  cartain  oualitias  in  conunon  with  drama. 

In  the  latter  case,  an    the  other  band,  the  d^mcar  becomes  the  sarv^j 

pnt  of,  a  contributoB  to  another  art,  namely,  noetic  drama.   liere  he  does 

for  the  QU  ality  of  movement  on  the  sta-e  what  the  ooet  does  for  soeech 

and  tha  desiy.ner  tor  aacor. 

Now  let  US  axamine  briefly  flrst,  tha  natura  of  drama  dance  as  a 
humanistic  form,  and  second,  the  ouality  of  drama  renderad  mora  nearly 
comolete  in  its  ooetic  exoression  by  the  odditijn  of  devicas  borrowed 


from  dnnce. 

The  inüispensMble  öondit  i  -n  .-f  drama  is  c-nf  tlct,.  Thea  reason  why 
in  drama  we  viev;  action  revedlins  charncter,  and  char^cter  d^feerminii  g 
the  b-  sie  curse  of  action  is  that  action  in  drama  is  essentially  conf]ict.| 
The  snok  n  "vord,  lii  cu  [^h  it  may  at  timas  sa  ve  for  commont,  is  for  the 


-<v 


Ir^rS^at   ix-rt,    an  elemant    in   conflict.   ^''aturalistic   details    are    eitlier 
part    of   conflict    or   part    of    the     ;ettinß    in  wbich   it    ocours    and   which 
help    to   m^  e    it    coiivincing.    In    tKÜher   \/©rd3,    in   drama    cuni'läit    is    inportai  t 
becouse    it    forces    to    the    sufface    tlie    stronr^est   and  deepest    olöinents    of 
human  pa'3onal±  y.   But    conflict,    batween  man   and  nature,    batv/een  man  and 
man,    bat^':een   diffar-ent    phases    of   one  man since    it    is    the   eternal  and 


un 


ivarsäil   tempar    of   all    life    is    algnificant    and  absD  rbing    even  v/hon   it    is 


abstracted   from   tho : e    incidents   which  enable    it,    as    in   drama,    to    ravaal 
the   fullnass    of   human   charact^r    and   to   baome    the  ma   er  ial   for   a   ooimülex 
patlern,    agreeably   toirmenting,    of   narrative   plot.  And   it    al   this   which 
calls    intu   being    the   drama   da  nee .    'i'his   humanistic   form   co^isists    in  baääc 
outlines   of   conflict    in  progress«   V/anting    the    oersoml   subs tancexjs^, 
the    exnlicitness   of  motivations,    and   labyrinths    of   events   which  dialogue 


a 


nd   naturalistic  rüg  ;edness   and  detail   con-ribute    to   human   imoort   and 


susnense,    it    is    dist inguished    instead  by   extarnal   effects    of   hei ghtened 

conflict   ahievad   thro   gh   calculated  usas    ofsuch  devices    as    creseendijof 

dynamics,    accelerendl,    polyrhythms,    contrapuntal  movements,    interplays 

between  groups    on  differant    lavols.      ^'ormali^ation   of  movements    land  an 

enhanced  and  univarsäLäized  nuality   of   exoression.   Gharacter  isat  ion   is 

vV^  are 

gener  alized    Into   broad   types.    oecuence    and^tot  al   f o?  m  xs/didtated  by   the 

nature   of    the    strug  :le--   war,    ravolt,    the    "etarnal    triangle".   And   since 

formalization   conrols,    the   humanistic   form   -  ill   r.adj.ly  baome   a  good 

formal   des.  gn«   'Aie   result    is   dance    that  gives    a   cuickened  feel   of   confldl: 

in  life,    It   doB  s    not    drive    toward   the    es tablishoment   of  a   point   as   does    thej 

fnble.   Nor   will   it   ba   merely    the  formalized  visualizati  -n  of   an  establishei 

pattern  of   expar^nce.    It  will   nläy   freely,    imagon  a tively  unon   the  motif  olj 

conflict,    coldring,    shaoing,    building,    in  many  difl'arent   ways,    to    enhance 

affectiveness.    It   may   reveal    the   assertion   of  will,    the   risa   of   opooeing 


fcr. 


clash,  nartial  triumph  on  nne  side  or  the  other,  new  obstöcles, 
tr 


.  ^/- 


further  nnd  intensifiad  cünflict  lendinr;  to  a  climax.   Or  It  ma.v  aeoict 
other  t,oe3  and  fo.m3  of  c.nflict.   In  s^.ite  of  the  lack  of  batrayals  of 
motivatlüns,  of  the  oreonratims  v;hich  drama  suonlies  in  the  caaae  of 
olausibllity,  it  need  not  aopear  nelod^-amatic,  for  the  de.artures  fron 
naturalism  .vhlch  characterize  it  will  s-  ve  it  from  ßratuitous  excitement. 
True  drama  dance  would  be  something  akin  to  drama  as  .een  by  the  Gods,  v;hoj 
m  feheir  aiaofness,  in  their  Indifference  to  ..orsonal  detaila,  in  thelr 
foreknowled^e,  revel  in  the  soectacle  of  conflict  uhich  is  hunan  lif e . 
Generality  of  exoression  nrovidea  ooetic  sug ^eativeness  and  orovokes  the 
Creative  oarticipation  of  the  soectator.   Sus  >ense  that  grov/s  out  of  de- 
finita  enisodlc  material  :vill  give  v.ay  tu  an  exalted,  ,,od-like  axcitament.| 
Pain,  terror,  combat,  victory,  defeat  bacone  elenant.  In  a  oro.lection  of 
the  coraico-tra-ic  oageant  of  human  existenca. 

But  v;hat  is  hare  demandad  is  that  tha  total  comoosltion,  ho^vef^r 
ganeralized  and  abbreviated  as  a  human  document,  ba  es  .entially  trua  to 
human  axnariance;  that  it  be,  in  othar  viords,  a  formal,  noatic  Version 
of  lifa  as  it  i3  or  as  it  could  ba.   Indlvidual  acts  in  the  poen  of  con- 
flict should  have  an  immediately  recognizable  c^uallty,  and  thair  olaces 
in  the  context  must  be  feit  as  logical,  as  not  untrue  to  the  iU   natural 
course  of  h^man  reactions.   If  the  drama  dance  v;era  deformallzad  and  de- 
tails  suoolied,  tha  rasult  should  be  something  closa  t.  the  substance  of 
,  trua  drama.   The  tyoa  of  conflict  selacted  as  sub.ict  of  a  drama  danca 
should,  of  course,  be  ona  in  v,hich  conflict  is  orimarily,  if  nut  entirelv 
in  tha  form  of  overt  bodily  action.   Tha  nacassity  of  ralying  too  graatly 
upon  movement  symbols  of  inn.r  c.nflict  is  alv;ays  unfortunate.   For  it  is 
almost  alvmys  likely  to  rasult  in  obscurity  and  llf alessnass . 

Drama  danca,  in  its  true  sense,  is  not  merely  bastard  drama,  not 
neralv  a  blua.>rint  voraion  of  a  olay.   It  is  a  diffe.ont  and  fully  .iusti- 


fiable  art  forra.   It  cannot  do  what  drama  does,  and  what  it  achiei^ies  l.ios 
bevond  the  )rovlnce    of  drama .   Its  basic  aooeal  11^3  in  movement    o£    the  hu- 

f  i 

man  body  liberated  fr  tlie  moat  cüriolete  dir.^ct  ex  iressivoneas  and  here 
given  scoDe  for  sustained  dramatic  unfoldment,  f?^ithful  at  every  ooint  to 
the  nature  of  the  raedium. 

V/hat  the  da  nee  can  do,  on  the  uther  händ,  to  raiae  the  action  of 
drama  to  a  ooetic  level  corres  vonding  t(3  that  achieved  in  s  niach  and  decor 
requires  but  little  discussion.   In  ;:)oetic  drana  v;e  find  dialo,[^ue  trans- 
muted  into  the  intens  ified  and  sU;;;^gestive  utterance  of  poetry.   In  the  mo- 
dern theatre,  ^.ve  find  in  settings,  lighting,  and  costunes  oualities  of  sug- 
gestive simolif ication,  of  sensitive  evocation  of  a^^orooriate  mood,  of  teil 
ing  beauty  of  design,-  the  ooetic  rendition  oih-p^mI  and  environmBnt,   \/o  finc 
music  emoloyed  to  heighton  the  eloquence  of  delivery,  to  onhance  mood,  to 
orovide  a  orovocative  emotional  coiomentary.   In  other  words,  ever;/  elenent 
of  dramatic  oroduction  is  raised  t  )  the  olane  of  )oetry  save  one :  action. 
V/ho  has  not  heard  actors  reading  the  exalted  lines  of  öhakespearo '  s  tra.^ic 
heroes  to  the  tailor-made  movements  of  a  f loorwalker?   V/lio  has  not  heard 
distinguished  ■•/agnerian  artists  singing  as  gods  -virile  they  \/alked  and  gesti-j 
culated  lilce  butchersl 

It  is  true,  of  coirse,  that  bofore  the  advent  of  modern  danco  'here 


was  little  i^ 


■»  ^ 


>r't  'c  t  O'j-i'aend  itself  Lj  poetic  drama,  or  at.  least  to 


ooetic  tragedy.   Could  I/iacbeth  confess  liis  bloody  ambitions  ta  the  accomnani] 

^   "•   "  "  '"-  -'-.ilde  nlead  v;ith  V/otan  in  uÄLiij^iiaij 


ment  of  ballet 


r?   Could  Brjnh: 


But  modern  dance,  on  the  other  hand,  through  the  various  qualities  pre- 
viously  discussed,  offers  poetic  movement  aooro  )rinte  to  every  ohase  of 
dramatic  action.   The  theatres  of  the  Orient  have  long  used  formalizod 
movement  in  the  i^resentation  of  )lays .   It  nov;  remains  for  the  theatres  of 
the  ivestern  v;orld  to  oerfect  the  oresentation  of  poetic  drama  by  raising 


bodily  movement  to  the  ooetic  level  attained  h]j    soeech  and  decor.   FJxoeri- 


nents  Imve  bsen  nade .   But  the.y  have  been  relatively  rare. 

There  are,it  Is  true,  certnin  objectlona  to  be  net .   In  the  firat 
Dlace,  there  ara  the  oroaaic  details  incident  to  dranatic  develonniont , 
which  do  not  lend  themselves  to  connlete  formallzatiun  without  reaulting 
m  var.ueness  or  unintended  trnveaty.   These  Incidents,  In  their  crude  form 
cannot,  as  already  oointed  out,  orecede  or  follov/  füll;/  formalized  conduct 
v,ithout  oroducing  aa  undesirable  Inconaruity.   But  there  is  an  ans^./er^  to 
this  objection.   Com.)letely  realized  drama  cannot,  for  reasons  which  I 
have  already  sugsested,  ever  hooe  to  achieve  oerfection  of  formal  design. 
Ther^fore,  unlike  dance,  It  does  not  demand  a  consistently  comolote  for- 
malization.   There  may  be  many  different  de-rees  of  each  klnd  of  esthetic 
modification  of  natural  human  deoortnient.   In  formal!,. ing  mowements  in 
oroductions  of  noetlc  drama,  orosaic  incidents  may  be  modified  just  enough 
to  be  in  harmony  v/ith  t^e  ouality  of  the  oroducfeion  as  a  v/hole,  and  the 
degree  of  formalization  gradually  reduced  as  the  action  a.  )roaches  suc:.  in. 
cidents  and  gradually  increased  as  the  action  deoarts  from  them..  Hov,  much 
closer  to  common  soeech  is  the  ooeratic  recitative  than  the  set  «^^^'^^j"^^ 


how  much  better  does  is  harmonize  v/ith  moro  intense  and  integrated 
exoressions  than  spoken  dialogue  frequently  emnloyed  in  )roduction3  of 
certain  operas  in  Heu  of  the  recitative.   3ome  ,uasi-formalized  versions 
of  nrosaic  actions  may  be  evolved  that  are  analagous  to  the  recitati  ve  in 


opera. 


Another  objection  sometimes  made  to  formalizing  bodily  movements 
in  the  Staging  of  ooetlc  drama  is  this;-  that  much  of  the  eff ectlveness  of 
the  use  of  noetic  utterance  in  drama  is  due  to  witnessing  exalted  exoreas- 
ion  emanating  from  men  with  feet  of  clay,  and  that  the  glorif ication  of 
bodily  movement  as  nell  as  speech  tends  to  destroy  that  effect;  that  no- 

tv^ing  more  Is  needod  than  oerfcct  bodily  control  and  finesse  in  the  oer- 

T  "hould  be  disoosed  to  reoly  that 
formance  of  natural  movements.  -^  -^^ 


inept   dance   movenent   may   cause    a  man   to    look    like   a  monkey   or   a   traffic- 
signal,    but    tlie  most    eloquent   dance   conceivable   v/ill   not    erase   tirie 
reminders    of  mere   man  of   ciäy   transcendtig   his   ov/n   limitet  ions    and   singlng 
through   spacev/ith  his   v/to  le   body  like    some   fleet    and  Dov/erful  god.      ^n 
med  rn  dance   particularly   isthere   an  emphnsis   m the   process    of  man  | 

overcoming   restricttäg^  forces.   Moreover,    it    is    not  necessary,    in  fact    it 
would  freouently  be   undesirable   for   formalization  of  movement   to   go    as 
far    in  dramq.   as    it   does    even   in   cd  nservative   dance.   IIow    little    is   required 
t)     ^ve   movement    in    ooetic   drama   a  quality  aßproprlate    to    the    text.      B  ;t 
how  vitally   imoortant    is    that    little;      the  epigrarrB-.atic  memorableness 
that  can  be   produced  by  alight    simplif ication  -Sk   stylization;    the   ooetica 
lly  sug-e.Ttive   understntement   that   simplif ication   can  yield;    the    intensifi^ 
cation  ii^HXgiixÄ^MQaiJSX  of  gesture   through  dynamic  gradations   and  extensi^j 
of   the    snatial  ränge    of  mo^^mnts;    the    eloquence   of   the    si  mple,  walk,    throug] 
control   of    the   quality  of  movement;    the    exalted  feeling   of    idealizati  m 
in  human  affairs    through  gro'ioings    in   sound   statiunary  design,    tl^irogh 
Dlnstic    continuity   in     ransiti^ms   from   one  stotionery  design   to    antüher:^:    , 
thTough  v/ell  wrought    time-space   deagns;    the    insinuati  ns   of   the    larger 
implications    of   action  through  approximation  s   of  more   or    less    sustained 

rhythmic    schemes. 

One      oint   above   all   should  be   clear   f iü  m  lihis   discussion  of 
humanistic   forms    as   v;ell  as    fron  other   parts   of   the  prosent  writing: 
tiiat    is,    the   need  of   the   recognition  and  practice   of    choreogra  ^hy  as    a 
parate   profession,    apart  both  from  iiUB  pedagogy  and  pe  'i&t&rmance;    a 
profession   that    v/ould  provide    solo  works    to    je   performed  by   artists 
other    than   the   choreographer   himself   and  group  workd   to   be   presented 
by  ensembles   other    than  the    students   an   concert   grou^   of   tb     dance 
comooser.      Thera    is    no    roason  whatevor   why   a  person  v;ho   has    a  body   nntural 
ly  vfell   adaDted   to    dance,    who   has    attained  a   consummate    tochnical  mastory, 

5  ^ 


;vho   has   feellng  for    eläquonce    in  nove,T.ent,    who   haa    assiitillated  a    lar^e 
dance  vocabulnry   and  added  a   fex,   itena    of  Ms   ownx,    v/ho   has    someaporecp 
lation  of   design,    and  who    in  addition   ia    a   akilful      pedagogue   and  ensenble 
drill  naster   ahould  nece   ssarily  have   the   crentive    imaginatio^    the  discioi: 
line,    the    Intuition,    the   general  cultural  background,    the    aeathetic    and 
•intel  ectual  maturity   indisoenaable   forthe   comoositlon  of  dl  stinguished 
dance  ivorka.     On  the   other  hand,   fitere    is   no   reason  why   one   v;ho   possesses 
in  a  high  degree    these    la^t-menti  ned   reoLVsites    of   the    choreograoher 
should  neces3arily   possess    likev/ise    the    tehnical  proficiency,    the   personal 
charm,    and  power   of   orojection  denanded  of  a  distinguiahed  dance  nerformer, 
or    the   routtoe   and  the    oor,  r    of  handle   people   requireu   of   a   dance   regisseu: 
What    is   needed  desperately   in  modern  dance   to-day   is   a  diviäion  of   labora, 
the   task   of    como   sition,    un   the    one  hand,    and  of   perofrmance    and  group 
direction,    on   the    other.   The   need  of    this   dividion  hp.3    to    some   extent 
alrendy  been  recognized  and   acted  on   in  ballet,      'x'his    Situation   is    in  no 
sense   oeculiar   to    the   art   of   dance.      V/hat  would   the  Toscanini's    cnd   the 
Heifefez's   bewithout    their   i.lozBrt's    and  their  B.^ethoven' st      V/hat     v;ould 
the   Stanislavski's    and   the   Heinhaddf s   b.    with.ut    t    eir   Shakespeare' s 
and   their    ChekhB^fts.      And  what   would   the   greit   nlaywrights   be   without 
the   actors   and  regisaeura,    or   the  musicnl   comnosers  without   gifted 
conductors    and   soloista   and  brilliantly    trained  orchestraa? 

The    oresent    Situation    in   the   modern  dance  world,    partlcularly 
the   dance   world  of  America,    is     .roductive   of    nitiful  waste.      Qifted 
performers    kn  .w   how    to   dance   but   are  woefuljy   Ignorant   of  what   to    dance. 
Artists   with   latent   gifts    f or t  he   creat  ion  of   frosh  and  significant  move- 
ment  and   time-spacö   desigi^,    with  a  d«ep   knnwled.;e    and   a  burning   aense    of 
C'ntemporary   lli'e,    with  a  aondd  feel    ng   for   dramntic   and   !X.  etic   values, 
with  a   develoned   taat  e    (ßor  music  and  other   arts    related   to    dance,    never 
-ven   th-ink   of  entering    the   field  of  d^ice    comosaition  or    if    they  dD  , 


instead   of  mna terinf^    the   elements    of  irioveLient    and  becümirig    clioreo£;ra  jhers 
turn  to    other  nedia   for    the   exe  reise   of    their    crentive    talants   becauae 
they   find    no   raenns    at    their    ddsDOsal   for     the   realization  of   dance    Ideas. 
V/hat    are    the   ex  >  'anations?      "^hat   modern  dnnce    is    still  a    very    yungg   art? 
Yes.      Dut    inore,    theroe    is    the    stuuborn   and  stuoid    nride   and   narrov/ness   of 
dancers,    wbo   are    fearful   of their    reputatijns    if    they   let    soneone   eise    com-| 
pose    their    solos    for    them,    v/ho    are    trained    in  one    narrov/   and    inflexible 
>tyle    i?nd   refujse    to    res:)ond   to    ideas    thnt   deniand   another    style,   v/ho 
fail   to    recognize   hov;    large    is    the   scope    that   would  be   lef t    to    them   if 
they  danced  works    composed  by  iaxxXX    others  "fei^    OHentive    oarticioation 
in    the    interprotation   of  v/orkd   o-^-tn-^u.! u o d  by   otlioiLa,    who   have    delusi^ns    of 
grandeur    concerning    their   ovm    to);lent   for    c   n;)Osition» 

V/hat    is   ^".joefully   needed   to-day   then   is    a   profession  of 

dancewrights  witkx   a   flexible    and  easily    intelliglble   s  'stem  of  dance 

v/ith  a    sound   basic    tra  nging    in   movarient 
notationas   at   their    command:    creative   art  ist  s/v/h  om,    v/hile    those   or.ibitious 


to   Derform  are   perfecting    their    technirue,    are    concen trat ing    on    tlB    deeper 
unde-staning   of    the  vocabulary  of  muvement    and    its    values    and    implicatiji  s,| 
the   &  nctiTis    of    the   various   methdds    of  aesthetic  modificnti  <n,    tls     zxixLtl: 
reiations   of   dJlihe±  arts    to    dance,    the   pl.-.ice    of  dance    in    life,    tho   nntuire 
and   Problems    .«und   conflicts    of   the   contemproary  world. 

With   etuch  a   division  of    labors    there  wo    Id  be   yielded   the 
best    that    can  be   produced   crentive ly   and   inthe   siheve   of   Performance. 


Conclusiun» 
As    I   Sit    here   v;:*itmg,    1   am  acutely   aware   of  a   yorld    in  turmoil. 
^^undreds   of   thousnnds   of    peoole   are    f  leeing    fio  m   their   hories    in   terror 
to    excnDe    the    ravages    of   a    titan46    and  me.-ciless    flood.      Bitter    l?.^bor 
disnutes    rend    the    iinti^n,.    Millions    of   unemployod  v/alk    the    streets 


ho'  eless    and  hungry  and  hot^eless:;:.   Acro  ■  ^s    the    ocean  Spain   lies    torn  and 
shattered  by  grim  civil  warj   Gerniany   cryi©gunder    iron-heeleö   raadnesa   cfT 
Nazism;    Italy   sick  with   thö  bloated   stride  and  brutal   arabitions    of  Fa3cism,j 
Over    the  whole   world  hanÄs   heavy   the   dire    thraat   of  a  war    that   v/ould  half 
of  humanity   and   the  Droud   achlevements   of  tbs    civi  lizaticms  • 

^  pause.      At    such  a    tlffltand    in    such   a   world,    how   can   -^   explain 
%o   myself   the   nQ>\ths    I  ha^  e   spent    in  wrlting   a  book  about   the  Art     jf 
Dnnce'-       I   am  con>ci   us    of    no   desire    for   an  avenue   of   escape.      And    If    I 
had  wanted  an  escape    surely    I   co   Id  have   foünd   one  more   alluring    than 
that   provided  by    the   tnsk  which  has    absorbed  me .      Dn  the    other    hand, 
i  have   no   exag^erated  notioas   of   the   vaL  ue   of  what  has   been  produced 
in  dance    in   cur    t  ime   nor   d^  what   any   art   of   dance   can  do  for   our   world. 

Nor   do    i   cherish  any    large    idea   of   what    I   cnn   d)     for    the    art   of   dance« 

however 
I  do    recognize/the    importance   at    such   a   time    as    the    ore   ent   of  not   ixÄis 

igsing   sight   of   potential  values   even  when   they  donot    seern  tot   lie   directl; 

in   the   nasth   of    the   struggle   which  now   threatens    to    consune    the   world« 

My  motivating   ^nd  sustainigg    influence   has   bean,    "^   sup-.ose,      thnt   deop 

and   abidh'ig    faith   in    the   notency   nnd  val  ue    of    the    ar  ts    at   all   tiines   and 

under   alli   circumstances .      ^ut    noti^ency  and  väilue    in  what   directions? 

directly 
To    aid/the   ikÄ   reshaping   of   the   world?      GertainlJ^  yes,    as   far   as    it   can. 

But   meanwhile   and  always    to    s  jstain   life,    to    provi  de    some    of    those   ultimati 
seif  -  jus  tifying   experiences    that    con;,  titute    tho   ends    of    life,    that   nalse^ 
life   worth   living   and  worth  fighting   for« 

And    if    the    arts    in  generä   are   worthy  of   cu  r    attention   eve.n,    or 
barticularly    in   this    time   of   pain  and   chaos,    the    dance    is    deservln^;  of   x 
special   can  sideration,    first,   becRHae    it    is   pecul-  irly   the   art   of   our 
time,    and,    secondly,    because    it   has  äsHX   vnst   potentlalities    still 
unrealized«     All   life    is   movement.   And  progress    ia   life    is    achieved 
through  möüemalit.      In  peridds    of   major    transition   anci    change   rith   their 


attendant    upheavnl3,XRÄ  movement   becomes   more   drastic    and  ooiaplex   in 
actiiality   and  moce   powefully  relevant   and  KTijä   effective    f or  i'/ymbo  11c 
expres>lon,      Thus    in  such  times,    movement    in   art  becomes   of   transcendant 
impoi'tance    in   the    oortrayaL    of    life,       in   the   ouickening   ol"    the    sense   of 
life,    in   aiding   the   remodeljjigof    life.      ßut   poetry   and  music  merely 
H#g^,est  movement,   '-^'hey  give   no    Visual,    living    embodimv^nt   of    it.    Sculpture 
and   oainting  merely   reoresent    it4,    v;ithout   providingit   with  sustained 
life   and   significant    context.   Dance   actually  nroduces    living  m.VD  ement   ±±xx 
itself.   'i'heat  re   does    likewise.      But    there   moveme  t     is    rast  -icted   and  rendp] 
e    Qdx   fragmfflntary  by   char^^cter  ist  ics   of   naturalism   and   the   doiaands   of 
realistic   protrayal    and   complex    olot.      Dance   alone    is    free    to    develop 
li*ng  movement   ^vith  freedoiji     and  with   the    force   and   suggestiveness   and 
memorableness    of  poetry    in   action.    It  unfolds  movement    in  all   of    its 

telling   purity   and  unhampered   challenge.    -^t   reveals    life    in   terms   alone 
of    it    3  esFiential   mnnif es tationx    and   symbol. 

^üt    the   resoarces    of   dance    still   remain   relatively   untouched. 
Itmust   now  become    the    task   and   the    Inspiration   of   the    dancer    to    face 
contemporary    life   and   recreate    it    in    terms    of   exalted  movement,    to    produce 
Symbols,    passi.jnately   aliveqp   and    provocntive,    of    life    as    it    is    and    to     ^ro- 
ject    livvig   Visions    of    life   as    it    can  be. 

All   art,    if    it    is    to    be    somethlng  more    than   expressions    of 
eccentric    ingenuity,   must   be    linked   thoroughly  with   the    sohere    of   social 
life   of  whihh    the    ai^tist    is    pa  rt  •       If    it   attains    a   univ.-rsality   of   imoort, 
it    is   because    it   nrobes    so   deeply    int6    the   particular      civi lization  which 
Claims    the   art ist    that     it    touches    the  rootd   and  sources    of   all    life. 
'i'he   Anerican  dancer   must   dance    far    into    the    sources   of  American   life. 
Merely   to   formalize    the    external  manife  statiuns,    the    ohysiognomy   of   that 
life    is   not   enaa  gh    .   The    true  Americnn   danee   will   not   be   conflned   to    the 


chilly  sraveyards  ofNew  En-l«nä  or  the  hot  hauntln/i  rhythms  of  narlem 

or  the  song  and  dnnce  of  Western  cowboya.  It  will  absorb  the  easentlal 

noatures  and  .'^estures  and  movenentsof  all  American  life  nnd  reflect  and 

remould  themT^It  v;ill  reach  uoward  to  rivrl  ^icyacra^i/era  and  bierraa.  It 

will  extsnd  outwa-d  to  parallel  the  vastnesa  of  the  ^re.t  ploina.  It  will 

Srow  out  of  the  enrth  aa  de  the  gfennt  red^.ods.  It  will  recraate  the 

turbulence  of  rivors  nnd  boys  and  reach  out  in  auspension  like  the  great 

bridgea  th.t  anan  them.  It  will  make  palpably,  intenaly  alive  the  relati  .n; 

of  r.an  to  these  titanic  isKKM  phenomena.  It   ill  make  atarkly  vivid  and 

memorable  the  terrible  growth  and  conflict  betv;eon  :-enand  r.en   and  the  ±axf 

fdrces  which  unify  and  atrengthen  oartlaans  in  the  waxing  battle  of  the 

claaaes.  It  will  visualize  the  vaat,  glad  wh',ae30..ie  cüunter  -oint  of  a 

reordered  world.  It  will  oroject  the  total  dyn.^inlc  embrace  tr..K.^gh  which 

men  will  ciain  t-eir  eaeth  adnd  BXÜxitxiJaaii  nake  it  their  own.  Thls, 

I  believe,  ia  an  anawer  worthy  of  dancera  as  artiats  and  nen  of  the  Bpsxxix. 

queation  with  which  we  atarted:  WHI-flER  DAiiCE? 


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