The Devil — Ferenc Molnár
You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title : The Devil Author : Ferenc Molnár Adapter : Oliver Herford Release date : July 3, 2014 [eBook #46185] Most recently updated: October 24, 2024 Language : English Other information and formats : www.gutenberg.org/ebooks/46185 Credits : Produced by Marc D'Hooghe (Images generously made available by the Internet Archive.) *** START OF Savage) Olga and Dr. Miller (The Devil) As originally produced by HENRY W. SAVAGE at Hartford, July 6th, 1908 Staged by Robert Milton, with the assistance of Julius Herzka, Director-General of the Volks-Theatre, Vienna CAST OF CHARACTERS IN ORDER OF APPEARANCE Karl Mahler, an artist Paul McAllister Heinrich, his valet W. Chrystie Miller Mimi, his model Marion Lorne Olga Hofmann, the banker's wife Dorothy Dorr Herman Hofmann, a banker Frank Monroe The Devil (calling himself Dr. Miller) Edwin Stevens Elsa Berg, an heiress Marguerite Snow Madame Zanden Nan Lewald Madame Reineke Jane Murray Madame Schleswig Guests at the Theodosia de Cappet Madame Lassen Hofmanns' ball Tina Marshall Herr Grosser John McKee Herr Besser Arthur Hoyt Man Servant Franklin Bixby SYNOPSIS OF SCENES ACT I. —Karl Mahler's Studio, Vienna. (Afternoon.) ACT II. —Conservatory Reception Room at the Hofmanns'. (Evening.) ACT III. —At Karl's Studio. (The next morning.) STAGE DIRECTIONS Up. away from audience Down. toward audience Up C. centre of stage, away from audience R. right of stage L. left of stage C. centre of stage R. C. to right of centre L. C. to left of centre THE DEVIL ACT I SCENE .— Room next to KARL'S studio. At the back of the stage to the L. is a glass door with portière towards the stage. When this door is opened one can see the studio. Bach of the stage to the R. a fireplace with burning fire. Round the fireplace an elevation about half a yard high reaching into the middle of the room. This elevation is bordered by a wooden railing with an opening on each side—in the middle of the railing an ancient Gothic chair, with back towards the public; the back of the chair must be so high that a person sitting in it cannot be seen by the public. On the R. a door leading into the entrance hall of the apartment. There is a little invisible door covered as the rest of the room, with wall paper, on the L. near the footlights. About a yard from this door, a settee with the head end towards the glass door of the studio. Next to this settee a small, ancient table, about one yard high. On the L. a curio cabinet (small); next to it a hall stand with some shawls of different colors. On L. next the settee a large, gilded, stand-up candelabra, as used in churches. There are many sketches, framed and unframed, about the room—some statues, some heads, and a very elegant electric candelabra hanging in the middle of the room. The whole thing unharmonious but artistic. Down stage on the R. a medium-sized table littered with books, magazines and bric-à-brac; a large palette lies on the top of some books and scattered among the other things some tubes of paint and paint brushes. ( When the Curtain rises the stage is empty for a few minutes. ) KARL , comes in with hat and overcoat which he takes off Heinrich! Heinrich! [ HEINRICH , coming from studio . KARL Where were you? HEINRICH Nowhere, sir. KARL The door is wide open; anybody could have walked in. [ HEINRICH goes into the studio and comes out with a velvet house-jacket. Calling after him: Where's today's paper? [ He finds the newspaper. Well, hurry up. [ HEINRICH comes back and helps KARL put on his jacket. KARL , lights a cigarette Did you take my dress suit to be pressed? HEINRICH Yes, sir: he will bring it back in an hour. [ Starts R. KARL Good! Here's a crown. Get me a white tie, same as the last one. [ HEINRICH starts R. Hold on! Put out a dress shirt on the bed, then look for my pearl buttons—they are probably in the top drawer—in a match-box. Stop! Give me that crown. Take this. [ Gives him a bill. Get me a pair of white gloves, seven and a half. Oh! and Heinrich, before you go, put the Venetian chair next to the window. At three o'clock Mrs. Zanden will be here to have her portrait painted, and I shall be at home to nobody. [ Reclines on the settee. Give me an ash tray. [ HEINRICH gives it to him. All right; go along. HEINRICH Beg your pardon, sir— KARL , seated on couch L. What is it? HEINRICH Mimi is here. KARL Where? HEINRICH Waiting in the studio. KARL , indifferent, reading newspaper Send her away. HEINRICH , goes to the glass door Fräulein, Herr Marler does not need you today. [ Exit L. MIMI , coming in Hallo. [ KARL is silent, continues reading his paper. [ MIMI comes down L. Don't you want to work today? KARL No. [ Continues reading paper. [ HEINRICH goes into the studio. MIMI , in bad humor, crosses to C. Good-bye. [ Turns around. And tomorrow? KARL No. MIMI , sad Good-bye. ( Wipes her eyes. ) You don't love me any more ... you don't love me any more. KARL Oh! It's going to start again! MIMI Ever since last fall you've been different. I knew it right away when you started to paint landscapes. When you are in love you paint Venuses. I know what it means when you start to paint trees. KARL You're silly, Mimi. MIMI I know it. With her hat and coat on every model is silly. KARL Go home, Mimi. MIMI , goes to head of couch Yes, yes. Go home! Be a good girl. For a week now you've sent me home without my even taking my gloves off. I'm no use any more. [ Begins to cry but stops it at once. Look here: I know everything. KARL Really? MIMI [ From behind him, raises his head. Look at me! Look at me! You want to get married? Tell me No—you don't dare. KARL No. MIMI , comes to L. of him Oh, you tell me anything you want to my face; but I know you're going to m