William Vaughn Moody's The Great Divide; a production and production book

Item Type text; Thesis-Reproduction (electronic)

Authors Fritsch, Jon Edgar, 1938-

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.

Download date 09/10/2021 15:03:14

Link to Item http://hdl.handle.net/10150/551571 WILLIAM .VAUGHN MOODY8 S; THE GREAT DIVIDE:

A PRODUOTION AND PRODUCTION BOOK

%

Jon Eo Fritsoh

A Thesis Submitted to the Faculty of the

DEPARTMENT OF DRAMA ■ In Partial Fulfillment of the Requirements For the degree of

MASTER OF ARTS 1 In the Graduate Oollege .

UNIVERSITY OF ARIZONA '

1962 The joy of ' that ■ large faltli America In the high will which turns the human tide He blazed across the sun-crowned Great Divide To make in art a new meridian, Stretching the puny man Of our pent theatre’s roof, to arch a flood Of mightier passion cosmopolitan And build, in nobler urgings of our blood. The excellent democracy of man.

Percy Mackaye STATEMENT BY AUTHOR

This thesis has been submitted in partial ful­ fillment of requirements for an advanced degree at The University of Arizona and is deposited in The Universi­ ty Library to be made available to borrowers under rules of the Library.

Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for per­ mission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.

SIGNED:_____ Q W )

APPROVAL BY THESIS DIRECTOR

This thesis has been approved on the date shown below:

____ PETER R. MARRONEY ' Date Professor of Dramatics Head of the Department of Dramatic Arts

DR. JOHN A. MILLS Associate Professor of Drama fiBLE OB, CpiSTENTS ' \ : ' P¥e

INTRODUCTION ■ v : i

PiRT ONE; THE DIRECTOR'S PRELIMINARY STUDIES 1 Chapter ' .

' I. WILLIAM VAUGHN MOODY AND THE GREAT DIVIDE 1

IIo THE DIRECTOR’S ANALYSIS; OF THE PLAY 0,24 Preliminary Considerations ; 24

Analysis of the Plot ■»«„.» P...... o. „ 25

III, THE DIRECTOR’S APPROACH TO. PRODUCING- T HE PLA Y" O O O O O O O O © 0 0 © O O O O © O O O O O O O O O O COO O o' 45 PART W O : ■ THE PRODUCTION .y© o . ©t © © „ © „ , ©, ©©, © 0© 0 ©, . 49

IVo ■THE PROMPT .BOOK'FOR THE .GREAT DIVIDE „© © ©,„„ 58 V© SUMMARY OF THE REHEARSAL PERIOD. ©,,...... 113

■ VI © - THE: DIRECTOR’S EVALUATION OF THE ^ 1 COMPLETED PRODUCTION © ©,,,. ©. ©. © © . © © o.© © © 1.28

IllostrataoHs oeoooooooo©©:,©©©©©'©®©©©©©©© 153

Ba bliography © © © © © © © © © © o © © © © © © © ©■ o, © © © © © © o © 153 iCKItOTODQMENTS

The writer wishes to express appreciation to Professor PeterMarroney, head of the Drama Depart­ ment, a,nd Dr . John Mills for their suggestions ' and assistance i n ■the preparation of this thesis. He would also like to; thank. Mr.' Dennis Wilkerson for , designing the settings, Mrs? Joan Brinokerhoff, who served as assistant 'director, and the cast and crews of The Great Divide for their cooperation and work. ; ' -* ■ \ ' ■'introduction

' William -Vaughti Moody; born in 18699 has earned a respected reputation for his sizable contribution to American literature. His poetry5 verse dramas, prose..plays/ and letters reflect the age and the time in which he lived 'and- are worthy of study by students today! Moody's works ■

. include several volumes, of poetry, a trilogy of verse ' ; \

dramas, and two- prose plays, The.Great Divide and The .Faith 1

■ Hoalerc That his, works are seldom read today is Understand­

able, for he wrote.with subtlety,: Used extensive . imagery and symbolism, and generally tended to be both academic and

esoteric. - These are features which are not easily per- ■; :: eeIved-by the,,maeses ^nor do they promote general popularity.

However, his sineerity, restrained emotionalism, and; puritanical thought give his writings a quality rarely found in current literature. t; : ' ^ ‘X," 1 r\':v-l: The Great Divide, in particular $ holds' an important

and significant place in the history of American drama,- bridglhg; the ; "old:" melodrama with the "new" •realism. It .was

first produced in,Chicago in the spring of 1906 under the

title of The Sabine Woman. Following several revisions, In­

cluding, a new '.title, it toured for a. short period, finally '

opehing in New York on October 3, 19.06, with Miss Margaret ■ teg 1 in and Henry Miller In the principal rolese- After an overwhelmingly favorable reception, the play continued its Hew York run until April of 1909° After more than one thousand professional American performances, the play moved to London and Paris for an additional run. Although

Moody died in 1910, the play continued to retain its repu­ tation as popular theatre fare. Henry Miller, in the spring

of 1917s revived the play in Hew York and it was again acclaimed as a "Great American’ Drama.”

The possibility of again reviving The Great Divide,

to determine its theatrical effectiveness for contemporary

audiences, presents an educational and artistic challenge for the writer.

;'' Therefore, it is the purpose of this thesis to study the author and history of The Great Divide. to

analyze and establish a production procedure, and to pro­ duce, direct and record the production of the play. The writer believes that this study can best be treated by dividing it into two, main sections; the director's pre- .

liminary studies and the production. PART OME

.' ■THE DIRECTOR8 S ;PRELIMINARY STUDIES : ;¥IL$Iii '-VWii MOODY AMD. ,®g G H M DIVIDE

; ■ : . , William Vaughn Moody was born in Spencer., Indiana, ■ ' ' July ,8$ 1869», the son of Francis Burdette Moody9- a steamboat .:

captainand, Henrietta Stoy Moody0 Shortly after his birth :.

Moody* s family moved to Mew Albany/ Indiana^ where the young -

Moody received his early edueation. . - . Moody' was first introduced to good literature: by his

father3 but it was his mother who most greatly influenced , and inspired him during his formative years» . In The . ;

Daguerreotype 9 Moody pays tribute to his mother and the ■ ' • understanding and devotion which she gave him; /

• . ; o o « the sweet and heavy years ■ . ¥hen by her bed and chair / . ’ : . ‘ ■ We children gathered jealously to share v The sunlit aura breathing myrrh and thyme* Where ' the ' so re-stricken body made . a. clime - - ■ ; : ■ y Gentler than Mary and'pleasanter than rhyme^ ' Ho Her and more mystical than prayer.1 : Following the death of his parents. Moody taught for a- Short time in- a rural school, attended the Riverview Academy

in Poughkeepsie, Mew York, and, in. 1889,; entered Harvard vHniyersitya . His .course of study at Harvard eentered in the

classics and medieval literature. In the spring of 1890 , ,

1 The Poems and: Plays of William Vaughn Moodv, I, (Mew YorkW 1912); p,: 105.1 ,

1

I Ms'odj became one of the editors of a campus literary magazine where his .poetry was first published= ; Serving as a tutors Moody made his first journey

abroad at the close of his senior yearo.' In the autumn of I893 he returned to Harvard and completed a Master's degree :

the following springe For the year 1894=95* he was elected 'to the staff of the Department of English at Harvard= The .

following year* Moody accepted a position as Instructor of English, at the University .of Chicago where he remained until

1903= His second trip to Europe took place before assuming

this new-appointment o Moody did not easily adjust to life in Chicago or to the task of teaching* believing that they interfered with his creative spirit0 Moody’s distaste for teaching* however* did not impede his academic contributions^ Horae© Soudder* representing the Houghton'Mifflin Company* publishers of the Riverside Literature series* invited Moody to edit The

Pilgrim’s Progress and an edition of Milton’s poetical works» These he completed in 1897 1899 respectively» He also edited or assisted in editing* seven works in the Lake English

Classic series published by the Scott-Foresman Company. His most notable academic effort* however* was The History of

English Literature written in 'collaboration with Robert Morss

Lovett and published in 1902. This book* together with a volume of poetry published the same year* and The Masque o f .

Judgment in 1900* firmly established Moody as a man of, letters. v In 1897* wliile traveling in Austria and Italy, Moody 'began working on a trilogy of lyrical dramas which eventually included The Masque of Judgment, The Fire-

Brlnger, and The Death of Eve»- ''The;unifying element in- the -trilogy, is found in Moody' s thesis: G-od .and Man are

' inseparable o".. • : ■ ' ■ /- .y '.;- .' Moody completed the writing Of The Masque in y

January, 1900,y but it did: not appear ..in published form . until the following November. Though it received mixed reviews, it was consistently critized for being over- wrought in its form* David Henry,' in his study of Moody, provides. thiS;r-:ex:planation f or its -general re jection's - "The masque as a type has not found popular acceptance in

America because of its use of materials too "far removed y;' from reasonableness.

The Pi re -Br Inge r j ''Moody's se cond" p lay, appearedin March, 1904, with the'following forewords y

• - '7 The /Pjre“■Br l n g e r is ihtended as .the first 7 member Of a trilogy on the-Promethean theme, , of whleh The Masque of-Judgment is the■ second memberj ‘. b u t , the 'connection between y, the present poem and the one which follows it in the dramatic sequence is informal, and the action of each.is complete in itself.^ 7

•' - - 1 David' D. Henry, William .Vaughn Moody. A Study (Boston,: 1934), p. 115. - ; ;'yh:.'-: y . y { ' y Hehryj^p.bia?. b.- . 7 ' :

3 william Vaughn Moody, The Plre-Bringer (Mew York, 1904). v -y-'h-: :y;' "'y; ,.:;';- y y'::;.7;V;:-: 7 7 - The - Fire- ; 1 ike The. Masque before with mixed criticism., This pieces however1,, showed a : ' development, in the handling_ and control of verse drama« : i": The Death" of Eve, the- third piece in the trilogy,

.ww 'hever cqmpietedi and .or ' ':: putlished. It was to haye"expressed. the reconciliation of v£iod-; and :Biah: through the woman:'whf had apparently separated ■ : them..f^ ..v The remaining fragment shows the "eulmination of

' the g r d W ^ whole , ::

poem is strikingly, original."2 This work, not started until i

I9 0 6 , hr ought Moody la poetie career:: to a close'■■■- •''' ■ ; ' v Moody Indicated that he intended his verse dramas

:for stage presentatiohv On one occasion he wrote- Percy : ■ '

Mackaye, that he helleved: that "modern "life" could he presented On ■ the; :.sta6e■ through‘ the :poetic, medium' and ' “adequately 1 t ’presented .only-- in that way."-^ Moody’s verse dramas were s . ■ ;however9. impractical for stage presentation (although his ; .

prose plays. were. succe.ssful.ly staged) „ Due to struetural ,

:weaknessesr the yerse dramas.lack the “quick perception which : tsy-essenti^ "poetic’'

;h: 1: :irthur: 1..^uipn»: : A History of "the Americaht Dr&at:^ :i ';; from the Civil War to the Present Day (lew York9 195577^. 10„

3.-.'gbge'- Letters of iWllliam Vaughh Moody, ed. Daniel G-. Mason flew York“' 1913Tf p. 148, , , ; . r?; : ' defeat3 Moody remairied firm In his eonvietion that poetry was the superior dramatic forms In a letter to 'Mr„ G« H» Toy (1909 )/ he wrote: ■ v ■ . The thing.I have most at heart just now is a poetic— I mean: a verse---^play a = o Also* I am _: torn between the; Ideal aspect of the theme and the stage necessities^" the old3 old problem« Perhaps in the end I will let the stage go to . ballyhoo3 and write the thing as X .see it,' <,1 I But tbi8-=after'all=«is an un'o our age ous eompromiseo' The turn of the century brought changes and experimentations in the American theatre by a new generation of playwrightSo Fitch, Gillette,. Belaseo, Broadhurst, and Mitchell were leaders In this significant and successful dramatic revolt» Arthur Quinn points out that "One of the most salient characteristics of the new drama lay in its emphasis upon the individual ’ s right to self ^expression,r'^ It was this new ’’emphasis” which prompted Moody to join the ranks of these prose playwrights and with The Great Divide he became the foremost contributor to the cause„

The idea for;the plot of The Great Divide came to

Moody early in;1904 after a conversation with Harriet Brainard (Moody)o ; According to Quinn, Mrs* Moody

had heard the story of a girl of her acquaintance who had gone with her brother

Some. Letters, p« 169 = ' • . — Quinn, II, p, 5<> — 5 They were not married until May 7, 1909- ■ to, a cabin in the Wesip had been left alone and had been attacked by three meno' She had appealed to one to save her from the others and had agreed to marry him* The marriage did not turn out smeeessfully, and resulted in divorce,'

The entire play, particularly, the setting,' appears to have been greatly influenced by.a trip to irizona made by Moody that same year« In a letter to Mrs/ Moody he wrote about the home of an. acquaintance saying that it was an “entrancing;'little adobe house, from the roof of which one can see all over creation V „. „ even as far as Chicago0 In another, letter he told of old women, weaving baskets and blankets to sell„3 Many of the things witnessed by Moody while in Arizona appear in the second act of his play. After returning from Arizona in 1904, Moody attempted to acquire, additional information concerning the

-ease,l of' the: abducted girl earlier reported to him. From existing evidence, however. It appears that the actual writing.of the. play was not begun until late in 1905. In December, 1905,1 he wrote Mrs. Moody: .

I have no account of myself to give, except ., that the = . .. play seems to be slowly taking on something like organic: form and feature. I am not ,sure there is- enough In it to justify the time I am putting on it, but it rather

1 Quinn,, 11, p., 11. ■ P • Letters to Harriet, ed. Percy Mackaye (New York, 1935K P= 196, ; 3 ■ ' Letters, p. 199. seems necessary to lay the ghost of it anyhow - by getting the thing down on paper« The seeond aotp which X have now omtlineda gives the development a more.energetic curve and the underlying.thought more bodyo it least, ■' ■ 1 think 80.1 , ..vo:...... •■■•o, .

In another letter, written December 5» 1905, be commented: The o o o play is in a state where X don't dare to leave ito " By staying by. it now I can: ■' ' probably finish it— the first draft— by the- end of the month or the first week in January, - -' whereas if I drop it I'm■afraid.X shall never pick it up agalno2 ' .

Moody completed his play late in Xahuary, -1906« .iFirst entitled The'Sabine Woman, it was changed to The Great

Divide after its inltiai production in Chicago,, Moody's interest in having his new play produced is illustrated in a letter written to Richard Gilder on February 5$ 1906;

I am anxious to get it produced on the professional stage, by a professional . troupe o Miss Marlowe and So them, however., I am sure would n o t .cotton to it, as it is 'realismof a rather grim and uncompromising type, without the. romantlo glamor which' they affect— at least what romantic glamor there is is implicit and present only to .the . probing eye of the elect» I should very like to get Henry. Miller to take it, but I • . guess.that is out of the question=3

Discouraged by his failing attempts, he began preparations

1 Letters, p, 244= - Letters, p. 248,

Some Letters, p c 160» for another European trip. At this time Percy Mackaye, Moody's close friend, was lecturing on "theatres of the future" in Chicago. It was largely through Mackaye's efforts that the first production of The Sabine Woman took place in Chicago. Concerning this, Mackaye wrote: I joined with Donald Robertson in urging the play upon the attention of Miss Anglin, who on reading It was filled with Instant enthusiasm which she communicated by long-distance telephone to her associate, Henry Miller, in New York, and arranged for an immediate try-out . . . in Chicago, before her engagement ended there, the next week. . . . I directed the rehearsals and attended to the printing of programmes and playbills until Moody, having given up his trip to Europe, arrived on the eve of the opening.1

Although Mackaye was responsible for "urging the play upon" Miss Anglin, it was purely by chance that she came to read The Sabine Woman. The following account, given by Moody after the New York opening of his play, explainsthe circum­ stances:

Its production was an accident. It had been finished for some time when I sent it to a friend 04ackayeJ in Chicago . . . who knew Miss Anglin. She was playing there at the time, and one night, when she couldn't sleep, as she afterwards told me, she turned to a pile of plays that she kept in a table beside her bed. My play happened to be on top— that was the acci­ dent. She had intended reading only a few pages in the hope of inducing sleep, but the play kept her awake until she had finished it. The next day, Friday, she gave it to her manager to read, and on

1 Letters, p. 42. Saturday she put the play Into rehearsal. On the following Thursday night, just a week after the manusorlpt had fallen Into her hands, Miss Anglin produced the play.• Her industry and enthusiasm7were .extraordinary. She told me that duririg that week she stuck pins in herself to keep awake. . . .T Miss anglln believed so strongly in the merits of

Moody's play that she set aside her own success. Zlra, to produce and star in It. The Sabine Woman opened in Chicago on April 12, 1906, at the Garrick. The opening performance proved to be a sensational one, backstage as well as on stage. The third act curtain was delayed over ah hour due to a misunderstanding between Moody, and Miss Anglin • concerning her contract and producing rights of The Sabine Woman. Miss Anglin Vs. Ghicago representative' demanded that she have a written contract with Moody before the play could Continue.'Moody misunderstood the details of the contract, believing Miss Anglin wanted exclusive producing and performing rights to The Sabine Woman when all she ■: wanted was an option on it. The long delay, caused by this difference, ruined the.impact of the third act, bringing near devastation. However, the free advertising given to the play through, the reputed feud between Miss Anglin and '

Moody sustained sufficient interest for completing the announced engagement of one.week. In spite of the first, night misfortune, the reviews were generally favorable, and

* Henry, p. 171. From an. unidentified review in the possession of Mrs. Moody. Miss .Inglin re.mained in the oasto Emerson Hough, for the

'■.Chicago American, called the play." "something big and vital”

and predicted that Moody would be the "great American playwright, “ 1 . .

Many problems and necessary adjustments confronted

Moody prior to the New York production‘of The (3-reat Divide .Lacking knowledge of theatre business procedures Moody became easily discouraged and was frequently ready to dismiss the

project as a hopeless venture. Miss Anglin's role created

the first major difficulty^ as outlined in a letter he wrote early in May, 1906:

She is still in love with the play and loath to give it up9 but she realizes (as we did) that her role9 as it stands now, is unmistakably subordinate to that of the man. As she is a Star, and makes her daily bread solely by'dint of being one, this settles the matter for her professionally. Two possibilities still exist; first, to rewrite the play, with an eye to : ' . opening up her rolef second, to admit frankly that it is a man's play^-in which case Henry ; Miller may want to"star i n 'it, and probably, alas!"will also want the thing rewritten in his /sense,3 - / .// i ' --'■/ : . ■ -. Moody was not completely satisfied with Miss Anglin's acting

abilities. After seeing her perform "in‘Zira,- Moody commented

that.her "'intensity' was , , , the same annoying kind which

1 Ohieago American, April 17, 1 9 0 6 , _ ^ It was at the suggestion of Mrs, Percy Maokaye that The Sabine Woman became The Great Divide,

3 Letters, p,. 261, ■ she displayed; In The Sabine Woman = '* ^ Although Miller was ’ satisfied with his hole in the play as late as July$ 1906, .just three months bef ore the : scheduled ■ New York opening,.Miss

Anglin,reznained unconvineed,of hers:

- ■'Whether Miss A e will. play the heroine or .1' : ; ;v: •; ; not is St illuno erta in« She balks at several • •points which are essential to the integrity h of the idea, and which I have refused, . ' . .. • unconditionally, ;t©-‘ charge« She hasn't now, , and 1 think .never has had, any conception of . the -play as a whole, or any interest In it 0 . ;iShe: is /solely intent on getting a 'part ! 1 but . . is not willing to lend’herself,to her desire ; " h ’' to score once every, so often,' Like ringing ■ ■ . • up; fares in a street-car®2

Miss Anglih ‘s final" acceptance of the role came' only ■after an involuntary eoncesslon made by Moodyv- On July 16, 1906, he ' :. wrote Mrs> Moody: ;" /■ , ■ • ,; . ' It looks today as if Miss Anglin would . “ '. . insist; on her right to playfhe role and , : ; h-;- , ■': ; 1 : there will have to be some more weary : arguments over certain points which affect A; her; amour propret ■ I am determined-not to. " :::;v :;1"- " ■ ' yield ' anything ,ess8htial, but I ;can't '. . break off negotiations ' altogether, since .; ' the differences between us are small, and • ; :% she has of course established a claim upon - , % the play by "her Initial acceptance of it 13 " : • ■

Miller and Moody also1 had some differences concerning contracts and production arrangements« In the end, 'Moody ■

conceded to Miller‘s theatre experience on all points but one

1;'■ Letters, pi 263,

2 Letters, p« 291. : 12

the TewMtlhg. of the script» 'Firm this conviction,,, he /

wrote: "I shall rewrite at' ' = ; » .and. If:he and Miss: A.-ido ■ : not want it, they can let it alone« Such an outcome is not

■ : : :unXihe 1^, ■ nor would it .^articui-ariF grieve - me ^ ^ , Moody' spent" several months in rewriting the play to . ■ ‘his satisfaction0. His letters3 such as the one which follows, ' ' clearly demonstrate 'Mpody' s ,heen sense of humor, and the' ;

', pleasure he received when achieving a desired goal; _ _ ■ v: ■.

/Af ter hammerihg at the, thing in the back - :: .' ..; ,;:v v" '-: . regions of my head for days and weeks, -,: h today I had the felicity to 'see pop into : ■, -. the ' front regions the right- kitid, of etidirig ': :: - playe. It looks right today anyhow, ,, h: ■ whatever it may look tomorrow,, - It seems to • h'::- - , • V : : - ; me to preserve everything vital in the ’'I ' 'v; \ . , % : ' .first, the: violent ending, and it brings^, ' /, ■ \■; the play to a close in an upswinging mood , ' / ' : , ■' ; of lightness, going toward comedy— -an , ■ ' immense advantage, of course „ More oyer, it ;; : ' , . \ ' makes Zona herself_ahd not the brute ■ ; - . .. catastrophe the: Erlosungselement ( such a '11 word?) with Only a fillip of the nerves, to -y ' •• help her; and it brings In the family •:. , . : ;' ' again,.,: instead: of leaving them ;hanging in , V the air with all their yarn .unravelling, as 1; , / . ' ‘ : in the make shift Ghieago version. Hoopla! / v. .Also, 11 ; make e. 'Zonathe active' pe t it loner ■ : .'■; ' and :pleader' fof';the" t;hingr; she has rejected - , : : : \ many times,from the hands of her lover, ' ■ • .. and makes him— through incredulity— the . .. . - withholder'o. This last, though it .may not a V ■ . : be spotless gallantry on the author’s part, . , . ,. is good drama, y Supply yodel-,. >; <,. » Hlessed- , : ' ‘ - ' : ■: is he who re joice'th..while it is called : ' : : today, for tomorrow he wakes up and sees ■

■' ; Letters, p." 27'fe .

’ 2 The character of■Zona in The Sabine Woman, became Ruth in The Great Divide. ■ . V : : ' ■ : what a fool he's been.1

Late in August, 1906, Moody made a hasty trip to Albuquerque, New Mexico, in order to obtain properties for the production of his play. Plans were completed for a try out period in several Eastern cities, and on September 9, 1906, in Albany, New York, the final dress rehearsal was held. This final rehearsal proved a painful experience for Moody. In a letter to Mrs. Moody, he wrote:

Dress rehearsal last night from 7 until 5— ten hours of horrors. This morning I am ready to swear on a pile of Bibles as high as Chimborazo that if I emerge from this venture with a rag of artistic reputation I will never write another line for the stage as it exists today. The company is indescribably bad, the vulgarizing process sickeningly complete. Even Miller, though he understands the part, cannot play it. The minor parts have been mis-mated to their would-be interpreters until the unholy cohabitation cries to heaven. The stage- setting, for all the money and pains that has [slqj been spent on it, isn't within ear-shot to our improvised affair of last spring. . . . Give me a cave and a cup of water on the mountain of the muses, and let me die unproduced. . . . I don't want to be a playwright. If I must write plays, buy me a burglar-proof safe, with a time lock set for A.D. 2006, to keep them in.2 In spite of Moody's apprehension, the first perform ance of The Great Divide was greeted with enthusiasm.

Leaving Albany, the troupe traveled to Amsterdam, New Haven and Atlantic City where the play was received with great interest. While in Atlantic City, Moody had occasion to meet the theatre magnate, Lee Shubert. The impressions of

1 Letters, p. 280. 2 Letters, p. 297. this experience he related in a letter to Mrs* Moody; We ended our first vagabond week last nights with a big, 'house,* including the Czar of all the theatrical Russians, the magnipotent Shubert himself, to whom I was tremblingly pre^. /seated, receiving some, dubious ,curt praises and indubitable loquacious warnings not to be re= joieed before the time, since ’Broadway1 was a monster of great inealeulabiiity" of taste, wont to eat alive, a playwright a dayo There was . that in the little ma n’s salacious eye which said he deemed me the merest spoon-food for the animal in question, salvable but by some : quaintest freak of humor,'

The tour continued to Washington where near-devastation occurred due to reviews influenced by the r’Byndieate which controlled most of the important theatres in the United

•States, The final stop before lew York was in Pittsburg,;

A final.interesting incident occurred during the . lew York dress rehearsal. Included in'the items Moody brought from lew Mexico was an antique Indian vase. As

the midnight hour approached, according to Percy Maekaye, ’’Henry Miller lifted the priceless vase aloft in both hands and crashed it to atoms at the feet of the petrified poet, as the actor^star reverberated (ip a line from his own

part) "Smashed to hell is smashed to h®ll!==,There will be

no ’’Great Divide”! ’ and pushed, put of the stage do guv" 2

On the evening of October 3$, 1906, The Great Divide, - without Incident, made .its historic/,lew York debut, -Adver­

tised as the ’’Standard American Play,” it included the

1 Letters,,p, 299° p Letters, p, 4?, following easti Margaret Anglin (Ruth.), Henry Miller ' (Stephen Ghent), Laura Hope Crews (Polly), Charles Wyngate (Philip), Charles Gotthold (Winthrop), Mrs* Thomas Ihiffen

(Mrs* Jordan), William J* Butler (Dr* Hewbury), Robert Cummings (Lon), Arnold Wilbur (Dutch), Leon Roberts (Pedro),

Henry B* Walthall (Burt), Bertram Harrison (an Architect), Frederick Moore (a Contractor), and Master Holan Gagne

'(a Boy)o _ - • Moody's play received the unanimous approval of the ‘

criticso The New York Times' called it a "powerful play ■ ;■ ' . ■ ;:v-: ■"; ■ ; - ■.. . ;■ ■■ . ■ • beautifully acted,11 Acton Davies, reporting for the

Evening.Sun,stated: "The Great Divide lifts the man who

wrote it into the front rank: of contemporary dramatists, The Morning Sun, found the play "bold and vital In theme" and "subtly veracious and unaffectedly strong in the writing,

The Evening Post praised it for being a "genuine American A play," The New York Herald remarked that Moody had "rushed

in where the hardened playwright would fear to tread, and created scenes which not only bring a thrill, but possibly a.

blush, to some who grasp the full meaning of the story,

1 ' ■ ■ ■ ' • A New York Times, October 4, 1906, 2 ■ • New York Evening Sun, October 4, 1906,

New York Morning Sun, October 4, 1906, A New York Evening Post, October 4, 1906-, 5 New.York Herald* October 4, 1906, William Winter of the, New York Tribune commented that the "ethical element exceeds the dramatic, and the centralpropo­

sition is far from clears," but went on to say, "there is much

human nature in the piece; it creates suspense; it-sustains interest; it has solid merit of thought and feeling.Addi­ tional articles appearing in literary magazines were not in

agreement with the newspaper reviews = The reviewer for the Literary Digest stated:

The metropolitan press indulges itself in un- ■ wonted enthusiasm over the first acting play from the pen•of William Vaughn Moody, whose verse had already won him a distinctive and distinguished . place in the. hearts of all alert lovers of poetry. Henry Tyrrells for The Forum, commented on its alleged ."goodness" and "Americanism," saying; ■

: The Great Divide, by William Vaughn Moody, is the virile but crude and essentially unpoetic work of a writer justly esteemed and hitherto known ' ' ' only as a lyric poet of fine and sincere feeling. On its first presentation in New. York, it puzzled yet impressed the critics, and they gave it the benefit of the doubt they must have vaguely felt, by hailing it with unwonted accord and unguarded enthusiasm as a formidable competitor for that meaningless title of something which in the nature of things can hardly be— "the Great American Play." The question of its greatness is at least debat­ able; and its Americanism is more an external matter of locale, than .of ..anything Inherently native , in its chief incidents, or in the character and motives of. Stephen Ghent and Ruth Jordan, whose mutual heart-struggle begins in Arizona and ends in Massachusetts.3 '

1 New York Tribune, October 4, 1906. ." 2 "A New American Dramatist" (anon, rev.), Literary . Digest,, October 20, 1906, pp. 550-552. 3 Henry Tyrrell. "The Drama" The Forum, V. 38 (1906-1907), pp». 394-412. Audiences appeared greatly appreciative and excited

by this "bold" theatre fare as is shown in a letter received by Moody from a Mrs. Davidge:

I was there the second night, and it was a great blessing that I was able to be as orderly as I was in a moment of such glory and triumph as you have brought to our time and our country. To feel that stupid common audience become alive and sentient in spite of itself, groping around for conven­ tional ropes to grasp when puzzled because it had to face God and Nature, was a great and grand experience. . . .1 The acting, too, received the cheers of audience and critic, adding greatly to the success of The Great Divide. Reporting

Miss Anglin's performance, the New York Times stated: "Miss Anglin herself stands revealed in new lights. Hitherto she has been chiefly successful in rising to great heights of

emotional expressiveness. Here she reveals new depths, variety, powers of simulation, and a most engaging— sometimes o tearful, sometimes laughing--tenderness." The World com­ mented that she "played upon the moods of the girl who least 3 of all understands herself with a sure hand," and, the Evening

Postdeclared that "her superiority as an actress over the

whole shrieking sisterhood of opular [sic] emotional stars was evinced in the profound effects which she created by quiet

means.Finally, the Evening Sun said that Miss Anglin "has

1 Letters, p. 307. (Quoted from a letter Moody wrote). 2 New York Times, October 4, 1906. ^ New York World. October 4, 1906. ^ New York Evening Post, October 4, 1906. never been more precise in the portrayal of the finer shades of character. 1,1 Henry Miller received equally good reviews for his "simple" and "sympathetically convincing" acting.

The attitude which Moody assumed about his "victory" does not seem in proportion to his success. To Percy Mackaye he wrote: "Broadway the formidable has indeed roared [sicj us as any sucking dove, for this once. It's like taking candy from a child."2 On another occasion, he wrote Mrs. Moody:

The play still rides the comb of the wave. I enclosed a couple of fool newspaper clippings; they are not worth reading, except for the fact that the managing editors of the respective sheets think the play of sufficient public inter­ est to waste space on still.5

The Great Divide proved so popular with audiences during its first month in New York that a burlesque of it soon appeared. On November 16, 1906, at Field's Herald

Square Theatre, The Great Decide opened. The New York Times gave this burlesque of Moody's play a poor review and it remained on the theatre boards only one month. Moody, however, seems to have rather enjoyed seeing The Great Decide. On one occasion he wrote: "Parts of it are excruciatingly funny, and it contains a lot of sound criticism in the guise of travesty. You must see it before the gas is all out of the

1 New York Evening Sun, October 4, 1906. 2 Some Letters, p; 161 .

^ Letters, p. 307. . 1 '' dhampaigno11 In another instance s he stated that the “burlesque is not on the whole good/.though Miss Anglin's : appearanee and manner are caught to; the .life in delicious.

■ ..2 parody*

■ ; The New York production of The Great Divide, even by present day standards^ was an unequivocal success= After 238 performances at the Princess Theatre, the play*, with new and more elaborate scenerys, moved to Daly* s Theatre for an additional' 103 evenings„ - ■ In February, 1908, Margaret Anglin left the cast of The Great Divide * Henry Miller, however, remained though his interests, had shifted to Moody's new play. The Faith Healer, : On February 17, 1908, the play again moved, this time to the Academy of Music with Miss Myth Wynne Matthison replacing'Miss Anglin, After seeing Miss Matthison perform

in the role of Ruth, Moody wrote; “ , . . in a few places/ where Miss Matthison stopped giving a reproduction of Miss A,,

she showed a sensitiveness and understanding of the nuances of the part," The play, with Miss Matthison, continued at the Academy for two weeks.

Completing the New York engagement, The Great Divide was taken on a lengthy tour of the “Western" states, playing in Chicago on two occasions. It:appears that Miss Matthison

1 Letters, p* 316„ 2 Letters, p, 316, ^ Letters, p, 355, €id not remain with the road companyo In a letter written in 'Hovember„•. 1908, ■ Moody spoke of a .Miss' Lawton "who 1 s' the .latest In the long and melancholy list of Ruths« "in- ; :, December$ after seeing Miss Lawton perform. Moody wrote;

' v - ,....' The'-new.'Rmth - is.'in many essential .respeots ; wonderfully good„ She gives a performance 'that-: comes "nearer my- conception of the part . r ’ ' ' 'than has yet been glveno She doesn't draw well$ • alas, Our people seem to love bad actlngo- • - Miss'iawton's acting, however, did not win Moody's complete approval = . While preparing for a London production of fhe Great Divide, Moody wrote Henry Miller i - ' . ,; Please), please persuade whoever plays Ruth in London.to put love info iet II, „ : 7 . : Miss -Lawton plays- it without one hint of - V :: : - \: - tenderness and smothered affection (or . rather affection battling with pride), : ^ .. 7 ;:) :: andyin ebttSequehce ;her,.;yie.lding)- to Ghent ; 1 : :.- at the'close of the play seems'uneon- , v :,- . vincing-'=a mere theatrical forced note . ■ • ; : for the-v;ehsppy7Mn€lngt8;H'instead of seem™ ' ' • , ingj, as it really is/ the final . releasing - : of the flood “gates of her love e «, s It : . has • never been truly rendered, and at ' -■ , v .- ■) present it is not even suggested,^ . p.

. ' ■ • Three years and more than a /thousand .performancea" I- , after, its Sew- York opening,, The Great Divide was presented

in London = It opened at the Adelphl Theatre on September 15, 1909s with Miss Matthison and Henry Miller taking the ' ■

, leading roles.. Moody,. recovering from a serious illness, yt

1 -'Letters, p . 37 0, ■ - a . ■" ' tt-, tv -: -'i,; . .Letters,. p s. 3737 ::// 3 - ■ -. . 7 - ' Some Letters,?p0 167* which left him almost totally blind, was unable to attend any of the London performances..

London received Moody?s play with mixed sentiments, Audiences were happy to see Miss Matthison and Henry Miller perform again in their homeland, but they lacked an under­ standing of American psychology on which so much of the play is dependento The London Times reported: ‘'Altogether you .feel there has been much superfluous casuistry and mental gymnastics over what is or would be elsewhere than in America,, a vary simple businesso" Reflecting further the •conservative estimate, the. Westminster Gazette stated? The psychology at times seems to me a little superficial; the husband is rather , too 'appallingly, exasperatingly good; the • minor characters are too unreal; and . therefore I.cannot greet the piece.with . enthusiasm as a drama of really find quality; but it is interesting and some­ times really moving, so the enthusiasm of the audience was well.; deserved,2

The performances of■ Miss Matthison and Miller received high praise from the critics, A. A, Milne, writing for i>unch„ .said?

Miss Edyth Wynne Matthison was superb: •' in a very difficult.part. She understood the character at least as well as did Ruth Jordan and Mr, William Vaughn Moody, Mr, Henry Miller I should like, to see in . . comedy. He has great gifts of farcical expression and a quiet manner, but the

•$ - • ■■■■, • - - London Times, September 16, 1909,' 2 ; • • : . . ■■■ ' • V ' % -Westminster Gazette, September 16, 1909, \ - 22

"strong (and, stoutish) silent man1 is too easy a, part for him,

"Mr. Miller knows his stage to a hair's breadth," reported 2 - ' ■. : . - ■ •■■ ■ ' ■ the Graphic, ■ The London Times stated that Miss- Matthlson

"presents the tormented loving woman very beautifully— with . •' just that touch to the angel in petticoats one has learnt to expect from her,

Ohe other European production of The Great Divide , needs to be mentioned. It was presented at the Theatre des ■Arts in Paris in April of 1913, The engagement lasted only a few weeks and audiences seemed 'completely ignorant of the y ■ - 4 moral differences, which existed in America,

While The Great Divide was still playing to New York audiences, Moody's interests turned to a new play. As early as-1895j he had been pondering the idea for The Faith

Healer, First, his teaching interfered in pursuing this

project and then he set it aside to write The Great Divide,

In March of 1909? long after The Great Divide had been a .marked suee.-ess,- Moody f inished The Faith Healer and a produc- .. tion was planned for St, Louis, This production lasted but a

few weeks and was a total failure. However, Moody revised the text,.and on January 19 $ 1910, with Miller heading the

V Milne, A, A , , "At the Play," Punch, September 22, 1909„

- London Graphic, September 25, 1909, ' ^ London Times, September 16,1909, ■ ^ See L'■Illustration, April 19, 1913, . ’ cast^ the. play- opened in Hew Yorfeo . It did not-;receive the reception that The 'Great Divide had enjoyed, ; and .within teh days it was removed forever from the professional stage«■ i z , Contemporary critic snggests that the primary reason for its; 'failure; was that the play demanded an "intellectual '

appreciation which is very sparsely represented in our audiences." -i. . . Shortly after the failure .of The Faith Healer, Moody . "and his■:wife* Hdrrlet, retired. to ,0o1orado Springs.. It:was ' '

here, suffering a mortal illness, that Moody spent the remain­ ing days of his life. On October 17, 1910$ Moody died from a 'brain'tumor« Harriet Brainard Moody•died o n ,February 22$ 1932 : The final chapter in the professional stage history ■

of The Great Divide was not written until.1917. /Henry Miller .revived 'Moody * s. play, in New York;- at the Lyceum Theatre on

February 7$ 1917® Miller assumed his original role as Stephen Ghent and Miss/Gladys Hansen played Ruth„ New "York critics

gave the/revival a warm reception as is indicated by what the Times commented: '"The;Great Divide is again /ohe of the most notable offerings in the New York theatre." in its revival,. the play ran for fifty-two performances. - .

1 Q-. H. Caff in. The Drama. I Quarterly Review, .May, 1911/ PPO 206-7. / / '

New York Times, February 8, 1917. ' GHAPTEH II ,, ... . THE DIRECTOR8 S ANALYSIS OF THE PLA Y Preliminary Considerations

The initial task of nearly all directors lies in the selection of a play for productione An essential considera­

tion in selecting a play is the need for directors to focus thoughtful attention upon special problems peculiar to the

producing organization0 ■ ■ .It is in the first reading of a play that a director most often acquires enthusiasm and a desire to utilize a play for productiono If in reading a play a director is • able, through his imaginations to transcend the printed page * making the play come to life on its own merits and conceive

of it in terms of a total stage production/ the first artistic challenge, has been achieved. The Great Divide

afforded the director sufficient stimulation for this requisite®.

Evolving from the first vision of production will usually be" an elementary concept concerning a possible approach to directing the chosen play® This first concept

shoulds however$ be considered simply an embryo, capable of maturings' and not an absolute® The director's understanding, of . The Great Divide was considerably developed through research oil William Vaughn Moodys his writings,, and the

24 critical evaluations and accounts of his play* The primary source for study* however* is the play itself =,

Analysis of the Plot The best aid in formulating a directorial approach is the plot Of a play. Elder Olson gives the following definition of plots

Plot.is a system of actions of a deter­ minate moral quality. I use the word 'actions' in a very general sense, to include the inner workings of the soul as well, as external actions. . . „ I say • . ■ 'system^of actions’ because it seems unlikely that anyone would ever consider a single action or incident as a plot. . . . An.action which incurs moral approval or disapproval must itself be possessed of a certain moral quality; thus the founda­ tion of emotional effectiveness in plot . must clearly be moral, and plot itself is a morally determinate' action o'* • To begin this study* attention will be directed to the general aspects relating to plot. For purposes of generic classification, directors need first to discover with what type of play they are dealing. The genre to which a play belongs may, employing the broadest separation, be either tragedy, comedy,' fy- tragi-comedy, hr a combination of these. Any other terms assigned to a play are sub-divisions of the above. The Great Divide, basically serious but having a happy ending, can be assigned to the category of tragi-

1 Elder Olson, Tragedy■and the Theory of Drama (Detroit, 1961), pp. 37» 38, ' 26

aomedieSo In consideration of the fact that this play pre­ sents a special problem concerning its classification^ this examination twill be deferred until later, when a 'better evaluation■can be made,

The'LfSrot'-limltSng question arising in analyzing a play is: . "lhat is It about?Nearly1 all plays reveal a ' predominant theme or argument easily discoveredo The.main theme and unifying idea of The: G-reat Divide is, in its most • universal sense, one of love® Themes of love are a favorite

with Moody, and in using' them he expresses his most incisive view of life® His philosophy of love as "the enabling, even

saving power of the world,"he best expresses poetically: The solemn influence . ' which, breathed upon a man or maid, Maketh forever'unafraid, '■ Through life with death unite . - The spirit to affright, ; ' "Which lifts the changed heart high up, - : is priest lifts: the changed cup® Boldens the feet to pace _ Before God's proving face® Having established love as the primary theme of The . Great Divide® it is then possible to delineate and reduce

this topic from its widest to narrowest significance® The

. 1 John Gassner, Producing the Play (New York, 1958),

2 ' '■■■■■* -l’: ■' ' ' ' , ' V:' ‘ : ;/ , : . . ■. David D® Henry® .William Vaughn Moody (Boston. # # ) , p® 191. : \ 5 Dialogue In Purgatory® " The Poems and Plays of tfiTliam Vaughn Moody (New York, 1912), I, p® 98® title of the play is, - In this ease-, indicative of the many 'degpeehtpf; ^ossibl© iseparahility» - Firstly, the governing powers- of love,,the flesh and the Spirit, are divided and. • '. diametrically' oppositee. This primary .division establishes•

the essential ■Oon’flict whieh motivate . entire action oft! ^

:the ' :iy:-'■: ! The seeond division in theme is one of character, . The inherent’ philosophies of love held by the two lhadihg: 'I'

eharaeters, Ruth Jordan and h !#hent, are-- in: direct' : ,., : , opposition. It is this separation which Individualizes! /

' The G-reat Divide, qualifying it as strletly imerican. The! .1

eharadter ofv Ruth Jorda.n- typifle s the more s ', of the vV '1 • .y '

.puritanical East, while Stephen"Qhent represents the free i' spirit and free - thinking of ■the/ West, . ,v ! d";:;; n

; id: The last and most obvlous, though least important .I ;' 1

diyision,: is -one - of a geographical nature, Moody, - in this ,

sense, used the range:of mountains separating the East from, ithe.v^hst; andd':ih particular;, Arizona and Ma,ssaehusetts, for

the purpose of localizing the setting .for his play. The .. entire .action'-of Moody8s play centers on these divisions, ;

in^'^'dreM:’M v | ^ ^generated:'by'-' the''^!

conflict, of love, lafashioned in a manner which consistently

centers interest:.;on the main; problem. Moody.* s play . further- ;

more is greatly' Strengthened by its observance of the. :

- ano ient organ izatlon of . a beginhing^;' middle', ^ ehdlngi with :: the action progressing:in. a natural, and. logical orders ' Moody8s 'play opens with a tone which is predoml" nantly one of lightness and happiness«, The conflict to come is hinted at however, though retaining this non-serions mood= Ruth, in an early speech, statesi "I think I will be punished for toeing so happy 181 Polly, a few lines later, reveals 'the hature* 'of this conflict, saying: "If Massachusetts and Arizona ever get in a mlxup in there referringtto Ruth's heart , woe toe! 8

Within the first minutes of The Great Divide, the static state of toalance and equilibrium is disturbed, setting in motion a series of events<> The planned family journey is interrupted.when an employee of Philip Jordan is injured*

This event initiates the main action* Ruth's decision to remain alone at the cabin, furthermore, allows the conflict to arise * All that happens from this beginning point, to the ending, Is consecutive in effect, and the disturbance ends when the original balance.is restored* . 1 Ruth, alone in the cabin^ is assailed by three marauders* She appeals to one of them, Stephen Ghent, to save her from their carnal desires, offering to pay him with her - life. The bargain is-struck, confirmed first by a handshake and then through the sale of a chain of gold nuggets to buy off the others. This transaction firmly, establishes all

H' ' - , - • > ■ , . William Vaughn Moody, The Great Divide (Few York» 1909)$, p= 6 ,- All quotations from this play are, hereafter, taken from this text, , ; . ■ preyldmsl2r -suggested act.ion asd :tlie ehalti of nuggets serves ' -v as the material sign for the conflict in the following.acts1 fhe first act ends with Ruths, true to her agreements, . leaving the cabin to live with Ghent, ' This proposes a : : V H

question as to the ■ coursf their lives will follow, thus motivating additional aotiont n ; , ' " :• ■ The beginning of the se'cond act serves as an exposi™ '

tion and explanation to the audience of the events which have occurred during the lapse of six months and indicates the present' relationship: existing between Ruth and’ Ghent, .:,v

When Ruth enters the scene she suggests further ..action,; i.

saying i i1l thought some one was following me o’1. This specu­ lation is. substantiated. when> several members, of her' family '.i.;1'-

appear-o , Winttirop Hewbury, one of the visitors$, again raises ;• the question of the conflict, stating:. 11 But why should the wife of the man who owns the. Verde mine sell her handiwork?”

The full significance of this"expanding conflict^ . with its many implications, is revealed in a lengthy scene

of • poetic ;'.:speeches between-Ruth 'and';dh©nt.o:. It is during:1 this

scene that the main crisis is reached=, Ruth, forced to choose

"between remaining in the West with Ghent, or returning to the . ■ last with her brother,. elects, the former. This change in : t

events,. prompted by Ruth1 s decision, does not, however, . . .

resolve the conflict, but;is only a temporary^reprieve,'With the conflict remaining unresolved., sufficient stimulation .. V',:

exists to motivate action, for a third ac.t. . .. - 'V The third hot opens with a tone of quiet concern for

Ruthg who9 tormented by her love for Ghents is ille The conflict causing Ruth's illness is, at first, pointedly' ignored tiy everyone0 Roily, however, furthering the play’s action, finally announces that she has sent for Ghent„ She additionally re-establishes the main issues of the conflict, bringing them out in the open in a lengthy philosophic discourse» ■

Ghent, arrives on the scene and the entire issue of the conflict, with its multitude of moral and philosophical questions, is restated by Ruth and Ghent in a poignant sceneo The climax of the play comes when Ruth pronounces an unequivocal/decision to follow Ghent1s way of life„ Thus the conflict is resolved, the balance restored, and love becomes the redeeming force which rescues Ghent from his brutality and Ruth from her pride and self-will* A knowledge and understanding of the main line of action in a play is necessary before any serious attempt at examining character or thought can take place. Ruth Jordan, "a woman trained in all-the refinements and prejudices of Eastern culture,” is the most complex character in The Great Divide« She is characterised as having a n ;abundance- of pride and the strength of inbred

1 Henry, p„ 194='

^ "Drama, ” Ration, October 21, 1909, p=> 387 = convictions„ it the same time, however, she "possesses a delicacy which is partially to blame for the horror at her , ' subse^uent. experienoes; with Stephen G-hent® " ■ 'I iihen we first encounter Ruth Jordan, recently

arrived from Massachusetts and presently under the influence of:the Arizona desert, she is in a state of extreme exulta- tlonv This •condition.is best'disclosed when she explains to Philip: "I don’t know what's got into me oflate<, I’m

.lust drunk with happiness the Whole timee" "'v; 1 . Wlnthrop Newbury, Ruth's'lifelong friend and: ; present suitor, attempts asking her to marry him. Firmly, hut with kindness, she answers him: "Life is so good just:

as it is 2 Let us not .'change itr'' / Laterg : In a ' hurst- of - "v!

romantic enchantment,' Ruth reveals to Polly her dreams of ■’

the type of man she could loveI She states: The man I sometimes see in my dreams . / ' Is "- well,, like this country out here, . '. -1 doh’ t :you know? I am talking of a suh- ; lime abstraction of the.glorious unfulfilled • of the West the Desert.

' In her display of exaggerated happiness, her refusal :of Wlnthrop1s attempt at proposal, and the forementioned ,

;dreams%rwelcan heT-, charaeter; «@mht ions; whleh; are not strictly- Puritan. . These things giye:Ruth a predisposition . for her later conflict and make probable her ensuing love f or ,;::.Shento'V; t

1 Henry,- p.- 1-90. ' ■'/.iiXlegianoe a fundamental quality of : ; : Puritanism, compels Ruth, to remain alone at the eablno

Though members of her family question her determination to do this and suggest the possibility of danger, making probable future action*- she dismisses their coneern lightly„ Her current disposition is fearless, and when alone she com= ments: "What a scandal the moon is making out there in that great, erazy world I • Who .but me. could think of sleeping on such a night?” This romantic spall is broken only when the marauders enter and her virtue is threatened!

During the attack sequence,, Huth fights with all the strength of her Puritan upbringing and displays sincere horror over the situation. Realizing her helplessness in struggling-with three drunk and lusting men, she appeals to

Ghent to save her from the others in return for her life. Relieved though she is at being successful in saving her chastity, she sickens when Ghent purchases her life with a

. chain of.-gold nuggets o .

Further action arises giving Ruth access.to a gun. : She first puts the gun to her head, indicating suicide, but.

she does not follow through with this plan. Secondly, she points the gun at Ghent, but ..again fails to release the trigger. Ghent, confronting her about these neglected opportunities, demands an explanation from her. Concerning . taking her own life,.Ruth explains: - ' . ' I tried to do it. To take my life. I ought to die. I have a right to die. But I cannot! I love my life, I must live. In torment, in. darknessa?=it ; doesn't matter. I want my life. I will have it I -

She further explains that.she doesn't know why she didn't shoot Ghent. Moody, however, supplies the answer to this,

saying;

I had hoped to suggest that Ruth - doesn't kill Ghent because she al= v ready felt the influence of the man.' She has talked with him, a human relationship has been established ■ •' between them, and it is impossible for her to shoot him in cold blood, ilthough she' is scarcely conscious of. it, the bond which is to unite their lives has been formed, and she cannot break it.' I had hoped to make this understood and if it is not under­ stood the fault must be mine, i play should hold water :at every point. ' In a last attempt for freedom, Ruth makes an • emotional plea to Ghent saying their lives will be full of

nothing but ."hatred, and misery, and horror." Convinced'

that no amount of pleading will change Ghent's Intentions, with stoic resignation, she prepares to leave. Even in

departing she M S w i her Puritan prides "Fix the bolt. My brother must not know." . . v . •

In the second act, Ruth appears physically ill and in a state of near-exhaustion. She rejects all material

gifts offered by Ghent, as well as any verbal .or physical

^ Henry, p. T83„. Prom an unidentified clipping in the possession: of Mrs..'Moody... \ ^ ■ advances Jae make So The conflict and struggle evident in

Ruth now is not9 as previously$, against Ghent» Rather, it is within herself and against herself= 'Ruth fully realizes that she is in love with Ghent* The power which is the flesh has

created love and desire within her for him0 Opposing this, however , . is the .spiritual power of love * Because Ruth does

not understand this spiritual power, she must reject the othero It is her inability to reconcile these powers which makes her life one of torment and conflict» It Is this com-

plexity of character which makes Moody’s play "true realism* *' Ihen members of her family arrive, Ruth feigns happiness so as not to reveal her true relationship with her husbando She•is nearly convincing in this attempt* When WinthrOp asks her how long she had known Ghent, she replies:

"ill my life I: ind for aeons before." She further relates the circumstances of her departure from the cabin,'sayings

"It was half accident, half wild impulse* My lover came.

Impatient, importunate, and I went with him*" It is Ruth’s

.state of confusion,, caused by the separated powers of love, which prevents her from an "honest" meeting with her family*

When the visitors depart, an especially captivating

scene transpires between Ruth and Ghent0 Ho occasion in the play discloses more distinctly Ruth’s self-torment and struggle against her-Hew England conscience * Speaking about

the journey to their present;home, she admits of moments in which she felt the stirrings.of loves That nights, when we rode away from the justice’s office at San Jacinto£, and the sky began to 'brighten over the desert the ice that had gathered here -■= ( she touches her heart) =— began to meIt in spite of me. And when the next day passed, and the next, and still you spared me and ■ treated me with beautiful rough chivalry, I said to myself, ’He has heard my prayer to him. He knows what a girl’s heart is.* As you rode before me down the arroybs, and up over the mesas, through the dazzling sun­ light and majestic silence,it seemed as if . you were leading me out of a world of little codes and customs into a great new world. =- So it was for those first days. — And then - and then — I woke, and saw you standing in my tent-door in • the starlight ! I knew before you spoke that we were lost. You hadn’t the strength to save us!

.That luth recognized these feelings and that her desires were■moved to submitting to sexual union, does not, however, mean that she.could justify her actions. Previous training forced her to consider this action sinful. Ruth believed she had sinned., not in the act committed,: but because she enjoyed it| and, with a man who did not live according to religious doctrine. - The fact that Ruth loves and, even more, enjoys the man who had purchased h e r ;"for a handful of gold, like a woman of the street," necessitated that in some manner she atone for her sin. For Ruth the chain of gold nuggets sym­ bolizes all that is evil and distasteful in their relation-, ship. As long as she remains a purchased woman, the vision of Ghent as a beast "that, goes to its horrible pleasure as not even a wild animal will go," will remain before her. Her Puritan nature demands she expunge this evil before accepting anything from Ghent.

.With money earned through selling rugs and baskets

which she has made, as a means of restitution for her sins* Ruth buys back the chain of nuggets0 Only when free of the chain, does Ruth beiieve she can surrender to the powers of

• love. Holding the chain before Ghent, she tells him:

This has been round my neck, around my . limbs, a chain of eating fire. ■ Link by link I have unwound it. You will never know what it has■cost me, but I have paid it all. Take it and let me go free. I know it is only a symbol — a make-believe. I know I am childish to ask it. Still, take it and tell me I am free. Ghent refuses this request:, prompting Ruth to strengthen her

plea by telling him that “there is another life to think of.“

Learning this, Ghent becomes more vehement in his refusal to take back the chain and claims that she belongs to him

whether she likes it or not. Ill that is Puritan about Ruth

takes priority as she retorts; “By everything my people have

held sacred! .Not yours1 Not yours I" Her brother arrives and, after several moments of suspense in which she makes her decision, she turns to him, saying; “Take me — with you.

'Take me home!“ ,

In the third act, which takes place in Massachusetts, Ruth is again ill, this time mentally. She goes through the

motions of living, in a mechanical manner, but is disinter­

ested and out of touch with the world about her. The conflict within hen is temporarily at rest as she no longer possesses the strength to cope with it= It is the appearance of Ghent which kindles a spark of life in Ruth, Driven by her Puritan pride she at, first» uncompromising to Ghent’s appeals« However, when her family, learning the true circumstances of their■meeting, begins to. interfere, the love which Ruth still bears for Ghent takes precedence, She tells her family, "It shall be between, us," and they leave.

The philosophies of Ruth and Ghent attain complete poetic expression in this last scene of the play, Ruth, believing their marriage a failure and still battling self- respect, tells Ghent: If you had only heard my cry to you, to wait, to cleanse yourself and me — by suffering and sacrifice — before we dared , begin to live! But you wouldn’t see the need! — »'0, if you could have felt for yourself what I felt for you! If you could have said, ’The wages of sin is death!’ and suffered the anguish of death, and risen . again purified!

In an extensive speech, Ghent makes a last appeal to

Ruth. It is this simply worded declaration of his beliefs which wins Ruth. .For the.first time, Ruth is able to see the - 11 truth" of their relationship. Within moments, shedding all previous torments and conflicts, Ruth emerges as a mature woman, telling Ghent; "You have taken the good of our life and:grown'strong. I have taken the evil and grown weak, weak unto death. Teach me to live as you d o !" Following this .speech' she .places the chain of ; ' nuggets about her. neck,'firmly.establishing her "belief in the rightness of human instinct and impulse, in the wages of sin as not death but happiness and life*" The conflict is

resolved and the solution presented, . .Stephen Ghent, like Ruth Jordan, is an essential

character in' The Great Divide, His Character, however, is-

greatly /contrasted -to that of Ruth’ s having "about him a ." rough but wistful stoic ism and; none of the complexities of

pride ':and :eonseienee =:11 . . It is,; his pagan nature $ .aligned /h against Ruth*s puritanical qualities, which provides the conflict,; and ' mbtivating action in, the..'play. ,, , . /. ■, : ■ ;.

Ghent makes his first entrance as 'one of three drunken marauderso There is about him, however, a distin­ guishing qualityo He watches' the other rogues molest Ruth, but does not himself actively participate.. That he has . •

. stooped "below the level of his own character, " is indi­ cated by the fact that he is able to domprehend the full ;

significance,of Ruth's plea. That.Ruth selected Ghent to appeal to, and not one of the others, establishes that his ■

person-'manifested- at least a basic redeeming quality. ; ;The .; suspicion of the other men, raised by his response to Ruth's

. V. Henry, . p.' 192» ; '.' v: v ' \'. 2 ' ' - - . v /, . , , . . v. i . * • , t..' i'f Henry, pi 191.., . . : ;:

■ ':'3\Henry:,\p-. v , .vV:: '.V t v v; 1 '' ■ / . ' proposition, farther shows that he is not one of them. •

That Ghent possesses a faculty for appreciating fine things, is .demonstrated in'his desire to keep Ruth. He • ■

exhibits'-an understanding of himself and all that she can do for him, bluntly explainingt . . ,

X ve lived hard and careless and lately 1 I’ve been going', down'hill pretty fast. .'But ■ : I haven’t gotten so. low yet but what I can • \ „tell - one' woman ;fpom ,another;.1, = If /that.was all of it, I ’d be "miles away from here by . ■ , 1 :now’s,. riding like hell for liquor to wash . the : ' . . . taste of shame out of.my mouth. ' But that 'V'-, ain’t all. I ’ve seen what I ’ve been looking the :.wbf id'-- over, for, -'and never - knew vitI . ; : "" ; y- , eome^hecause :'I' 'bllhd~drunk and sun-crazy«, v . y ;:’y ; ' .v v'andllodkingV f bf ion : they nearest, way. - . That's why I come. • But that’s not why I’mv ;. : > : f .. ;.yi ; staying.:' : v:; .■'fR.y: y ■ " ' ' :. y 'y''. ' In his determination tq; appeal to Ruth, Ghent dis­

plays additional qualities of his character, predominantly •

those of.self-eonfidence .and cocksureness. He tells her: - Make this bad business over into some­ thing good for both of us! 'You’ll never : regret it! I ’m a strong man! I used to , feel'sometimes, before I went to the bad, that I couid take the world like that and . tilt her over.' ind I can do it, too, if you ' say the word! i ’ll put you where you can '' y look down on the proudest.. I’ll give you the kingdoms of the_ world and all the glory of ’em.■ dive me a chance, and I'11 make good! I ’ 11 make, a queen -of you. I'll put ; the world hhder your feet. ■ ' , .Ghent forces Ruth.:to keep her bargain, not out of

baseness, but because ”h e 1 senses the beginning of love and he knows that love has a power to lift him out of the grosS'. ." in Wich-he is aware he is floundering:. "^ s®e .

n:: ^ rhenry,. P.®: 185..': yy ;’.y:y' 1 y :.; ';,. a marked capacity for change and, regeneration when provided the opportunity* In the second, act we view Ghent as the prosperous

owner of a mine who,has given Ruth all that he promised In

the first acta He shows great consideration for Ruths taking . a boy's delight in giving her gifts. Though she continually rejects hims, In his intense loye for her, he remains ever

patient and- hopeful =, . There are even moments$ as he tells ■Euth, in which he completely forgets how it "stands" between them. As the second act progresses we are aware of two

predominant elements ih Ghent's character, his love for Ruth, and a clumsy attempt to try and understand her;complexities. He-listens to all that she tells him and becomes angry and hurt only when-she tries to destroy all that he has done for

her and begs to be set free„ Here, the "old" Ghent returns

and with former roughness, he tells Ruth; "For now, more than ever,' you are mine. Bought if you like, but mine! ■ Mine . by blind chance and the hell in a man's.veins, if you like„

Mine by almighty Nature whether you like, it or-not !"• This speech; again,' represents the'code of the West. ■ , . In the third act, after spending six months in the

East, Ghent is preparing to return West. Though he has not

seen Ruth during this time, believing any attempt to try to win her would be futile, he goes to. her home the evening, before

his proposed departure. This he does for the purpose of making: partial restitution to Ruth's family* Els manner has become one • of. quiet resignation and, though uncomfortable In his surroundings% there Is a noticeable absence of previous uncouthhesso .Alone" with; Ruths G-hent admits to her: I've never understood yous because ■=■= I don' t understand your people* “ Moving to leave.; he is stopped by Ruth; who demands to know what the "truth" is between them* In his most profound and poignant speech expressing the theme of the play* Ghent answerss , ' The first time our eyes met, they burned away all that was bad in our meeting, and left only the fact that we had met pure good « pure ;joy r-, a fortune of it for both of us* yes, for both of usi You'll .■ see. it yourself some -day* ■ ; ■’

: Stiat ha've .we got to do with suffering and :. sacrifice? ' That may be the law for some, and I've tried::hard. to see it *as our law, and thought I had succeeded«, But I haven'11 Our law is joy, and selfishness; the curve of your shoulder and : the light on your hair as you sit there says that as plain as preaching* Does it gall you the way we came together? You asked me that night what brought me, and I told you whiskey, and the : sun, and the devil* Well, I tell you now I'm thankful on my knees for all three! Does it rankle in your mind that I took you when I could get you, by main strength and fraud? I guess most good women are taken that way, if they only knew it. Don't you want to be paid for? I guess every wife is paid for in some good coin or other. And as for you. I've paid for you not.only with a trumpery chain, but with the heart in my breast, do you hear? That’s one thing you can’t, throw back at me «=»«• the man you’ve made of me, the life and the meaning of life you’ve showed me the way to! 42

is a last effort, he asks for the chance to try to ; live her way of. life#' even, Ih a moment of anguish and bitter™/' - ness, 'expressing'a belief more nearly Roth's than hise Hot , n receiving an immediate .response from her, he begins to leave and she s again, stops hlm«, ' During the reeoneiliat ion scenev ■ ■ G-hent's ■ initial bewilderment at Ruth's words;,,' changes to a state of complete joyV ; - In conclusion, Ghent "was a man■who carried the ' ■

depths and the high, capacities of our common nature and his . ; v

victory over the evil in him, not by negative sacrifice and ;. pentitehce : but by positive grasp of the good that came to : , ■ hima by a triumphant certainty in the dignity of his own laws Of growth, roused‘ thought, and a d m i r a t i o n ;;v"'.y'-'v-'v'V't

Polly iordan provides the comic relief in The Great ' • , .: Divide, and 'serves as Moody s, personal spokes-^woman throughout

the play0 'Though predominantly characterized as a whimsisal ' and idle talker, she possesses a quality of sincerity which

wins.her audiences' sympathy. Underlying her frivolity we

see a woman,■ who .longs for freedom from, her life O f , rigid con-' . it -; t;

vention as Philip Jordan's wife. 5he further shows an acute : awarenesa and sensitivity to the liyes of the people sUrroundt; .. i

lug her. That Polly's outward manner appears to be artificial, 1 % an indication of h e r ” attempt: to compensate f or her. inner. . h',.;.

frustrafion at not being allowed to enjoy life to its fullest. '

' ■'feiteh Prichard Eaton . The' Drama in English ' 1: .' -I':.: ;/.' ' (Hew York, 1930), pp. 311-312. p,:''- Speaking to Ruth in the first act, Polly explicitly explains Moody's concept of the conflict in The Great Divide» She states: "Happiness is its own justifications and it's the sapreder the more unreasonable it ls0 If comes or it doesn't, that's all you can say about it. ind when, i t ,comes^ one has the sense to grasp it dr one hasn't." Again, in the second >■ act,, she evinces, this belief in her pronounced' acceptance -ci"1"-v of Ghent and approval"of what she believes to be Ruth's ohosen way of life. She even.reveals her own desire for such a life, telling Ruth: "I want to be magnificentS I want to live on the roof of the world and own a gold mine!" • Pollys in the third act, metaphorically describes correctly the situation existing between Ruth and Ghent.- Driven: by her romantic nature and believing Ruth and Ghent to be "predestined lovers,11 she, furthermore, arranges to hasten, their inevitable reunion. ’ .Moving in a subtle manner through­ out the play, Polly manueyers those around her, helping to bring the play's action into focus. ;

The character of Winthrop Newbury is best described by Ruth- in the first act of the play. She says of him:

"Poor dear Win! He's- so good, so gentle and chivalrous. But >■= ah me, he8s '<»* finished! Winthrop is all rounded off, .a completed product." His appearance in The Great Divide is ' ostensibly to serve as a distinct contrast to the character of Ghent . ■ ' -. " : ' ' ■ . - ' . : ; ' - An affinity .exists between the characters of Philip. Jordanj Mrs, Jordan, and Dr° Newbury. . While" Winthrop - '.

: ,''a@#ears as. a contrast to Ghent,: they more - '■;? broadly represent all ' that is puritanical and •traditional,

iliiuninating the differenee present between East and West, j There' is no .moral change in ' character for them and they. ' ■ remain constant to the end, ' JJ . -v;’ : -: J ; J .. p J, ; ,

.Philip Jbrdan possesses none of the kindness or ■

pleas ant he s s: witneseed in the character:of Ruth and he - remains an unpleasant person throughout the playv His ^ .disposition is ;ne gat lye and his attitude toward'life '■ pessimistlOo He shows.no .capacity or desire for change

and: strictly adheres to a conventional code of ethicsv ..

J; 'v • .' iMrs J Jordan and W»l:Hewbury are the. elder members " in■the castof The Great Divide» Despite their set pattern Of life and unlikelihood of conversion to modern conduct,: they, do intelligently recognize the prevailing change "in ,

.' standards.: . The y further posse ss a sense of humor, under- ..

, standing, and: .confidence which is acquired only with age...

: The remaining characters in the play are: Lon ' Anderspn., Btirt ¥11 liams, ,Duteh, Shorty.A Gont.ractor, Jn : ;'

Architect, and A Boy. Their presence in the play is, for the

purpose of getting the:story told. Though minor characters, : each contributes s'lgnifleantly to the development, action,

or understanding of the . play. Moody has - provided them with

distinguishing.characteristics which make their importance,

to the plot {discernible. ' : . ' : ' ' ' 1 S; last -and;:mbstvessential Gohsideration needing attention in formulating a directorial' approach to The 'Q-reat .

Divide lies in establishing; the sub-category to which it belongs. - Because-; this play bridges the . "old" melodrama with ;-.r. the "new" realism» a pe culiar problem' exists.. On the basis -

of the eyidence-presented in the analysis' of the plot, it can, however, correctly be termed.realism. That it retains elements of the "old" melodrama is not to be disputed. Nevertheless j. the; unmistakable sincerity and optimism pre™ ; ,sent in Mr. Moody s play overshadows any lingering melodramatio elements.: '' ' ,' ■ ■ ■; :

’ ; Of the .many critics reviewing The 'Oreat Divide after , itsVNeW- Xork opening in October, 1906, few made specific '

mention of its being melodrama. Only one paper, the New York

^Herald'* describes the play as "ah out-and-out melodrama of

the good old-fashioned clap-trap brand." The London Sunday ■ Times in the' foliowihg, comment, issues - the strongest charge'

' This is imerlcan melodrama with a ven- . y;;.;, ■ ;t •■ geance:,.; and: itstgreat vogue across the :t ;■>- ' 1 . ;" - Atlantic explains itself I. For it is . . ' written in the sensational style of bold ■ v, ' advertisement; it is as full of incident . : ; r - yV t -'" -as a 'btdrehousety it appeals: to. women by : intrepid"love-making and sentimental re­ ferences to approaching motherhood, and, ' . - . ■ y .. anony to ,m.y boy,:;: it is veneered with . that abstruse high faintin' which people . y y like to call psychology, - - , ; ' _ y

1 New York Herald, October 4, 1906. . . .

iyi ' ^ London Sunday Times, - Bsotember 19,1909. ' : 46

/ / A close examination of this criticism^ however, seems to rule it invalid., Melodrama, in its' proper usage, pertains io those plays which are theatrically deceptive, embody illogieally contrived incidents for purposes of • producing spectacle, emphasize sentimental emotionalism, and • subordinate character to situation^ The great Divide certainly does not conform to the definition of melodrama*

There is no hero or villain present in The G-reat Divide. The characters are complete, subtly drawn, and exhibit ethical deliberation; in place of spectacle there is simplicity, the emotions displayed are pure and not romanticized, the language is vernacular, and instead of overstatement there is understatement and suggestion*

The question of why it was ever considered melodrama naturally arises* It has earlier been stated that the theme of The Great Divide was; bold and original and the setting unique for audiences of 190S* This made it seem sensational, and melodrama is sensational* The action of the first act, though violent, is true to the rough life of the early West*

Furthermore, the emotionalism produced by the conflict is earnest enough to be completely natural and real* It appears evident that audiences concerned themselves solely with the externals of the play* And, as Henry points out 2 "That the boldness of the scenes was so strange to the audience that they missed the answers to the two questions raised is a fault : ■ - . • ■ - ' ' I . ' of the times and not of the artistry of the playo" . •

In a letter to.Henry Miller, Moody reveals his desire to avoid melodrama® He writes? /, :

I beg , you to. reeonsider : the stage busi- . ness at. the very close of Act 1 ( 1 mean where \'Ghent raises, his .hand, and''points, and 'Ruth ' , 1.',: ' ■ goes past him cringing with bent head)„ This - seems to me melodramatic and .false in its . effect — it is quite out of key with Ghent *s , ' '/I simple s, straightforward^ unmelodramatic ' •characters, , and also with the girl’s cor re- /'. tv spondlng qualities®2 ' • : ; '

:v ... : 'Discerning 'critics-.of the day correctly recognized a >'V;

difference betweeh the "old" melodrama and-the "new" realism., Acton Davies^ writing for 'the New York Evening Sun, says? _v... Don’t let anyone run away with the idea v that this is a melodrama? it is drama of . :v"' ' .the purest form® in describing the play ' some of its incidents may sound melodrama- . : v , tie r but since, when did thrills be long to - ' ' Vv ' melodrama: alone?3 :. : . ;; , . : ■ ■;>

'.. An 'article:-: in The: Bookman reads>:vin part? "It has an idea i n ;/V it, and for' that reason. pught. not to - be . grouped • .with the other

plays of Western life, such as The Three of Us, which is purely conventional, and-The Girl of The Golden West, with Its

GOwboys and gamblers-and blood dripping from the ceiling."

• . .. Henry, p » 185« . , : -, ■ .... - - ^ Some Letters of William Vaughn Moody (lew York, ' 1 915) » . P® ;. 1 68 e v. / V- y.: ■: ■■■. ... , -y . • • ' ' : /, •./

• .'■ - 6A0ton • Davies® lew York Evening Sun. • October 4„ 19.06®

. ' "Chronicle and Comment11 (anon.® rev®), The Bookman.V v XXIV: (D'ecembef 1906”1907) # pp. 331-332. ; - ''n-:;v; •'v-v -:- .A' review appearing in the Mew York fimes best des­ cribes those- qualities ■..which distinguish The Great Divide as realism0 The reviewer comments; As a whole . . the play rises far above that class @elodramg| a Its characteriza­ tions are splendidly reals there is ;an undercurrent of subtle thought, its human contrasts are bolds strongs powerful and eon- .vincings and o' 0 . it moves forward with a ■ steady, insistent, and absorbing grip upon the attention and sympathy«1

If structural weaknesses exist in The Great Divide« they are minor ones0 Moody s primary concern as a dramatist is meaning, not method, and it is this quality which separ­ ates him from most playwrights of the early 1900Vs«» Arthur • Hobson Quinn provides the best concluding statement, saying that The Great Divide is "a permanent addition to literature o.":

1 ■ ■Henry,'’pl/^iSSl^V-FhomVah.unldentif.ied^-clipping in the possession of Mrs, .Moodya • o - • Arthur Hobson Quinn<, 1 History of the American - - Drama ■ (Mew York, 1955)P p. 121 CHAPTER III -N /

• THE DIRECTOR"S APPROACH TQ PRODUCING- THE PLAY

o- : ... Having cbmpleted' the analysis, the next procedure is ■ ' ■ ■ ■' '" < V v - ' ' ■ .'■■■ ^ ' ■* to formulate a directorial approach to the play. The direct­ ing concept presented in this chapter will be limited to The & . ' _ ' ' , • ' : - Great Divide, and the following factors of production will be examined; style of acting, scenery, lighting, sound, costuming, and make-up, ■ . The main purpose for producing The Great' Divide is to present a play of established historical significance which will provide an educational experience for both actor and ' audienceIn order ' that the audience may better discern the complete value of ihls historic piece‘it will be pre­

sented without revision or adaptation of the original script.

However, a close adherence to the original text raises an

essential problem warranting consideration by the producing , . ■ " ■■■ ‘ :' . . • ^ ' - ■ , . - i director.

It was earlier stated that The Great Divide contains elements of both melodrama and realism, emphasizing the

former. 1 Though this play is not a melodrama, certain elements within it might appear melodramatic or artificial to a modern audience, The language In many instances is melodramatic -

: ' I , ; ■ i ' : ■ . (e.g., "I said that if ttie truth ever came out, this man

should answer to me, and now, by God, he shall answer!") In other Instances/ the language is antiquated (e-*g>, "Fancy . ' , that nourishing itself on salt~pbrk:9 l.chicfcory beans5 ' and , ■ air-tight ! ")» The action of the attack scene in ’Act One might seem exaggerated enough to produce laughter. . Lastly,

to ah. audieUde;'accustomed to . candid' cohyer sat ions, the emotions produced by the lack of communication- between :

Ruth and Ghent may easily, appear excessiye to the existing ; . problem. These' .same elements whieh fashionecl. the' play as ' ; ;: reallstio and, bold for audiences in 1906, could readily date, 'if'' not; destroy, its import in 1962, Accordingly, ;;a. 'careful evaluation needs to be made: regarding the projected' ;,

:;v treatment of t h e s e ;: aspectsv: ■; . ' : . / . . t ■:-/' 1 : 1 Were one to stress the out-of-date elements in The '

Great Divide, the mood would bedome comleal, the action '

would seem - absurd, and- the -characters would appear farcical 0 - , Such a ;production- might we11 provide an entertaining'evening

of .burlesque, but would not be of value as an historical

presentation;,::' Gpnyersely/' much of the excellence of Moody8 s;'.. play, would be forfeited .were current standards.; of realism - employed in producing iti If the dated elements were .

omitted, or - ignored, •■ a; great; deal which is interesting about ,

the play would he. bbllterated and audience attention could :. hot .be malhtalhed,, - ... ,. ’ ; ; ,, .. ' : ' . -It' is ;thb vWiter’ si -thab"a successful production- ' Of-;She Great' Divide can be accomplished while /retaining its

traditional values for educational purposes. This can be achieved by maintaining a balance, between-the dated elements and current production procedureso. To affect this desired balance, the director will attempt, in essence, to capture the style of performance existing in 1906* The style of acting current in 1906 only approximated realism as we know it on our present day stages* Until the turn of the century, playwrights commonly wrote with the purpose of providing stage vehicles for Stars* It is evident in Miss Anglin’s hesitancy to accept the role of Ruth, as

' t ■■■ : : first written, that-this practice continued after 1900* Olayto.n Hamilton, as lat© a s : 1910, wrote: "The public in

America goes to see actors? it seldom goes to see a play. Ensemble acting was Introduced early in the century, but it did not win general acceptance immediately* Hamilton suggests that many actors continued to hold to the "old" way:

"I am afraid that this excellent method of team play is more honored in the breach than in the observance among many of our eminent actors of the present time* * * * Artistic self-denial is one of the rarest virtues*'As a result, the acting was only superficially realistice Various methods were employed, at the insistence of the Stars, to sustain the actors8 supremacy on the stage* The

1 • ' . ■ - - . See page 10. . . . ' O " ’ - ' .. . ' Clayton Hamilton* The Theory of the Theatre (Mew York, 1910), p* 157* ■ ' " ^ Hamilton, pp* 104-05, .entire scheme of blocking the stag©,movement: was designed to enhance the Star; thus the center stage area was frequently / •.. . t .::, - '«/., - .. /': :..; /:- vt-: \ , ; ;';':: ^ used, with the actor directly addressing the audience« Stars. -

■: often developed individualizing mannerisms or gestures for the purpose of-gaining attention^ in addition, leading ' .

ladles we re :"mbhe yhi chly clad:than the minor members of their companies, " ■; ■■ Consequently,-. the more the actor was empha- ■ v aized the more superficial his characterization became« / ; Edwin Duerr,.in a recent study of acting, provides the best

summation of the style of acting existing at the time - The ' - Creat Divide was. first producedr "Some of the American.’ act- ;: , -

ing at this time was less "stagy* than it had been, .But

they idhe actorsi still knew how to project to the galleries v and 'to gesture boldly, to face three-quarters front, ' to - \ "I

begin a cross.with the upstage foot, to up stage others, and . to take center stage," ‘ ; . The '.style, of acting" selected .by the director ■for'' .

ihe.dreat Divide deviates, to some extent,. from .that generally>

practiced todaye Although the basic requirements of acting remain,the same for alt styles, the director will stress the . importance of enlarging.; each teohnique employed* -1# accord ■ with the period of the play, the actors need to accentuate ....

their presence on stage and maintain a distinct rapport with

;.\,v ; Hamilton, p« 125. .

' 2 Edwin Duerr* The Length and Depth of Acting ■ ■ (New York, 1962), p. 432* ...; ' . ph .p \ ■ v^;;t the audlencee Though the" use of expansive and sweeping

gestures would. he: uh:justdiTlahl6i»v" stihtle movements would be equally inconsistent with the primary purpose of this' presen- - , tatiorio Therefore, it is the director's aim to suggest a ’ previous style of acting through- careful control of . ;; ^ : f ,1 : magnified movement = , / " -.v

In all instances, movement by the actors should be

well^definedvand perceptible0. Moody provides excellent- motivation for stage movement in the lines of his play and this needs to be utilized wherever possibleo To aid. in sustaining audience interestg it is the director's intention : ' to 'block the movement of the play in such a manner gas to ' slightly accelerate the; act ion« To further suggest the de­

sired style, the writer wiil direct his actors to move during ; pauses within speeches, rather than when delivering . a line, ast is commonly dones This will aid in emphasizing both the ,

speech and business as.well as the actor, suggesting his prevloms promineneee: Indther means centers in the responsi- ; " bility of the individual actor in making his hand .gestures. meaningful and’definiteo Both, gestures and stances of the ■ period will be studied and employed by the actors o ' . ; .. ';

It will further be necessary to direct the complete

attention of the audience to the central characters of the

play as they deliver consequential speeeheso This should • .greatly Increase the’ audiences ■ • interest and .understanding .'v

of-Moody’s playo By directing the actors to remain motionless and without immediate peaetion during essential speeches,•the above purpose can be accomplished« fhls addi­ tionally produces a stage, tableau true to the pictorial style of the period® ,The speaker, in this instance, needs to establish a good rapport with his audience through the use of direct eye contact and a full-front stage position.

The most Important duty of the director will lie in his ability' to determine what will be believable and' accept­ able to modern audiences and to guide his actors accordingly. Both the actors and the director need to have a thorough understanding of their main obligations to the acting ' aspects of the play. Performing each role with convincing sincerity will be the greatest single responsibility demanded of the actors. Sincerity in performance, the writer believes, is the primary key to a successful production of The Great Divide in 1962. •

The selection of a suitable system to enhance the visual aspects of the production is.an important function of the producing director. Scenery, lighting, sound, costuming, and make-up combine■to form an environment suitable to the action of the play. Each of these elements must be considered according to the needs of the play and the technical facili­ ties available with which to work.' In executing such an extensive projects, the contribution and co-operation of many people, are needed. The responsibility of the director is in . communicating his ideas to these individuals-and to serve as. • their- adylso'r in. attaining , the best possible-results. The G-reat Divide requires the use of three realistic sets, including one exterior and two interior settings. A great deal of the action and the understanding of the play

is dependent upon accurate scenic representation,, and a con­ certed effort will he made to comply with these demands.

The text"of Moody8s play provides a detailed descrip­ tion of the settings suggested for use. Additionally, several . photographs of the original production remain0; These two sources will serve as the basis in designing the seta for' this production. It will be the obligation of the scenic designer to adapt the original settings to modern production methodso That the staging of this production conforms' exactly to the original is not important or even possible. However, the setting must give the illusion of conformity to earlier styles ,of staging to be consistent with the primary purpose and approach to this production. Realism in stage-settings of the early 1900*s was carried to an extreme and these visual elements took precedence; over other aspects of the production. In an attempt to create a realistic stage illusion, devices were developed:that could produce sunsets, starlit skies, moonlight

fire, and. fountains of water, to name but a few. Concerning this, Hamilton statess "Nowadays elaborateness of stage illusion has made spoiled children of us all. We must have a doll with real hair, or.else we cannot play at being mothers „" ^ • The designing of the settings for this production of The Great Divide will he given as an assignment to the ■ students enrolled in;the scene design classes= The render­ ing which best captures and conforms to the original, as well as being Technically practical, will be- selected. Essential fob establishing mood and atmosphere in a p lay 1 s the; 1 ightlng,. ;: Being ;;a re alls 11c production, the lighting demands are not great. However, several special effects will be created through the use of lights.

The action in the first act covers a period from .

late afternoon to early evening and several characters speak

' of moonlight streaming through the door and window. There­ fore, the audience needs to view this moonlight- Secondly, • the original production ended the second act with a specta­ cular sunset. Though this is not an essential requirement,

much would be added to the mood and beauty of this last scene. Therefore, the director will request that this be a

part.of the lighting scheme. ~ \ Sound is an important factor in this production.

The first act requires various realistic sound effects essential:to the action of the play. Several horses are

heard approaching or leaving the cabin as well as the rumble

of a wagon. , There are also several off-stage gun shots

1 Hamilton, p. 92 which should be heard= Also gun-fire should be seen if possible0 . There are no sound. effects in, the second acts, and the third act requires only the ringing of a doorbell*

Both Eastern and Western attire will be used in cos­ tuming/ the actors in order■to emphasize the gepgraphicai

^•divide."., To achieve an exact reproduction of the original . costumes, an unnecessary expense would be involved* There- ■ fore, It is the director's wish that the costumes be kept: simple, but suggestive of the period*

The style of make-up to be used will be very con­ ventional * The only deviation will be in. having the eyes slightly exaggerated and the face rouge- somewhat accentuated* This is in keeping with the period and should aid in estab­ lishing the visual aspects of characterization^

■ Only through ,a-' careful co-ordination of all these elements- can a unified expression be accomplished„ One element should not dominate another,nor should any element draw the audienees attention, sway from the total effect * •

The audience, furthermore,- should not be aware of an attempt at a particular style, but, if correctly done, should accept the production as an honest rendering and true ihterpreta™ tion. as a period piece® ' ,BRT TWO

THE PRODUCTION At'the rise of .the curtain, Philip sit at center , . table mehding,a Bridle„ Polly.kneel down right paoking a trunk as Winthrop assistso Ruth stand up eeiiter with back to the audieence looking out of the window, ;VV i.., : it ; t Philip show impatience with Polly, He is the only one■lacking a light tone® ■

, Polly put finishing touches on packing/ then close and lock the trunk," - : . •'' ; ■ I'l" . ’

This line was,given to Winthrop as it seemed more . logical» Winthrop. and Philip exit carrying the trunk, v,..: ... .■•if." 1 v / , Ruth turn for the first time, cross to left center above the tablei;, Polly remain busy at •the mirror9 . adj-ustlng..ha.t and cloW , ;; 'i':p ■ - Ruth cross down left to cupboard and sink, ’

Poliy face full-front, '' ''' ''

Ruth'set table with cups and . smmc.ers,*. walking to and from the cupboard, ' ■ ' • ■ G-HABIER IV .

' THE PROMPT BOOK FOR THE GREAT DIVIDE ' ' ■ ' ' ; ; A Cl I . . • ' WlNTHROP. . (1 ) What on ear.tla possessed you to bring •'such a load of duds to Arizona? ' . •

POLLY» ; ; ' V'': ‘ ' : •• ' ''' They promised me a good time, meaning one small yShindig--one— in the three months I've spent in this ■ unholy place. (2) PHILIPo . ' ' ■ ■. ' v ■ : v . ' .. • ' . ■ . Yon ’-d. better hurry» It1 s ’ getting late«

RUTHo ' • • It’s getting cooler, which is more to the point. We ' can make the railroad easily by sunrise, with this delicious breeze blowing, .

POLLY, ■ Theres at last! (3) Heaven help the contents, WINTHROP, ' Give me a 11%, with the trunk, Phil, (4) , , : ' (Exit PHILIP AMD WIHTHROP RUTH, ' .. . ", ■ ' V/ \ ‘ ■ ■ . / • ' , (5)-My, Pollikins! You’ll be the talk of all the jack- rabbits and sage hens' between here and the railroad, POLLY. \ • ' . Phil is furious at me for going,'(6) and it is rather mean to sneak off for a visit in a grand house in San Francisco, when you poor dears have to-slave oh here, (7) But really, I can’t endure this life a day longer.

RUTH. • ; •: ‘ : ' " ;; 0V'J i'' ' ' ' ' ' f Y " It Isn’t in nature that you should. Fancy that nourishing itself on salt pork, chickory beans, and . : V air-tight!.y :: Oy: y. - y : . POLLY, ■ ' Do you really , mean to say that apart from your pride in helping your brother, making the project go,(8) and sav Ing the family fortunes, you really enjoy; yourself here (1). Ruth at the table address lines directly to the audience e , ; ;

(2); Ruth at stove . ■

(3)' Polly indicates her heart. .

(4) Polly cross center, following Ruth about in a / ■ "gossipy" and "woman talk" manner. . ,,

(5) . ' Ruth cross to table and pomi* coffeep,-' Polly sit left

(6) PhiIp9 still moody and Impatient8 take :coffee9 cross down right and remain standing looking slightly away from the otherso Wimthrop sito Ruth get candle, ■ : light it, and bring to the table.- ’ ’ - Si&ee Phil and I came out5, one day has been more ' . •' radiantly exciting than the other„ ■ I don.! t- know what8 s •: . 1 the; matter . with: me,' ;.I thihk' X ' shall be punished for. .. ;': ;X ; l being'' so^'happ'yo:, ’ ^ :.: ' " : r''':' . .■ : "'b POLLY, : : -V, ;:;-v ; ! - \ ■ 'I' ; ‘ • ' : Punished: for being happy I , There6 s your simonpure ' - -' v.- 'bp ^y ; : V:'."’’:-. ;1 RtfTHo;' . . ' . . • 1 y /1 . v. "v'; 11 was disboyer^d at the . age of/seven, in the garret -' . bermsi%'-: fhe. T#klve, Pillars a n d Pour: Cornerstones: h-f

'POLLY,. ' r: ; ; -; : ';' . .. - l: If Massachusetts and iri^ona ever get in a mixup in , . there, woe be I (3) Are you ever going to have that ' y : epffe© d o n s ? v ' ■ ■ V ' . ' " : V.: . v/ .v - ' :y':

•I hope soon, before you get me analyzed out of existeries.=

POLLY, , . : ■ . 'r";y- ' : : ' , ' . ' '■ . v ' ' \ . , / r' - .,;>-C . ' (4) The main point Is this / my dearg and you Id .better ... ■ . v ' listen to what the old lady is a-tellin8 of ye, -L ' - . • Happiness Is its own justification, and it's the saereder the more unreasonable it is. It comes or it doesn’t$ . . that's ail you can say about ■ it, And when it comes., one has the sense to grasp , it or one hasn11 , . There /you. have; '. ..t . . /■ the .Law' and ^ the/Prophets,,1/ ' -/y: / ■. •.//■■ y //;:.

///. ;: Enter WIHfHROP i W PHILIP:v ; V . ■■: / :,/'/''' ;.:.;::;:/',:...//,:V-y •;/-: :..:// /

RHTHo ■,'/' / ■^■'/■: :--'y':;' ' y : ; /,;/:‘; y.y , • \ /': ::b'//.;p/:. i . , (5) Messieurs et Mesdames S . - v - ■..•■ . y . :

iriHTHROPo. . ; . 1 . ' .:;;/. : Oof fee I (6) Welly : rather, withan all-night ride In the /-/ desert ahead, of us. Where dp/we get our next- feed? -

With lucky -at" dett'onwood 'Wash, ;■ // ; .:::/.■ ' ■a, - ./

WIHTHRPP,; ^ .. -:'/' / " V . ■ ■ / ' / ■ b/:'-'y .:i/L .oy-.y : i h d h.bw far 'may^foftonwood Wash be? /-:. - - Ny.:y/. /y' '-.."/-'/ '' ■//y::"-

RWTHi :"'"y - :- - .' fyy " y . - ; - / / y' ':: : v-: y, Thirty miles, X.':'/y . :.;:y ■ ./ ./.y/ - : /, ■. ;/,; :/ :. ./'y;\/. '■',/;. wiHTHROP,.. ■: " y ; ^ ; ' ;V- :y::x-v• :•.'-:/"/"':'/ x-x- ' : y- ; Local measurement? ' : / ■ ;y :: .y ;■ -/- .

! Philip turzi part way facing the others

Ruth^ full froatj, speak directly to the audience

Polly rise' and cross up centerc

Ruth cross, up t Ight .and get-, saddle ; and, 'bridle«, ;.POLLY^v'' :"': '; ' %: .v:V,: ' •. : •; Phil,-. f©r Heavenf s: sake^ say somethimgo ; You diffuse ’ ; the gloom of the Pit0 \ ■ :■ v PHILIFo / 1'.: - /' - : : k;-v-v. v::-. : :'; ; (1) I 've had my say out9 and it makes absolutely no Impression on yone ^ 'v;>; : \

;POLLY,/y:'\:': ;/-•.<> ' ." :,It8 s. the; impression on the public I/m anxious about» -

Ph i l i p o ’ .■ ; ■ , . :' : ■ . ■ '• 7:..' ; :' .7 -./■; : - ,-$he. public will have : to .;^ait;c>, v'.:-v,v: - >:-> ■ ; - :

' POLLY. 7 ' 7 v : ■' . . ■ 7-7',, ::-7 ; 7 7 : '.. .. ; ■ 18ii horribly sorry for you two poor dears» left alone . ' v ■ ' 7 1 in this dreadful place s, :$h©n Bho■ Hewbmry . goes; I :hb n 81:; ■ v see how you811 support life„ I should like to know how long this sojourn in the wilderness is going to last/ r';://, ,777.'7_,t ROTHo ■ • 7 7-7 . : 7 : . 77 • 7 7 : ■ (2) Till Cactus Fiber makes our eternal fortune„ : ' .

:;7flMTHSdP:o,;-V: ^ /' 1 7 ;'"777::7 ''"::"7 :7 ; ;:"7'-;': ' 7 :/''''7' ' ' ' And how long Will ,that beT/' .; : ; :/'7 .;,7' •, ■ .. ':#TH.^7.;7^':':;\;,7. v, 7.7//:7:77:.: : 7 ;:7 ■/ ' :y-:vt 777;,/y/7.,/' 7 Two 'years', to pay back the 'money ;we /raised on/mother’s /., • 7 §state, two years of. invested profitss two years of •, , . hard luck and marking time a two years of booming , 7 ' : 7 ' prosperltyo /.Say/eight y©ars7; 77/'7 - /- //"' ' '-'"/ ,/'// ./7 ;

POLLY o ' 7" 7 . . ;. ; . 7 . ' ' - 77777':' 7 ' " 7 7 , / Shades of;the tomb! /-How ipng. do you expect to live? (3)

. : ■ Forever! : . ,' ;:'/. 7 7 ': : / . . .,/■' ■ ,/,/. (The.'sound Of a Kaldooing: horse . 7 is heard, muffled by the sand,)

'#1MTHR0P, / - ■ ,./://; 'f; >7,77/://;:. /'7 / .7;/. /. ' . ’ Listen! What/ s /that?/ : (.4.) -/ ■ ,,';/ .' , /-

■Enter B'OY ‘ ' , PHILIP^ ' .'7 7777./'' 7/7/,/_ 7Tri 7':7/7 7777' What8 s the matter? •

:BOYv'7.:''' ' • 7 -...,. ‘‘V. ' 7 1 8ve come for the doctor„ . -; (1 ) Boy speak with exaggerated, gestures^ excitement,. and mueh expressibho , .; :: • V ;i: v', '.

(2) Ruth eresa up i?ight a n d get saddle and bridle«

(3) : Ruth exit/taking saddle and bridle c i,V, : -

(4)' ' Polly speak iti; pouting tone o' ' • 1 !

(5) Polly eross to tableo

(6) Winthrop eross down* right? appearing rather melancholy^ (?) Polly sit eenter0 " 1 ' ' ' .

(8) ' Polly react with a shake of the head/ - -I/ ''; 1 61

?HILIEto= wants the doctor?

b o y ;. ■ _ ' . ■ ■ . " ' : . Your man. Sawyerg over to Lone' Tree«, »=He6 s" broke ■ his" . :

: •. Broken his leg I - Sawyer?, Our foreman? ; . . . ■ ^ ;

There's a nice piece.of luck!--How did it happen?

BQYo B "'1 : : : : . - ' .■ (1 ) They was.doih* some Havajo stunts on horseback, , ■ ■ - :,;. •.... ■ „ .pull in '' chi ckens; out of the sand at. a gall op and; takln' . ■. ‘ '"• a hurdle oh'; the hps.#mg.c . y'Sawyer Is ■■and'u:::;:/b't:v ■.. : lunged, off agin -a 'dobe wall ®-r. Smashed his leg all to "■. '''V : - thunder® ' ; .h‘: ■ . V"'t: v ' ; - ... ' -(hxi.t. PHILIP., BOY° ■ , ' , : mJTHo ; ■'.ll ■ . / V v ;';v . . ■■■ v::: - ^ h; (2) I'll have Buckskin saddled for you" iata-; •;! ■ VVy V long will it take you- to' set ' the leg? ■ y'ly‘ 1;'::B';; v WIHTHROPd; ' y , ^ ' : . • ’ O'- ''1-7 ' ; . . . "yl . ; Vy.;;y'y;:' • : Perhaps an hour, perhaps threeo • . \ . "

' RUTH® , , ...... , , It s a, big detour9 but you can catch us at Cottonwood ' : Sash hy sdnrIse 9 - allowing three::hourd for Sawyer® : Vy y:'. ^ -y ' Buckskin has done it beforer (3) ' .. y-.r ,;' y^ ■r ; :V : ;.yV' yyhtm ,y:pyy PGlLYo - . ■; .■, ■'. y y. :;; ■ . y . v.v y.,yy rt.«i .:" ■ -■' . ■ y"" ; V; :: ■' " k: >. ( 4 ) ‘ This will ‘spollPall::our 'funSy ' Hhy can' t the , . " , . - - oreature. wait till you get back? " , ■ y y . , . '. ' _ :y : ■:

: : :fjHTHROPly"y ' i;'; -.k ■ yy: . Bid you ever have a broken leg? y y - ■ ■ ; y.. 'y- . - ' "y::y

■ POLLYo - '.1 '■ ; . . y - '. "," ' ■ ; V-' ' V' v:": ■ ;vy ,.:;; :y :.y, ' y. ; (5) Well, no, not exactly ay leg®: -But. I've had :a broken- /yr.' y hearto. . -In yfa©tr -I've got ohey mOwl if you're mot going--y v' : '"■■y- ; with us. ■■■; y ' : y \.";y y.yy-:::,,, -y\: ;y:-: yk:'"y,-':'ty "y;

. WIHTHR0P. • . .-y' ' ; - y ' ' / ''1 -"' ' ■ ' k ■ ■ytt'/y; ' (6) To tell you the truth $ mine is broken too.. (7) Did ,, you over have a dream of climbing a long hills, and having y y ' .. , "‘to'turn back before you saw what was on- the other side? ■ tyyy;

. ... . y " (8)1 feel as- if I'd.had my chance tonight to see what was ; , over thereg and lost it.: ' '• '.' y ' " Polljr exit, down right =» Ruth enter, cross above to left corner of the table» - ' :

Winthrop cross toward EUth

Ruth extend hand which Winthrop takeso,

Winthrop detain Ruth's hand and attempt to draw her closer ® ;■ :v,^ h

Winthrop drop Ruth1 s hand and with a painful.- look exits Polly enter and .cross to door, watch Winthrop; leaveand wave at him. , ■

Polly cross to Ruths POLLYo ' . . . ■ ; , You911 excuse me If It sounds personal, Dr. Newbury» v V:z but did you expect to discern a--.sort of central : r ...figure . in the outrolled landscape? -z-', ';;V'r''::' : ^ ; . ¥ l M R O P > : ; :v:.. ' C.' \. r "Y"" . ' loi" ‘That- i s 'v(; /; v:-- - v-."

Oh* I .seea Just scenery! z' - ',v::- 'Vz,.. . ;-V ; ' . (Exit POiMe ■ .. :: ; Enter-ROTHV v c .y " . t: ^ 1 z ; : •

: y; V. -.z' r yy-r' :. -.z y :''-.t- .ty-y' y':-','; "(1.) Buckskin is ready , and ysp Is the moon. The boy . hnpvs the trails like an Indian. He will bring you ■ y . " through to Cottonwood by daylight. 1 , V’

' ¥l»flR0Pe z.' . 't : : . ; :''.,"'.yz: z:i';-y t"-:'-. y ■ : ' ; >4 t ■■ . .■■■';■ ( 2 ) Ve shall have the 'ride .back together, at. • any rate „

% : v v z.; Ye s. ““I would go' with you, and try. to do something., to z' z make poor Sawyer comfortable, but ie. haven' t another- z horse ;that can: do. the dlstarrce.. ( 3) G-oodbye. . - - : wimTHROP. . . ' ':; yyy ;y' .: t"'. tv'; I,;'''1;. . . ■ ■ ■ : z - . '■■■ (4) Won't you make It up to me?. . I.; t--'-,;' z y z

4 r u t H o .' .z 'yyyv ''':'4;.;: :.4;a .l i - yTHii • 4 ';:yy;:t- v v- :'z.,. .Mo, ¥iho ■Please not.o ■ z z.: : '.z z ■

¥iiTHRdPe: y :. t:z-y 4.^ t:.:'.44%:;4'- '4y '.y : z'-y.'z',":..R@yQrt 4 4 '4'-:'.44";z4 z ' -y '-I'z' '.jy'z' v ^■:-4 tz -\;-::y.z:,:. - ■ B W o / 4:,;4 4 ■'^4';4v.;''i':;yi:4....:4 4 :-z';';'y:::''44 4 .-h t/t .w v- ' zz; 4 ; Life is so good .just. as it; Is? z Let us .not change 11. (5)

. 1 ' • ' (Exit WIMTHROP. z Enter POLLY. . 4 z '.1(4.4 z ' .. /'''(z-z;;' -■ (; -■'4:4^- 44 yz.; -/ ' POLLY. ;'r4z' z ; z y : : l z z ;z.:.4.:V vy.;:z;(4z-4^ ( 6) Conscience 'clear? , z , \...... z " ' , ' t ;" z, ' ' '

.'RMTH.0. .(.''Z ; z■ z: ? ’; "-'zv^ 'z; '' y“' .^v .z'' '4 ' -z'^’'z'v v: : ; : .Crystal!; ■ Z y ■ y': Z Z Z Z Zy/Z Z: ' " : : POLLY. Z ..Z " y : . ■ ■ . : Z . Z ■ Z 'Zzv ;yy'; Z Z . ■. Promising young physician, charming girl, lonely ranch#:. . > horseback excursions, spring of the year I . ; (■ ,4. ... z 4

Z,zMot guilty»z (1) . Ruth.play down left,area*

(2) Polly cnoss to Ruth*

(3) Ruth cross below table t© right centere

(4) Enter?Philip;» cross center above table« Ruth put on hat at down right mirror» '

(5) . Ruthg with astonishment,, turn9' cross to down right ‘: : corner,of the table„ take note from Philip and read it (6) Ruth cross rights take off hat. ; POLLT^y . ::Y,."-YYY- ■ ' Q-raelous! Then it's not play, 'it's earneste .

■ ' - ■ ■ Neither the one nor .th©'otherc It's jast your little ■ . blonde romantic nod'dlbd (.I)- Do you think if. I wanted ■ ■ ■ ':'to flirt, I would''s@lhit' 4>:yoath. I "ve:; played hooky, with ■ . . . and' seen his -mother ' spank? Poor dear Win! ' He ' s so . • ' ' .'good:, .gentle a M .©MvalrousY. But”-ah,me, he' a-- Y ' finished!■ ■ I want, one that isn!t'finished! •

POLLXo. ■ ' . ■ ■ ■■. . ' ' . ■ ■ (2) ? j r @ v.:, you; o u t ;, of ; yopr head.,; you poor thing?' ■;

■■ R D T m ' ::V" ” ; ''V;': : ... : You hn©w what .I . mian; w©ll.: enough.." Winthrop is all : • rounded off,, a completed produete But; the: man I : sometimes see in my dreams is— well, like this country - out .here$ donH- .you■ khow? 1 . ' ■■ : f ' - ;; '

'PGLll.-;'': - Y,: - if ' Y :YY ■ Ye8, thank,youf'- I do knowo Heaven send you joy of - . Y Yhims 'fY" '' ''' 1/ : 'ft/ Y C:Y Y-'Y ■■ Y/^vY RtJfHo:f'-'Y Y'' Y:'-'YvY ' Y"\"t'. if f'; :- : f 1 YY' ' 1 f''Y'Y; ■ ■ Y ; : - . : (3) 'Heaven won't, because, alas, he doesn't'' exist!: 'I ; :1 '■ - a m . talking ' of a sublime : abstraction-^of the glorious unfulfllled««'Of 'the West-^the -Desert o. ' . v ■ vV:l fr '" ^

: POLLY elf Y' fi f ■ ' .. . Y i" V'-Yf''-f Y;Y ■ .. , ‘ Y Y ' : ' Y Y "Y. ■ 1 We haven't by chance, 'Some:..spring morning, riding, over ;" ‘Y : 'tb': the tradings station or e 1 se wh e .re ™=j u s t by the merest . .. ‘ ehanceYb@h@ld va.isublim;e'. absthaetiOn-^say' In blu©' ' : ' 1 ' Y. overalls and. jumper? Honest? . f#) /Y ' , Y-'' ' Y Yl

Y Y' Y ' Y Enter PHILIPo . \ v ' ' Y/Y; - ' 1 i;';Y-'i'Y ' ; ; :Y ;. ;YY i. ■;

ROTHo. Y Y'Y ■ Yv ;Y .■" .i"'ii' 1 Y'- '-" i •' "Y'v'Y. lr' : :.Y. x : Y" -' ;Y"'Y- : . IsYPinto Yshddiedtl';^. Y lYY’ iY;.. - i, : : ' , : H Y ‘

. PHILipy. :Y-Yl': lY;Y:Y : YY';''Y' ' 'lYf' ■ Y-;Y';; r''-Y''';YY:'. ■: " Y . ..lYY;^ ^

RRTH. YY : - '-Y' ' , Y-^Y;:y Y; YrY'^ ; Y- " Y'- . 'Y" Y .YY,.':'"Y Y 'Y ' Gone #ere?.Y' i ' Y ..i ir - ' -'i ' - ' ;iiYi,Y';YYYl Yy

;.Y,PHILIPoi • YY; '... y :-" Y: . Y Y' ; Y YY, ;Y'"'Y' ,Y:- . ''VYyy' YYi'-' Y . , il. To that. Mexieafr blow-out over at Lone Tree. .'; Every . ; "Y : ’Y man-jack, on the ran eh has- disappeared, without leave Y asked or notice given, except.this paper (5) which .1. . l' .1 Y .: . just found .sailed;;to the factory, door. (6) What are you Yi Yv lupYtoYnow? . We 'v® ho. time to- lose,! .... Y Y ; Y . '.... ,. " Y -Y' Ryth speak with quiet .determination,. . Philip and Polly show facial reactions.

Phil cross toward Ruth.

Polly sit firmly in left, chair.

Polly rise, cross down left center speaking to audience. ■ : : \ ,/ V;:

Ruth cross to Polly, show full understanding of the womanly way in which she. "works" Philip. Ruth lead Polly up center. - '• v 1-' : 1 ' ;■ - -

Ruth cross to Philip. : Ruth blow"across your palm,

Philip turn away,;.aceeptihg the' Inevitable. RUTH. ,, y ::' - - _ : / - ■ . v; ' :■ ■i-. : , ■ (1 ) 1 a,® not going. / . :; • ■

:FOLLX.:' : ; . ; ' ^' y':: :' ' : ■' Not going? ' r - ^ '

r u t h . ' V v,/ . ■ ■ :r-: ;''': I must stay and look after the raneh. ■

' PHILIP. ■ '■■. ■ . ■ ■ ■. ■ ■ . ; . ■■.: • : \ ' ' : . , , (2) Ohg eomea. that1’ s out of the question! ; - ■ ■ ' ■ ; RUTH. V/ • , ' • ' ■ ■ :A/' ... We ’ have put all mother's money into this - venture,. We r v ■can’t'-take any .risks,.; ■ ; : :: ; ,, ; / : . .

Ph i l i p . ;' I •' ' ;;/:i , . : : :. • v: .. '' : ■ ■ .o"- : V';; • : V: The men will he back tomorrow. It's not to be thought ef""your staying here all alone. , ^ P O L L f y;:^: /i- C ^ :< b..^:. x x ' ■ ' x-x': X,: , ;■ ■ , Z,:'x : .. - ,'.(3) One thing $s certain: either Ruth goes or 1 stay. / ■ •PHILIP, x : 'x;. v x;*.: ■ x x x • * " " - '• X- . , 'b " : ■ That suits me ■perpeetly 8 ■ . X" ;: ^ ,,xx -. ,y- p%L%^x''xx:x':\ x x ■ ''VV^v :'x;;::"x^ V:k::v x:;'::, x x (4) But 1 can’t stay! I won’t, stay! X I shall; go mad if-X ' ... :-spendxanother, night in this place., . RUTH, x :; x-.-'V'1; - . •:./1- ; , xx;;:; f ;;:x:-vx:x v ■' ■".xXx;; ■ (5) No, you mustn’t stay. You would never get us worked x x up to the point of letting you go another time. • ':'v.'. x^xx .■ PHILIP.; X . X X - .. : ■V'-.x, , : • ... X xX- ... ' • Xf ' : - , x:;: X;'....' .I refuse to leave you here alone„ just to satisfy a whim x X xM:EoPy,sX:: ;X: . SUTH.. : ' : 7 . ;•' • '• : ' . . ■ ... ■ 7 ' . •' ■. . ' . (6) Buts, Philj, you forget, the .steres you’re to fetch . : ■ XX •. back. They will be .dumped out there on the naked sand9 : "X-; 1 and by tomorrow n i g h t •==■; (7 ) : , x . X ' x ■ x ' Philip.; ■i;:; ;:v ;.-'x:--'v ;^x:;;x:• ,,x:;-x'- - v . x -7 -; ■." xx ■ , . Wells, what of it ?' 'j few hundred dollars ’. worth of stuff I : RUTH.'- x; -x..,;. x-.;. ; . {xx ;.XX,.X;:,;X .■ , X V. .7 A few hundred dollars means sink or swim,.'with. u s just; mow. x .x.;x pooh/Sawyer:. ,: .He. ’ 11 X/be. brought back' here : ' . / X ' tomorrow, , and nobody to. hur.se him. ’. Then- inflammation, /■ - . x. x fever, and goodbye' Sawyer. . (8) x , ' . , x x Polly eross. ,td: Ruth" 'heah: they - out sp&e door

Polly kiss Ruth» ■

Philip cross up to Ruth„

Ruth put arm around Philip and kiss himo v-'

. (1) Goodbye s, dear „ i>en * t:: yom ■ .z’ea l l y : af r a M : to: :s^ay ^ I,: . W T H o :.; ■v:.;y;.. Y;/' >5' 'V-; > . ' ' -I'm awfully sorry .-to miss the fun9 but as ' -for danger8 the-: . -v:- great i'rlzona Desert Is safer than Beacon Hill. ■ r ,.. -

■ POLLY. . • ■ • ..:,:_:'Yoatre;:.smre?,. t : ; -tA: 'tv: ^

r u t h . ■'. ■.■' \ -^ : -/ :'-:'.:::. ■ If matirauders prowl, I ” 11 just fire the blunderbuss out : , of the windows and they won't stop running this side of the Q-reat Divide. .

;vh: : '' t t' ;-\ ;

;■ ■ 'RfTi'o-■ , A.:rj- : . . . . ,3) - O o e a ^ , - ^ ' (Exit POLLY. - - ' m$hip.o , ■■ ; - ; : . ; - -. ■ ■ . ■ . r7; :. .. Mind. you put .out the light; early a It oan be seen from - ' v . the G-oodwater Trail, - There’s so telling what riff-raff f ; straggling back-that way after the danee „ 7

” RUTH. L <■'■ \ 7" 7^^r\7 'f:: ;I't '7: ‘ ■:■■ ^ ■ : i k ■ ' t'- Riff-raff.!; : They.- re my sworn •knights and brotherst - . r:; tt--.--7

7 :-7:f'-;u.; b7>:;v;;7 tt'-v-t-t: ,:;-7;f>:.v:7; ■"In that ease what makes you uneasy about the property? ' t;

-; /■ ;:',RU T H = 7 ' \'■■■7 7. '7 ■ - : : '" / ■ •■ . ;. •■. ■'■. :’7r ? / 7: ■ ,vv; Oh, property! } ,That’s..different. \ r\ v;: - ;-

p h i l x p ® V : : : - 7;- ... ,:.7"7 '7; t: v - tt ; - ; t-,;- - .Well,.' y o u ':m4nd.. what., I;; sa y ;';hn d :,piut;;; out: ■ the :light;. t,:;: 7;. RUTI., if. - -'r '.Uv v..; --t77- ' .-t;7 7 '::r' Vr.;, ' - Yours for prudence! Goodbye, Philo (4) What a lovely . .- • 1 . night I ; ICho would .ever think to call this a desertz this -'. rf .; moonlit boean, of- floweraf:' ''-Whattmilllens of ;eaettia -■ blooms; 7 / -':' 7 -7 '7-: have opened sinee1 yesterday! - . ; 7 7t- - -t,

; .. P H I L I P . 7 : .r7 ;..7., ';.:7 7 ;. , - - ; ■'..;7"7-:V - „ : v . ... What’s the matter -.with you tonight?

-7 7 RUTH. ? .., ? . f : ,?:,. ;7:7? 7 ,:7 .-. / 7'7? ' 7 ? : ^ -. / ;V Nothing o Everything0 - L i f e 2 I don t know what, s/ got'' into -. ... % /• me of late. I ’m just drunk with happiness the whole tlme> . 'V (1 ) Ruth stand .at door waving® '' (2) Ruth cross slowly9 take down Winthrop's picture? look at it, put it hack on shelfa (5) Ruth begin preparing for bed» take down hair,, sing at

(4) Cross to table and pick up small photo of -mother®M

(5) Man's face appears at window®

(6) Ruth take candle and exit to' inner room® ' % ; ,

(7) Man appear again^ signal to others, enter through open door» look about9. 6® quietly to' Inner door, listen, go ■ out, and again look through the windows 'V (8) Enter Ruth, in sleeping attire, take candle and cross to table® ' : ■ '

(9) The following is Moody-s stage direction -for'this scene

Moody, William Vaughn® The Great Divide (lew York, 1909), . pp*26, 27.;. , 66

EHiLIPo' ;; " 'V"' - ' -/- - : ' Well, you’re a queer one. Goodbyee I shall get back as' ^ soou :as-/&!ors0;flesfe will do.''it- : ' M' (Sxlt EHlLIPe (Rumble of wagon is heard) RUTH, (1 ) Uoodhye! Goodbye s Pollikins ! Goodbye, — ■ ; (2) ‘ Dear Win! I forgot how disappointed you were going ■feo.v be «;:”" S i @ a r . kind 'vhearil ■ \Pihisked!: , : Rihl : : -tHeart, wild hearts r : : ; : . R. ^ R- v Brooding’apartg : : ■ : Why .'dost t h o u doubta -and why ' , : : t.; : : ■■R- ■' V • ; , irt ;thou':sd' su3.ientv ^ ■ v ' ' ■' t -v", . t . Flower and'birdt 't'- -.. ■ ' ; " -; ; . R Wait, b u t : % word-« (%) ' - . V - \ R R Poor 'littie', mother! You look out at me with such patient; anxious eyesR There are1 better, days. com.ing for you8 and it ’:s . troubles om© me that is .bringing ‘ them. Only you ''trust me! t5R':'r;''::RRvR R :R '. R.;_ : '-'''/R R .'RR v'R... :' R R R ::R;

RRt-V1; This is the hbuh'"'^';'-;''RRR'. r ;'R. ■ R-. R'.."r; And thine is the 'power •• •• - . R ' -': Heart,, high heart, be:brave)to begin if, R! ''.'-R ' ; . R , Dare ,you. 'refuse,? ' R ' ' v. :: R/ %' Th inkwhat'- w@^ - lose!' ; ..R', ■:t- 'R.;-:' ' -- Think what we 'gaih“*:’'''R'6R''v, H ..■■"■■RRRr , . ' R " . ^ .(Exit RUTH, V " Enter 111, ; R R ; " -r . r R.. r r .r ;; v : :r / R r r . ( m a M i l , Enter RUTH. (8) ’ • ■ ' ' R . ;..' R' r ' R ;;'Heart; which; the oold . ,, '; . R. .R,'.V'r R'''v R", ' Long did enfold— . HarkR;;f#om . the"-dark,'ba^es's'the night., thaw . drummeth2 , ' - ; R 'R R RRR':r - R ' R l o w as a god, ;..,R . : ; - , ' ''v: ; R-R ‘ 'RR..1 '; ... R.: Speak to the'; Sod,RR;k > R;,R-R - - ,R- i:- t . Cry . to the sky that the miracle Rcomethi ;.R'

Be; still s you beauties! You Ml drive me -,to distraction -with your.,colbr 'and/.your odor.. R- I ’ 11 takeva hostage. for' your good:::behay-ior, ,: What, a : scandal the;moon is . making, out:' there in that great crazy world I Who but me could '.think of:.sleeping .bh: such';a night? (9) ;.R..^i-;-:- R': '-R::-,';' She sits down, folds the f 1 owens ih: her: arms, : hhd - V ' buries her face In |theiB>. ifter: a -taoment .she , stahts up, listens, goes hurriedly to the door, and peers out» She-then shuts and" bolts the dopr, draws,the curtains before the window,': comes .swiftly ' to t h e :: ' V table, and blows ,out' the light,. The room is.-left in total darkness,' There are. muttering voices out­ side, the latch is tried^ then a heavy lunge breaks ; . the bolt0 A man pushes in,-..but is hurled back by a- taller man, 'with a ; ehar ling -'oat hV. : A third figure;.;:, advances to the table , and strikes' a match. /. As ; " .. soon as the match-is lighted Ruth levels the gun, - which she has taken'from its- .rack, above theimantei, ., 1 The re is heard the click of the hammer / .as the . 'gun, ’ misses fire, It is';instantly struck from her hand ' : by the first man (Dutch), who attempts to selze her, She evades hl^', and tries .;to wrest a pistol frpm ’.a .; holster 'on- the - wall. b She Is.bmet, by the ’ second man.; ; ■ (Shorty), who frustrates the attempt, pocketing the weapon.'; While this has been going on .the third man ' (Ghent) has- been.fumbl.ing with the lamp, W has at last succeeded in lighting. . A'll three are ; dre ssed. In ■ ru^ y ’Trbnt ier/TaShloh;: the one ;.cailed;;b;:v . Shorty is a Mekican half-b'reed, the others are .: Americans, :• Qhe?it ■ - isb^ounger; than hutch,, and taller, but less 'pbwerfully-huii.tw-v;:iil ■ are.■ intdxicated.,; bui. not sufficiently■so to incapacitate them from rapid ' action. The Mekio'an has seized Ruth and attempts to drag her. toward the Inner room. She breaks loose, : and flies back again to the chimney-piace, where she. stands at bayGhent' remains motionless and silent by the table, gazing at her. .. ' ■ Ruth grab for‘knife as Dutch wresties with you, i..

Ruth break away and go down left in. terror...... ■' : ■ Shorty.close door, cross to table right ahd throw down. dice. Dutch cross to table. Ghent move down .right.; • . .

Ruth cross rifet; center to Ghent IV.;/ .. . . Ghent advance toward Ruth as she backs left» 67.

iUfGHo (1 ) Plucky little, catamounto . I drink.: Its health, •

:RUTH, Hhat ■ d©..you: .want .here7 /, . ':; : ^

•'DUTCH, Did yem'- H e ^ r ' that> Steve ?- ■ Take ©ne 'and pull : ih .it a- ■ purty little elaws's, eh? Jolly time. Ho more fuss: and furyv: (.2) Peppery little deylli- (3) Come, get Into ths game, eurse you, Steve ! . This is' going to fee: a' - ' I free-for-all, by G-od! .• T

- vKUTHo (4) 8aye me1 ;Haye'me 1.. Save me'1 Mill make it up t o , youf: (5.^ - Don''t toueh-- me< ■:' Listen! . " . S a w , me from these otherst ’ahd from yourself, and I will pay 'you— with^my life,. - : /vv'./,:'./ v::< 1' -- V:-..." , : ■; tu ; .SHEHTL With-ryour life?,: . : - v . I, V I - Huuh give G-hent right hand..

Shorty- and Dutch;watch Ghent cautiously and suspieldusly, - • V

Ghent, cross, to' tablet. ....: .

Ghent take vas© from tableg act as though about to throw the diceg and then set down vase« Search through pockets^ .take - out a few bills and. silver pie easy throwing them on the table,. ,

Ruth cover face in horror, .Ghent9 as though, suddenly rememberingg.take up money and then remove gold . . nugget chain from around heck, ' ; Ghent, throw nugget chain on table, . .■ ■ -68.//, "v'

RUTH, \ ^ :.: :;; :C. r-; ' : ' ' : ' ■ ■ . ' * With;' - ' " ■all that , . I am ' or ' can. • 1 .he ' 't «■ - ' . ,; . '' .. 1 . .'■■■.■:' • . v 1 ■ . 1 • .' : : . ■ .I- - Y ' :i ' \ ^ ::-. '' -Y ' .’ ’ . Y What do you mean? - You mean you'll go along with me .but.':' I ■I'- ' - '.. . o f ; this? Stick to me » ; on : the s q m r e i . •. ...'■' r"-'. : . .b';''ib' 7:''- - : '''^ ^ " : / , b : Y ^ ; v: ' ^ : 1 'r '-: % ("b...: ' ' V::: ':

: : ; ^ ^ Y y '/ ':'; :iVv'..:vY:Y ' b :b: b'ii'b/bb'b b ; : vuHEBfv ^Yi-; Yb' \ Y : b-bYY -'J- %: Y Y : ;YY::^vYYY.YXv:b;^:f;: On the (3.ead .sqmare? .-Y-

'-:Y - U ^ ' ^

m M -r=u won't pea=h, ana 3P0U it/' Y'-'-Y :;:Y:^Y' Y Y y Y r

: G-HEI® o ::YY: Y,YY . Y - YY, YY' YY'Y :■ ..■ . ' .YY:."' Y ' ' :Y Yv .:, . : 'Y '"-Y Y’ ."' ..v'-vy-'Yvy . ., Y • ; "Y-1 "y Give me yomr hand on it« . (1 ) Y Y : s Y YY Y, -. 'y-.Y ^ yYv YYY:

::YY'.'.': Y: vBUTGHi;' :Y.y ^Y'! yYyY'';Y Y: y-:>Y';,; :; . " '.:'Yy,:yY^yYY.^,YY;y, ' Y: ■: Y-yYyYyY Y x ' Y , v.y':' ; :YY,YY

. .•■. : ...... ■ .: (2 ) Shorty and me ' s’1 sittin 9 ■in this game, and. ititeresieds Yr^ .y . :■ ehj"''^oikty?Y-~rY-.ShafeeYYfdr- her.iY.YY:.;;: y YY'YYY'y YY YY:Y Y Y;Y'""YY:" y'YY:'aHENT. y y :Y' ■' Yy; YyY.YYY :v..Y - .YY: . y ;' Y: Y : Y Y Y ( h ,r . : . , : YY Y: .DUfGHo ,Y YY1 YY. Y’ Y Yyyy;'YYY:\YYY;-,-b.:;--Y--;YYYY.i^Y;Y ; , . . . ; YY" ". Any damn way ! YSole and exclusive rights. . License to Y .' .Y Yy: .' Y'YY ■ y. . love .and cherish on the premises! (4) '. . Y .■ : .../Y'y:., ■ ' . ' .. ■' ■ ■ ■ ■ Y Y There's;all,I've got in my clothes= Take it, and give me • . .free field, will you? Y ■ ■ ' ' ■ Y Y ni . :Y:Y.Y Y Y - Y . Y Y r ' i Y Y : ^ :Y-..t, , ■ DUTGH o : ' Y: ,Y. ' , '"Y' 1 '< , y- ■>■ ' : YYYy':' Y Y _ Y: " Y YyY' Y' Y Y \ " -Y Y v;yy; Y. Y ,....': Y ■. ’Y- :::.;Y© u YdonY't 'meahYme, YYBteyef"-Y ' Y"" l. -Y,: ' : ' y "Y Yy ':; .Y 'Y y'Yyy^^'y:

8HBmW , you than,. '

Y : ; Y . Y : . % # # YY: Y'Y::bY;\:'Y\Y:Y:YY.; 'YyV; - Y'-iY^'iYg^ YY"; ' D o n 61 blame; you, Shorty! A . ornery buck of a dirt-eatin' .. ■ ; ■ Y Mojave'd- pay more'n that for his squaw, (5) - - ' ■'

■ OHO T . ' ' ■ ' . ■ ■■ • . • . ' , . : -Y:;. .: Y WeIlpY;it ain't much, that’s sure 1 But .there's a string ..of.:- ^"YY" Y.. Yy ., Y .gold nuggets ! guess is worth some money. (6) Take . t h & t Y Y Y: Y . YyY.y; y, Y' ■ and’ Gl@ar out, . . . . • Y (1 J Shorty moire to leave 6

(2) Shorty nod (3) Ghent make sign aeross throate

(4) Shorty exit, take chain pf nuggetsc

(5) Ghent move toward Duteh.

(6) Duteh exit firsts Ghent pick up rifleg empty it and ' lay it on. the window seat before' going out % ' Ruth/ / •■ cross to left of table and remain half standing;, show - „ ' terror and', suspense^ ; 1 ' . ' , ’ . ' , - DUTCH* ' ' . , • v, ' , . - ; ; . ' I ’ye' give you fair warning! UHSHT* ' :V : ; .; ; ' W e ’ll, keep every tiling friendly between me. and you. 1 square stand-up shoot, and the best man takes her. DUTCH* How you’re coinin’ to! ' •

G-HEHTo ■ ’ : . Then it’s up to you, and you'd better answer quick! . SHORTY, . ■ ' ■ • ■ I take him, too, GHENT, ■' ' . • • ' Ho, you donSito You leave everything here the way you found it, SHORTY, Alla right, (!)

- GHENT, \ '...■.. Hold on a minute. You’ve got to promise to tie the . ■ man who falls, on his horse, and .take him toMMesa Grande. Bargain? (2) --And mouth shut, mind you, or-- '' . (3) ...... SHORTY. .. Alla right, (4) ■ • (Exit SHORTY. ; GHENT . ' .. Outside,. : v. _

DUTCH . ' ’ ' ■ -' i . What, for? , .. . . ' ..

.GHENT. V- : " ' ' ■ ' . . ' , " : .; Outside I (5) . ; • DUTCH. \ ■ ' ■ Don’t worry, my girl. Back soon.: / GHENT, . Cut that out!

DUTCH, ' What’s; eatin’ you? She ain’t yours yet, and I guess . she won’t be, not till hell freezes over. (6) . : , (Exit GHENT, DUTCH. ; G-lient enter r stand in doorway as others .ride off a fhen,, eross/to table and sit righto ; . ' ; ■ Ruth slump in chair lefto Ghent take put bottle $ using only right hand» '.: , :.-V' '

Ghent act as if in a stupora Ruth glance toward the door* begin to rise9: and slump down again« .r.

Ruth get water from pall by sink^ cross back to table and sit* Ghent mop face with handkerchiefo,

Ghent shove paper and pen!toward Ruth*

Ruth shrink and;, shudder«, • Ghent 9 still using one hand, take pistol from', pocket $ emmine; it and lay it on the table within Ruth's reache ' fhen rise/ cross to fireplaee and examine objects on the shelfe Ruth stop writing, take pistol, lay it back down* 1 , ■ "■ i-;...V.- . .,1 ;'ii ; .. ' ' Ruth snatch up pistol agaih8 rise/ tremblingcross up ' , . center by Ghent! ' , . , «* * ‘"ml '+Jl a .Be s 4* ^ a a * . ‘ ■ r ^ . 70

' V ■ / " (Four gun shots are heard and then the souHd. of horses) ,, . 1;

■ :Enter'SHElf. : .V''"1' ■' ' ' :■■■''V ;h'::

.ruth, „ J > v %' \ , '' ' (1/) Is he dead? . . h ’- ' -v-v-

. oheht = : - ' /),:\ ■-'■. ' ;, . . ', . ; IQ-? (2) but he'll stay in the ooop for a while.

rush»: : ;r -'1 v -y: ^ v : -

-OHEHS,: ' " i :;.:V ^ 'v: / \ Is this on the square? ’ ^

RUTHo % - , - ■ ' - - \/ ...■ . .: :■ ;'.'-v ; -r- , ,1 gave you mj . promise» (3 ) ' ' . . ' ’ • / h -h OHEHT, ' : \ / : ; ■ vv:: V. .v...-: : Give .me, a drink of watera (4) -- Iftiere are your folks? .

RUSH. ■ ; ■! ■■ ' 'V'''v'\ ; v ; ' ' ■ ' ;■ ly ■br other M s gone- omt' to the - railroad o : . / : " ':, v ;■ ' ; :

V^HEiSo ; - ’ 1 . . : ;' - ; . , Him and you ranching it here by yourselves? ' V 'v ■ ; -i.. RUSH. . v.,;:'. - : i-' v' : . ■■■ : Yes = ; ' . : - . :: ■ : ■ V ’. ^ - 1 '-I-:' .,. aHEHSo '. ; ; :i ::: : . ' V ;■ ■' : White him a note. (5) Fix it up any way you like. . ,h:i

RUSH-1 't ' ' ; Sell''m#;:'f irst .whatybm mean - to. do ' with, me . V - - ■ ; h-v-ht h

GHEHSo . , ,,- : ' . \y:.■' - ; ■ t r') ' , . ' ' ' ’ . , . . H a w you got .a horse to ride? '

RUSH, . , I . h i.,'1 • ' :: "hi : -1 ' Z V : / ' ■ . iZ^ ■> ,^t;Zi v . - ;: i ,, rZ /'-.-'Z : hi SHEIS. ' ' i z h/Zi-iiZ ... ' V ■ " : ' Z' -■ :v:-;'Z;-h. Z - z?' ■ We,* can. reach San Uaeinto before sun=up0 Then ire "re off:i ,,; ■; for the- -Oordilleras.' I've -got a claim tucked'away in them hills that811 buy you the city of Fr is co some day *:J' Z: ;1 ' : . : ; ■ if you have a mind to it, (6) .^What are you shivering Z-.h,Z/; Vh- : ■ at?. (7) ““ Read what you have written.. ,(8 ) Why don^ t^.-,,-:Z' you shoot? (9 ) You promised-on the square, . but there e s .,Z, z nothing square about this deal= You ought to shoot me : - ; ■ '': 'like\a,rattlesnake,! ; ZZ . ; ' ' /iZ \Z '■ ;"iZ''iiv’:. '(1 ) V "Ruth cross slowly to table „ ;

t2): dtient cross to table* opposite Ruth

(3) Ruth push gun toward Qhohtv ;V t t - t,. t' i: t''''

Ruth slump ini right, ehair^ -1:.y: ' , -

i t ) Shent put pistol back in poeket^ go to outer door^' .open ; it5, gaze out, eldse •it,; and take a step, or two toward tablee ■ : ' .'■■ ■ . , -v RlJfHo : ' I ktiow that ,

G-HSMioV Then why don't

BUTH®. ; ; v ' : - / .J (1 ) : 1 d©n't hn©Wo - ; : / G-HEHTo;. ■ : ^ /:/ '' T-" . ■ ■ y, "' ;X. guess you've got nerve enough;, for that or anything, ' " i(2f =” Answer mei::;-why hdtf; :: . --x■. ■ ' :

r h t H o :?; - . ■ • . ■. . ; -. % d.onl't knoWo- You laid it there for me . •=■= ind - you have n© right.; to : die o'" '

•GHEHT=.;; : . ;; . V ; ' : : '■ . How's that?..^ . : ' / ' - -- " . RUTH, You., must: live. - to., pay f or having spoiled your life.

Do ;you think it is: spoiled? . / . .'• ; ; " :

RUTH, Yes, ' i f v ,y ' " S - Y ;

:G-HEMTi ' " . ', Y\: ; : V ' ind how about your life ?

RUTHo f : : ' :.'•t'./•;v- : "'Y

w t h o ...... ■ ■''■"'"-''v.v To take my life. I ought to-die. I have a right to dieo: ; But I oamhotg eannot! : Is love my lifes I must live® In :: torments, in darkness-"it. doesn* t matter® I want mf life® • , : I will have it! (3) Take it'away! Don’t let me see it If you want me on these terms^ take me, and may God - - a '' forgive you for it; but.if there is, a soul in you to b e . •. t, ,v ju'dged, don' t' :lef, me do- myself ' violenoe ® (4 ) •*» Q, God . , y , - have, pity .'on me I , (5), .. .: v Vt 1, . -:i Y Ruth lodifc up with a . strange expression

G-hent take step toward Ruth»

Ruth .rise, eross dhwn righta

Ghent cross toward Ruth« Q-HllfT> •; ■ y ^ /■"' v ' - - I've lived, hard and careless,, and lately r 8ve been ; SQing down hill pretty fast« "But vl. haven' t; got^adllew - yet but what I can tell one . woman from anothera If .. ; ;; ■ that was' all ©f 119. 1 8 d; be ,@11 e:s away from here hy now, ' . riding like hell for liquor t©; wash the taste of shame ' ; :;V '; ' 'out of my mouthoy: (i ) But that;;:aise t1. al l : I've'-' seen ' r'"- .what 1 8 ve been looking the world over for," and never • ; ::knew lt0; Say your promise holds, and 1 8;11,:go:;^away how»

V. : ;; ' /w ./ . ■ y::; ; : Oh, yes, go, .go! ■: You'will he me re if ml..- You will not hold me to-.myi'eruel.- oathv .. .. : ; w :\ :

m s m . : h '-h:■ v l f-,1 And when I com© back? (2) — Arid when I come back? ;:RO$Ho I t V ; ; ' : ' - , - (3) You never «-■= eould ,come. hack. v ■ -h ' ■ y

G-HEMf e • 1 ; v-'lf— ''I'- V • ; ' 'I : ". s-v: Id, I guess 1 never coulde : ' ' '

RUTH. ' ' ;■' ■■■: - '■ ■" ' ''' ^; ’ - ' ■ , > t. . :" '.V', 1 ' 'You/will. vrh/K'- h ; V'.:h GHENTo ' ' • . Tor.good? .. ^ ^ RUTH. ■ ; " ' ' ■ . ' Yes. ... V-;'.: "'!/; :h

. GHENT v-.- Y,h:-•'■■■■./ ■1 - ' " Bo you mean that?: , - ■ .. :

' RUTHi - : ' ' " : 1 \ ; • . Yes, . yes, ten thousand : ti m e s S ,,. v.: . ■ ' : v,.; ■ ,.

GHENTh " i ■. h v:.,\- Y -'1 ' 'v . • ' is that your last word? . , .. -RUTH. : ' ' ' ' ' V 'Y';. ■■ . : .. • v Yesv why did you come here tonight? ;

W i T . Y : Y ; : YlhV; I come becauseI was blind™drunk and sun-crazy, and ’ looking for damnation;'the nearest way, (4) That's why I. Gome. Rut that - s not why I'm staying.' I'm talking- . ■ to youIn my.. right mind .now.. 1 want you to try. arid ‘' : '. ^se©:; this, thing the' way it is, " ' Ruth move u%) center ' to Ghent

Ruth, beeome aware of .state of undressj, shrink away* and fold gown around 'bodyv G-hent think of what she says and then harden voice as you speako . " Ruth start toward inner rooms. ■ • Ruth point to saddle up center and then exit to inner, room. Ghent pick:up not® that Ruth has written*- read and reflect upon it* get more water* roll up right sleeve* which is soaked with .blood*; roll it back down* take saddle and go out ., % - ; Ruth1 re-?enter> determined and eolle'eted» Se@ .bloody •.., handkerchief by sink. - . - . ^ Ghent re-enter. . , :; . -

Ruth throw off cloak* get water* towels and bandage and.return to table. Ruth wash and bind Ghent's wounded arm. -fakeAlong ■ pauses betweeh lines. Ghent watch her* dreamily.

Ghent shake head slpwly in half “•humorous protest® rare*: / / :vv\ : -;v; ^ Oh, that is what/1 want you to do! .(1 ) You did yourself ■ ;; / /':/; and me a hideous wrong by. coming here«■. Don81 .'do-, usi both" '’-/' ' , . a'more hideous wrong still!I was - in .panic fear. .’. I '; : ’ : thatehed/at / the first thing I could*. -;fhink what; our - life 'would be> beginning as we haTe begunS 0h9 for God's ■ /. ■■ ; pity ./go- -awayvhow9/:ahd ne*@r. come / baehlv : DOnlt you se© ■. "’i " there can-newer be anything between us but hatred, and : misery^"aM' horrort. -o - /. , - ' V: - : t-;..v t :,/og ./,f

dHElf , . ; :v. /■/;:;-t;to;;/X t./:-/-■ - • tV: ; ■ , : . ' ..(2) Are you ready to start? — G-o, and be quick about it. - / ' (3d;. Ifhere '' s /your /saddle? -(;4) ' : ' Z, ■ • '. '.•'':'.; v "I. \ ..'/-"- ' ■ ; . .. l . x (Exit r u t h o ' .; ./■■■■"■:':: 1; ' ■ ''%''x'- /:' / : . /-:/- - ' Z^1 ' ' : " / / (Exit GHENT* .■■■■ Enter RUfHo -• ' ' ' " -/; liteF'-GHEET'o'::. -/-z'" - - / -,■:/'/ t/; :.z ;z;' , ’.'

Rtf Hi You are .hurt.o

&HENT » : " ' . . ' ".'I v-./ / .It's- no matter .

Rtf Hi Where?- (5) -=■■= Sit down, V Roll up your, sleevee “-= (6) ■: ::Gan you lift your arm? » The bone is mot .touched. '/It will be all right , in a few days* fhis balsasi is a ; : v"' wonderful;;thing t o ' heal* /Iv' - 1 -. - : : - ; - ■ ^/ '/"-z ;SHEHf» ' ,-'.x-'-%'lz'C/ l/'V ■■■ i:' V-. 1 1 l - -'I ft . - What's your name? ; - Z R ■ Z Z.-.z" - :

Ruth =- Ruth. =-=- Jordan*. =■= There, gently j' - It must be- . ,.' ,/, / very painful = (7) ' I, :y;. . Z., . :/ , z ; .

RUfHo ■What isn't .fair? - , , ..Z;. z -/-'Z'; •- : -.1 z ; .

GHENT, :gam%,To treat '/.ZZ- Zl.me Z like ' this* v it's .'not in ;- the --,Z;Z -zz./ rules .,./,' . of the t - EUTH*. . : . ■ I Z:Z

Ruth eover.face0 Ghent rise and cross toward hero

Ruth cover ears in protesto ::

Ghent speak with difficultye

Ruth br eak into sob si

Ghent turn away with bewilderment and discomfort translating dtseif into -graffnessv .. ;

Ghent stand up center by door and Ruth at center table as the eurtain fallss 74

g-hemto - ; :: ^; ; ; , : \ ^ ^ ,,,7 - Iesa I. Sa m say.=;: But the point is,. I ain’t a dog; I'm ■ ■. humap the worst ■ vray ! - (1 ) =■*= Make this bad business . .V . over into something good for both of ust You'll never . ; regret it! . I'm a, strong man! (2) —= I used, to feel 'sometimes3 before I went to the bad, that;I could take the world like that and tilt.it over, ind I ban do it, too, if you say the word! 1811 put you where you ean . look;down on.the proudesto 1811 give you the kingdoms: of'the world and all the glory of ’em. (3) -■ dive; me; a ' r : .ehande, .and I'll make good. By G-od, girl, I ’ll make '■ good! I'll make a queen of you0 I'll put the world under your fee.ti ■: .'(4); Wliat makes you put your hands : ; over .your ears like that? Don’t you like, what I'm; : ' I - ; saying to you? ; ' ; ,v ■. v ■; I ' ■ • ;

RUTH o' (5) Do you remember what that man:said just'now?

&HSMT. ifliat/ about? ; I ■ ; ■ I'

RBTHo About the Indian ~ and » his- squawt . - ,

Yes. There was something In it, to©0 I was a fool to offer him that mean - little wad. ••

- For' = me!

We 11s,. ye.sg for 'you, if you want to put it that way.

RUTH. .ButV - .'a chain of: nugget s' - that comes nearer being a fair price? ; 'v. UHEIT. Gh., . to : buy' of f a, greaser I

RUTH. : . .Buf to buy the soul of a woman - one must go higher.. A - mining“0lalml ; The klngdomS 'Of the 'world and all the. " '. ' .glory •of them! (6) Qh>be' 'careful how you treat me ! Be ■; careful! 1 say it:as much for your sake as mine. - Be" ’ careful!' ; - -1' t ;,; - '. UHEBT. v:.i/'i / • '' :. ■: . " (7) Well, I guess w e 811 blunder through. = Gome, along!; v . . W e ’ve no time to lose. =■ ■ Where are your things?, I RUTH. . • ■ ; -1; : t;-'';;; 7 ' ; :'t :' T 'Fix the bolt. - My brother' must not know! (8) • ■ Lon sit Ambking before the oabln:lefte■ Burt peep over the edge of the canyon from the patfcu Lon Ignore Burt9 s questions«,

Lon move toward ■canyon. wail and look down path®

Burt point to loom and baskets 0 ; ft,

Lon regard Burt grimlye Move toward Burt, 75

APT II.'

: . \ : ' ' ' 7 ; - ' ■ . V - ' ■ ' ■; : ■;> ' : : > . ■ (1) : Hellos Lon.o (2 ) Is the missus inside? - Look. here77;':'• ;:v 1 '.pmt .a', Blhkel: la, you * you blame rusty old slot-maehine a ■ ■■■ 7 :v Push out something! , ' ' \ - ^ - '"7' . ■, ■ 7 ‘ \ . v 7. 7- '\:v'

;7 ' LOH«: : :7 ■ ; ; 77''' ' 7.: 77:'-': 7 - ' 7 -7/,,77'' . % a t you want In” off "n her now? A music lesson ;or 'a'7.: • ' o/--' 7 '-;;;: ^headhbhe powder'? ,, \: ; 7; 7 7\; , •. 7 ■: ” BURT» ; - 777'/-': 7"'7.' :vV ' 7 7 7 '7 7 7.7:: 7:;7'--7'v .. 7V:; -'■•-•■'o; ■' <; ; -: ; 7/:'''.7-7 Boss ” s wait in9 down at the mine^ with a couple o® human 7 ■ , wonder-s he6s brought back with him from wherever he's • 7been this .time« Something doin' on the quiete: -77 7.7" : ■ - \

' LQMo 7 ;7 -7 ; - : - 7';.:''7" : 7/, ' ''-:77 ‘ .: : r . You can tell him his wife ain't nowheres abouto (3) : ;

,V:BURf=.v :: 7: 7 , r r ; ; r /7,;^y,t77-7r • '7:f'77 -'r 77 .:.7/7 Pmnny hlteh-up ^ 6 this- here one think« : '■ . L , , . 7 7 . 7 . 77-77:-'''7;^':;77 > -,' '7::; '- ■■ ;7- How much you glttin®.. a day now? / - 7 '

7 ' BURT. 7. ■ 7777 ': 7 7'--; '' 7; ^ ^ 7 : : 77 •:7'' ’ 7 ; 7 : ,; ■' ' 7'; 7 :: 7 , . Same;■little smilln’ helpless ■ three and slx-blts. ' " 'V';

■ ' M o . ■ ' . 77''' ’ ''-Z,:: 7'',''7'':' :'71 - - 7'-■ 77;., 7777-- 77 Anything extry for thinkln ? v- , .. - 7 BURT.-' 7 777.. 7 ;' ■ -',:7'7-7/7 ■ ' -■ ' 7 ;-7.7-\7 ■ y t r t j ' • ' Aky,,'.'!. : 7 ; :7 • 7;;'-: . . ' Hope S - Thrdwed; In. (4) Queer business > this rug-,. ; \ : : - : - weavln' and basket makin't -ain't it? What d'ye - s9 pose _: 7 - 7' ’ she wants to slt$ ' day In. and day, out9, like a half-starved : Nava jo 9 slavln8 over them fool things fur -Boss a In® t.' '.7 ':;;7 nears is he? Don't keep her short of ice-cream sodas and ■ 7 :77\ trolley rides$ does 'e? (5 ) ' 7— Saw .1 er\t©tin6 7a lot o® 7 : " 7.7 that stuff burro-back over to the hote 17 week ‘fore fast 7 ' 7 -'. An,v Dod Ranger - -you know what a dlsgastlh' liar Dod is - A he tells how he was makln* tests over. In the cross-canong / :■ 7 . 7 7 ant all of a sudden -plump7 he comes on her, talkln' . to-a' 7: 7 7." .' ■ sawed-off Mexican hobo*, and when she sees Do dp she; turns .7 7 - :; ;whit:e:rs 7.%';Shhet. 'fi;7,' j7::'i7 777 y, 7 .'7 7' 7rv7.7;; ' 7 . ;: 7^' 7 7'. ; LON. ■ , > ' • . - ' ., . 7 : ' _ . 'You.tell Dod Ranger to keep his mouth shet, and you keep 7 . ,7; . 7 yourn shet too y-,,■ qr 7hy7d e h 7h:q.sbphaty' I? 11 make the two of . yye eat yer Adam8 s-apple s and swaller the core I ; Lon tap ehest

Lon lean down' and speaik in lower tone to Burt^ Burt' look at Ldn.-''in surprise about to speak, Lon makB a warning, signal, indicating approaching• party below! . Burt salute G-hent as he enters and. . then: exit, . , • . . .

Ghent speak to others. beloWd, ' , ; Ghent emerge from.canyon with Architect and Contractor^

Contractor sit at table right.

Architect take in view. BHBTo y . : . A ''-: / ',: v;- -. ^ Oh, git d o w n & f f ’m yer hind legs? Lon! lobody ” s , ■ r ; inteMin8: any 'disregpect» y ^ y ;■

: ‘' You boys' k@ e p y e r. b lather in ® -1 ©iigme s • of f ® n, he r S. . Or. v yon? 11: get:{Mxed hp: w Alonzo Pc inderson -=-> (I) : so8; a ' ooroner : to: - tahtangle ye! . .. : . . ^tfv;y:yf-y ytrtr-:' ■; y ■ 1 guess I ’d. stiok up,fur 8er 8s quick as you woulds ‘ - ;: t-:;come- to thatt ■■: ' ty-y; ; ' ; -t ■■ ' , 'y :;y •.■■•. - , ; ,c;, v y y :yy ;r^y;yy;y^y,:.y; •, Vellsi we don81 need no stick in8 up fur 9 er» tJhat we - needs is less .tohgue.o . (2) — Especially when the boss . . is roundo You tell the .boys so. (3) . ' ■■ 3

■ Enter Q-HENTe . ,v; Z; : v ' - vt"

©1 E1T:, t":;-::'-' ':/ :-y: -y; -vi-.y ■ ;y ; - : , ‘ Goastyel@ar;s; eh8 Lonf- : ;y y- ^ y \ y - . - -

y , y y ; r ^ y ■ : ifhere is shot ^ y. v,.. ' . ; .. LOMa : :■ VyS,y;;yy t; . / 'tv^-lyy-^:/.:! •. - ; : Eihd'- -O' think she went out to Look-off Ledge e Guess ■ ' she didn81 expect you back todays:- - - - . ' :

(4) ■ Gome : up$ gentlemeno (5) v ; ; ': ■ . ' : , CEmter' Wm i T E G T , G Q W W Q T O R . - \ v ' itr

' / . Take -a seat v ' y: : •

GONTRiGfORo :' ' - ; i : ,tv -Vv.,;.;: " 'i': -y- / . ' Don’t care if I dQn (6) Ths,t new stage ;of yours just ; y v - jumped, stiff-legged from the go-off = ind the trail up here from the mine is a good deal.of a proposition for the ge@<-denfaryti r : ." ' ;;■.v ■ y :"v IRGHITEGi0 • ' / , ' . ^v.: ; . ■. ■■ 4;' ; - / . . ' ■ (7 ): lhat a :woBderful place ! < ' Even better than you described it.4' y: .y;; r '■■■ ■, 'Vy:: lGHE®T.iL — ty- 'y:..- :t /' 4 - : r;-;//■-' ■ /.;4:’;.--h;:y.: ,4,'.. ;,: ''. Ye si "My wife,' picked , it out. Let ’ s see your plans, . G-hent remove basket from table as .Architect takes ; out blueprints and, lays them on the table» standing right of Ghente

Architect humor Ghent* 77

■ ARGHiTicfo., , ' 7' - ; ' . (I):,■■I -'have .followed 'yomr instruotions to .the .letter, ; X • : I : understand., that nothing Is to be touched except, the : / ';':house:o;,;. I.'/ v v'/ ;;;. v ■SHEHT, ■: ^. d.V/, ' , , - h : : ;V-. ',v': : 7. /o'h" {' ■■ Sot a-' stone , sir; not a head of caetuso Even the vines jou1 ve, got1 td heep,. 'exactly as they are. - v- '

: ARCHIThGfh'^,\;7;'7:v^,;' ' v ■' ,v> ; V': ' f ■ ' ^ : -\Th^t; wlli he a ; little .dlffleulto ' /.h’- . , -''. . (HEWo. ' / ; v- .' v::;: \ i ;' '/ v t. vt r; You can put 9em on a temporary trellis. A'little pains ■ . / ' will do-' It / ' : ' 7 ' . ; , ^:: ; ';''' , : \ . :. ■ ;; ;:.v'

hOSTRAGTCB'o: 77^:7'7-. . 7 ■ Maybes with a man to shoo the masons off.'with''a shot- 1 ' - 7 / .■;'7 : : 7 ';::7; ■ :t:aHEif■''';:'7 o,7..y - .''t,;; :7t;; t ; : 7 y '' 7,.' --;:.:7;; Provide a dozen mem if necessary, with maehlne gums = ■

/'•hOTMGf0Ro7: ■7- ' 7 "7; ''. o y : \ ' 7\ -\:7 . : . As you please, Mr. - Ghent» The owner of. the Verde mine ■ Vd,/' . I'.' has a right to his whims, I reckon. ' !.7 -. ■ - 77 ^

■. diS0HITE6f = d ,77 .. .. ’:'' '-7 ' ; ' ; . ; - 'v; v ' , M have designed the whole house in the Spanish style, • ,- v: 7.^ irery-'.hr#ad. and' simple, i This; open ■ space ■ where• we stand - • ■ ■' ■ 1 have treated as a semi-enclosed patio, with arcaded ;:7^p.or^es5-'V'7' ' _y. -, ■ r7 7:': d7 ^7:/ 7 / 7 7;. ' 7,/7dV;l;-v' i ^ # # < ; / 7 / ' 7 7 7 ^ 717:7; ,;;;;:v :h;'7::v' ; ;--. 7.; 1} ,7.;:7; ;:r7: .. .' 7'-1 7 . ; . , \ ;7..:,h-7/ ; 7 M # i t e g t 1 ;: v7^t.;.l7;.tr;i.:7;v ■■■ '■ .7:-'7: 7 \ /7n . 7 7; .7^ 7 : ' : 7 ; r . ; . ' This - large room .fronting ;.the: main arcade is" the 'living ,. ■■ .'1 - 7'room o':: 7 : : : ■■■' ' ■ '• . : : ■_

X::guess'; we 911; have; -'em all living-rooms» . This place is:'%o;;.be>lived In,''from the word go.

.ARCHITECT. ■ " 7'h77"^;,/ '.. ■ be 'sure = (2) Everything cheerful and ©pen. ■ - Here on -the left of the Inner court is the library and music ::: roomc't,;; .. ,7,7: l ; ■ ■■;'7-;:: :: ;:7 7;; ' ‘ :: . :". ;. 7 '7 . ;0HE1TV7::^. ' 7 :';y'77.:-7 ;t;t ;,7. y ; ' '.it ...' . :i;9m afraid we ,won't have much use for that« My wife ; don9't .go in much for ' frills. X:. used, to play the concertina once ; yfcmttit -was : a long while' agOoi (1 ) G-herit ' is delighted and .embarrassed by this "future" thoughte Lon nod as. though knowing®

(2) Ghent interrupt ar-ehiteoto Hold the plans at arm8s length. Look fromthe drawing to the oabin and surroundings® ■

(3) Ghent make gesture of high roofs,and turrets®

(4) Architect = "in answer to Ghent’s inquiring looks®

(5) Gontraotor point down canyon path® ' ' .

(6) Ghent hold up plans again and look at them in perplexed silence®- • , . ARGHITCT, \ r ; V/Ty. / It can be used for other purposes= -For instance, as' a. . nursery, - though I had put that on the other- side». '

Rm;. yes9 nursery® (1) =• Stamping-ground for the - ? ' , , ' 'G-hode ■«=• Yon. can -leave it' music-room on W e mapo - ''h t . AROHITE0f,o .... . - '- ' hi ' : . : , : , ' • yt :: ^ ' : : : :; -1. .

GiiEiTo ■ • - "'/'' . : ^^-1 v;f : Eooks a little - sprawly on paperc I had sort.of •, • Imagined something .more - more up in the air, like them -... -' s#e ll ' tepde s - on .'the Hill; in Frisoo.' - ( 3 )- ' ‘ / •.• -

iiehTOGT. ; ' \ ... y . : ... ■ , v ; . ' (4) v-l think this is more harmonious with the ' ' '■ snrronndingso >■;. : y.'-y- /.'...y y ...... ■ ■ . •:

CdNTHA.Gf.OR» ' ; . ; ' " .' . . . : ' y : v ' : ■ ' , : Won't look so. showy , from the new hotel across yonder«(5) y h - ; r...... ;v:< ; lyhi’. ■. y : ' . . What' s your estimate on this plan., now you've seen the ■ . V . . ■ location^ ■ v v. t: : y '. y'' '' 1 ^ ' ■■■ : "

GONTRAGTORo . ■ ' . : . . It's- a long way to haul the stuff0 Say somewhere between twenty and twenty^fiv® thousand,, Twenty-five, will be ' sa f e . ' .. ' : - ' r ''.v : :V\V - . - 4;;;; ; ' : ;

. GHEN’E . .... 4 ry y it V- ' .^ That6 s' a big lot ' of money, my friend! - ’ ■' ..' -

GOhTRiAGiOR.. . . " ;i : ' 1 thought we was talkin' about a house 1 I oah bmild: you . :.ha .good, sheep-corral for „a; right smart less* , . ..

GHENT». ' . i . "i "y ; : : ' : ';y,: ■■ ^ . • y : Well, I guess we don91 want -any shee.p^eorralso - ...,.

G01TRIGTGR.-. ' . ’ ; '; ,h- -" y ,.:., ■ f y:'- ' y.y'' y:-.y; ‘ . I should:think not, with the Verde, pumping money ,at you ' ;. the. way they tell she does =' ' : y.’ '7 y y

SHEET. / ■' " ' y y , y ;':y ■ ' ■ - ;4 , y (6 ) I 8-ll'. tell you, gentlemen, 1 811 have to - consult my y y: , 1'. ’ Wife; about this ybefore-ylydecIda. The fact is,: . I've been working-':the thiilg!i ouii Sn-ythe- sly,; hp to how. Ghent is silent a moment8 ponder-lngo

Ghent start for canyon path and.then stopo

Ghent disappear along canyon wall6 Architect go . over t o ■ inspect, the loom, and blanket® %%

Lon ri se de1itierately,

Architect • and contractor exit' through' break in canyon wall* .stop to look about for a moment => . 79

GOSfRiOfOR, ; , . >:.1 ■ f ' "• ' ^;VV: V-- .'v . '• Expect to build, it of an afternoons, while the lady ■was . takin' her aee-eater? . ^ , 3IB¥I. : .. ' ; , . ; I thought Ismuggle her off somewhere for a while. (1} : : • loiv _ it-6, g her house , ■ and she nrast ChKo the plans ' -: - ' before ground Is broke „ Would you mind waiting ;a few.vh . . "■... minutes' till I see if T ,oah find her? ( 2 ) 0r9' better ; :.. '-'. v-.still9 . leave the plans, and 1 811 see you at the hotel tomorrow morningo . I haven61 been oyer there since it ■z • -■ was op.ened.o; ;;'vl“d .like, to- know what they6re making of it»

' c o n t r a c t o r o T'T-b, w ' . ? ;V' ' : • vr.,;;■ Hain-t' been over-'th the Buny. Vlsty yet? v' v ■R,.’- -

. Gh e W v 7v'''' ' : , \ v:: ,;:'xv : ■ 'v::' :r . Tod busy® , ' ' '. 7';. ■'. t v-' : : ■ ■ ■ ■■ v - . ■ yi : GWTRlCTQRo ■ '-yy >■■■•.t . . r' - ' : : y / y " y.i . .. ■ Well9 'you* 11 find it ah up-to-date joints and chock full, y 1 n f tourist, swells and lungers» ' „ - v / t : ■ ' ' '.

GBENTo :y.y :y ' t. ::' . .Mr:,.- t ■ , : ■ • ' Good ^afternoons, gentlemen. You 11' excuse me ® you ean '' A ... ' find your way baok'all right? ■ Take the left-hand pathyy ,,, - ' : ' It6 s bettef goingt" (3) ' . : '■-■'t'-V- .Tt:':' y: ■:' '' - y,y y r : ; : ; ' tyty fyf . ' (Exit GHENT®

: ;iRGHlTEdT0.;';: /:'y"'' ' f 1 What a beautiful pattern! I . say, this: Is, like those we saw at the:hotel® May I ask who is making this? — May. ' t - /; ;1 ‘ ask vwho is making this? ' ■ y 't-yt ■ ■ ty

; l o n ® . y: ■ ; ' v ' t - ’V-;. v ’ y ' ■ t;: • ' you klUg my' friend^ you kin!, ',y . • :y.'-: v, v " iRCtlTEGT® vy V "-i':; -y;,-,y::; ,:-yf f fty; y ; y ' . ^ytyf . -y'-

,v:v '.v.: .' Welly, the nt- the question is put® f'/y.

' 'LON®:. ' ''''y ' y ''y^.y ' M";; ' .y: : vt,' ■ ' . . : ' :; .y y* ,:y y.: And very clear“put$ too c YouVd ought to be in the law business 9 young maia9 =■ (4) Or some other business that'd y^take: Up .-all,'yen fiae s-:: yy ' v. - . -t ■ -v yV, ■"■;

■ M G h i TEGT® : . ' : - ■ yy :y"; : . : ' ::y.,'' ' ,1; ' y-; y:; yl; ' Wellg I/'ll, be vhanged! Tart old party! y (5) •; -. ■ . • " ,"'ly-/'- ' . ' - ' - : ' (Exit ARGHITEOT/. : - : : -■ -1 ' '. .- ", g o n t r A o t o r ® Ehter-RGTR®, Ruth enter from canyon path, sink down by rocks> as Lon approachese Lon get water from jar by cab in/bring to Rutfcu

Lon take glasses from Ruth, and scan Oanyone : : .

Ruth rise with effort, take glasses from Long. look> lay them bn the ledge* ■ . - " .

Ruth; act startled* ■ : ' : .... "/rf V : ;

Lon g o , down .path* ■ ; < ; Ruth look again through glass then cross to table and sit right/ finger the planse ' . i Ghent '.enter,, approach softly* bend over Ruth* i , Ruth start up with a quick jerk and little cry, avoid his embrace* .'.1- - 80

_bm, : V : - ■ . ■ ; ; . : : • , . v ( l :) it ' s too. much fer. jO'a9 m a 8 am 0 You'd, oughter . let ' ;.Be.S b, .(2 )' • ; ... . e b t h ;; if.vvi "' ■ - ' ■ : ' v ; r _ ;/..v -.-;' : Oh, I thought I should'never get back! - Lon, take the I , ; ; glass, and see if you can make out anyonedown yonder bn the nearer trailo 1 ■ I *=«* .1 thought some one was - ' : follo¥.ihg^e.0,.,;;

Exouse me -asfclh;8 M i s ' - ;Uh.e:nt , but;, isthat;: dod-blamed Hexioan a ^bother in' you again? v .

RUTH, Mo. H e ’has gone away, for good. It's some one'I'saw . - at the- hotel . ^ some. one I . used to know.s Look if you ' b a h 'make out a. man's figure, - ooming.up. : ,

LOI, (3.) Qan't see "nothin', but a stray burro, and1 he ain't : got no flgger to .speak ,of. £ Might be t' other side o ' ’ Table- Rock, down in - the piny on scrub. (4) Excuse me s ; - v., v ma'am.,, but™-Mister Ghent come home this afternoon.

RUTH. . ' O g ' , v ■ - ' " i-y.' (S) ,ihere: is; hetS H/; I" - ''

LON. - I,:": . ■ . V . ; ; 'S;: ^ > .. ■ .-Huntin' for you down Look-off - Ledge way., 1 \' lowed you was there, not. knowin' what else to, s a y . r u t h .; , ; - .. . ■ v.-d Thank you, Lon. You can go now. (6) • ■ ■■' ' ■ - - '-I'': - " - t- - : f - . - . , . (Exit LON. , ;; Enter OHENTr'^': ,

RUTH. - : v- ::k v‘: '., t . ' ' ■'. : - ; V-'v: 1 ; You frightened ine. When did you come back?

in hour ago. didg; 'T; " 1 1 :;.. .

RUTH. ^ : :;v r; y t;; .Was your journey successful? " ^ ,

G-HENf;.- ■ :v , t r-i.t■ • . . Ye.S:. But my home— coming - that looks rather . . like a , ■ failure. I expeeted to find you put on the; bluff Ghent, sit center«,

Ghent search for simile®

Ruth react with hysterical laugh.„ After line, bow. ' . • head in hands and repeat line' in a t one in which • ; ' . there is bitterness» . • - Ghent watch herg crumple up the plans and throw them on the ground o; 1 Go; toward •cab in*,,' he sitate ': tu rnand, come • .' back to the table® Take a jewel case from pocket8 open it and lay before Ruth ; Ruth pick up ■ papers $ spread them on. the table 6;. Ghent point to the plansa speak glibly to cover up1. - for her, lack, of interest.®-, -I- ..'.v

Ruth speak in deads flat tone® h u t h * ...... , , % Lon M s mistaken; I had gone. the .other way» •=» What .aM'. the'se' papers?;: : ;: ' - ' ' V:; v:/' ^ :i"; GHENT0 ' . ; ■ ' : ' .';: Haven61 - you one word of . welcome for me, after f ive days?. . '■: :.. ■ ■ ~ ,N0t a look even? ' ' (i ) i . never can remember! . After v-y- : -L. ■ , ; I 've been away from you for twelve' .hours,. .1 forget. '. v. Uy, :;: completely. . v,; : y. y ’' ^ " RUTH. V :v-;; jV-:-'-' : ; :"v .'f V'-'^Vv; y; ;;;v::.x ■" ■; ' " F©rse.tvwhat;y.,; -d.v ; ■■: : g h e i t o '. : r;:-'' ■ ■; ?;■ ■v:'" ■: . ; ’ - How. It stands between us » ; It8 s; childish, but far :the; v '■v;,.. Ilf el of me; T. oan' t - he % It. After I've been away a ; ■ y 1: few hours, this place gets all lit up with bright .dolors,..: ' v ' lin my mind, 1 ike.;. well, 1 like a.-■Christmas, tree 1: :;. " " I dare say ■ a Ghr 1 stmas ' tree don' t amount to much :;fn real " . . life, but I saw; one;- ;onee:y/:ln -a 'play? I was . a---little.', ■ ;;-i mining-camp roust-about, so high, - and ever since it 7 /: ; has sort - of stood to me for the gates o' glory.' / - RUTH p. : -; f - (3) A Christmas -treeS =-”:. A Christmas tree! v. -h v '

GHENT0 ;; t ■ r ’•/' :> -■ y f ^ : :;y 7 : There is a little present I brought home for you. And.. -- here' are some, mora' trinkets» - I know you don’t eare ,-muoh i . " for these things, but I had to buy something, the way I was feeling. And'these papers — (4) these mean that you're : -' ••: ■ .not- to live.''iauoh Songerilntalffludishantywith pine boxes . • . • • for furniture. These are the drawings for a new house that. ' , 7 I'want; to :talk: over with you. (5) Spanish style, ; - ■ everything broad and slmplht v; Large"'l:iving>robE opening - ' - - ; 7- ■ : on linner -:court ■. ■Library - and.-'-musIc —room, - ble.ss.■ your . ? heart. Bedrooms; kitchen and thereunto -pertaining.; Nihg;; . ■■ • where the proprietor retires to express his Inmost feelings’. /; General effeet sprawly, but harmonious with the - 7. tf yi • . .:-surroundings. - ; Twenty-thousand ' estimated-,, .twenty-f ive,. limit. - ;..’;Is^ she; ours?. y-: ;;/;-7f v; - . ^7;-,;-7-;' " 'RUTH. /7 7 :-7; - 7'---:.;:;;7;7;i : v :;7:v:- .... ;' X 6); Hbw much -did you say the house is . to cost? 7 ■7; "y;//; 7 . '-'7 '/:'’' Twenty-five thomsand dollars' ..at the outside'.

RUTH<7. 7 :7-' .7 ,1- " 7. '7: ’ ' ; 7 ,And. .these trinkets? (1 ) Ruth pull plans toward you8 pour Jewels on them in heape (2) Ruth pause and laugha ■ (3) Ruth riseJ J (4j Ruth Gross up center to walla . : 1

(5) G-hent cross up center to Ruth (6) Ruth nod with mocking smile»„

(?) Ruth speak vwith biting caliBe: ;-v , •/ ?■' ;'r.y (8) Ghent turn sharply as If stung by a physical blow Ruth raise hands to . him j, in a swift re vulsion of ■ V feeling. " : "Jl' ' / - / . ■ •

(9) Ghent cross tp. table9 pieh up jewels,

(10) Ghent raise hands in a gesture of perplexity and ; . despair $ .then go to cab in g closing the' door* . Ruth start to f ollow him as Winihrop appears j, rushing toward heri

(11) Ruth start involuntarily toward him, stretch Out, armsg- advance as you master your composure and speak In a natural, voice g even attempt gaietys r , ' - / ‘s h e i T o :, \ ■■V < ■ .../ : v/ "./ / Oh, I don t knowo ■» i few hundred6 . : : • :: -

a e H . V . '' . - . (1 ) Twenty-five thotisand dollars and the odd hundred.s! (2) “ My price has risen! ^ My price has. risen? . v:' ; . . ' (3) Keep these displayed -fo show to our visitors!.. My hotior is., .at stakeo (4) — There, is one coming now! '

' ; '' .'/'i , i ", V'""^ " ... :. : ..Visitohsf-a. lhat. yisitorsi" ' "v "■ ;. : . : ' . ^ t-

m n , 'v./,: ,/';r - • Only an old school friend of mine; a Mr„ Win.throp ; ■ a-Iewhmry0;; r '/y : / . : ,v T : OHEMfo: > ■; a' V V'X ;t 'It / v: : v ■ ■v :ifhat ::are; yon talking about? tire you crazy? ''.-r v(5): t' ' This fellow, is he really what .you- say?’ ;ihat ;■ y ■ does- this mean? -I;;"■ i ■, _ ' tt-., , ,t ■RUTHc;■; t t :'t"t . .. ■ It means that he ©aught .sight of ;mes an hour ago. In. • V'Y : . :v.;' ■';,:v - •; - ..t";;": 1..-;"

: ■ In the hotel?. What were you doing there? t; .. v,.: ;.

RUTH. ivr-ilv:: ,;:V . - (7) Nothing wicked - as yet. They don’t pay 'twenty-.. .: 1. v '.: :.. five-, thousand.'.dollars over there « at least not yet i ; •.. ,.(8.): Oh, don’t judge me ! ; Don’t listen to me! I am .■ : no.t in my, right, miiado. 1 v; y- h

Do you ' isrant .me to be ' here , while you see him? you-''answer 'me?

;v- ' 1.-.’ ' .v: - V " ' ' ■;..• i at as you .think - best,.« '.,.. ■ ■ .. . ; ■

HHElTi ■ 'It I',/; ' i'"'i : '..V, ?i 1;.^: ■■ti.A - ';':i 1' .;.C.9 ).: .It 8h a ''question; bf what will be easiest for you0

iRDTHi:.' : v- .l-v'; ' •. : V::-'.' ■ ^ ' ' V : .. v;v .; Oti, ' it ”s .all easy -for m @ 6'.;O;0) ' - i ;'t ' V '1 'Enter WIMTHROPo . V ;. ■ , . \:-;V ' V -1/' ■ ''-l.

: .WlKTHRbi.o" ' - ''' :. : i, - V' ?'•.-Euth! Is it really you? .(-tl ): : . V'"': 1 ’ ;■ (1) Ruth turn shock into conventional surprise; cross somewhat down; centere . /

(2) Winthrop cross to Ruthe . :

(3) Winthrop start impulsively» try to break through - .the/ conventional wa 11 which Ruth .has raised® " /

(4) . Ruth interrupt :lfinthrop with exaggerated animation Ruth sit left and Winthrop right® aura, : ./v ■ : ' . . ■ ■: - ■1' ■/ ; Welle of all things I iVlnthrop lewbupy ! : . H©W did. you . find - yomr way , td; . eagle9 s-'Best?: : ' ; , . . ;v ' mwraaoai: - ^ : - : .. , ■ ' I : we saw.' yoti: » we naught a glimpse of you, at' the hotelp ■ hut ■ we;; we re n’ "t ' sune,, We followed you, but lost you In ^the.,oan^m, ' '

H0TH‘ we? T 18 we? VIMIHBOF. : ., V. ;. ' . , : ; : : - Your I mra, : ; v-.: t ■. i i-1: ; . ,. .{1 ).. Philip and Polly here 5- ,

wiiraaopo. ■' u :. ■ ;. ‘ ■ • ...... (2) They took the, other turn, down there where the path v V forks. We didn't know which why you had gone„ . ;.

:: .t; I t ; - : ■ - Yes, but why on earth are they here at all? " .- ~ '' , '. t- ; \ , V ' h ' u' ; ' ; ; They are. on their way. East, They stopped over to. see me,

:hura.o; . : u: C v . To . see you? ire. you = living here ? ■, wihTHRopi \ - -:V. -h-: ..: ' . ■ , t V: .' I have been here only a week. (3) Ruth- for God's .

m r a . . '"V'''; . : ■ v / i/it'" t -; "v ■ (4) But . tell me!. I am all eurloslty. How do you ;happen. to.be ;here' ? 'of all .plaoes?; ■. ... ■•... ' : - . ' . 'tr,.;..

wKHROP,';/1.,/ i ; :='-v' ,'t'- -V: , . ; lhat does ' It'.matter? I, am here,' We have found you after : .;; all these miserable * months of anxiety. and: searching, ,0h' ;:: : • .Eufi.,:;;;: . ' ;/// .; v ; '"" / / -h"' . ^ : .. ; vl'have acted badly, I know, : But. I wish not to talk of , . that, Wot now. I will explain everything later. Tell ' " • me about yourself « about Philip and Polly. = and mother,;'. 1 :amr thirsty for news. What have you been doing all these months, since - our queer parting?. > . V;', V (1 ) ■ Ruth touch Winthrop on W e a m ? look at him, speak v ' ; lows eloslug tlie.^eonvei’sa'tlone,

(2) Ruth resume bright tone =

(3) Ruth speak quickly with a nervous upsweep of arm®

(4) Wlnthrop pause between lines = (5) Ruth turn away nervously»

(6) Ruth flinch, then.summon eourage and look Wlnthrop steadily in the face« ' . ■ , Ruth riseg, cross up. eentero'^ (7) .

(8) Wlnthrop'cross u p •center to Ruthe

(9) Ruth make sweeping.bow. 34

; : ';;:::'Vv;:'Yv: r : .'^ ;':"' • ' : : ■■ Looking for you-. ■ Oh Ruth . how could you. do it? Row. ';; ; ■ .;...:. .: :: oould; you do: it?;' V v. : .

; ■:.: , ; RUTH. ■. ' ; .:;- . '; ■ - ■ : : V':;.■' t . ;■ vr \ . 7 : y , , ; . . : , m T H W v : : ■ . - . - ' : v'"'. - \R7- ‘v;:7- ' y, 'swiii.■ ■ , _ ::::7 ' y . 7 7 7 : 7

: . i/RRTH.^ 77 ; : ''"x'"7^-7 - '' ^ ^-7^ (2) You haven't told me about mother. How is she? r";

:v:'rI; fiiTHROPo-:'v';- 7' -■: . 7.: 7'/:7--:' y'y 7;;:':v7' -I:-'77 ■■ ■ y. .' 7 Well, or she will be now. .Ruths you ought at least to . . R have written to her. She has suffered, cruelly. . ,.7'/7

":.:7^(:;- '-'■'WTHo;' 7 y:\.y:.7:' %'y: \ 7 7 ' " ' 7. . -7- 'Ri ; 7 . (,3) -; Jes* ,yes9 -I know that 2 ind you are settled R .:■ 7--^ ;:.7’ . R . here? R you mean' to remain?' R RR R ; ■ R R .. ..' - R::,:.R. '

;R-: \ 7: ¥XHTHRORR. r;:'-'::R'- R.: ;.;7; :. ,. ',:R : 7 R ^ -R.-^ R. :::: ■ ' " ,: 7 R . ,7 ; 17am the -#iysleian at the End-of-the-Rainbow mines, . . 7 ..: three• miles below, it least 1 =- I am making a, trial of. ' ,-:/-;:R-; 'itR'RC'-#) > Sow pal©' and worn you are . (5) > 7 Don' t turn, . . - awajo Look atmeS You are - you are ill - I" fear you , ' 7,--,; 7 ■ .7'- are desperately, ill!- \ ,R -,7. 7-..«7 ' " R; .. ,>:R R'R- 7-.:-

R/v.R;'' ruth® v y.,;' R 7:; ; .7, r: '-:7. .;v. :- v :r. ■ - " \ v 7 - ' - -./';y- 7 - . . ' (6) Honserise. I was never better in my life. « You (7) ' v 7 R;: ■ / R- , haven't pralsejd- hur view.: We y are yery-proud of. it. v. ' R,RJ

WINTHROP. - : Yes, very fine., Magnificent. • ; R y, i R R y ';7 y-- :':r'''v;RUTH.:: ■rv7'; 'R Ry R 7:!R,f--y tv-R^, y \.':y\y ryRR'-R-''^ ''y'.' RR^'''.'Ry :... . But you're not: looking'at it at .all! .(8 ) Do you, see . .. ; -.; that bit of'smoke far & own yonde r ? That.. is the 'stampy : y y : 7'-,-.7 --R- . mill of the Rio Verde mdne^ : - RR; ■-R-' '' R-t R :'RR.R .:

V'-R'tyyR WiSpROPy-y-:;Rv; y - :v'y R R . yyt,.,' y y' : y .R. R ;i - ;- ;.-:yv--• ' -:yy : R > yyyR , - Yes r::..the.;Ri©..:¥erd©^ One of the big strikes of the ; v , y R-" y-: ' -, y y. region. Di-spute .about the, owner ship, I, he lie ve. / ;R:. :'

-.:,y;yy'..'y R:.:y.yy.y. ,.R,,,R^ ' "V7:'':ty':7R":R'^ y 77 7 : Hone that 1 ever heard of, - and... Iy ought to. know., For (9) 7:77 . .: 7 we are, the Rio- Verde, at' your service. • ,-77, , ,7: . -. 7-’ '

y^ R %-yy,;WI R T H R D P . 7 'IR' .'7 yy' 777 y ■■y':';7:7j-R.:: 7 7 7 :y:;, -7r. 7,-''y v'y - - You - your =* husband Is the owner of - the Verde mine? . , Wiritiaropispeak with, emtiarraasiiieiat^ m o w to the table =

Ruth cross to Igft corner of tablee Wlnthrop notice basket by table, pick it up, examine it, and look meaningfully at Ruth. ' ; ' .v i; Ruth take the basket from Wlnthrop, try to dismiss itl Wlnthrop appear about to .speak, cheek yourself and; start again. . , ; V'.T;. " ' • -

Wlnthrop refer to below in the canyon

Ruth .is brilliantly.ekplamatory;'/-. - .1

Winthrop look at Ruth in mute /protest, put on hat and rise.,, . ■ ■- ......

Ruth speak with surprise•

Winthrop pause between lines* 85

■WIlfHRdK X : :V':; f . ^v-.v ■ . : . '..(I ) We found the record of your marriage 'a,t - San' • r v; ’■ Jaelhtdo ^ /The. naime was Ghent - Stephen 'G-faent»

. ^ f ' : ■ : Yeso ■He will be so glad, to see some of my people0 (2) ■ . ' ; A: toy I play with! You know t' always have 'to h e e p ::;:,:. : ; v ' my hands busy pottering at some rubbishy craft or other» wiifHHdPo: . ■ ■ ; - i vci-V' : t . . - . - (3)vv'^And the blanket9 too? ;,. f-’-'h't-'-. t ; ' -v,. ■; / m m . . : v : r/;;h-'/V-; /' Yes, another fad of mine« .It1 s..>eally.:faspinatihg; " works The Indian women who taught me think I am a . ' / wonder of eleverneiic’:: ’ " /" f . ; ; . ;/ , r / . : " WlMfHROPo ■ " V; , f : / .:"'.// ' \ , :- . ' / So do. .-” the women > over there« (4) ' ,. / , '/ -. '

RUTHo C' - ' : b f: '/ .' /.■:■■:./•■ Ah, yes, you saw some of my. stuff at the hotel„ You 'v know how vain 1 am. I had to show it. f

. -WiifHROPo ./.'. ; / / . . . , / . Perhaps. 'But why should the; wife of the man who owns . . ; the Verde mine sell her handiwork, and under such. ' ' vulgar conditions? . /; .RnTE.t : . . , • v:/:::; ; ; ' /'- .. ; : ' . : ' (5) To see..if it will sell, of course! . lhat is. the /test of its: merit» ...... ' :: f "; ' / WJRTHRGP® /. . : /:'/ r; ' V;- ' /• •■>'; t \; :/// . • : \ tv/ : (6) Do /you want to. see the others? ' ; . .

' hDTHo/V.v/:/.:/ ' '/: ;' . t ^ // ' :: ' ; ; ' •. " ' / ,v ' "'l./, .:t .'//'; . ; Why, yesj. to' be; sure. 1 do.. ' (7) How should I not? . ,;

t wiroRoPef. ': ' •. :. '";.'./ : / ' / - ' .::"./v;:: ' .".7 ; ' You haven't seemed very anxious « these last eight months^

:RljTH.o / f / , ;; b ' - /: -v; Y, /''.'A: ■ . ' . Truee .I have been at faults so: dread explanations» ,. / / . 'And P h i l ' s tempests of rage! Poor boy, he. must feel ■/ /.',./■": ' sadly 'ill-usedc - - . , / /:.-/ ,' ''■■//." / v'v'V-/-.•■b ... /.;;/

WIHTHR0po / . ' ’ : ■/ . ' . ';b . b- . /:/,// -'.:'/:. '- ',''t;:/ ' He •'does® (8) If there, is any reason why you would .f ,// . : rather he didn't see you, just .now, b”™ '’'.vb .-/'• . ..b'/"- • ,' / (1 ) Ruth hold out hand $ ;smileWinthrop release her hg-nd and go to path, • ' : (2) Ruth cross to #lmthrop» Winthrop look searchingly- into Ruth"s eyes as you speake . ,

(3) . Ruth maintain hard, bright gaietye :

(4) Winthrop act dejected, drop her hands«

(5) Ruth speak cordially and explanatorily«, -

(6) Ruth speak solemnly, look Winthrop straight"in the eyeso t t' \ ^ (7) Polly speak off-stage0 Winthrop look at Ruth for a ; v.,, moment, then begin to movee •.

(8) Ruth go past Winthrop and down the paths In a. moment Ruth and Polly enter- laughing and talking* :; 86

: W f f e : \:v'. ; ■' ^ /; .'There is n© -re as on» . At least, none valid» . ;v ' ^:;V '':;J :

> txifBtSQiP... ^ :' . : - v':.: ; Then I will bring them npQ

- RFTHo. i : .. ^' / " ' V ''':; ■ : : ; : .'Y:'; / v.-'' / - ; v ' V ;,YY' Y By all/means. ,(l ) Yy \ - \ ; ■ . - ; Y : \ Y y ’ yy ■ ' WllTHSOPc ' / Y / / V ■■■■■' ; ; V /.;■-V-Y' ' : ' /.. Y ; Y' : ;-Y'% , / They are just, below. (2) For old friendship's sake, won’ t::yon^ g 1 ve, m@: one human word before they come? .it; least. answer -me' honestly oneYhnman 'questlem? // -Y1

RBm.Y /Y Y'Y ':- /: > .Y-';: : /. ; :/'"':Yi .:.Y’;/:’ / . (3) In the great lottery of a woman’s answers there ; :/Y / . is always one such prize,! Y-Y.: ;'; ...Y ■•/.: ■ ' Y 'iv..

V. wttTHRdp.-Y y y . :y ';; Y y y . :'"'y : ■ Y ;"'':;Y^:: ' Y'/:. Y'Yy :-':y ;y ;y ; / - y . ■■ ■■/..' (4) It1 s "no /ns©>;lf that /Is :yonr'-mood. Y ■■'/ Y . ■-'//

r b t h . y;.y .:y Yv YYY; y .y y :..:y "Yy Y;:v y y y :;Y: :/ Y/. v:: ■; ■ / ■ /./Y/' -Y:;'Y ' "My mood! Your old bugbear! 'I-am as sober-serious as ■ ; - / : my -stars, ever !let:'me be. /:/:' / :'.' Y Y - ' ; Y’ .i Y . Y YYY>

'■ w h t h r o p . ;: ; ; -Yy ■, Y: :t.Y::"' Y-.: - . Y : ; : ,; . .- / : Did; you j that /night you bade me goodbye, know that . . ■-^. -YYY 'tthis-./was: going to happen?' ;■ .../ '' /, Y.u

. ■ RDT1Y : ' ; Y Y Y. /,; /;-'' Y' Y ■ • Y ':/v/'-'/V /;.Y YYY ';- ' -'YY ' Y ., ,Y.''/Y. V 'Y‘v: YiY ■ Ho..-/ (5 ) , It was halfY aooldent^ half YwTld Impulse. - Y ■ ■ - -Phil left melat ,th©:/ ranehaloneMy lover came, 1' ' '\ImpatientY Importunate, and I -went with him. \ .'

WIHTHROP. ; . • ; Y' , ; ; Y ‘ ’■ ■■ ' Y/ :■ -, , :./ , ind your -" thl S'mah : r 'tOYwhM you are married - - pardon ..; : ' Y me s you don/t need to answer unless you -wish =■ forhow 'Y . / long, had you known him? ' Y . Y''' 'Y,/"''

’WT H . : Y Y Y YY ; Y- ' Y - ' Y'-.YY u Y'-YYV ' ;. YY. Y 4 ^ Y ^ 1 1 my.', life!' Y;And for 'eons beforeei :YY Yy -

Y POLLY. :Y;.: - Y,Y.Y: Y Y'"Y' Yy Y YY Y i^Y ,Y.;'/ ,..: -Y . ■■- ■■ Y 'y -Y Y Y:; ':.Y. / Yv 1 d // (7)- .• WlnSu.-.Wlnr . .. , s-Y/.. "V"/ ■,Y-Y - ...Y Y- ■ , Y ■.;;.;Y;

YYviiTHROP.Y Y’YY;'::Yt.Y .YY;YY.Y Y, Y.,YYYY;'YY: Y . .YYYr-■■■■■/' ' - Y Y-y-Y: Y Y':Y'"Y; Come up! dome up! ' (8) : : , v. ■' . ; t . . Y Y Y d . : ...YY-Y Y ' Y'Y'YY/Y''.Y-. ' Y Y t (Exit RUTH.V .. . Y ■ vY:r::.' Enter POLLY, ruth. ' / / . .. Y ' w/Y '- :: '^ Y Y / Y ' t - ■: Y - ' ■ ■ ’/Y Y'; Ruth hurry to embrace Philip0 . Polly fan yourseIf with a handkerchief, examine the house and surroundings with great curiosity.*.'' - ' ; •" ;

Ruth cover your face lightly with hands«, '

Polly sit left at table« 111 move toward table0 Winthrop stand slightly behind Philip» ' I. ,- /'

Philip sit righte ;

Philip draw apart$’ gloomy and threatening* Polly keep up heroic efforts to give the situation a casual and humorous air*.

Ruth' point, to.■..cafein*. ■ m i x . ' ^ ;-::..'^ ■. \ ; firth! . , V ROTH. . ... - ', ■ ' ..•:■,■■ ■" V,:- ;’ :: ,;.. ;> 'Dear old Polly! :: ;■ ^ •; ;;-' '■ ; , :; ■ ^ V ' : ■

•ROLL^v ' -v; -v- x':' -'::\ "-'"’L:-- / \ idm naughty gir 1S ' . . . : ■ ■ /.: ' ■' , RtJTHi vy-v : ' .:vV;'vv:'" : ' :. ' ;y /'/" v: . If our sins must find us.outs you are the kind of - M I: Qhoose. ■//■o'; Vv/v■■■■; •, ■ . o ' - '■■ r:'t / ': ■ '// ■;/

PdLLY. . ■..' : /'/" ;:/'./.' /. ■/: ^ . .: /,/:■■■.■ :'■//.;;/V/'':/ ' ^ ;Myi : -Bmt you're a shady character . And- sly ! (1 ) ■

. ■ l/ Ehter .p h i l ^^V^/:^:'';.■ - ■ - \//■ - ' ' ; ■/o- -''''''' f ■ : -

BOTH.. : . ; /■. ■ ■■%/::/■ l ■ ■ ' ■,./: ' -/ :^ : :/■. :///::■■ / /. ■ Oh Phil! ■ Dear old man! (2) No .scolding9 no frowns. :; ' This is the finding of the prodigal^ and she expects- a ./: ■ o; :/l-; - rob© and- a/rlng.. ;... ./.;'/' / ^/' T ^ ^ ■■

: POLLY./'/:;/: (3.) HeaWiiSp what' a.:/climb! I'm a rag. : .

ROTH/;,■ :''■ :/■://-: ; ; L:: /■ /' ■ .'/?: ':;■ y ■ ■' ::: 'o:of; (4) The eahin wouldh't hold us ail/ but there's one :; . :/good thing about this:: pl a w plenty of outdoors.

.viMTHROPo ■ .: /:/ .,/:: :: '■///.<; ■/,/: ■/.. ./•;/: ■/■../: /.I should say there Is! ' •; -• ...

POLLY.'' / y/i;/4<'/ r-:// • :/■/''':■-'■'' :: 'rt ' ' V -■/:':: • ri -t t'/:.;''/ To think of bur practical Ruth doing the one really / theatrical' thing .known. In the annals ofMilford Corners^. . . Mass.! And what a setting! My dear, your■stage / arrangements are:perfeet../ -:/ ' ■ /, /: / ■'/•': . ' - '

RUTH. ' ; /,■ ; In this case:■ Providenoe/deserTes the credit. We may ; 'yhair® come here to take a picture 9 but . we stayed to / / / / make a living. ,y(5 ) ;.: v /;/, . y, ■ :v.../ r . . - . ; .

. poLLY. : '\i''Yi / : \ o'/'// , t. / 'r-v . //5:: Well, where : is h®'? :/ . L/,: / ■■;,/: : ■- '/: ■ ■■■ :. ■ -

: V ' }///■■■/'■.':'//' iv';:::;.; ' y- " Who? '. / ■■'• •

POLLY. . ' ; He! (6) / We 11, produce :him! /. . :/: ; '• (1 ) Ruth follow Pollya show gratitu&eo

(2) ,•Ruth go Into cabin, call» - Folly speak to Philip® ■

(3), Folly refer to 'tinthrop®

(4) Ruthg followed by Ghent, appear® . Speak with gaiety® \ Folly rise®.. (5) Folly shake Ghent8 s hand cordially« • " v,. ■ V'l-' ' '' (6) Ghent extend hand which Philip, ignores ® , v: Ruth go on. hastily, to cover the- insult®. '

(7) Winthrop and Ghent shake hands® Winthrop explain to Fhiiip® w::-':i Vi:-; - /■

(8) Ruth look at Ghent in surprise®

(9) Folly attempt to make small, talk® Rise * cross down left center®; " (10) Roily glance at Philip®

(fi ) Ruth cross center, keep up the play desperately, Bless Folly with a look® ; 88

■' ■' ' ,. (l) Yow inalati ‘ ; :: ' POLLYo ■■ ■■■' ';; ■>;; v/:': . ' • - :: : : iLsolTately.: :, , .'L'.. ..L,'^ ;, ,: :L : v '-RUfHVf: : ' --L'.- ; ' : very^lU ,2V . ^ ; ^ :RUIH.::'

p o l l y ®■ ■ ■■! : --- ;v V;- How you behave! (3 ) He ’ s behavingo / : : v. ‘: • 'x

: ; : - Hnteh RHfH, GHEHf o b ■ b 'p; . ■ - ^ ^ " %'Z0' ..y : ' ' ^ ' RHTH,;/.. •■:.: p; '-v:;'/./. v -::/;\ (4) W@ll9 Stephen^^ since they8ve run us to earthy I,. .■/:t . v.: shppo-se.-';we :ffihto put a good-faee on lt9. . and ^acknowledge - . 'them® :«\This is Polly$, of whom I've talked so mucho ’ . :: Polly the irresistible«■ Beware of her! (5) r And this. .. ; .is .-p my brother Philip® (6 ) And this is my old ; ^: ■ . ; school friend9 Winthrop Newbury, : 7 ■ • I .

;.,wiHfHRQP.o. ; c-;:; ; l■ ■ :it' , •,,;V- ' : (7) Mho' Ghent!istthe owner of the famous Verde mine, :

GHEHPo ;. v JVL ; ■ ' : :i, :: v..!!pV' ■ J . ; ; . Part owner„ sir, I hadn't the capital to develop withe y-: '. so l had ■ to dispose of a half-interest, t;-; L." : '.y tWlHfmOPotr ; y i"'": v'1 C:1 ^v'yy1''-^ Isn't there some, litigation under way? /v.;x. !, yy/:-./':.; V ; .. ' . ■ y •. : . • " v " . ; ' ' RPfH®' . ' ■ • : ::^ : ; / )'■..■ Litigationt L- ’i, . vGHEH|?o: y;' ; . "L ; . . ;;;; ; ' - y , y. ; , ^ : - y ' ' ;v y L y >!;' ' yy \_y . Yes ,«= a whole'rigmarole-o > ■ ... . ;: . ' POLLY® Vrry;-: ;-.: y . , : yyg y\':\ \. . 'r ' 1 (9) Heaven help;you if you have got entangled in the - .yy; law! . I earn conceive of nothing mere horrible'''or. ghostly \ ' than a,- court of law,; unless (.10) it is that other ;court .i’ of high Justice p which yphople hold in private to judge : y. the ir 'fellows» from hearsay and haIf^know 1 edge! ' ';:v - ':RHm® i'';' .-/t'- f . . (11 ) But there,;mast be .law just the;y sames ; and penaltlf,i ; and- rewards' and all that® Else what's the use 'of1 being good? ' ' ; ; !..; y;. . V : i; : i (1) Polly speak to Ghent.

(2) Ghent9 Polly8 winthrop go down canyon path«, Ruth cross to/;Phlllps ' t '• ; ^

(3), Ruth show effort to maintain a light tone® -

(4) Ruth harden voice ® 89

POLLYo ' ' ■' ; Like yon — for instance•

■ ■ RUTH. ' : . ' V .. ' . V, ' ' \ . ■ V '' /' -: v V. / - / . ■ Veil,: yes.. Like me! V: ' - , . y \ » ■■"- POLLYe : ; , \ .... .'/-'-y - y':: _ : You are not goods yon are merely magnificent. I want ' : ' ; . to be magnificent! I want to live on ’the roof of the ■ ' V ; v world and own a gold mine! (1.) ' Show me where the . . - . ’ Sweet thing iSo C; : ';; r', / ' y:

■uhbhto ... y ', l -'y^-J; 1 ^ " We Oah get a better view of the. plant from the ledge : ' belOWo . Will-.yon go down? (2) ; ; ■ v.-"1 y y'y': ; ’ ' ' ■■ ■ - '.';y .. ^ " - i-y. :y:" ■ yy ■ - ..(Exit POLLY,' GHEMT/:'^y^\y •Vv ■ y:-:.'.:"''- ' ' y y V. WlHTHROPh ' : :. 1 yWiuiPo : :: y -rvr:;yv y..v-, : .; ■- .y; : HOd: : We. must have a word together before the gabble. , f;, begins againo Winthrop has given me your explanation, "'.y ; whleh: explains nothing* . :y; ' '' 1 ' y -' , ’ s, .

: ; /RUTH.::vyy; "'y:;:.■ y ' : •>--yy.'" ■ y (3) Hasn't: that usually been the, verdict b n explanations .' . ■ ’ • y of,my conducts y. y : % - r' yyy . v: ■ ; ; ' • .yty : y ' :’PhiLiP=. "

ruth.o '''-y'."yy--' ;y:y-:',' , ■: (4) Remember to whom you are speaking, and about whom» .

;,#iLiPy y. -y ' w y.f;yybv ■ vyr :y''::-r':..y-;' -y y::: !btbyy-.::f/ .■ I/got your note, with its curt announbement of your : y , v., resolveo Later, by mere accident, we found the, record . y ■ ' , - of your marriage at San Jacinto ; - ■ if . you call it a ..yyy; marriage, made hugger-mugger atymidnight by a tipsy justice of the peacee I don't want to question its ■y 'y: y : y validityo I only pray that no. on©' will®/ But I want to y know how it came to be made in such hurry and secrecy - : ■ how'it came to be made at all, for that matter <» How did , yy • . yy ’ you ever come to disgrace yourself and your family, by . y ■ :y.y .y. clandestine meetings and a hedge-rox-i marriage with a . y y'- ■y ' ;... "person of. this: class? Andwhy, after the erszy leap wasy y taken, did you see. fit to .hide yourself, away without a ■; .yy word to me or your distracted mother? Though that .: ; : . • . perhaps is- easier to 'understand!.' ' -■ . . -'.y : ; 1 :.''y.yy y Riath. rise0

Philip cross righto

Ruth, overwhelmed, cross right1

Philip shrug shouldero Ruth cross to. Philipo

Ruth put hands oh Philip'9 s shoulders® Philip caress her, Ruth .hmrst into convulsive weeping,, cling to Philip" and hide your face pn his- chest Ruth shake your head®

Ruth draw down Philip * s face, kiss, him® Lift head in attempt at 1ightne ss ® Theh turn a#ay and cross center to table; 1: ‘ . 'RUTH*1./., 1 ' ■' ' . V :; ; ; '; Tile manner of your questions; absolves me from the ’ : obligation to answer them«, ; ' ■ ■; : ■ - ': :v: ;

miLIP. : : 3 . - : ' ■I'refuse to be put off with any such patent subterfugee

r u t h . /''t '' :v 1’ ' /'-f - Subterfuge :or not j, it will have to suf f lee $ (1 ) . until , ' >/' you remember that my right to choose my course’ In ilfe; /is unimpeachable; ' and that the man whose destiny 1 . ■ : ■ / elect to share cannot be insulted in my presence. . ■

■ PHILIP. /''^ . ; ;--v.,: 'Z": t-' ... v./.: :■ : -h ;•/ Very well, 1 can wait,. The truth will come out some Z ;' day. (2) Meanwhile/ you can take:comfort-from the fact , that your desertion .-‘at the critical moment: of our - - • enterprise' has spelled ruin for me = . : ' t ;//. t';\ ’

■RUTH. './■ r . Z<'t ' / ; ■ ' : w : /: "■ ■_- / - ZZ - ■■ - ■ ' '(3)' Phii'lp'g ..you don't mean--! Z/- ■/ - .t :

PHILIP.■ ■ ■ : 'Z ■ .^z. ' ■' Z-;’'r '///':'#ZZ ■ :■ /.t ■ ■■■, ' ■ ■ ■•', < ■; ' Absolute a n d :. irre trie Table/ruin.., • : . ■ . ./. •, ■,

r u t h .- ■ ; ■ :Z:::v.-v ..Z>:Z.. : Z::: ':Z- ■ -/Z/' :/; v - : f -O.r-Z. ^I’Z: ' Then you are .going back- East » for good?

''Zf;’:.;;zz-w'-z;;;''!-;;::

r u t h ..- : • .Z;':ZZZ Z-'Z/::'; i: :Z//Z.:::.,ZZ/Z 'Z.;. ■ Z;.ZZ;.z: :ZVZ:-''Z^vZZ.;; - . .■ Rut - mother's money!. What will she dp? (4) Is V: ; :... .. everything gone - everything? ; . ■;; 'Z ':/: Z^Z'-’'Z :

PHILIP. ’ ■ ' z ;Z?''' '.Z/'Z,: ■ ZZ'ZiZZY ZZ'Z Z i ,;"Z Z/v ■■./ Ziz ■ . : ... I shall;, get something/from', the sale. Perhaps enough to .... make a fresh start., somewheres in some small way. I: ' •

r u t h . S ZZZZ’-'/Z '//'■' ’' Z Z:": Z':h'%'’':zz (5) Phil, I am sorry, sorry! . .

:p h i l i p o Z,::Z Z .^;''Z;:ZZ. • /ZZ;„ ■/ ZZ ''h '^ZZ ' . Z' ,z.:; . ■ ' . ".". Rutha you:are not happy! You have made a hidepUs mistake.. Gome home with me. (6) At least for a time.//• '; You are /not ;we11.; You look really ill. Come home ■ with us> if only for a month. ' '

RUTHiZZ/;.;Z': ' ' /:/'''Z\ZZ'' 'Z'ZZ'hZ'' : > VZ.'Z' ; ;’Z' Z ■■ 'Z:,\; -/'Z't No, no,'dear Phil, dear brother! (7) — There! 'I have/had my cry and;feel better. The excitement of seeing/you ' all 'again is a little top. much for me. ; ■ (1) Philip eross to Eutho

(2) Philip cross right„

(3) Ruth righto

(4) Philip move to Rutho

(5) Ruth take Philip' s head, in hands and shake it with recovered gaiety. ' (6) Philip point to loom. : : (7) Ruth look toward the others coming up the path» fhe men linger at the back as Ghent points out various landmarks to them.

(8) Ruth speak to Pollyo;. - ; Polly advance right*; \

(9) Ruth speak half to self and half to audience,

(10) Ruth bow head in spasm of pain* . ' Polly doe s .. not s©@;: thiss, go on teasingly* v ; : (11) Ruth move away with averted; head*' Polly follow her , peep around to see Ruth's face*. V ■ (|2) Polly■speak In louder tone* * 91

; Ph i l i p 0 : y ^ : , v (1) If there is anything that you want to tell me ahomt all this, tell me nowl ' ,

Oh, there 'will he plenty, of time for explanations and all that! Let us .just be happy now in our reunion,, PHILIPo : . ; ; ; : : ■ , . : , .. ■' ' ' ' : ’ There will - not be-plenty of timet (2) We leave '. . tomorrow m o r n i n g ... .

RHTEo;. . / 11 - :t.,,it' ' :/ (3) Them you will take me' on trust =- like a dear good brothero •Perhaps I shall never explain! I like my air of mystery0 .

PHILIP. ■ : v.; ' : ; . : : ■ (4) Remember that if you ever have anything to complain o f — In your life - it is my right to know it. The. offender shall answer to me s and dearly, too. ROTH. V . . ' - /v - : . - ' ; . ' ; ' . (5) Of course.they will, you old fire-eater! ' PHILIP. . . - .\ / . - ' '' / . (6) At least tell me why —= (7) .

- Enter POLLY. : ' . ■ - - ,

■ RUTH.; V '. .. - , . • . (8) We11, what do you think of us,in abird's-eye view?

POLLY. ' - -ft ' - . ' . . " ■ . ■ 7 : In a bird's-eye view you are superb! *= ind looked at near, you are an enthralling puzzle. - '..

Ru t h . ;;.' ". . v ; - . ' ' ' . . . (9) If you only knew how much!

' POLLY. . . , ' ' ' - . . ■ So you had - just by.chance - riding over to thetrading™ station or so - met the glorious unfulfilled ■=■ in blue overalls and a jumper!. I thought so! =■ (10). I see now what you meant about wanting one that wasn't finished. ; This one.eartainly isn't finished^ But when he Is, he'll . - - 1; be grand! (1 i) Don't sulk! I meant nothing disrespectful On the contrary, I'm crazy about him. (12) - And now that I've seem the outside.of you, I must peep into that i ' fascinating -little house! . . g i,:' . - - ; ' -

Enter OHEW, tlHTHROP. f : f V- ' ' .ft : . : Ruth apeak to Ghent«, Ghent draw closer Ghent help Ruth spread, out plansG ■' Polly examine the plans with curiosity

Ruth apeak to Polly« , : " I Polly and Winthrop go Into cabinB ... . Ruth linger at the • di©or 9 . look anxiously at •:Ghent and Philipp and then go Ino

Ghent give a little' bow0

Phil point ,to;'lopm9 ;::pross; left-,.

Ghent $ as ton! shed cross right 92

.■ - ROTH. ' ; ■- v v ■ ; .v .v v : V VX' . . ; (1 ) Polly wants to go inside the oabiru I can' t' let ■ . iier n n i i l :we have shown her what It8s going to be = .(2) . ‘ ■ h These-are the plans for our new houseQ You call us ■■ ; •' ; magnlfleehte We. wl U - show yon that. we are, note. Ve . . are overwhelmingS": v - . - . ; . , . .. - ' ;

- w h t h r o P o - h , v ': ; V"' - : v : : '; I am afraid we must be getting backbit grows darh; ;' ; \ - - . /' . , Tery ■ smddenly- in .the .eanyoiio . :.v. V- ' ''':

:..: s u t h 0:;:■ :v ' h / :h :' .-: ' (3) Well; then- you may come in9 If yon will promise , to -■ ; view the' simple present- inV the light of the ornate . : - 'fntnreo;:;(4).: .. ,1: ■ V : : .. V; : - .: ; ■ (Exit--POlLXj RhTHj WlhTHRORo ^ ■

; "PHILIPo ' ' : :*.c : : ' 'If you will'permit meg I should like a word with youo

-WElTo V',:!'':'' '

VPHILIPo ;: : : ' "'v;; - ; - ' ; ,.Vhi:'' 'l.i:1' 1. ■ In deference to my ; sister's; wishesS :;I refrain .from , ' ---'yi jI.- ' . asking you .for the explanation which is due me o' (5.) But . v ' : there is one thing which 'I think I am at liberty to •- :v "I- questiono; ' ' : ; ' : . - i '"-y hyll-r lii.-' ,y,-i\' i Do SOo ■ , . " VI . . y ' • . .■ >-

' - 'PHILIPo. - ; ' : ■ ' ■ .::■ ' i .' " ;>y ' ' ', ' ' ■; : .. : . - : '. i . '■■■, ■ ; vy.y V: -- y I hear of your Interest in a valuable mine = -1 hearv of 1/; 1 ’ y _ '.. plans for an; elaborate . housea , >nay9 'thena is my sister ■ ■ compelled, to peddle her own handiwork in a public : h- y; ^ flf . v; ■ ;[email protected]@ry?. ; ; y' ■ -"'i: 'v-' V ;" ' V'--:-y y ■ y- : V'■V:''

::; GHEMTo - :!' y y •' • ' , . ' .' ' . -, :%.. ':. "': * ' ' y: ; ;' , ' '. y-■; v; ' Waat do you mean? 1 don't understand yoUo ' ^ \ y-.: y/y-y

; PHILIP o ; , : . .. "• .-^.y y - v-..'; ' ; ; - ’ V:i'^ -1' 1 -i' 'lyV yii'.. / 1 ' ' y .. (6); Her rugs: and 'baskets; are;, on; sale in; the ;corridor ;qf . . yy y the hot.e.ijv fingered and discussed by the tourist mobo '/'i

< Q-HEMTo' .' ' • .. ■' i" ... ' , yy';d::,^'\y- ' , (.7); . . This can81 be true S • . ; ■ pnmp. y ' ' : ' ':'iy y^ lyV^iV'^y y ■ ' ... ' - It- is^ however o i;;,. : y::/,:''y.'y-/'y yy\y yy: ...y'\ l.;,,'.• - .r.; *(1) Pollys Wlnthrop and Ruth come out of cabIns Ruth and Wlnthrop remain left® .

(2) ; Polly cross center toward Philip® (3) Polly speak to Ruth® : • .. ■

(4) • Ruth glance at Wlnthrop quicklyo

(5) Ruth give hand to Wlnthrope ' . (6) Ruth kiss Polly and. Philip® - (7) Philip ignore Ghent pointedly in taking leave0 Polly bid Ghent goodbye with corresponding cordiality® (8) Polly speak as they g© down the path® (9) Ruth wave to them from/ the.'top of - the path® : - ^: Ghent look Ibng at Huth with,great gratitude® (10) Ruth sit on bench by wall®Ghent walk about.in anxious thought®. Ohoe or , twice start to speak® Finally stop before Ruth®,

(11)'. Ruth r e s p o M vto Ghent®' : • ' ■ ’

(12) Ghent point to,, loom®

(13). Ruth reacts, slightly startled® 93

, : - I know nothing of :It. I ’ve had to be away - a great deals. 1 knew she " worked too" hard over these things@ but It'took : It for a mere pastime^ Perhaps .Io? I ean8t understand v;.:. / It at all! '■ v .. ■ h : tt ^ 1

^Philip0:' :v \ v r \ I-; L•s v v' • t 1 ,:;i advise you to make InqulMeSo She has taken paIns to t't ■ e'cmeea 1 her :,ld©ntityi ihmt-■ 11.1 s /known' nevertheless, and. - . ,.:h . the su.hjeet .of public curiosity». (1 ) ' % - t ^ o '.'/1 , "! v"h;:'' Enter :POLLYy RUTH, WIH'HROPc ■ , ; v ' :• ■y ' POLLY o :hry-;y';'.y: :■ y,ty v.;.';V (2) Take me away quickly, or 1 shall never enjoy ;v : ;4::: ;; . .npholatehy. agalhl: (3) Please-v ©hange ' your mind, dear, and 'y' • '■ t - - dome with us .for the night . y y :V:.. ' ' -'I y- y .;y '-y'

- % m ^ ; : y y : , y 'y : : t ■ ' ■vyV :y:;:::;.- ... ,. ::y.:,,.•. y::.y.:. . ; ;y-,:y : ,, ■■ v . I; will .gee y o u ,in' the, mornings ; / y ; , ..,;,,y:,. .yy y

;■ w i u t h r o P o 'vy:>y-y y.t 'y % "';-y - ::/-;-y; yy''-;-y . We leave by the early, stage0 ' . - y : t ' t , ':tyy ::^ t;-':yyyyy-yyy^ " yy-:': : ■vy.yfy

;;: h y y, ■ :yn ' :v ., t ',y :'':'.y : y V- ^.y:,/:,- ^ ryyy y,\ - y Yedg/ I hayeydeoided . y : . . % y: . . ' y y : - ;'yv., . ' ' ;.:y'^. SUTfcyyryy • . ■::V t' yy-:. • ' y'-; t":--: . yy," yy, ; '^'.'yy vh; y C y . y - : -''"■"y-y:. ' I will be there in good time, trust met, (5). Uoodbye'-.tll :;y :, . -y ;;ymorning. (6) Uppdbye, (7) ;t ,,yy. hyy V- : ;''-.^',y::

' P o l l y o y, %'V:y;:^^^ .-^t::::y:'' y'' y . : t -y■. . : • y y ; . 'v: Goodbye, Mr0. Ghent0 (8) Oh, Phil, ydu ought to have seen 'hy -v:y' -- - \ 1 the inside o ft hat delightful- little house! (9) y-. - -,v

,'::.v . -dHEif ^ y ' y y , . ,.y y y i yy-.'y ' -yy:^'.:^ ' - y y , y - - - , - God bless you! (10) «■ You must go- in and lie downy ' yy"' . yi \ 1--y You; are worn -outo ' yyy" y y'""! ' ' -y -'.-i ' - - J- - - ■ ■/. ",y v

-,y: y . #TUiv,yyyJ,;' '.y ;■ :-yy.^;;: v-y. : - .-y'’/-y. y,y ,y ;-:- ' ' y ;(11 )y ^ something I must tell you fIrsto . :

/:y;y;:GlEWo-': yty ' - ' :yy y:': yy'yyyy- y ' - ; yt,- y ; ' :- y v;:: y. ■:;y; ■;y..yy:,y,:.;y : '.■■■?(12 |y It Vs about, this "- work you have been doing? y „Y

M t h c 'rf r>::'-ir y ' y i ' : > ;y:v;- ■■yt-'y;-;; y''’y■■,y:- ^ y ( 13-) yYdu mowydfytmt?; ^-- ' ;yvyi-y t::'" • Ruth point toward cabin0

G-hent act astonished,-, ;;

Ghent site Ghent sit silent and motionless for a few moments and then: turn to . Ruth o' - ' v ^ ^ : . V.; v •'

Ghent speak eagerly* . G-HEEIT Yomr brother told me«, I should, have found it ..out . tomorrow anyhowHave you wanted money? . ' _ 'f ■'

:;BUTBo Yes® T"': ' ; ; yV. • ' : ' o-: v v Sh e i t I thought I - I thought you had enougho I have often- begged you to take more„ ' 't ■ - ' -t.. ' ':v.

■KBTHe. I haven’t spdht what you gave -mea , It -is in there®t( 1)

• (2:): Yhu-haven’t/'siaent:anyv of it?' . ■ 'v y;.;;E;;;; .

RUTH® A little6 ; Nothing for myself«' ' yy yt ' -V-:

; G-HEBf: B u t .there has 'been no need to save, not after: the first uihamth' or twoQ Yen sureXy lenew that!- - '; t V ; •

R u m Yesy, 1 knew if ® - It was not eopnomy0 -

SHElf, ' Yon.haven't been/willing ' to take..money, from me? y . .. ; :RUTHy 1©$, i know it was small of meg but 1 couldn't help if a 1 have paid for everything = I have kept aecount of if ~ Qh/./t©: the iast . dreadful penny S These elothes are the. ones I- wore from my brother9 s house that night® This she Iter - - you know i : helped’, to.-'raise that with my own . hands®: And - some things. I paid for secretly,/ from the little ‘hoard,1 brought away with-he® , You were careless;, . you did not- noti.G-e.': - y '':y. t ; ;y " e .

GHEMT (3)1 must try to grasp this!-(4) - Why - why did you y : staiid-'Up so pluckyr‘ so splendidg just now? Put a good . y fae.@ on every thing about our life? Gall me by my first . name- and al 1. ’thaty- bef ore."your:' own people? - ’ . / , v

: RBTSo We..'are man and wife®.' Beside that, my own people are as ;.s’trahgers®y ./:'- ' . y ' - / ' ’' .f ../y:y^y;t,'...'' l/';'yy:

k m m f , (h). You, sayfhat? You can still say ’that?v:i'::’/ :-'’ ’t- y , (1) Ruth look up startled and tensely await his answer»

(2) Grhent speak with desperation^ 'v; ■

(3) Ruth wall while speaking* " '

(4) Q-hent rise and stand by Ruth» ■ .; , (5) Ghent pause, then speak more tenderly® (6) Ruth lift headt . • .

(7) Ruth clutch at heart, -cross down. right s ; v

(8) Ghent speak huskily, cross to Ruth.■

(9) Ruth speak in half “■whisper o . . (10). • . Ruth put hahds' 'before face and suddenly sob. M T H v V Vv"'.v Vv ■ V :v . ;:j. : - - (1 ) . Oan51 yota? ' . ; ^ '

' - \ ' . (2) • Ohj, I dontt kmowc I can't say or think anything9 - ; 'af teh: what yem have-/j , \ , ■::

RBflo:, - - .. . ; . - ;v :v-. i ; . ■■ ... : ' i; ' 'i ' - f'3) ' Jon cam' t hay iti ' Aha/it ian't trh@ we who . ;v. are - strangers® =• Worses a, thousand times worse ! • : aisifo r ■ ■■ '' -r'.v'i;:'’-" : v : ' ^r (4) Don't let us dash ourselves■to hell in one crazy ; - -. v minute! (5.) ^ Ruths, do- you remember our j our me y here? , . (.6) .1 thought ■ It seemed to me you had => begun to •ear© . ' . 'for m o o ■. ■■■ ' . ' I.:/; , ' . RUf Ho ; : ' : . ' ' ' . . That : nighty, iwhbn >©.' rode away from, the ,j.ustice e s office .. ; h t 1 Sam :daeinto;i‘iahd tlie sky began to brighten over the 't. desert “ the ice that had gathered here : (7) - began to f; :. ,. v.;^ spite-:of me.. And. when the next . night and the ■ . . next day passed^ and the and; still you spared me., - and. treated me .with,.beautiful, rough chivalry, .1 said to myself» ■ ”Ie has heard my prayer to him =■ / He knows what -a- ' girl' s heart iso'' As you' rode before me down the ‘ ' . . ' arroyosj, and up over the mesas? through the dazzling : : 1 sunlight -and the, majestic- silence,':' it seemed aa- if 'yon. / ; were.leading me out of aworldof little codes and ■ customs, into.a. great new-, world. -••■So .it was for those ■ ' ■/ ■ . first days. - And then - and then ,=- I woke 9 and saw you standing in my tent-door in the starlight! - 1 knew before •. j , '/■■ ■■•.you.: spoke, that we/were. lost. Tom hadn' t had the strength/ /."/ to: save Us! / -■/:; V: ■ . - ■ '■. / .:■/:■■ y' ' ./' ' -

WE!T:V\ . - :: "/t; " ;\/////■: " -'.I' -'' ' . ' /v,, .-- ,;■ (8) Surely it hasn’t all been - hateful to you? There - /, , ,• have been times9 sine.e that. - .The afternoon we: climbed./ .■ up: he re i ' The day we made the table; the day we planted/ - . the vine s i. ' - ■ . "■ ./ ! ^ / ■■’■■■ ..■/■;/:.'■/ ’ - ' RUTH. ; .... /, "" i ■/'/■/■' : .\/C:'{'/,/ ;■'/,/”/ :v'l/ (:9 ) fes2. > Beautiful ■ days!. (10) .- 0hs it .is not my faultj: • -: /' 1 have 'struggled.-against lt» -TOm don't know how'T have"/: ■/." ; j . ' struggled I; /■/'■;. , ^ / ';'. '//';;': / ' -. :(JHEiTi:v/.; - .V';-. /'T^ t'. ',/ ':- ' ,/:::/ -- 'j,///y Against what? Struggled against' what? ■. - '/ ;

■RUTHo- : ■ j ■ . ■1 ' ' ' ' ' j '://'" ' : ; / . -:'./: //".//j/.: T ," ' ■/;■: Against the hateful image you had raised up beside your (1 ) Rutja look steadily, as if at an invisible shajjo,■■■■'' speak in a horrified whisper* (2) , Ghent, stung beyond endurance, rise, amd pace up and . , ' . downs Ruth eontinue in a broken/ tone« ; ^

(3) . Rdth point toward eanyonl

; (4.) : ; Ruth answer with tone of loathing o '

(5) . Ghent sit with face in hands a : -

.(6) Ruth slowly take the nugget chain from around n@©k2 . : and hold it crumpled in palm«>, Speak with quiet, almost ^atter^of"faeti'tone.c ri, - . v 1■ ■; - .■ ' : ; (7) Ghent look u p 0 : . . . ' .

(8) Ruth hold up chain and let it unwinda

(9) Ghent act dumbfoundedo. ' : .

(10) Ruth continue to look at and play with the chain. 96

SBENT-. •:--W : ' . ■ '■ v : v ■ : ■ v . ■ ' What ao.yo# meam? -

RUTH. ; ' ... '-y -' - I. E3@an thafe..sometimes « often-.- when you. stand there , before myveyes./ you fade- away, and in your place I see the Other One! . ■ ' : 'yy GHENTo • ' ' - Speak plainly,, .for God's sake! I don't understand this* - •' ■y■: talk. y;y,..yvy-y:... y:\-y /y;y.;,y::: -y-yf/^y^y_:

RUTH, y ' ' ' .: y;:y .:/y ' "■ ;'V-y ;■ . v y ;'y;.y y- '-y' ;y.'y;- -; , : (;! ) There he stands behind you new! The human beast, 'l;\, that goes' to. its horrible, pleasure as not even a wild , y.. iyy -i animal will go - in pack, :In pack!. - (2) I have tried <=' Ohs, you don81 know how I have tried to save myself from these ■. thoughtSi - While we were poor and struggling I y ;■ ;. , thought; I oould do it. « Then (3) —= then that hole: . . . . down there began belching its stream of gold. You. began ■ to load me with gifts ~ to fore.e. easy ways upon me - , GHENT. . . . Well, -- what, els® did 1 care to make money for? (4) \RHTH. ' . ' ■i:i';yYy^^l.:b;---y( -.:-.:-yv . ' ■ ■ Every time you give me anything, (5) or talk about the. . I : mine aiid what it is going to do, there. rings in my ears 1 . - . y that-; dreadful,, saeert' Mi dirt “eating Mojave would pay ; : y • y. y more than that for his squaw!ir I held myself so dear! ' . ’ ' And you bought me -for a handful - Of gold,, like a woman :, '. ■ y <, : . of .the ystreOt.. You drove me before you like 'an animal ty'’.y.'-; y from the market! (6.)— I have.. got back the' chain again. ■

: GHENT.' '. - y" . ■ :y ir r '■ 'y?:--1 yy::i:.r: y .y (y) ('#ain? - #hat 'chain? %: - y H- ^y: .. yy.y . ,...y.y',-'.. .'t'y}-': '.'.-yi- y,.' ^ .1.,' Y - ' - .y-.' y" ' . Y ; ; y- /' 'Y^ '' '''j 'y.V Y y:':, Y:' (8) The one you bought me. with. .. _y ry .y y

.yGHENTY - y - ' - "'f-yn-'-^Y:'::': 'v.'Y'Yi Y' Y'; '• . (9) Where the devil Has that fellow been around - . / .Yyy;,Y^ref,^y..y^v

ROTH, y : - '' - Y . : v Y/ '-.-YY' : ■y'vy.-.Y.' v 'J. ;yY YYYyY y , y It would have..had no. meaning for me except from his hand.: : : .

' 'Gh e n t Y y - . - .- "i.' .Y. y Y ' y.y: '. Y- : ■-:■■■'.; '.Y':.,-'y::y So that's what you've been doing with this rug-weaving and basket-making tomfoolery? (10) -How long has this , been 'going, oh? " y ■ y’’ 1,. y- y' :. i; vy -y ■ y yy- . y. :;y ‘ • Huth, eohvulsiveiy flra-w; hand about neck as if loosening something e ' ’■

Ruth attempt to force'chain upon Ghent *

Ghent speak with stern,controlo.

Ghent take chain reluctantly* stand and look at it for a moment^- then speak with iron firmness; Ghent throw chain about Ruth’ s neck and .draw her closer with the ohaino ' . . . • : Ghent start f or houses '' Ruth hold out hands« ■' Ghent return to Ruth anxiously as she eontinues playing with the ehains and avert aye S o . - ; :

Ghent start to take ehains then draw backo

Philip appear at. path and remain partly concealede W H v - ■; ■ ^ :: ■ . ■ ■■■'■ : How long? How. long ..can. one live without breathing? . ''K Two, minutes? A few lifetimes? How"long! , /

' - It Was about a month after 'we. came here that you began : ' " tb -•potter with this work, (i')' ^ ;\ . RHTHo . -v. V;: :' t.rrv;:. ■ >.•• ;.V •' •: ^ : .; . . Since then this has been round my necks round my limb si ' • • a chain' of eating flre0 Link by link I have unwound it = .. . • You will never know what' it has cost me, but .I have paid . ' ■ it alls Take .It and let me gb frse, (2-) Take It,' take : " "• It s I beseech you!'. \ .Q-HEMT... . -: - . ■ . ; , ,-r / 't.'. ■: • : (3) You are killing yourself, r You mustn't go on this . way, G-g and rest. We will talk of this tomorrowo " RHTHi . '• ;.? \ i ; :• : : 1 \ • : - Rest! Tomorrow! ©h* how.little•you have understood Of'^•. ; • ‘ ; all I have said! 1 know It is only a symbol - a make- , . believe, I know I am childish to ask11 »: .Stl 11 a ••;take i • -.it and •fell a© I am, frees , ' ■ ' . ; \ y ,:• •. y-t

cheitV' f ; ■■■ ' " - ' A ' /.■ • (4)^8 you say,!, your price has' risen. This •is not '• ' ' ‘ enough, (5) -You are mine, mine, do you, hear? : Howyand'' • ?y y; y, forever! (6) ■■ y- \ ., ■ . / ;:y;:: iy'' .'.y: ■ ' ?; '

y' ..WaitI There Is,,- something else« (7) - It isn't oniy' , :, ' y' . for my sake I askyou to take this -off mep nor only for • / your .sake o , There is - another life = t© think of> ..y ■' y

©HINT, i-y , ■■'■■■ i''y .y ; "y" ’’ . . ' '^v' 'y : • 1 ' • yyy ; Rmthi ==- Is it true? » Thank God! ■ :y - . • . yy-.. : ■ •. y '• RHTIi, ;• :■. :y .' ■ - . .v , y . ' i y 'Hows' will you yfak©;. this, off me? ' ....: y: GHEHT, ; ' ...... ' '. ■ . '' yi'f'-y; ' ' y; ' "'y'"-'.'?! ' . (8) N©> how less than ever. For now, more than ever, ' . ; y;. : 'y y o u arey mlMep- :.. :;f ::: y- y yy 'y'y-■ ■•yyy'-y yv : ■ f • •

■RHTH» -y. • ;':y '• . • •., ' -..:•• ': • , ' ■' ' y y .:. But -.= how yours? Oh, remembers have pity! How yours? (9)

Enter PHILIP (1) Ruth take chain slowly from neck* (2) Ruth drop chain<, ; V ' ’ • (3) . Ruth turn slowly =, Philip come forward to form triangle .’so that Ruth is seen in center making her choice« (4) ,Philip speak to. G-hento

(5) Philip speak to Rut feu

(6) Philip measure Ghent0

(7) Ruth look long at Ghent 9 then at the., house and. surroundings® Slowly turn to Philip and speak ' ' as the curtain descends® 98;

; • - Nd matter bow! Bought if you like 9 but mine! - line; ■ : by blind chance a,nd the hell In a- man' s veins/ if you ' v . ' , like ! Mine ;by almighty Natures whether you like; If ' ■ ' ■■■'" '■■■ or ;npt! :' '/ \: 't ny. t t./,' ■ ty t. :.!/ \ ; .'h / ; i'/ V

\ ' :: . y t:;' ::;-. ;,y ';'';;'tilt "' - :;-!. y v y y 3 'y Naturei ilmighty Sature! (1 ) - Not yours! By - everything my people have held, sacred! (2) = Not yours! , ■ y- lot yours,!; (3), /^y;! ; ; ;. ?y;.'" -

'. P h i l i p o; ^ • y ■ : • ■'. : ; y . . y- .::; ■ ; .: . .(4) I came back to get my sister- for. the night. - I ' &©n'' t know by •what, ugly spell you have' held; her, butr-I ■ y. ;•; know, from her own lips, that it is broken. (5.) Come! ■; ;. y’ ' I have horses below., ' ; , ■■ t.-'-' v ' •■• QHENf,. ■ f - - ^ hy'y : . .::l ;'';;Vy;v; /r.ty' :,

■ ■ ■■ Yes. y ■' ■■ - y-y:- y _ , ■ ■■.. ,• , GHENT. ; '' ' . . 'V;': ■ : ‘-f':/ : y ' ' : ; ; ; ' /-'y y tLet h e r . say;!; • t . y:':, yy." yy-'-''.. ■ ; . y ; y y ; y ; yl y - f t . ,y ;" ; , (7) Take me - with you. Take me - homeS ;' ;•;; / Philip and Wirithrop stand near right dooro Polly sit left at tablej pead pape.ro Ruth sit right • sewing® : /' .

Winthrop cross up center/left to table, ■

Philip cross to boofcease® . : , ,

Dr® Newbury and Mrs® Jordan enter®

Dr® Newbury and' Mrs =, J or dan; sit „ on settee a 99

^ ;-AGT: I I I :::V \ ' y'' -':::

' r PKiLiP,'' ' '■ •. j - :' : ■ y ^ ( I );-.Hare another Mgar<, ; ' : ;WIHfH10P6:., V " ’ : ■; ; . 'v- : ■ ’: , Welly as a celehrationy■ - ’ ■ ' ; . ;i •: ' ' \ ' . %

' philipo -yy- / .y:-r-::;vy^ ;'X' -y \ I /;;- r ■ . v ; Rather small business for- the Jordan, family, to * he ' ■ 1., . : ;: . celebrating a bare escape from the poorhouse„ . . . .. ; ; r. v wiUfHROP';. : . y . '"Jy : ; //.y J:

PHILIP. y : . y .'y;::ir;:y:;'-:y,.yy'-y^ '.y-y '-yyi. y yy/y;., ;fi ■ . Nor Is scarcely. He s always lived abroad. . - ' y ;y:

y WINTHROP. \ - y ry■ y^y... ; ' ■;y'-y'.t ".-: r-.yyy-y-'yyi;:yxy--": Stock reports 1(2) •. • y; "y , ,, 'PHILIP. ;''' y yyVyyy yvy.;: '.y: ;■ ::. y . ' y ' y - : :y'yv:''y.:;:.yy yy y. yy.;(:3) Her latest craze. ' •

y: wiNfHRop:o';"y : y ;y. y. y;y-y.v ".,y;::-' ' ;■ •'■:■■.■■■ y;'y: v :';yy'y' yy , ' .Last week it 'was,',Japanbse" Samurai^'.y.. ' yy; ‘yyy

p o l l y o : y''' . And next week it will be, smart Alecks. (4) - y yy; ' y'y. y-yy:y,yy y yy' .y., : : 'interyteSy : J0RDA-N#: DR. iKfcHRY... y y: ' yl'. Y,’’;-’ ■ ' : . ;yy ■ . MRS. ' JORDAN,, y^-y J'y-ly. yy;..;y:yy yy ■'"yy v yyy . . : ,y:;:'yyy v:y.': y -ty ; :; ' Sit down's Dodtbry at least: .for; a moment = y.' y- • . y ■ ; PRi ' NEWBHRYo. . . yy yv . ;'y'y yy:y . .y',}; y:yy:y,:.. • : ,,yyyy. ■ y;! jyy lyyy " : (5)1 can never resist such, an Invitation^ In this housel ’;y'

MRS. ' JORDAN. y,y.yy''yy yyyyl" ' .,y.: y'', - .: " /y..y y^/ yy-y;/ ry':'' yyyyyyy Dear Doctor, you’ve been a.wonderful friend to me and - 1 y: mine all these 'years, . since poor Joslah was takeh. y y 5-

: ' DR.' HllBNRY.y y ' l:'Vy'. ; ' ' y : .’ iy' I'y 'y ' ' '' ; y V yyy^::-^: But, just when you needed help: most . yy '' y y , ;';y.yy'''

MRS. JORDAN. ' . ' I know how gladly you would .have: offeredy its lf you could. (1 ) M r s e Jordan speak in lower tone to Dr. Newbury =, Hutli let sewing slip in lap and sit staring =, ■

(2) 1 Philip dross np 'le#t./to-Polly' left. \ ; '.

(3) ' Philip take paper from. Polly and read0 ^

(4) . Polly show' Philip where to look in papere ;

(B) Philip eross to fireplacee -

(6) Winthrop offer Ruth the paper,

(7) Ruth look vaguely and disinterestingly at paper

(8) #hth rise and cross to right door, ; '

(9) Dr, Newbury rise, stop Ruth, shake, her hand, % Mrs, Jordan move left,' DR» NEWBURY. , .... ie . Tour :T3rother--l.n^law :■ in..England -was ablif-'-to redeem the " the:^propertyt ; ' . ; / i r s :j o i M i o , ..'\'' , : v.'-v " /■ Yes9 .yes. - But what we are to do for the future, with :; my little capital gone '(1 ) -=■ 0h$ 1 that dreadful Westi\: ' ;. If .my ohildren had only stayed where they were born / : and: bred. : - • ; ' . ■ ' . . "

DR.' NEWBURY. ' ; ijA ; - ; .. ;> ' 1 .1; Poor child S r-;::. t't':/'" 'l;:. 1 •

Po l l y , v- - ;:;V:. : ; : ; . . . . I-- say-j Phil I I. '-, ■

PHILIP. ‘ ■ . (2) What is It mow? , : . : r

POLLY. ■ . , ; . . . • " .. I': . - Something about your irlzona scheme. -■ ,■ - - -

Ph i l i p . " -;Avy - : -'t;: ■ 1 1 ■ ,(3) "'Alleghany pig-iron, ’ 93-3/4, Natlonal Brlck... "

:POLLY. ' / p : V - : r , /■ V (4) NOg there! : ^ ■■1-: t By '■ . - ;y:y:::-

BHlLlPo ' ■ :'; y: ; 1-Vyr -■'-:;':b . - : yy-t, : ;• "Arizona Gaetus. Fibersy 84. " - Gaetus Fiber listed! ' . : ■ ■ ' Selllng -at 84! |5) This is the last straw 1.

IRS1. .uoRiaN. I- B y--I- - ' 4-'.4y- v y '■ vry''": ;b . : ■ y : :. v B meams ,PhiltB ty:;- Bv.y-1: . I- ■ y; . By-;. m i L i P . y y - - B y 1 y;;:iyy';\:y;;;.y4 y Only that the ' people Who bought our plant and; patents ,r for a song, have made a fortune out of them. (6)

.POLLY.."' ;"b' :' ''--’.''■ y'-4ii-'y'Bf ;; ■':v:,;-B- y-y. yy-yB ■ ,;y;y .;fy:;yy ' :y- '(7 ) Doesn' t that interest you? . B . ■ ■ -y - . : :

;. - ; B y y ' . . / -

PR, NEWBURY'::4^.y':.-4" - ■y.;,.:.4,B,y:; -':.r'B'^yyy ;- y. ;4 By ;,y:-'V.,/ (9) Won' t, you bid me gobdmight g: my Ghlld?- .. yyB y , : '

'RUEB.i ; -4y .tlyy.y:^ 4;:44yyy 'l •goodnighty - Doctor*;- .y • • :: y ' ■ '.''ryf'tt-yy.- Winthrop make fast, cross right. Dr* Ifewbury move back atid Ieft«

Ruth exit.

Wlnthrop speak to -Philip as they -exit.ileft.» .

Philip cross to firepiaee.

Mrs0 Jordan react with frighto r&f

■ ■ DR, lEWBBHYoV ' : ■ -:: v'' ■; ■ '' " ■:;'■ Remember,^ no more moping! And from tomorrow/' outdoors //"'-V;..;.:,/ V : • . .with iron* : . : .. ; t :

^ r,f ■V:,:.v- : ■ (1 ) You must bid me goodnight^ too, and goodbye». , --

v;''; t ''V'::;.t-V;..: : ■ ! ire you:going away? ■ ■ '' r ■- '

. wi#HROR. - ; {' - ^ Only back to Boston,, Some time, when you are stronger,i- ; . ' you will eome down and see our new:•sailors.', hospital, .. tbTH6 ;v;:'-V-V; V-;- - ' : ■ l; j , i -. . : , , ' Yes. - .Goodbye.- (2) ; i; 't ■ , . : ■ : . . : ' : . ' ; :h,; . (Sxit -RUTHW ., ■ • ; : :.::';'OTiHRbPh:^^ - ; ; f :v.::::v 1 must- be going along; father, Goodnight, everybody! ' • 13) Hard’ luok, :'old:man! 1 1.; ; ■ ... •. s,-. ' \ ' '■. . : . h .'1 : : : ' ■ . •: ' (Bxib.WIiTHROP, PHILIP,; ' : PR', IfEWBURYV ; t ; : ■ Brave boy! • Brave- boy It He keeps, up a good show, . / . 1' 3 ;1:::3W.1JQRPAN,;1 A ; f / :d. t' . : ,'3,::, t.v:'i.r '' 3pv. ■ • - You think he still grieves over her? .. ••■ ,: ,;• ••;: , ■ . ,

'DR-, . NliWBlJRY:, I-'-'-1- :■>'' ill ": -b : : /:- '' 'i/il.-'- .'•-% ' :ih? 'poor• ehap! ■ He's made of the right stuffs if he is *•:• • ,r:;: -mine,1 \ :: ;:Vlit:'; :' - , . - • ''■;• :;:MRS^'J0RpiM.o ' '3::. ■' ■ ■ : • ' .vp-- 'I:: , • hot he not ; talk of' ito ' It is: .top sad$ too dreadful, ;;: I

' ••: ' 'Enter PHILIP ^ ; r'l. : : t. 1:.:' : : ". '' : . •• v ;: t 'r

•DRP EE#BHRY, " - ' V v;I''-;:.-: .I:" - r ;_t: ■ ■■■ ''1L; 5 : • (4)'About part of it we must talk, - Mrs, Jordans I dbu’ t'; ::;1 ■ , ' want to alarm you, but your .daughter P' I may as .welirpmt,:^.:.'';;.! ' I;: .. ; ''' ', it bluntly is, In a dangerous:: state, -• '. '' : > ' V. .'VMRBv JQRDiNo V.V" 1'.: : • ; ;i,C. i:; • (5)^ Doctor, I thought she seemed' so much stronger, _ • • :;•• ••

_ V PR, .ESWBH1Y» " ' ' • -1, -11' ' ,;t 1 : . She is, so far as, her body' is .concerned<> • ' PHILIP. ' ■ ■ ' ^ - ' ' ■ . ... : 1,, ::.. . Don't you think that .the routine -of life which she ;has. ■ 1 • :: - taken up will soon restore her to a : normal state of - mindTl-:r:i MrSe Jordan appear overwhelmed«

Mrs, Jordan reproaeh Philip with a look.

Phil obey mother» but again piek up paper knife after a few moments, - > Mrs, Jordan break out, /

Polly rise with nervous gestures'.

Philip break paperknife and throw it to the floor

Mrs, Jordan get down and pie^ up t h e .pieces of1 paperknife, ; . : ' ■■■ - , t m , s e w b u r y o :'■ , r-- / r,/ . '. / Perhaps - I hope soe - I would have good hep© of it, If it were mot for her attitude toward her child = ' . - .

MRS., JORDil. , ' o , ‘ ; : : ■; ^ ; , , , ■ ; ' : r jv '1,. ' , : ■ ■ . . (1) You noticed that, tods ■ X haven't spoken to' you of -' • ■ . ;■ it? because « Xhaven't been, willing to see , it myself«,

t r - ' -1'hi; ' -.vv'. f. . X can't see that there is anything particularly strange ; : t iu.her attitude 0 She takes care of the brat 'f , ■ ;:- . scrupulously enough. ■

POLLY. : . t:-; ; ^ :: . t v.:/ Brat! . ' .. .. . v ; n''\: MRS,' J©RDiiov , :,f:-': -t■■■tt: f ' V . '(2) Brat! ~ With the most watehful, the minutest ear©, : but =• exactly as if it were a, piepe of , machinery! ™ : ' Phil,:, dd please' lay down that paper-knife before you ■ , • break ■ it!- Your 'father brought that to me from India« , ; I ,(3) ““ Pardon me, Doctor» She goes about her daily' . ■business, and answers when she. is spoken to, but as.for : ■ her really being here (4) .-•■ Doctor, what shall we do!' .Mo: lEWBBRYo . ,V'; V , : ; ; ; " •' : t : :■:/ : : She must be roused.from this state„ but how to db:it, . A V :■ ■ I'don't know, f'-t .■ . ■ - ' ' : '. ■■. A. ■' A t ■

POLLYo • AA h ■ ' A ' ' A : '" AA -'A'-A'A . - . A (5) l doi ; ; A .A.AA: A "AAf A: - v A . ^AA ; A.

■MRSA JQRDAHo ■: .' A: A:f A.AA::: .'AA : A a ; A ■-^aA A.-A; Polly-? AA- ■ '^A;,;' 'r’A:^; A'^f ' a ' :POLLY, a • ; : Av. a"a . . ' ' A' '■ ' f A' - A; tA,,..A.A'A A. What she .needs is her.husband, and I have sent for him!

p h i l x P o ,. f A/ ',A - A'-:'A:A: :A t .A - ^ -AA,' a ^ ^ ' a dtAA ,. : Vou--! .. : ■ .f A " : ■ . : fOLiiX.' . ■■ : ■ . ;.. . 'A , ■ ,. :. .YesA;. I,. He 1 s been here a. week® . And h e ' s an ange 1, A ■ isn't he, .mother? (6) ' A A i r ; ' . ...

■AMRSo • XORDAWo ■A :'AA:' v- A-f'' ' .A:'. A .':v A\.A';. ,.:::.A'A' ■■:, ■ A'A-'A AA: A:, A ' A • (7) Oh, Phil! How could you! " One of my most precious A : - r e l i e s ; .. A % ^ -AAAyA '.:.:.^ ^'A :; ''PHILXPAA'^ A,: : v -' ' A' ' . ' ' " A' : A':;:: a . : . a ' - i ■ .: ■ .. Is this true@ o r : is, it another of her tedious jokes?; ' Mrs«, Jordan cross to desk with pieces of the paperknifee

Philip cross down righto : ■

Polly speak:;trintopMhtlyo: , ,

Mhs o 'J dr dan wipe e yescPdss t© table ='

Philip sit - at de'sko ' V ; - ' r v ' . ; 103

, :?OLLY, \ v /: - -: /'::'.y -: - ■ Oh5, my dear, tedious! Vv ■ • .

.ms . : JORDAN.:u. '' ' ^-:; y' ' :: ', ,;;; ■: : ■ ■ . :■ : ■ h. : (1 ) You don81 deserve t.o. have me answer yous but it is. ■ :0 0 ; v : ; r . PHILIPv , ' . ■ .- ;-:V ; ■ : ; V . : : ' • . . , ' ' Has this. action taken with .your knowledge?' : •

' MBS a JOBDAHo.; 3 ' Yi'/v - 'S/; \t" 0- X'' 3 v / - ^ t'.:,; .:: I da not expect to be: spoken to in that tone. - Polly " telegraphed him merely the fact s..' He came at his own . ' ■■■ /. % instance^. ' - ■ ■ : \ ■ :;t.- ''

miLlB. ' : ■ V ''V / ■ ;; . (2.)' But you have consented to enter Into relations .. ■ ■ . him?.,.;■ ■ t t;-7. : :1RS- JOBDAHa . , ' 1 have''seen.ihim:eeyeral'ttlmesa,’ <. v.r.v t. ■;; ■; '

PbLLX.; : . i;.: ^ . ^ : V.- :• • (3) And yesterday we showed M m the baby! Such fun9 : ' iwasn' t it, -mother? ' :

. MBSi JOBBAHo. ; 1; : ' 0 ;; .of' t-t v. " (4) Xes.9 it was. -rather >■ enjoyableev . , ;-' -V . V '

■ Philipo - '■ ■;vV-;-;.h- t ./W. ;.vvt' -yi' : : v; He . can't he in this towno (5) I should, have heard, of it!

• ; Welye hid7 hlm saf@» ' ; > t ' :t./ • 'V. . v ' ; PHILIP,:' : . vviy :.v"viCv ;Vly; ' i' ';t ; .

: /t t ;mere^\v'v ' t ■; ■ : r v^r:;.,-'1:

,IPbLLX^v''' ''V"' . ■ . '■ ■ ■ V :: v-' :' ' ; 7 : . ' ' :' ' ' ■ ■ ■ : , 't;.' ' -'I.:,"'' ., /• t' j v , ; ■ Never mind. He " s von tapj, and the sooner we turn on the . ' - spigot: the "betters is what I think. Doctor^ what do you . 'think? v •' v.''-';:;v\ v .’iv, : / /'v':7.,: //ytvh3,/ :’ ;DR,; NEWBHBXo;' . ’ ; .,,. ■ v .'t v ; ,. V . " " Vi-. ■ : "v' - .: v''"":' V '":VV Vv,: , ' Let me ask you again to state ■ your view of Ruth8 s -ease; v vv-i.v v Ivdoh-t .think 1. quite grasp your view, . : v: ''■■V'-liv'"'; ■ (1) Polly use full area with mueh dramatics.

(2) Mrs, Jordan, astonished, sit right at table.

(3) Polly cross down, rlghr =, Doctor Hewbury sit jon settee o • y--. .

(4") Polly speak directly to audieneev.

; ■ (5) Dro Newbury rise J04;' 'v'r

■ ' POLLY. . ; » ■ . : .: . . \ .^v. / . " . : • :' ' , ; . ' (1 ) - Well! Here oa the 'one hand is the primitives the i : ^ v. ■ barbaric womans "failing' in love with a romantic strangera : • . ■ who, like some old Viking on @, harryj, cuts her with his two-handed sword from the circle of her kinsmen's, and ' i- 1 . ' " bears her away on his dragon ship toward the midnight ir !' smio Here on, the other hand Is the derived; the r, : 'i.; - eivilized‘'wbman, ; with'.a:. aivilized'nervohs - system^ ■ ' ■ ' '" ' . > ^ , ■ ■ observing that.the ereature eats bacon:with his bowie V, ' • knife,; .khW:h.-not' thh inanlenre-; :has the conversation of a t'' a -, V -r / preoeeupied ' walrusa the instincts of. a jealous caribou9 : and the endearments ©f a. , dancing orab In the mating . , ; ' • ;s©asbni Vi 'r , . % . ih.,Vi'- ;tiv:V

w m . JORDAN. ' Vr v'' i':' i V.::v:;i 'T.';^ ..7^',, : ; f 2);" Pollyl .■ What ideasL Ihat language I ; V .V i: . . M o .HWBHRXo:.; ; r; : ; ; ' ; 'V'/'. ; i t;: /.r : ' Don* t be alarmed; Ira« Jordan®, The vocabmlary has ' " - " iv- : . - .changed since our 'day; and « the point of view, has ' : :. .sM.fted'ia , little = ;-= 'WelH;: r,t: . . r. '

poLLY. : '''.tr'r"'y ':: :':y ': •:?. ■ " (3) Well5 Ruth is one of those people who can't live : '. : , : ; in.: a state of divided' feeling® She sits staring at , ,,■ ' ,''' , , this cleavage In her. life, like - like' that man In ; ' Dantes don't you know, who is pierced, by the' serpenta t:;. ' and who stands there in hell staring at his . wounds :' 1, • 'V, V : yawning, like a- sleepy man® - ,,;v ' " - ',Vh , . v :

V VMRS® JORDiMo, ‘ ■ dhp Pollyg do please try,not. to get our heads muddled . ; , ' ; up with literature! ■ ; .. :V ' '"V:; V' h , ■. .. .' ty-.. h : Vh,/'''b'. , POLLY® ' : :: V '' v v ; i;:: : ;h 1 : - - ;■,v: s-5 :h:' ■ ‘ All I mean is that (4) when she married her man she r; ' , -'r, ,r married h i m ,for keeps,. . And he did the same by her. 1 r. : rt r;

.:d r . Vh h w b h r Y. rr;:;r :V;''r-:;.. . r';' I,: - - .t' rr;Vr: ; :. r-'V.r'::V.:V,;V':’'v : ;■ Don't you think that a :.;mere rdifference of cultivation^. V .r ■ : V /; 'polish r.v or r, or something of . that sort — . is rather. : Vi''.'''.r'' ' : ' 'r": small, to have led to a 'ruptureg and so painful a one too?

POLLY. ■ ■ V V’vt:"-rv ; ..'Vr.V. v V , V - 1:' t . . •; .r¥©Il's ■ yeS j perhaps:-it does .look small. But, we don81 , %. ' ' : know the particulars; and men are-'Bueh colossal brutes^ ; ; ’ 1 1 . - ', 'ybU' knbw; d e ^ Doctor ; , " ,, - ,1'v' V..:’ ' '''V-' - r-"

- DR. hEWBHRY.- , " ' : . ' , ; -'VvV.'t7V'V?' V, ,; (5) Yes, so, they are9 so they are! ry . . ' : ■ - v'';': Polly take Dr* Newbury's arm, cross center and stop* , r'";-" -' . r , \' \

•Polly re-enter in a few moments * Philip give sour look and exit right* • .•

Polly sit -at left table *

Mrs* Jordan rise *

Mrs. Jordan cross/, down right to desk*

Polly speak. with, sincerity* ' >g l lx0/ ; ';:,\ ':' ';:' '\\ :\ ^^ 1': - : (1 ) ind then her pride I Yon know when it comes, to ; • priae/ Ruth would make Luelfer look like a uh&hlty^hoy - i asking for more soupo /. ; i ,:DR^,.SEWB1RY«. . . ;:-1 '/ ' v/:: V:'"’-' I think perhaps th@ plan should he tried,, ‘-“ Ye sv I : ' :: think So deoidedlYo'; : : ^ . . V' : . ■ . ■' .; -- ip

:.p h i i,i p b- :V: f:vv; ■ I call this a plot against her dignity and peace of ■ / 1 ' mind! ■/ i;V:' " : l: 1 ;::.vV 1' ,:.. ; DR. HE¥BWRYe ' , : f P.;-.1: ' ■ ■, ¥@11$, - this .'oomspirator Aust tie; goingl' “ When you,have'rl- lived as long as I havev my'boy? you811 - you811 be just as old as i am! (2) - . ■ ■ :':i • ■ -:.v" ' ' i - /i:: ' 'V:;' - V. ■/(Exit ■DocfoRo ■: ■ \ '' . ' : - (Exit PHILIP, ■

::MRS;V^JOR]MHs ■■ .■ .. ■ i.-i.i ■■■ / ‘., V ’ V ' ; Pray what does that mean? . ■ 1 ^ . v ' ' ;

. POLLY,':: ■■''■ I ’r5' '.f>.; :V P:-; t',i: v;-:'t . .^'..v 0hs ' Phil:Is - such a walking'thunder-oloud these days t ■: • It's a relief to get rid of him. Y r: .

MRS,: JORDlHo ' ■ . .'t ' ' " ' ' Have you done what you Sould to make his life brighter? POLL, (3)' I never had a ehanee. He has always.been'too much , .- wrapped-.up in.-RU|sh to thlnk ef ffiev:: 1. : , m s , : JORDiHo t ■; :.v • . ■ i , V;IV ''' ' v ' How can you .say - sueh a thing? (4) >Jhat do you suppose - '-he married - you for?' . t-""' : V '

- POLLY, : : .i'.-.::.:v /v 'I- •• - Heaven knows! What do they ever do It for? . It Is a most ' eurious and savage propensity, But immensely interesting to watoh.. .

jORDir, / : : ' " ' ; , : t ; /r(;5): PP vyon hhld sue.h' heathenish views, why a # you; sp: ;\: i : bent, oh' lirih^SaS::those tMltpBether? ■; ..V"t ■' t ' ' . I '

.p o l l y . . .. : : , - ■ : (6)'-Because: they represent “ . What Philip and, I have missed. Mrs«, Jordan sit at de sk c

Mrs® Jordan at first misunderstand what Polly has said® : • : "

Mrs® Jordan pamse between linesB'

Polly speak with delight«

Polly cross up:center® 106'

; v ms,.; JORmio : V, . :"V : , : ^ - :,,v ‘ ' , . - ind pray what have "PMlip and I” missed?

, ‘ FOLLY O ;'V,'v-\vz/ ' / ■■ . • ' d , ■ • Ohs, we8re all righto But we 're not like those two.. ■

■MRBo':-JOSBASo>' ■ ' / : ■ ' ' . - . : : ' (1 ) I shemld hope not 1 , : ; '; /"j:

■r; f o l l y e ^: ; ^ \ : ; ■•■; -. ' ; .:;d Even I believe that now and then a marriage is made in ' ^ ' Heaven, This one was = They are, predestined lovers! ..;

; ■ IBSvvrjQFmHo " . ; V n L ' : ' ' . v : ^ r“ L Vl', '' . ' I : : y " :(2), I pray it may he so0 You wretched girl! Fredestined lovers and marriage made ip Heavenr after : ,V all you've just been saying about how- impossible he is. .

: ■ f o l l y . ■ ... ,v xxv:':/-" ^ './-' -\x.xx ' , ■ He is quiteXimpossible^ but. he ’ s the kind we can't : . X . - resists, any of us= .He8d only, have to erook his little ' . . : X ■ ; , - finger at me. '- - - ■vtx,..,.v- , . ~ . y , . -. . , ■- , ' - ’ ; " ' : X MRS. -jORBhBci- - 'X-'-- ' ' - X; L-'-X;- - X-’ X:y '■ r- : - X ;:.; ,. X X ■ ; What are you young women coming to! (3) - He seems to ; - X". - y. me agood man i:- - , )- y X'.''/ ^ .X. X : - ;Xt ;-':y'X - X .'X

'--X'X: : - x FOLLY.y ! ' "X ---X..-:y: : ' / X . 'V'xXX X X"' ' X - ' ' ' y x " • v;"- ,..X:;-X' X X’ ; (4) Ohj heXa good! So is a volcano between eruptions => X'X X„ X , ,'XX ' And commonplace, too, until you happen to get a' glimpse v . y . v , ... : down one of the old yblcahic rifts in his surface£.' and! .X: . X y. . ■ X .. .s©.© - far below - underneathxthe eoldy lava-beds ». fire, . X XX ,f lr©g the molten heart of a continent I " - - y X ' . X

' X-'-X: ' MRS. JOBBAHo ■ ' ; xy. yxX X; , X- y ’ . ^ .X : ' X- '' .-iLX' - ' , I'only hope you have some vague general notion of what.X % - - y/XXx X: you are talking about. X V; x X -X- : 'X ■ X X; . X X X ;x XX^' ; FOLLYo ' ; y' X Xx: X-Y X-: XXy - y X.-;: y.,. X; : - '"vX .X-XX: Xy -; v ; .: X X Amen* (5) -- ind' now let's consider wheHj, -whereX and y- '■ X . how we are to hale this dubious pair together. X; y X

x x'X'X'''''xl^S• ■ JORhAMo y xX ' X ’;:xXX"- ' X ,X' Xy:;'■' X" x : Xx :Xxv- Xx:'":'"-u - : x ;x XX;. X . X X X.yX-One thing isysurej it mtistnyt be. hereX ' ' tx,: ; X'y\

fr .x-%x;':^-X'xx::^ 'xx-x'-x 'XYx-'X X '... X X- Why not?;. XX X ■ X: X x-XxXx, .y XXXX':.'X . Xx yX"-- X'-xXxx .. X. ' x; :SS « dORBAl. -X xX x ■ ty./ - y-x.; /" x . . y y.:-. X. - ' X : ■ xX X'X: ., x X Xy y X X . x ,. • QnXFhilip8 s aecomnt. .; X X': X .. ^ XX X- :. y.'yXy X ' f . (1) Polly and Mrs« Jordan react to doorbell®

\ (2) Polly exit left= - Mrs« Jordan cross up center. ; . Polly enter and croes to,Mrs® Jordan® •

(3) ' Enter (3-hent and; remain by door®

i

(4) Polly pout and exit right®. Okg 'bother Philip! (1) Wasn't.that the doorbell?

■IIES:,-'JORDiEl - : ; ■ ■ ' v:V. ' . ■: 11 / , -w ' ^YeSo (2) You had better go.. \ ; 1 ^ ,1;3 V-'l' ; v' - w' - - : (Exit POLLYo : ;; Enter POLLY« i; \rl . :;:i:' '. ' \ ' , , 1 • POLLY,:: ' : ''i;w' V : :: ^ . /1}.: • y -:'':.; '.1, ■ . lt :” s M r , . Qheht i / -/ /W v- . \ : ■ ms, JORDiSo : -1: ;i:" ; • ; ;: V \ , l:(;P /,; ;Mr , Ghent? (3 ) ,V:.; r -I - -i . % \ '= \ I / ; Ehter. GHEifvv; . w: - -1\, : ' V- :. 'v/:'': w . ■

m s ^ - JORDii,:V; v;;V'v: w - 1 /w ^ ' ii-ii : : ■ •''l.::.;Mr.yGheiut«-ll;-jSurelyi/at;-;:thlS'.;hbur^*!>. ! . ” ' ; - ^ ^ - GRENT,% : C I:' V/-; i.," .-."n V • I beg your pardon. There was no other way, I am 1\ .going West tonight, “ Oam I see you alone? (4):: .; ., - .

: . ; ; ■■ (Exit poLLY,

m s , 'i: 2 : ;• i'- : : ,V ■' VGblmgnwest tonlgbt?. :v': ; . ' ' : ; ' ;, .1

. . Yeswi frouble. at the. mine, w " % HRs, JORDAN, . . 21': 2:2:'': '2. '' "'v : ■',::2;;'. .: '' ■ 2 .v/;2 '■ : ' Ism-1'your business partner competent' to. attend to It? :

GREET, : '.'2' ' 2 W ' t ' 'l:.. ';. ■ l'i;2^/2 2-I'v 1 •' J 2V' ■ 2 . ..He.1 s.: competent - to ■ steal the whole;; outfit. In fast, is . dolhg Itg:' ;or.:has done . it already, : ^ 2 ' : ''"■ 2." : " : ■

.m s , > jORDiio; : ': 2': ■ i 2,..'2:2 ; :2 2 ■ : . 1; ■ : And - my property here? Is; that Involved In, the danger?

: MEET, : 2: 2;'":' v 2 - %: ''Gertalnly hot , M B , /JORDAI,: 2: . ' .''22 . , , .. .. , .... ' 1 have gone ■ through such months of misery, at: the thought ;v of losing the dear old place! If Ruth only knew that ' '. . . we' owe the. very roof over . our heads to .you =*> (1) Mrs. Jordan sit rights Ghent left.

(2) Q-hent pause, look about the robm-o

(3) Ghent speak to self . Q-H2MT ' . ' ' ; V % : ‘ v^'- Well, she Isn't t.o'Know? 'that8 s :-ariaer,stooar -isn' t It? ; : : Beside;s9: ;..it 8 s nothing :td,fsp@akf ' Elad if ' you think,/ ' ' /!%:;&: SOhyiO#^ytSWiWu! ' ‘ '"'V' :

w - JK « . r ; ' : :: , . :: SHEif- : ' r-:.:/1 ^ ', x^^^ ^^ . ’ I mean that.-,.if she' knew abeut it, she wouldn't stay .. V ' :; .he^ "VV - : : - M S e JORlXlBa >h--; : ' ' : - / , • , . . Sit downo (1.).“ ,Tell, me what' is• the trouble between you,!' :i ;v:. - It has all beeh ,a dreadful mystery from the beginning!,

(BEIT, t 1 . t'-;' "I '' ' /-ty.. ;' yt 'l' - ■ Is it a mystery that ;a woman like .your daughter =, t :; MsyJosBiBot' ;r ytyyiy-yiy^y':. :,y,y .i' ■ : 'Should have chosen you? « Pardon me, I don81 mean. , -anything unkind - - But having ehosen - and broken ' . ’ : ' - ' ^ faith with her brother to do it' ;*: ;' .y ■ ■ ; m e h t o - ... ,:'y:'v;;.:.i.; ''v ...:y%''y//,.i. y-,: ■ Let8 s ,drop; that!;:>«» '-Ers o' ■ Jordans : ;you; eome ©f .the old 1 stock = Do you believe in the devil? ' , ', . ■.1-

; m s ..JORDAN, y ■ y-. ■-/.:y f -1 ■" y y -, ■ : - ; Perhaps not ,ln thf sense you. mean. : - '1 V: /^; ,y v Q-HEIT o. - y.y, - I mean the devil inside ©f a man - the devil I n . the ... '■.: v’,heart;I-.- : I; yy.'V''f : ;V : , :y : m s .-;j o r 3m i 0v .:, v'i■ ■■ y; y -::;; ^ y ■;,. ..; '-yy ,y: ,;yyt;y;:. y ; :.:. - . : Oh, yes.We are all .forced by our lives to believe in -. '-..y ':i:::^':y y:- ■ ■ ■; ■ . ' ; 1 'It - ■ : ;■ Jy;■ .y-'-- ; . ' .Our:' lives! : (2); y--'How long have you lived here? ■ -

Ms. JORDAN. ’ , ; y;; -:;.; ■ '. y • ; ’ - > v;y -i’ - ; ;. . ■:'-yyy: .. , E©r . thirty .years,. ' In this house. Before I was married . I lived in' the old house down the road yonder, opposite y . y.y..the,-dhurMy;/.yyy/ . -y,.-y.-y:■■ /r yyy-.:-y

y (3) itiy ■y:..y-:-vi;:;:'. y--.yy :. '\yyy>- (1) M r s « Jordan rise, cross center0

(2) Ghent hit table with fist0-, •: ' (3) 6-hent sit a moment in thought and g3.oom0

(4) Mrsa Jordan eross-up center to mantele .109

ms.. j o r m i V / /; V. : : ■ ' r:":;;.;: ’ . What did yon say? . . ': ' : v. . v-, : ' f.^’r - ' • : - .v- ■. ■ ::V-', ■ '1V.'' ' : Hrs= Jordan, I want you t© promise that what I put in - . ■ ; your hands from time t o .tis@ comes to your daughter as ; if from' another caouroe:. : ' :vv-;. ■ 'HRs:,:. J0RMN. ; ; v ' . ' ' - :%ou are g o l % i # a y for good?. SHENfo. ' .. . '■■-■ ■ • : ’ :" ' : .-'Teso ../io:.:/' . 'V /' . /i. ■ . V- ; ' ' % HRSo JORDANo ; : . ' " ■ , ::::Yom;giF0.:h^r u p ? , i,:':-:: - -c 'r, .■■■ :

&h e M o , ■ ■ . - ' ' ' :'i ;.v' A man can61 give up what isn’t his= ' ■; ':v. . - ;V': - :

h RS o :joRDiNe .■ :■ .'tv / , lhat isn’t M s ? ;She\;is:.y6ur wife»: . GiENf o ;: ' /:: l'V' ." No® lever, has heen= , • ' ,

HRS. JORDAle . : \ ■ ; • ■ - ' (1:) 'Oh, pitiful heavens I ; ^ :

I heg your pardon. = I was only trying to say ■= I used .,,, to think when a'couple was married, there; they were $: ^ . man and wife,' and that was the end of It. I used to . think that. when they had a. child* well, sure enough it :: ■; was their child,' :■ and■ 'ail 1 said> =. And there rs: soaething '::: in'' that, too./ (2.)., - Damn me if there . aln61 some thing ., .': v : ' eternal in it! (3). =- Do you think she911 make up to . :.. ; ; the young one , /after a .'hit? ; :.., ;. _ ^r- :,

MRS. JQRDAlo : . ' : . • :-:,r : (4) Oh, surelyl :.- fo •think'©.therwis© would he too ' ■ . ^ a d f ^ :"•:,/ .7 r .///.'.i ' '' -•.. './/i; 'P/r '//':// S 1 E P V ■ '''= '/; '/ . , : ’ : ; ' ' ; / = v/ ,/v ... ; , l/d give a/good deal-to know. . ? If S:s kind of lonesome' ;• for the little rooster, sittihg out there all fey himself • . on the worlJPg.doorstep! - I must see her for a. minute - :/V;';,/'-'hefore/. I go.. /« 'D'O' your 'feest for me. ■' ■ /- . .: ■■■ ■ . l: i ’ ■ ■:T• m s V JORDAN.:/ / , // .. . ■ : : ' " ; ■ Iwill^■ do.;trhat; -I .can. yf' i . Mrs6 Jordan cross t©right chair#

Mrs# Jo.rdan ,sit#

Qhe nt take pape rs fro® poeke t o'

Mrs o Jordan finger•papers # ■Q-HEHTo -. : : . ' f; .:r; You eari put it as a matter of business = There is a . 'matter of. b-usimess. I want to talk-'over with if I . ''can get up the gumptiono h m s . joRpiiEo, t - , ■ Vt . • v; , .1 . . .: . ' (1 ) Hadn' t you better tell, me: .what' It is?'; ^h;:'

Q-HEMTt ' 1 " ' ■ I:'' V;:: " v ' : 'V; t ;; ; //' We.11 r : it;0's abomt' your son Philip«, . That' little; scheme . he started out in my country - the Cactus Fibre industry

HRS . j o r d m . : ; / ■ ■'' ':i: : • ; / ; 'Yes? i . 0 t; ': ^ : '' ;:0' ; V'l s h e n t . ' : t;: v:' ■ ' I believe he thinks his sister's going away when she. ■: ' I ':did\qneeredvMsigame'e' . ' " v' - t".,' ms. J^RDil. :i'.'i-uol'-i''; ?'i' ■\'!t : It...was a.ls-eserevblow.^to. him. ©Yery-'way. (2) She was; the . VIife and soul of his 'enterprise;. 1 " . ' '; ' •

Q-HEIT o, . , ■ . "ii - 'i I; I want her-to give; him back .the Oaotus Fibre 'outfit, ;. worth something more than when he dropped itV m s . ' Jo r d a n . : ;vtv,'V._ .. ;' r^v "'; . ; ; dive, it back to him? She? - - ; V. VV

Q-HENT. : : .; :' V^.Vy. iv V;:V:'i.Vi">;''' ■ V ' ' :;';''';''V; V 'i ^ .VV;. Yes.. (3) I happened, to hear, it was knocking around • for;;: V nothing in the marketV and I bought it - for the house, ' , really. Hated, to see that go. to the dogs. Then I /: >. looked over the plant, and got a hustler to boom it. I v v thought as a matter of transfer, to" cancel her debt, or.- what she thinks her debt =' . ms»; joRBAi. v ; ' L./. , (4) Mri Ghent, we really can8t'aecept such a thing. ... : Your off er;/ia .qmixetle. \ -

' . 1 ' 1 ' . ■ ■ : -vV'1, > ^ . m s . JORDAN. ' ' • ’ ' . . ' :';'' f:QuixOt 1 e: 1 1 :-really. is. (1) Ghent rise, make awkward bow to Mrs* Jordan, Mrs, Jordan lead Ghent to-the door, ’

(2) Ruth appear at right door,. Mrs, Jordan begin to : cross, stop center, Ghent, unseen by Ruth, stand in left doorway, ' ■ , ■ . :% -.-y (3) Ghent close door and move right to form a triangle

(4). Ruth start to leave» 'Mrs, Jordan stop Ruth by your Words, ; • . ' y :y . --,-:L/r,^;^,;VrSv:-.v- .. ,; : ; I guess you8re right., ::'. It; depends on the way you look; - • at; It, One way It looks like a pure business • ■ propQsltibn > so much lost, so xnuch made good, The ; ' other w a y . it looks, as you says quix = um = Anyway, } rA; ....there are : the paper si Do what you think best .with them, (1) m s .JORDAN ^ . ‘ ' ' . Walt In the parlor, = The second do or on the left, ■

■ : '■ " ( t t h ™ . . ■. Enter RUTH, ' • ' .

: ms,:;J0RmK^L; yf'v,' f Vi;; ■ . ;. - ;' t." -w'; ; (2) Ruth, yon are abrave girl and I shall treat you - : like; one, = Your .husband is herea 1-'

.‘r u t h , I" 'V‘ •■ ■h ' % ..w - t' , V; ” -i . t" - Here;? ' •iherei :(:3)v ' ■ : ' ■ ' ■

w; ; ’ ; ; v ;■; . v . i^’v-/

-MRS* ^JORMhr: ' ''. '; ■ ■■r '. ' ‘ v ; 1 ;' y . .■■■i yi \ ; ■ .;;: He Is' leaving f or the west f again, tonight, He has asked- ; ' ; ; hp see you before he goes, (4) . It Is your duty to .8 ■ hear what he has to say. ' Yo u . owe that to thelove you ' ■>■■■■;; once bore him. ' .:t. ' ; 1,;: w ; / -t, v- ; ■ -RHTiy: ;;-.:'y v , I'-.:v.;;y; yytyyyyy.; y ;/.yy:,;:; , r.h.- He killed my love before it washborn! :; ; .. ' . ■:

.MRS* iTGRDAH«; ■: : ;' liy'hii '-1 ' ,' ■'v'5'y.. ;'<.y::';; : .-.v - -It" Is your duty to hear, him :and part with, him In a :; ■ ; v- Christian spirita for our sakesg If not for your own. yRHTH. yy;y:g y,y- y^yy^ y >y.;:.y;;,, - y: .■yyhyy;;-:^:::;'--y yyy . ;■ For whose sake 1 ' . ; . ■ .■ 11 r'-/..: - ■■ •-

'msy^Q#A^,:y:yi': ..y ;y y. y h.::.yv7 r-■■ ■ " a. ."For mine 9 and your brother” s. - We . owe It to ' him, as a :a;: ^yi'Afamiiyei; y .. ■ y ;y :. w .y-h.y- -: y y " y y y.'i- yyr - ..eEiT*yr':i..:.:Ay:yr:'::.A y v . y .y:::: - 'yy:-y■■ '•."':iy'/;:' '.'i':.;.:'y'yyy'^ : v;..Mrss Jordan : ' ; .:. v: . A/r r ^

: ™ = - 0«,yA:/; y :: y m s ' ; Jo r d a n . ; ; '".y ".yy : ■ ,,V' - y y.y ;--y:y ;■ y ; - yy'-' yyy yy. 1fe,.; owe it to him, for what he has done. and wishes to- do... Mrs* Jordan speak with growing impatience.

Mrs* Jordan lose self-control.

Ruth stand motionless for a moment.^ look vacantly aboutg them speak In dull vpuee. U 2

■' RUTHo"; z: : i : V; / : \ ■ ' Tte lias done ? ¥i slies vto do;? : ' " \ :

MHS'o AJGRDiM^ ; ...... , ■ . : % ^ ", :,.Yesf; don’t echo, me like.' a,- parrot! He, has done a great deal for msg and is anxious to do more, if you will . :' only let him, r - ■ v;' ■■ ■ ;. ■■■.' RUTH,. . ' a 'vlhat: is this? . Explain It to me qulokly, ■ \ ' ' ::,v V'

MRS, JGRBM, :: . . : A'"..''-"'X ; (1 ) Don11 think to judge youn mother! , ;

• ■RUTH,'::":'I.:.' I'a V -y A.. ; ^ ; '"V ' ' ' V:'':' A ' Vl. A - I demand to ■ hear what all this is ! - Tell, me I- a;a a ,: a - . m S , , :dGRD#, .' . :A. ■ . :A : .;A a, ' y-v.;:'.A (2) He has kept us from being turned into the stree-1! =*=» , He has given us the very roof over our heads (

/.•RUTH,".': 1 a 'a v - -A':' '' ■■•■■.I' :i ,■ H a /;.;.- ' " ' ' y " / l//.' ' A . .... A . you.; said .that;, uncle --- \ ■ .a.-a - /v . ; ; ■ a- ;.a ;'. ;A ■ I a ; a.a ; a 'MRS, JORDM.,- •/''; / " "I' . . a a : | A;', .i . ; ■ • Well, It'was hot your uncle1 I said so to shield'you in:/ ■ your stubborn and-cold-hearted pride,1 .■•; ' // RUTH,. ; A ./; '■" A A / .. '"'\i ' .'/ '.A.'-/' . A.' AA . :: ' A.A AV / A, ...A- a la there more ©f this?. a "-. • • , - ' - ' a -aa- .;.a .\;: ■

m s , A j g r i m H c y ' a ' ' ; ..' / ;a' :a . ■ ' ; YeSg there is :more, .. You wronged your brother to follow ’ your own path of wilful love9 and now you wrong him again a A' - A;by: following, your own path of wilful aversion. Here A A A' Aeomes your husband^ offering to make restitution™"-: . •. >

RUTH, AA. .■ ..: A, .A' " : :■ A...... : ., ' a ' , ; ■ , ..'.A' ./a . ; .,"/' / mat restitution?. /a , ,a ,.a - : , : . y:,.;.' : a.. yr..,y

/; MRS,' JORDiH, /y. :''A'.a a ';'A.' .- ' ',/; y ^' A- ■ : a’aIAA; He.has boughtAPhilip/s property out there/ and wants you. A" tO: give . it'Aback to him,, a: . y y . A - . " Ay a : : ..v - A " a'a -

■RUTH, -A, :A / / ' .. :. v . • A A ' ■■■■.. a ..AA-.::,va.'.. -yy . A . v.. t/A;. ;..'/■ ; .. a - (3) X must go away.,from this house, a ’ , .:. . ' y. ,

'•'MRS, ' jORD^H, ./ : A A : ' .'.; ■ ". / y A : A - ; ; , A ./AAA - . a-. A" You don't understand S'- He claims nothing, a He; is going a . . .. a. away himself immediately, Whatever this dreadful trouble A . .., ,Is, between youj you are his wifeg and he has a right - to - ■ help you and yours,., y A (1) Ruth break out with wrath' playing the center area. Ghent move d d w left. % ; \ ' 1 . .

(2) Ruth sink in right ehair by tablb0

(3) Mrs. Jordan move down righti, (4) ' Mrs. Jordan take; long ppuseo ' - (5) Philip enter and remain on level.

(6) Philip wait an instant as the truth slowly penetrates. . Then/ with mortal rage? start .toward Ghent. : 'RUTH. ‘ : :■ .V;X: : ■ . ;/;:x MRS, JORDANo V :v 'r ' ^ ;; " ' -A \ Rt3.th>-: don'81: frighten me » He said- those same words-™

: RUTH. v ’ ' . : ■■■' N-,: A : .■ v'-'-':.; ;; : : He said - what? - ; - ' ;v •-"■■;■ /i;.: - : : ’ ' ■' ,MR8. JORDAN. Vi'/'A Y':\ ' . V:' X\ ,N T: ': \ /.That you were not his wife. ■ ' : : ' . 'RtJTHR , • He ..sa-id -- that?.. . r .,^, : ^ ■ ■:, : ' ■ .

MRS. .JORDAN o' .. . ; \ i :;r ’ : ■ : Ye si hut afterward he. explained-- ; :

RUTH. ; a :n,. ■ ::/v-V'; . (T) Explained i Did he explain that when I was left . alone that night at the ranch he: came with twovothers - and when, gun and knife had failed me> and nothing stood, :■ he tween, 'me. and; their drunken furys I sold myself to the '. - strongest of 'theni9 hiding my- head behind. the name of ;:' marriagei C:/Rid ;h?eexpiain; -th^ hetwe:en him and the others money clinked - my price in hard money on the table? And , r fnow. that I -have run away to the only refuge I have on r : : , ■ .- - . earth, he comes to "buy the very -house where I have hidden, .. and (every .'miserable he ing within .It?.; (2) ' " ^ '

BRS'o JORDANO' ' "i ' . ' . ■■ ' .. . (3) And you: married- him:- - '•after that? (4) You ought ' / • : - to Rave - - died - first I (5) '/''ft ; . g/ t’' - . - '. . f 'f : Enter PHILIP. ;

. :MRS # JORDAN o ’ ' - -; . . ,, , - . : / , ./ . • ■ Oh, Philip, she has told me] - You can81 Imagine what - ' -/ horrorsi : ; :' -, \ >. . : ■. ' -a J...

’-RHiLIpo : ;; : 1" 1a :'? - ' ' - " ■ - ''' ' i ri - . V ; ' a A;_ " Horrors? :::Ihht herrors? - ' :■;z: ■/. . . a ;.;.

MRSo''JORDANo.. .'. t'/ f f A 11.1' ■ / t it was your: fault I. You ought never to have left her, alone in that dreadful place I She - She married him/^ ,to, save : a ;/.: - ■■ herself. -' from «= ohs horrible! (6) . : .... t ,. ,^... - / /' - :. :'/, i-'-

PHILIPo \/.'AAA-:. : a a :Yo u - dog® Ruth step in the path of Philip

Philip attempt to thrust Ruth aside* ■Mrs. Jordan, terrified, eli'n'g' desperately to Philip’s arm. -

MrSo Jordan and Ruth foree Philip back to the right door where he stands glaring at Ghent«

Mrs. Jordan and Philip exit right, as. Ruth and G-hent stand, motionless® v :h i l i P o, ' ^ . ... . : .. . ■• : .: Get out of my way. " This Is my business; now.. :

ROTH. ' ■ • V ■ ' '.''' ':' . ; . . ';Hof 4-tis.,miiis.o:..:,. I tell you it? is mine^; , "raiLiP.; 'v: • ■■ f ' -'. • ;;¥e' 11 see whose it is. I said that If the truth, ever ... ; cameeutj, this man should answer to me, and now, by Gbd,,- he shall answer I (2) . - V;; '■ .

,,r o t h . ;,; 'v :.-/ ^ :j 1 told him long; ago; it should be between us. Now it : shall be between us. : i ; . . , ■ : .., ' .

- m8.': JdRDAK:-: ' ' V^: ■ Philip, for. my sake, for your father6s sake! Don't, ; . . . don’ t ! ( 3 ) You will only make, it worse. In;-pity ’ si - ;.; ' 1 name, leave them” alone, . together.; ' Leave them alone ; " ■ .■-.; together 1 :,v,; : : " . r''; ^ ■ _ /V- . ; .v ' ; '-1’ ■ PHILIP o' - ■1;;^ .: > .. My time;will eome.. Meanwhile, hide behind the skirts of‘ ■ the woman whose life'you have ruined and whose heart you , have broken. Hide behind her. It is- the . howard’s ', ” . ; . v ' 'V''privilegeB '' lake It:. : :(4) '.:; -V-' i: ‘ iv ■ '. ; .1', ' : ” :. ; . v I'-r:!;/,, :ii I,::'" ,(Wa.MR8.,dORDAm, mTM, i : 7; V God forgive,.me!.:r :you never ean=->: - , . . ' ■ v-b"' .. v” ,:, , ■ ; ; . \ ■ : . ■ ; GHElio ; livi .;1- ;,u: 1 IV; ■ : ; -111:/- ';V - /v;!;;,”. ’ ' , It was a pity ~ but « you were in a corner, I drove you to it, by coming here. . - i ; .

■ . '' ■ ■■■'■■■■ . It -was base, of me «= base!-/. ,: . : .

The way your mother took it showed me one things > I ’ve ; ■ never .understood you, because % 1 dontt understand your : Iryl/lpeople:; • ;; V r:.'':':;'::/ .ROTH.;, v; ;.. ; : 1 ^ v. ':i .1:;: ■■ Y o u mean- her - saying I ought to 'have died rather than accept life as.:I did? . " " ' ' l . G M l f o , ‘ : ; I .Yes.7 Ruth move a few steps left*

Ghent move a few steps right®

Ruth remain a little right centers Ghent play leftareae

Ghent take nugget ohain fhom.popket, 1ook at it, and then speak with: resignation^'

Ghent play left area, Ruthg during speech^ move right to 'back of desk chair, ' ; : .•

Ruth Shoss eentero • ( I:-) She spoke the-:truth®;I 'have ■'always-.: seen It® - . :"v- ■ flGSElf® . ; . ' . / \ : : (2) Huth>- It1 s a queer thing for me to he saying, but «= . , it' seems to me, you’ve never seen the truth between us® ' R'jTi:» ■■■:, . (3) lhat . is the truth between us? - '

GHEHir. ' . - . ■; ’ :: . The truth is = Well, there ” s no use going-into that. :v.■ 1 1 ve got here the ,chaln8 that8 s comes, one way and ■ ■ ■ another, to have.a meaning for us® For you it’s a . - 'r - ^ ' V ;; - bitter.vffieaiilng^ybutj;^ all the; same-,. -I want . you to keep •' it. Show it some day to the boy, and tell him - about me. t :

■■-RlJTHo. . '■ ■ 'V ■ ^ v . \ What is the truth - between 'us? ' ' , ; . t rr ■'t

. GHE1T-. ' ^ ' . / ; '' ::r 1 guess it was only; of myself I-was thinking. t:-;

- HUTH. .: ' -r: i'.vvt- : ; ■ V : : rp - Wat- is -it' about yourself? ■ ■;; ;' '. f

^ W h'--'.' i .? ' - (5) I drifted Into one of your meeting-houses last Sunday, not knowing where else to go, and I heard a young fellow ■ . ; • preaching ab.ont what he called "The Second" Birth„t' A y e a r 1';:-!'’; :; : and a half ago- I should have thought it. was all hoeus- : : , poeus, but you can:believe me or not, the way he went on , he' -might have - been: behind the door that night in that i ' little iustiee den at San Jaeinto, saying to the Recording ' Angel: "Do you see that raseal? Take notlee! There-. ain ’t.f 1:.;: '. an ounce of bone or a drop of blood in him but what’s new -' " ' : man! " . - - . - . , y /v-; ; : : ,1' ; v: :

• r u t h ® i . -!:v: You think it has been all my fault •=■ the failure w @ 6 ve . - ' ' , : . - made of our - life? - . : ' ' , w , - -: . :v:' - ‘

; SHENT. . It s been no failure0 However it is, it s been, our life, and in my heart I thliik I t ’ s. been > all - right! . '

; RUTH>. : . All right 1 (6) Oh, how.Can you say that? All right! . . :

■M P.. Ruth sit at desks, Ghent play up left area*

Ruth turn to Ghente

Ghent play left area keeping on .left side of center line 6 Ruth keep head in handso ; . ' . .

Ghent wait for ans-wer from Ruth who gives no :r ; ' . reactiono Then after long pause and consideration cross the . "divide«,/' Pause again, after , line,

Ruth look upo SHEifV : \ • • ; i y:/ (1 )Its ftieeftVH© failme = ; Some of it has been wromg; - M::'- ' but as av whole it: has beeia right => right ! 1 know that doesn't happen oftens. but. it■. has happened to usg because -y :/'beoaus@ beoause' the first tine; u w eyes met, they burnedt: ;v ' away all that was bad in our meeting, and left only the fact that we had. met pure good - pure j©y r*. a fortune of it =■ for both of us* Yes, for both of us!; ■ You:rl l : s e e it;..;:':v/:; '• - . , - yourself some day, ' . ’ :• ' . - ; . . ", , -

' . T;.v;' v-r - (2). If you had only heard py ery to you, to wait, to cleans© yourself and me «=> by suffering and sacrifice » d \:;;b©fGre:;W©;. dared,;begin; t © :• live'!": 'But' yom wouldn-81' see the; '.‘V : need! “ Oh, if you could have felt for yourself what X felt for you! If. you could have said, "The .wages of sin .. ; ''; 1 s 'death' and 'suffer the ''anguish o f 'death,'; arid rlseri.'' - t;v: ':: again purified! But instead of that, what you had dorie . fell off from you like any daily trifle„ . iVly:;! ■■

SHENfi ■ ; : v- : i:', : ; .: ;y;: (3) .Ruth, ; it8 s,'these fellows are : fooling you! It Is they 1 Z . ' Z'-wh© keep1 your head set on the wages of sin,' and all that■ /:'Z'Z:Z Z rubbish. What have we got to do with suffering and ’ -,. . ' sacrifice? That may be the law for some, and ■y'ye 'tried-'Z ;Z, .; V:i ;:"Z bard: to '■see It: -as our law, Zand 'thought I had succeeded^;: Zv;Z ■ But I. haven8t ! pur , law- is joy, 'and selfishness; the curve. Z': . of your shoulder and; the light on your hair as you .'.sit. . Z .v ,Z,;''Z.'.':: 'Z: %here,/sdys- that, as plain, as; preaehirig ’ >Zv : Z Z ' Z yi;/; Z;v;;';Z' . Does it gall you the ws,y we came together? You asked me ■ ' that night what brought me, and I told you whiskey, and sun, and . the devi 1 „ t We 11, ..1 te 11 you now I ’m thankful on ’ . " my knees-for,all three I ■ ,Boes:. it ; rankle in.; your mind, that .. I took you when I, could, get you, by main strength and ' ' fraud? I guess most .good women are taken that way, if ' Z ZZZZZ. .they only knew it. Don’t you want to ;be paid for? . I v g : ' r' guess every wife, is paid for in 'some good' coin:or otherV ■;vZ':'Z' And'a^ for you, 18ye paid for you not only with a trumpery z; Z;t'chain, but with the;;heart in my breast,, do you hear? ;'. ' ■' That1 s: one thing" you can81 ■ throw back' at me =• ;theZmariZ■[ ,' Z you-ve made of me, the life and the meaning of life yo u8ve;' ; . Z .' showed me the way to! , (4) -'Z :-. :' Z- '' ; . yZ'Z^Zy,'; ... If you ean8t see it my way,- :glve me another chance to live:'/ ; ' ,:.Z ,.-it .out in yours 0 — - During the . six months I've been East—

' mT H . :z ZZ Z - '■ ; ': z : ■ '"Z-Zz; : zZ; it;/' z tZ,.-'-z zZZzz/;; /ZZZz ; z./zzz' ...... (5) Six months? Z Mother ,.s.ald a week! .. .; ;:z- v ; ,Z^ (1 ) Shent,, play area near Ruthe (2) Ruth reacts .'

(3) Ruth make.faint moan® Ghent 'remain standing over her for some moments* With tremblihg hands:oaress ; ' her hair lightly and speak between a laugh and' a ■ •v:V;^V:R::; '; ’ sob * Ruth does not move y. v; vv' (4) Ghent remain bending over Ruth some moments, then - • straighten up, with a'gesture of stoic despair. Play area* : v ■■ : -.R -' / :' : y

(5) Ghent move to left doorc-

(6.) Ghent open doorc ' : - -.

(7) Ghent close door and stand waiting for Ruth to speak* Ruth rise and cross center, ■

(8) Ghent move slowly-to•table» 117

GHENT-,-" z : , . ' . : : ;;,;: ; ; |1)' Your sister-in-law9 s- telegram was' forwarded to me ■ ’: ..v here? (2) I let her think It /brought rne^ but as a . '' ■'''■;htffihtte:r- of faet9 I earn® East in . the.; next train after : ^y-ohrso It was rather a low-lived thing to dos I suppose 9 hanging, ;a'bdut and: bribing your servant for. news o' i.rV:... ■ might have known how that would strike you! We'll* it would have opme put sooner or’ later®--That’s not what I Vstarted to talk about„ You ask me to suffer for m y . ■ " 1 wrong o Since you left me I have suffered r God knows! You ask me to make some sacrif ice® .Well. how would the mine dot'- Since'i 9ye: been away they've as good as stoleni-t'- ■ .• it from me. I could get'it back easy,enough by fighting; : ; but-supppsipg I don? t,fight»• fThen w©111 start all over " againg' - just as. we stand In our shoes» and make another " ■ . fortune ~ for our boy9 (3)

Little mbtherl Little mother! What.does the past matter, r ■ ; when;we've got the future - and him? ... . ,. ,; . (4) . - ^ ii ' ' - , 'ti : ' -I -" I know what you9 re saying there to yourself, and I guess' .;;; - ; yQu:9r© right®/.''Wrong: ia.:-wrong9r'fr^ the moment it happens-. till the ©rack of doom, and all the angels in Heaven, ' , working overtime, can91.make'it less or different by, a '. haiho: VThat' heemh ila|r<, ;) 1 ?ye' 'learned; it hard, ■ ■ 'v but I guess;I’ve learned ito v I've seen it written in ■ mountain letters across the continent of this life®,— . ■ . V Done is done, : and lost is lost, ;ahd: smashed to hell is ' smashed

''. , ;..Y o u ’v e fought hard ' for me, God bless; you for it®' -' hut' : 1 ''':; ■ ''it9 s been a losing game with you from- the first! -' You . . - ' belong.‘here*. and ! belong out ■ yonder - ' beyond the Rpekies;! ;; beyond - the Great Divide! (6) ; :i; . •

^ : : r-"'Vi'. : Wait! (7) --Tell me you know that if I could have , : followQd. you, and been.. your .wife..,;' without ■ struggle and .. ^ without bitterness, 1 would have done it®

. i believe yod would® V ' ■ ; ' , : f - RUTH®; rv'l' : f''- ' = i Tell me you know that when I tore down with bleeding ; . . ; fingers'''the ...life" you were' frying to build for us, .1 Vdid- ; It bnly--beGanse— I loved you! : ''i'i..1'I';

•' - (8) How was that! Ruth play right area, ending at right corner of table.. '

. Ruth move to stage center with the chain.

- Ruth out the chain around neck. . . ■

Ghent move to center. . .

Ruth and Ghent remain direct center with arms held out to each other.. ; CURTAIN. A 118

RUTH. . ' (1 ) Ob, I don’t wonder you ask! •- Another woman would have gone straight to her goal. You might have found such a one. But Instead you found me, a woman in whose ears rang night and: day the' ery of , an angry Heaven to ' us both = "Gleanse yourselves!" And I went about doing it in the only way 1 knew ^ the only way my fathers ■ ; knew - by wretchedness, by self-torture3 hy trying blindly; to pierce1' your careless heart with pain. And all the while you ===■ Oh, as X lay there and listened to you, I realized it for the first time — you had risen# in one hour, to a wholly new existence, which flooded the present and the future with brightness, yes, and : reached back; into our past,' and made of it =■=* made of all of it ==- something to cherish! (2) You have taken the good of our life and grown strong. I have taken the evil and grown weak, weak unto death. Teach me to live as you dol (3) GHENT.. d Teach you -Vto live *» as I do? ruth. ’ ' ' ; : :V ■ ■ ; ' And teach --'him!'

GHENT. : ; (4) You’ll let me help make a kind of a happy life for the little rooster?

RUTH. (5) And for us! ’Fo r -use! (6) CHAPTER V SUMMARY OF THE REHEARSAL PERIOD

The director* in consultation with the head of the department of Dramag determined that twenty-five rehearsal

. periods were available for The.Great Divide, during an

interval of eleven weeks,, Rehearsals for the first ten weekSg each three hours in length, were scheduled on Tues­ day and Thursday afternoons«> There was no' time allotted in

the rehearsal schedule for the construction of scenery, as

this aspect was to be handled by the University stage-crew laboratories, A total of fifty-two students auditioned for roles in The Great Divide; twenty-six women and twenty-sixmen.

Of these, the majority were enrolled in one of the Univer­ sity acting classes. The actual on-stage experience of the students varied greatly with the average student having par­

ticipated in very few public, performances,■

Four primary criteria were used as an aid in cast­ ings 1= the physical suitability of the actor1 for the

role; 2, the strength, flexibility, vitality, and control of the voice; 3= the ability ;to move well on stage; and

4, the response of the actor to. directorial suggestions.

I ■■ ■ .. ' ■ ' , _ - ■ ; .. ' Rote t : Hereafter, the term "actor*' refers to performers of either sex. After each person had been auditioned oncer everyone . was provided the opportunity of reading for a role of his choice= Following thla, the director requested that particu­ lar individuals read designated scenes together^ During all these readingss an accurate account of each reader was re­ corded to serve:as an aid in easting« Of the fifty-two 1 persons auditioning, fourteen were chosen for the cast of

The Great Divide1 The final selection of the east was based upon the director's desire to achieve a physically and vocally balanced ensemble, Copies of the script were Issued to cast, members and one week later the first rehearsal took place. This first rehearsal began, with a discussion of the history and signi­ ficance of The Great Divide,, the style of acting and the ultimate goal desired for this preduction<»' Also,, the actings, scenery, lighting, sound effects,- costuming and make-up were discussed in general terms, A reading of' the play followed, during, which time questions relating to-the plot or ' ; characters' were answered by the director, .

The succeeding three rehearsals were utilized for blocking the action of the play. To better illustrate for the actors the projected stage arrangements, the director showed a sketch of the ground-plans. Attention was called to the fact that ineyifable'adjustments would later occur in

For complete ground-plans, see Appendix, pp, 136-138. blocking wbeti the set was completed, but that the basic pattern would remain . the same s . . ■ . : 1 ; ■' . ;.

. ' The first major problem confrbnting the director: was one of movement=. The actors had much'difficulty in attain­

ing a style of.stage movement suitable to the period of the play. Though various attempts were, made by the actors to

project a:period: style of acting, ,they remained completely " and con sistently modern in appearance. - Theref ore s the

director instructed, his' east to exaggerate all stage move­

ment to the point where it became broad and melodramatic. It.was his hope that by first overacting and later toning 'down; the movement r, a balance would ‘ be achieved and an - ' ■ acceptable style established^ •Several weeks of rehearsal

.were devoted primarily to movement on stage, with ail aspects

emphasized,, including crossing from one acting area to another* making entrances and exits important,’coming into

physical contact with other actors, getting in and out o f , ■ chairs* making all hand gestures meaningful, and in exercis­

ing careful control of emotion. ■ -i . ■. .. , ; The second problem centered on the Interpretation ' p

and development of character, it was the director $:s belief

that the actors.: were not spendlngtav sufficient amount of time in studying their roles. Therefore, the emphasis in rehearsals was shifted from stage movement to the develop­

ment of complete characters. In all - instances, the director

;attempted to alibw the ■actor complete freedom in deve 1 oping' .: an acceptable eharacterization. Only when an actor failed to .understand his character, or when he was unable to pro­ ject /the character fully, did the director interfere„

Individual help was then given in an attempt to attain the best possible characterization for a balanced ensemblee Each actor, according to his needs, received individual attention during additional sessions with the director. - - ' i . • When the final renderings of the sets were sub­ mitted. to the director, several changes in blocking became necessary.. For technical purposes and easy mobility in / shifting scenery, several wagon stages and sets were to be employed, consequently raising part of the acting area several inches above the stage floor. This presented a • problem in adjusting and adapting the stage movement to the raised areas in a manner which would not bring about unde­ sired audience attention to the difference in acting levels, i special problem was created by the use of a' level for the attack episode in. Act One. Much of the action in this scene needed to take place on two levels, making movement very difficult. This necessitated a careful working out of each movement so as- hot to obstruct the audiences1 view or en­ danger the actors moving rapidly from one level to another.

In another instance, the raised level solved rather than created a problem. / At :the opening of Act One Ruth,

^ See Appendix, pp.133-135: Pollyj, Wlnthrop; and Philip are on stage = Slnoe the Initial action'.;'and dialogue Involves only Pollys ¥lnthrop5 and Philip, there is no way of Indicating to the audience that Ruth Is the essential character, thus making her- first appearance very weak„ It was here that the level was utilized* In placing Ruth on the level with her back to the audience and looking out of the window, she remains inconspicuous at first* Therefore, when she turned full-front to address Polly, the entire attention of the audience centered on her .■ and a suitable entrance was made 0

The only other problem in blocking occurred in attempting to provide the lengthy speeches of Ruth and Ghent, at the end of the third act, with sufficient movement to make them Interesting and draw the attention of the audience to the speaker* It was not until the set was constructed that this problem was adequately solved* From the moment Ruth, and Ghent were alone on stage I L n the final scene, the acting area became divided with Ruth at stage right and Ghent at stage left* is each delivered these last essential speeches they utilized fully their designated areas, but never crossed the dividing'center line* It'was"not until Ghent asked Ruth to allow him to live life the way she did ’ that this separation of movement was broken* it this time,

Ghent crossed the "divide" to make his appeal and, when rejected, returned to the stage left area* The earlier pattern then prevailed until Ruth crossed the "divide" to take the lehath of gold nuggets- from Ghente She then walked

to the center of the stage where Ghent joined her. Heres 'the o onf 1 in t' of the - play was. removed and: no dividing line .: remained between them as the curtain descended.• For the ■director;this division in acting areas symbolized the oppos­ ing factions, of ■Massachusetts':and Jrizona. It was his hope that this stage movement would add aesthetically to the total afage, effect and serve to ■sustain the interest' and , attention of the audience .during Moody’s final message.

. v. ; The single -greatest problem of the director lay ;in;f "selling” the/play to'his cast. #or the greater share of

the'rehearsal period the cast disliked and doubted the possibility of presenting The dreat Divide in a serious

manner. It is the belief of the director that this atti­ tude -existed due to a lack of understanding, and knowledge.

of this period of American theatre. It was not until the final, rehearsals that members of the cast began; bp perceive. ,

the merits of the play. Those who had been the most adamant .in eondemning the: play: for being "trite" and ;".out-dated, " ’ ■ ''.; became the most ardent ■admirers of Moody’s ability as a playwright.. This change in attitude aided immensely in the effort exerted and the pride taken by each actor during the

actual performances.

f , ;:Ih ■ the realm of acting,$. the last problem ..to occur

came,;in having to replace three cast members during; the last

:. week of rehear sa l s T h e s e were B u r t Williams#■Gohtraetor# and A'Boy. Special rehearsal time was allotted by the . director to aid these replacements -and to re-establish a balanced acting ensembled

In order to accomplish an integrated stage effects, each element of the production had to be consideredso

Therefore* the final responsibility of the producing director consisted of co-ordinating and balancing the technical and acting aspects of The Great Divide * With the previous attention having been centered upon the acting aspects of the. prodtietions the emphasis during the final week of rehearsals was- shifted to the technical elementss The constructed setting presented no problem of consequence and the actors adapted themselves to it without difficultyo The only change necessary was in replacing several pieces of furniture used in the third aoi,, This was done to better establish scenic verisimilitude0 Due to the great number of hand and set properties? the actors assumed individual responsibility for each hand property used? thus removing part of the burden from the property crew. Each property used, in production was checked by the director for its historical accuracy and only in a few instances were suitable substitutes necessary.

Realistic lighting was employed throughout this pro­ duction in keeping with the style of the period. Minor difficulties in lighting occurred in attempting to provide moonlight in the first act and a sunset for the conclusion of Act Two» However, these ohstacles were overcome and the d©” sired effect was accomplished* The lighting enhanced the beauty and meaning of the scenery» provided sufficient Illumination in general and increased the effectiveness of the total production* ;

The sound effects used for this production were few, but essential to the action of the play. In order to attain: accurate sound effects of galloping horses necessary in Act

One, tape recordings were made at a ranch near Tucson* With the exception of the doorbell in Act Three, all sound cues were transmitted from the sound booth. The sound crew was also responsible for appropriate music to be played during each Intermission. ,

Costuming The great Divide presented the greatest technical problem. A, total of twenty^four costumes were needed with each of the following:characters requiring three separate outfits: Ruth, Polly, Ghent, Philip, and Winthropo The primary difficulty came In acquiring costumes for the men in the east. Several styles of suits necessary fqr, his­ torical accuracy were unattainable. Therefore, relatively modern stilfs were adapted to the period by using suitable accessories. Despite several Aajor obstacles, however, the costumes were for the most part adequate for the purpose of . this production.

The only circumstance requiring a rapid costume change .occurred in. the first-act. Here, it was necessary for Ruth to change from a dress to a nightgown and then hack: to the dress in a short period of timec During the first dress rehearsal? this change was not aeeomplished quickly enough. There fore * additional action was given to Ghent to compensate for this delay6 : \ ^ .v^ '' 'vh ut'v . The final technical phase concerned make-up.. To assist in attaining realistic make-"ups several of the men ' • grew- beards and no. haircuts were; permitted three weeks prior - to performance^: Only minor make-up adjustments were ■ 'neeessary during' the dress rehearsal period. " One special ' ; effect? however» was required of the make-up crew0 Ghent * s wound in let One required that blood be visible by members of the audience*: This was accomplished by using art if i c ial. bloods, which was applied with a sponge. In general? the make-up aided in establishing the illusion of an-earlier period. • ...... : ,, . : V : , CHAPTER VI

THE DIRECTOR'S'EYALUATTOH OF THE COMPLETED PRODUCTIOH

There were three primary objectives for this pro&uc--.' tion of The .Oreht Pivides to achieve the most complete

. expresS'ioh ;o:f William Vaughn Moody' s play; to retain the style of the period„ but satisfy the disposition of contem­

porary audiences^ and to instruct the student-actors in the- - techniques of character interpretation and portrayal in a

period playo ' With respect to the expression of Moody's intended . interpretation of the playa satisfactory success seems to

have been achieved« In retrospect, -.however* the writer fee 16 that in several instances certain aspects were deserving of more directorial attention0

In an attempt to avoid melodrama, the director did not stress enough the importance of the impact that the first

act attack scene has on the character of Ruth» The actors failed to project sufficient rapacity* almost animal hunger,

in their desire to "take" Ruth. Furthermore, their patience ■ ' - ■' - - ■:/ with Ruth s pleas appeared too great for the characters they were portraying. Consequently, the action of the scene did not seem to justify the horror and misery of Ruth in the following acts.

128 Secondly:, too little attention was devoted to making

clear the precise relationship between the characters of Polly and iPh-ilipo analysis of audience reaction Indl- ; dated that some cynfusion existed concerning their relation­ ship, although it was clearly stated on the program =, In

this instance^^tthe'rdlrectcrrdidnhQtypencelve. a weakness in the structure of the plot until; the play was in performance... lot until the third act does Moody/S'dialogue di scldse that P o l l y and:' Philip are husband' and.'wife. Furthermore^ no . V " action.exists'between.them that would earlier substantiate , ; ■ this. Therefore, it was the director's responsibility to provide a means of clarifying their marriage early in the

■ - V Finally, the entrances and exits of the second- act '

needed:to be strengthened and their importance emphasized. As it appeared^ they were too casually executed, in this case, the director waited too long to set the final movement

necessary in attaining the proper effect. This was due, 'in

part,, ;to the fact that the second act set was not completed until the final dress rehearsal. However, an attempt should have been made to remove this inadequacy. A closer

re-examination.and re-staging might have corrected these

situationso •. . ' '''. .'f' '''; ; iu

in regard to the satisfactibn .received by the audio -ence 9 only a subjective view may be expressed. .The spectators

gave every indication of.;understanding and enjoying the play. The greatest apprehension of the director during the rehearsal period was whether certain melodramatic actions and speeches would produce audience laughterg thus destroy­ ing the desired mood. Several examples where this might have occurred included the attack scene in ict One;, the end of ict Two when Ruth discloses she is going to have a child'and Ghent answers, "Ruth, is it. true— = thank God! the struggle in the third act when Philip displays his

''manly” powers; and, finally, .at the close of the play when Ghent asks Ruth, "You'll let me help make a kind of a happy life for— =-the little rooster?" (completely incongru­ ous to his rough character)„ However, due to the complete : sincerity and conviction with which these were carried out, in no instance did the audience laugh where laughter was . . not intendedo \ The writer is,;furthermore, satisfied that the majority of students who participated in this production increased.their knowledge of executing the acting and staging of a period piece„ Actors who at the beginning of the re­ hearsal. period were unable to speak and move in a manner suitable to their characters for this production, gained noticeable proficiency in these areas« There were several instances where notable growth was shown by the actor between the initial rehearsal period and actual'production0 Ruth, at the beginning, lacked clear enunciation and had a pattern of speech too rapid to be easily understood. However, after a concentrated effort, these defects were almost completely - corrected and. her performancev consequently, was outstanding. it the outset, Polly had difficulty in attaining an acceptable' characterization for her role. Due to her interests, efforts and patience9 she created a 'characteriza­ tions suitable to both her physical and vocal qualities which was effective for the part she played. Ghent was late in exhibiting a quality of roughness demanded by his character. However, when both director and actor realized that he was depending too greatly upon his physical size to project this necessary quality, the problem was quickly and adequately solved. Thus, an excellent and believable per­ formance evolved o ^ •

The greatest growth in an actor, occurred with the character of Winthrop. Although lacking previous acting experiences he displayed a great desire to learn. Movement at the beginning which was "tight11; and speeeh .which was inaudible became, in performance,, , relaxed and adequately projected. In this instance9 the purposes of educational theatre was well served. The entire company of actors showed a general, improvement in vocal control, stage move­ ments and their ability to clearly express the many facets hf their: characterso The writer believes that the rehearsal period served primarily as preparation for the real, learn- experience which took place before the public during performance. w

The director feels that the primary intentions were ■ satisfactorily achieved and that the entire production was ■ ■ :‘V V . ■ ^ presented-in a .style as near to the original as is possible ■ for 1962° , The c 0 “Ope rati on j, interest, and appreciation of ' all concerned, made The Great Divide a challenging and worthwhile undertaking. In conclusion, It is this, writerf s : opinion .that William Vanghn Moody ' s play. The Great Divide„ has retained its effectiveness for theatre. . ; . iPPElDIX Il^mstmtions - ■ ' :: : i ''f

IKEStXIQATrDW

S'O'

BgTH_ S.P- AMD or]

36'a

I HD PLAKI

CLWima&QN I *WLABL£ ROCK UNITi DIMOmOMAL _

5‘6' -6 -6'

OVEBkUeiHS ROOK OF P A W LfAVn U'-f IX'-J* WINDOW ALCOVES DO WOT 7 TIY W ITH I B - O ' BACK WALL.

p-r.

THE QBBfT QV1QE

-snLE-mrsiiyKcGROUND PLTO Wt 'nth ra p R ? 11 <-| fficfh Ph i'l \'p

T h e if pfonn ised01 e

Ijher)~t ShohTi/ Tfu.’th P a tc h 0 h e n t R u-tK Sin o "D u.Tc /v

/i J"/" c/ o y o u. Lu a n~t he he • ' S & ve /me ( S & u& me, cmcL I*

lV/7/ m a k e if' ia /s ~hr if e u. ! C * A e n t " f? u s th G h e n~t ff urf h

M t( b ro~fh ej* h qs cjohe ooct ~tb R nd lu hen -2T com e bctc/o ? ~fhe railroad.." /? Luffx L o n

Lon f ~t 3 K f~he <*/&$$....

t F h . I . p J?u.fb o A t~y y / / • e r uSfIn, lu { ) / c

Ju A ac/ e yo~~t~ the. ch$/h drydr//; o u. (X\rc m ine, pi/net do you neat'- R Ltf h Ghent Phil i/o Ti uth Crken-r cjh~t f f (jotc / /A'e ; iTiine ■ f a He m e tuifin you. Ta He me. borne .fW'3 Qfd #19 \ i /M tin rc|9 0 htfe v b(Lrc/ T^h / / • 'jo i Iy P h t / t/z [}' Pfeuoburj fo il if Mrs Soe tc h

Z nn usir 6 g ina d!onq/r 3[he^ H

^Tucson Footlights So popular did it prove to be that it was given a run in England and later a full-sized tour of the United States. This sort of success would have UA Revives been sufficient even for the most ambitious of modem playwrights, but in 1917 Mil­ Hit Play ler revived the drama for ac­ tress Laura Hope Crews in San Francisco and later in Of 1906 New York, where it again drew applause for its 258 per­ 'The Great Divide' formances. Foretold New Realism According to its UA direc­ tor, graduate drama student By HELEN W. YOUNG Jon Fritsch, he will attempt Who hasn't heard of the to produce this play in the “powerful and throbbing” same style and manner as the American frontier drama, original production. He states: “The Great Divide”? Even to “ ‘The Great Divide’ maintains the younger generation, it is an important place in the his­ a name in dramatic literature tory of the American theatre, that has been handed down bridging the old’ melodrama with respect. with the new’ realism. The And now a unmistakable sincerity and production of optimism present in it over­ it is actually shadow any of its lingering getting on the melodramatics.” University the­ Considered an extremely atre boards, bold play in its day, “The when, in cele­ Great Divide” tells of how a bration of the sheltered, puritanical woman Land Grant from the East is carried off Centennial, the by a rapacious pioneer, the University of spirit of the West. Playing the Arizona Exper­ leads will be lovely Mary Pat­ imental The- YOUNGE terson, whose work in “Arms atre will stage and the Man” was outstand­ it May 17-19, at 8 p.m. It will ing, and Earl Hindman, who be open to the public, free of played important roles in charge. “Phaedra” and “Measure for William Vaughn Moody, po­ Measure.” Also well-known to et and teacher at the Univer­ Tucson audiences will be Bar­ sity of Chicago when he wrote bara Berg and Hal Landon “The Great Divide” back in ' Jr. Others in the cast are Rhea 1906, had little thought that Kay, James Pederson, Pan! it would ever be produced, Monash, Ron Cox, Dennis but by a fluke the famous ac­ Keeton, Larry Alex, Paul Ca- tress Margaret Anglin, while iero, A1 Bourhenne, Scott starring in another vehicle in Ross, Lance Fritz. Scenic de­ Chicago, caught sight of it signer for the three realistic and decided she wanted to settings is Dennis Wilkerson. play its jead. Even though it failed under its original title, “The Sabine Woman,” Moody rewrote the drama and Henry Miller opened it in New York in the fall of 1906 where it played, again with Miss Ang­ lin and great success, for over 1000 performances. Period Piece In Style Of Period Jon E. Fritach, director of the University of Arizona Experimental Theater production of "The Great Divide" has chosen to present the 1906 drama in the manner it might then have been interpreted. Described as the bridge between the "old" melodrama and the "new" realism, the play was a hit in its own time and has become a theatrical landmark. In the cast to be seen May 17-19 in the University Theater are (left to right) Earl Hindman, Mary Patterson and Harold Landon Jr. (Jack SSeaffer photo) ON THE OCCASION OF THE CELEBRATION OF THE LAND GRANT CENTENNIAL ARIZONA EXPERIMENTAL THEATRE presents THE GREAT DIVIDE B y W il l ia m V a u g h n M o o d y

Directed by J o n E. F r it s c h

May 17, 18, 19 — Curtain at 8:00 p.m. Faculty Supervisor, Dr. John A. Mills

The Faculty Head of the D epartm ent...... P e t e r R. M a r r o n e y Art D irector...... R o b e r t C. B u r r o u g h s Research C o n s u lta n...... t J o h n A. M il l s Technical D i r e c t o r...... J o h n E. L a f f e r t y Costume D i r e c t o r...... Su s a n G u l l b e r g P f u e h l e r Technical D i r e c t o r...... C h a n n i n g S. S m it h Graduate A ssistan...... t R o b in C o o n Graduate A ssistan...... t J o h n B u r k e Graduate A ssistan...... t R ic h a r d N e l s o n Departmental Secretary F r a n c in e F r e v e r t

The Cast Philip J o r d o n...... MR. HAROLD LANDON, JR. Polly Jordon,Philip’s w i f e ...... MISS RHEA KAY Mrs. Jordon, his m o t h e r...... MISS BARBARA BERG Ruth Jordon, his s i s t e r MISS MARY PATTERSON Winthrop N e w b u r y...... MR. JAMES PEDERSON Dr. Newbury, Winthrop’s fa th e...... r MR. PAUL MONASH Stephen G h e n t ...... MR. EARL HINDM AN Lon A n d e r s o n...... MR. RONALD COX Burt W illia m s...... MR. DENNIS KEETON D u t c h ...... MR. LARRY ALEX S h o r t y...... MR. PAUL CAJERO A Contractor...... MR. SCOTT ROSS An Architect...... MR. AL BOURHENNE A B o y...... MR. LANCE FRITZ

Scenes of the Drama

A c t I — Philip Jordon’s cabin, in southern Arizona. intermission

A c t II — Stephen Ghent’s home, in the Cordilleras. intermission

A c t III — Mrs. Jordon’s house, at Milford Corners, Massachusetts.

T im e : Turn of the Century ★ ★ ★

"The Great Divide” maintains an important place in the history of the American theatre, bridging the "old” melodrama with the "new" realism. The unmistakable sincerity and optimism present in Mr. Moody’s play overshadows any lingering melodramatic elements. It was first produced in Chicago in the spring of 1906 under the title of "The Sabine Woman.” On October 4, 1906, with revisions and a new title, it opened in New York and was received with great acclaim and its subject matter considered new and bold for American audiences. It was revived in New York on February4, 1917. for a short but successful run. ★ ★ ★

This production is in partial fulfillment of the requirements for the degree, Master of Arts.

PRODUCTION STAFF Assistant to the D irector...... Joan Brinckerhof Scenic D e s ig n e...... r Dennis Wilkerson Production M a n a...... g e r Scott Ross Stage M a n a g...... e r Bonnie Scott Lighting D esigners John Burke, Dennis Wilkerson Costume Supervisor...... Lynn Aspinwall House M anager Diane Parker

TECHNICAL STAFF Property M a ster...... Paul Cajero Property C re w...... Ray Richardson, Charles Wasson Stage C r e w...... Ed Chavez, Judy Marquette, Richard Rosebrock Lighting M istress...... Lenore Millberg Lighting C rew Toby Butler, Marilyn Meyer, Margaret Shook Wardrobe M istress...... Meg Huntington Wardrobe C re w...... Dennis Keeton, Kathy Sikorski Make-up A r tis...... t Mary Etta Lang Make-up Crew - Paul Cajero, Rhea Kay, Judy Marquette, Roe B. Pleyte, John Spurlock Sound Technician...... Roberta Levin House C r e w...... Phil Cole, Sandra Einbund, Judy Richardson ★ ★ ★

ACKNOWLEDGMENTS Steinheimer’s Book Stores, University Radio Bureau, Tucson Daily Citizen, The Arizona Daily Star, Arizona Wildcat; Radio Stations KFMM, KVOA, KCNA, KOLD, KTUC, KTKT, KCUB, KCEE, KEVT; Stan’s Swap Shop, Browse Around Shop, Pick Fair, Tom Bahti Indian Arts and Crafts, Mrs. Elizabeth Estrada, Mrs. Sam Leiboff; 4 Lazy U Ranch, Cortaro, Arizona. FORTHCOMING PRODUCTIONS The Drama Department will present the following plays during the summer session: THE MOUSETRAP by Agatha Christie. This English hit is still playing the American circuits as well as England. June 28, 29 and 30 at 8:30. THE MIRACLE WORKER by William Gibson. July 18, 19, 20, 21 at 8:30. ALL THE WAY HOME by Tad Mosel, based on the Pulitzer Prize Novel, "A Death In The Family” by James Agee. The play received The New York Drama Critics’ Circle Award and The Pulitzer Prize in 1961. August 8, 9, 10, 11 at 8:30. U Of A's Vintage Drama Is Refreshing Theater •■jB?

By HELEN WALLACE YOUNGE The famous American drama, “The Great Divide,” may have been a bold shocker back in 1906 but today it is de­ lightfully quaint, albeit refreshing, theater fare, which, when performed in the style of the period as it was last night, still holds and charms its audience. Produced by the UA Ex­ perimental Theater in cele­ Hindman heading the cast. bration of the Land Grant As the kidnaped heroine, Miss Centennial, this affable, well- intentioned play by William Patterson acted with utter Vaughn Moody possesses simplicity and puritanical antiquarian interest. Its piquancy, always the perfect rather obvious story brings lady “to the manner born.” Hindman gave the role of the out the conflict between the hero a muscular vigor and elegant, puritanical East and diamond - in - the - rough awk­ the rough-hewn pioneer West, wardness that made him ring and the differences which true-blue. It was his under­ arise between redemption statement and deep, well- through sack cloth and ashes varied voice that gave believ- and through goodness and ability to the melodramatic love. lines. Not enough can be said In the part of the sister for graduate - student Jon Polly, Rhea Kay brought Fritscn’s approach and stag­ much titillating humor in her ing of the play. He might love - of - romance attitudes. easily have allowed his actors Barbara Berg caught the to use the broad gestures so pinched, erect New England commonly used in melo­ flavor of the heroine’s dramas, but wisely he had mother. them read the exaggerated The work of Ronald Cox as lines with restraint and sin­ the pipe-smoking old ranch- cerity. As a result, the playhand showed good character­ was well enough done to ization and timing, slow of cover its contrivance. movement and amusingly de­ Furthermore, the sets were liberate in attitude. Also in the tradition of 1906, with noted was the vignette of the their fakish realism, complete tobacco - chewing, conniving even to one of David Belas- contractor of Scott Ross. If co’s glorious sunset skies. you want to see how the The actors gave a pleas­ good, old theater used to be, antly nostalgic performance don’t miss this pleasant bit with Mary Patterson and Earl of Americana. SELECTED BIBLIOGRAPHY

. Books and Magazine s

- Anderson, Johne . The Amerlean Theatre,; New York, 1938. ArchePi, William, Playmakln^', a Mattual of Craftsmanship, Hew York, 1928.

• ®Ai the Little Theatre," Theatre Arts Magazine, March, 1917,

Baker, George Pierce, Dramatic Techniqueo Boston, t.919. Barr,. Hash 0,, and C, H, Oaf fin.The Drama, A Quarterly . ReyleW, May, 19i1<

Barton, Lucyo Historic Costume for'the Stage, Boston, 19350

lentley, Eric, In* Search of Theatre, New York, 1955, ■ «=»=,raa==,==G=,=,o The Playwright As Thinker, Hew York, 1960,

Blum, Daniel Co A_ Pictorial History of the American Theatre» Hew • York, 1950. rr-— , ■

Boynton, Percy H, American Poetry, Hew York, 1921»

/Brisker, Herschel L» Our Theatre Today. Hew Yorko 19360 .Brown, John Mason. Broadway in Review* Hew York, 1940*

Bunyan, John0 The Pilgrim* s Progress, ed» William Vaughn Moody, Hew York,' 1897* /

Burton,.Richardo The Hew American Dramae Hew York, 1913= Review«, Bellman, November 27, 1909<>

Chinoy, Helen, and Toby Cole, Actors on Acting. Hew York, ' 195T. ' ■■ ; //; ■" '■ 7 , ' Christian Science Monitor, February 15« 1917, "Chronicle and Comment*" Anon* rev*, The Bookman, XXIV (December 1906= 1907), 331- 332= Giark, Barrett Ho The British and American Drama of Today» ' Hew Yqrkg 193 5= : ;:x' ' 1 ' \ ' ' ' : European Theories of the Drama, Hew York, i96i, : ; v V::' v. . and Mark Van Doren, ., American and British; hiteratttre Sihoe > t89Q, Sew York^ 1925, Craftsman, eember, 1909« Critic s and Critic ism, ed,., H, S= Crane,; Chicago^ I960, Dean9 Alexander, Fundamentals of Directin#, Hew York, • 1959 o ...... / d.: '

Dickinson, Thomas.H, The Case of Ameriean Drama, X ■’ .Hew York,:.1915, : X:.: ■ / '• Y X \.y XX^X X' ; -V..X Chief Contemporary Dramatists, Hew York, i9i5. : x .^: ,;.y x :;: ■ ^playwrights, of the New American Theatre, ' ' ' Hew York, 1925, pp, 134-144, ' I ; .-X' : • Downer, Alan S , . Fifty Years of the American Drama, X : Chicago, 1 9 5 1. \:xx-; x x ;:/x.x.x:,\.;:'| ,xx./.x ,, '"Drama," Anon, rey,.. The Nation, (October 21, 1909), p, 38? Duerr, Edwin, The Length and Penth of Actlnpu New York, :X X:ia62. XX ; -' /r/X ;\ .ry:9;.7xy -:V : ; v ;x;x. , X\/XX .X ;,. ■ X.

Eaton, Walter P r i c h a r d . The American Stage Today. . . : . Hew York,' 1908,. X ' X ^ X ; ™«,s,™,.™,™^ The. Drama in .English, ■ Hew York, 1950, ■

,o - Plays and Players, X.: 0ihd innat i s 191 6,

Frohman, Daniel,- Memories of a Manager, New York, 1911,

Cagey^ Edmond M , The San Francisco StaRe, X New York, 1950, Cassner, John, Masters of the Drama, New York, 1954« 0 Producing the Play, New York, 1958, :' Cllok,X: Cari^ and Aibert Me Cleary,1 ■ • Curtains Going Up, . ; XNew kork, ' 1939. : ' X " ' X’ X'^-'XnXXXX Hale $ Edward Bo, Jr„' "The Poet As: Dramatist, " Dial., November 1, 1909, pp> 330-32=. Halline, Allan Dates1 imerican Plays» New York, 1935. Hamilton, Clayton® . Studies in Statecraft„ New York, 1914®

The Theory of the Theatre® New York, 19100 Henry, David D c William Vaughn Moody0 A Study0 Boston, 1934= Hoyt, Harlowe R 0 Town Hall Tonight» Englewood Cliffs, New Jersey, 19554 ' . - • . Hughes, Dien® History of the imerlcan Theatreo New York, 1950® ■ : ' \ a=™==.=,=.rab,fc™=.0 The Story of the Theatre« New York,' 1928*

Knows, Arthur Edwin* Play Production in Jmerioa<, , New York, 19160 ■ ; : . Lessing, Oo B. "Brucken uber den Atlantik, beitrage zum Amerikanisohen und Deutsohen Delstesleben," Berlin, 1927, pp. 117-129. L 1 Illustration, April 19. 1913. Lloyds Newspaper, September 19, 1909. Lovell, John, Jr® Digests'of Great Amerioah Plays® New York, 1961o Mackay, Constance DlAroy« The Little Theatre in the United State So New York, 1917. ' ' ' ' '■ ■ : ’ ' ■ - ™~~” Mackayei Percy® The Playhouse- and the Play. New York, . 1909. ; ' : v . ' ; v . . -; ■ =.0 Uriel and Other Poems® New York, 1912«

Manlyj John Matthews, and Edith Rlckert. Bibliography of Contemporary American Literature. New York. 1QPQ„

Mantle, Burns, and Carrison P® Sherwood» The Best Plavs of 1889-1909. New York. 1944®

Best Plays of 1909-1919® ' New York, 1923. Matthews, -Brander= The Development of the Drama „ ' New York, ,1917= - Mayorga, Margaret G-o ■ 1 Short History of the American Drama . lew Yorks, 1932=,. Milne g i o i„ “it the Plays" Punch, or the London Charivari September 22, 1909» p« 215. Milton,:' John,: The -Comnlete Poeticai Works of John Milton, e&L0: William Vaughn Moody0 New York, 1924, Moody, William Vaughn, The Faith Healer, Boston, lew York, ■ 1909, , ' ■ ' ' ' : V ' ' The Fire Brin^er, lew York, 1904, = , 0 The Great Divide, lew York, 1909,

“The Introduction of the Course Into Modern Drama; in Essay,” Harvard Monthly, Gambridge, . Junes, 1892, Letters to Harriet, ed, Percy Mackaye, ' lew York, 1935. == 6= =.=.=«=-,=.=,=,0 The Masque of JudKmento Boston, 1900,

==»==.=,«= k= Poems, lew York, 1901,

„ The Poems and Plays of William Vaughn Moody, ' Boston, 1912, . : . : Selected Poems, of William Vaughn Moody, ed, Robert Morss Lbvett, Boston, 1931« Some Letters of William Vaughn Moody, ed, , Daniel Gregory Mason, lew York, 1913. ’ • ; and Robert Morss Lovett, i First View of English Literature, lew York, 1905« Morehouse, Ward, Matinee Tomorrow, Fifty Years of Our : ■ Theatre, .lew York, 1949. Morris, Lloyd, Curtain Time, Story of American Theatre, .. lew York, 1953. Moses, Montrose J, The American Dramatist, Boston, 1911= American Theatre is Seen By Its Critics, lew York, 1934.' Naglery A „ Me Sourees of Theatrical History, Hew York, 1952« Ha than, G-eorge J„ ’ Art of the Hip;ht« Hew York, 1928» "A Hew American Dramatist„" Anon, rev.. Literary.Digest, (October 30, 1906) pp. 550-552. Hew Republic, March. 3. 1917= ■ > Olson, Elder. Tragedy and- the Theory of Drama. Detroit. : 1961. ' r/; ' ' _ : ' . ' ' ' ' ■■■'. Dattee, Fred Lewis. .The Hew American Literature. Hew York, 1930.- Quinn,'; Arthur Hobsoh..' A HlstoryLof- the American -Drama. . % Frbh' th'e PeKlnninp; t o 'the; % . Hew York. 1951. ;a A History of the American Drama. From the Givil -¥ar to the Present Day. 2 vols. Hew York, 1955 =

Representative American Plays. New York., 1957 = . Reynold's Newspaper, September. .19, 1909 =

Ruhl, Arthur. "Plays of the Month," Collier's. March 9, 1907= p=21. : Sayler, Oliver M. Our American Theatre. New York, 1923. "Scenes from William Vaughn Moody’s Drama The Great Divide." Anon, rev., Current Literature. December, 1906=

Scott, Sir Walter. , .The Lay of the Last Minstrel. ' ed. William Vaughn Moody. New. York, 1900, Marmion. ed. William Vaughn Moody, New York, .1900. , ■■ :

Simonson,. Lee. = The Stage is Set. New York, 1932 =

Stanislavski, Constantin. An Actor Prepares.' Hew York, 1961 . •

Theatre, 1 9 0 6 . 7 '

Thompson. Alan Reynolds. The Anatomy of Drama. Los Angeles, 1946.

Tyrrell, Henry. "The Drama," The Forum. XXXVIII (1906.-1907), . 394-412. . ... - .VardaOs Nicholas. Stage to Scrgen. Cambridge,

'Walkups Fairfax Proudfit. Dressing the Part, K

Newspapers f ■ . N

^Brooklyn■Tiges, October 30, 1909. Chioago' American, April IT,' 1906,. / / /T

. .Chicago Evening Post, April 9,1906. Obi naao Evening Post, April 1;3,; 1906e PhiQag© Examlher, April .9, ,1906.^.; dr

Cbibagn Inter^Ocean, April 9, -1906.

. r,hina.go■ • Recopd-Herald, April 9,, 1906.,

Chicago Tribune, March 29, 1909- . . ;

; .Chicagb ■ Tribune, March . 1 1 1 191 T>; ■ Edinburgh Scotsman,, September 16, 1909. hilasgp##venii^ 909 - London Daily Express, September: 1"6:, 1909-

; hnndon hailv Mail, September 16, 1909- ; T^pri np Daily- Mirror, September 16 , 1909 - ■ .

London-Era,•September 18, 1909- " T.np/inn Evening News,- September 16, 1909-

- ■ t .bpd on Evening Standard and St . James Cazette, 1909- - • . : 1 .ondon OraPhlc; September 1 6,' :1909- . : ; T.oprinp Morning Post, September l6, 1909- .

T.npdnri Observer, September -16, 1909- /London. Fall Mall Gazette,' September 16 , 1909.

London FellOan, September 22, 1909» ; /' ; London Referee, September 19, 1909. ' * ^ London^Sketchy Bits, October 13i r909o -

London Seortlm Times, September/ 1 a, 1909, London Sportsman, September 16, 1909. / London Sunday Times, September 19, 1909* /London/iflmes, /September 16, 1909.

T.nndnn Weekly DesnatGb, September 19, 1909. / ; /Los Angeles Dally Times (late) 1908. . ■ Mew Haven Register,,September/12^'1906.

Mew York American, March 11, 1917.

'vork:Evening Host, October ^ 1906, Mew York Evening Sun, October 4^ 1906.

Maw York Herald, October 4, 1906/ .'. New York Morning Sun, October 4, 1906..

Mew York Sun, EebrnarY '23, ^>9P8^/4'v;/;/ ;•

"New York Sun, October 16, 1909; (/.///j- :ll// • New York Times, October 4, 1906./ ' / ;

Mew York Times,/February 8, 1911'. New York Tribune 1 October 4, 1906.

' . Mew.. York. Tribune , 'June ■ 3, 1 9 0 7 . /'. // // / //, '/ Maw York Tribune,' March . 11, 1917, 1

New 'York: World., October •.% 1906, ■ . • - -. Northampton Herald,/September 13, 1906.

;,Sah : Francisco .Ohrbnicle.,' October 24, i 9 0 9 r :' Westminster; gazette, September 16, 1909«