The Americans Part 11

VOICE.

(_As of a drunkard singing_)

If you was in the gutter, Bill, And I was on the roof----

VOICES.

You're going mad! You're going mad!

HARRY EGERTON.

Mother! mother!

(_Presently, about twenty feet up in the rear and on either side, faint lights begin to appear and faint sounds of music are heard.

Gradually the lights brighten a little and the sounds of music become more and more audible until one becomes conscious that on the left an orchestra is playing and to the right a piano. One also becomes conscious of a vast and beautiful hall over the floor of which, as the music plays, the forms of dancers are gliding.

Occasionally from here and there flashes a sparkle as of diamonds, and low rippling laughter is heard. In the foreground for a s.p.a.ce of twelve or fifteen feet, cut off from the main hall by the faintest outlines of an immense arch, small groups of elderly people stand about watching the dancers, or saunter right and left into the adjoining apartments. In these apartments also people are seen moving about, and there is a hum of voices as of men and women in conversation. At no time does it become very light, and all that pa.s.ses seems to pa.s.s in a dim shadow world._

_It is sufficiently light, however, to enable one to discern the grotesque richness of the hall which, as one sees at a glance, is an elaborate representation of a pine forest, the boles of the trees standing out in beautiful irregularity along the walls, the boughs above in the semi-darkness seeming to disappear in some sort of cathedral roof. There, all about, singly and in cl.u.s.ters, innumerable small globes as though the cones were illuminated.

Between the trees, also in relief and life-sized, figures of men at work getting out timber. Forward right, teams dragging logs, and, on the opposite wall, a distant view of a river with rafts floating down. Standing on stumps, huge figures support the arched doorways, of which there is one in the rear wall right, and one centre in each of the side walls. Left rear, the grand staircase with the glow of some hidden lamp s.h.i.+ning upon the landing. Here the carved scene upon the wall is that of an inclined trestle-work, with logs going up apparently into some mill above. Below, crouched upon the newel-post and the lower rail, the carved figure of a large mountain lion with a frosted light in its open mouth. Forward from the arched doorway, left, there is no wall from about four feet up, and through this open s.p.a.ce, faintly illumined by small hidden lamps, a greenness as of palms and flowers._

_The music ceases and the couples break up. Later, the piano begins again, and just inside the main hall Gladys Egerton, in low decollete and holding her skirts above her ankles, appears dancing ravis.h.i.+ngly to the music of the piano_)

FIRST LADY.

Isn't she charming!

SECOND LADY.

And that's George that's playing.

(_Holding her skirts high the girl executes a graceful high kick and there is a clapping of hands_)

MEN'S VOICES.

Bravo! bravo! Once more like that, my kitten!

THIRD LADY.

Dear, you may have my Chester!

(_Laughter_)

FOURTH LADY.

You dance superbly.

GLADYS EGERTON.

I'll take your husband.

(_Continues dancing_)

MRS. EGERTON.

Why, Gladys Egerton!

A MAN'S VOICE.

Just any time you want him, Gladys.

GLADYS EGERTON.

All right.

A MAN.

(_Appearing forward right_)

Ladies, the Governor is telling stories.

Out of politeness let's give him a crowd.

(_Some of the ladies start right, others begin to move about_)

FIFTH LADY.

She'd make a good catch.

SIXTH LADY.

Either she or George would.

THIRD LADY.

(_Calling aloud_)

Here is another! Now there are thirteen of us.

(_Laughter_)

FOURTH LADY.

There you're on my toes. Marjorie's after George.

SIXTH LADY.

Your Marge, my dear----

(_Glances in the direction of Mrs. Egerton, then whispers_)