SCENES ACT ONE Scenz I—Dr. Brooks’ Office. Scave II—Liza Ellot’s Office. (The same day.) Scans IIl—Dr. Brooks’ Offes. (The next day’) Scent IV—Liza Elliow’s Ofice. (Lat that afternoon.) ACT TWO Scene I—Lira Elliot's Office. (Late the following afternoon.) Scene II—-Dr. Brooks? Office. (Later that evening.) Scene I1l—Liza Elliot's Office. (A week late.) MUSIC ACT ONE 1. “Oh, Fabulous One in Your Ivory Tower” Liza Elliow’s Serenaders 2. “The Worl’ Inamorat” rea eel 3 “One Life w Live™ Teac ee °C of the Moment” Zarate 4 sites Like Lia” ree Caray —E-WMapleton High Choral ‘The High School Gradvatee 7. oT Is New" Randy Curis and Lisa 4B Did anything happen at that time that might have caused it? No. Nothing that I remember. I was just—depressed at the time. Everyone goes through the same thing more or less. How long would these depressions last? uma Ob, they would vary. Two days—a week, They always passed. And I would feel superb again. I am usually quite a ‘happy person. But 1 noticed, about six months ago, that my— ‘vapours—as I called them, were lasting longer and longer and ‘coming closer and doser together. There was a long unbroken stretch, I can’t quite tell you when this other thing started. It seemed to be part of the depression at first. 9a LADY IN THE DARK DR. BROOKS What about this—feeling of panic? e's just that—panic. I have moments when I realize how unreal it is—and then suddenly I am engulfed by it. 2m. mrooKs ‘Are you able to sleep at night? uma (She laughs shortly) As though I had taken ether. I've suffered for years with insomnia, but now I can sleep the days around. I suspect it’s a ind of escape, Perhaps. uma T have to struggle constantly not to sip away into sleep. 1 ‘get great waves of fatigue. I have to fight to keep awake. You've kept working? ‘Two months ago I handed in my resignation. I felt that get- ting away from everyone and everything I ever knew might be the answer. And for a week I was well—though it was a kind of wellbeing that was actually painful. The fatigue dis- appeared. I would wake up in a state of intense excitement and go through the day in such high exhilaration that it wasLADY IN THE DARK almost as hard to bear as the other thing. Then imperceptibly, the depression and the panic came back. So I've kept working. T've clung desperately to work to see me through the days— to try to steady myself. And now that’s beginning to go. ‘That's why Tm here. Something happened yesterday that—fright- ened me. DR. BROOKS, What was it? We had our usual weekly staff meeting. It's a thoroughly routine affair. The editorial staff meets weekly to discuss lay- ‘out, sgace, general policy. Next month's cover—the Easter is- sue—was up for discussion; whether it was to be the regula- | tion Easter cover or a painting of the circus. I vetoed the circus cover. Our advertising manager kept insisting on it. Suddenly I picked up a paperweight from my desk and threw it at him, Afterward, I had a spell of weeping—I can't ever remember having cried before. I couldn't stop. This may seem trivial, Dr. Brooks, but it isnt. I have always been an enormously controlled person. That’s why this—frightens me, DR. BROOKS How long have you been with the magazine? uaza ‘Twelve years. DR. BROOKS. You've been editor for ten?LADY IN THE DARK uma Yes. Dk. BRooKs ‘What did you do before that? College. A year or two abroad. Free-lance articles. Nothing. very exciting, The magazine was my idea, You started it? Kendall Nesbitt, the publisher, backed it for me. (A slight pause) Ws ridiculous for me to be schoolgirlish about this. Mr. Nesbitt and I have been living together for a good many years, His wife refuses to divorce him. How do you feel about that? 1 10 longer think about it. We are quite happy together. Our arrangement is a very agreeable one. (Impatiently) I've told you there's nothing strange in my life. I's a good deal more ‘normal and successful than most. I've come to you because I know I am completely healthy in all other respects and this seems to be the only method of treating this illness. Can you ‘help me? BR. BROOKS 1 don't know.LADY IN THE DARK ua ‘Whit does that mean? Irs a little more complicated than my just saying “Yes.” I don't know. It would be wrong for me to suggest that I ‘know what your difficulty is, or how to help you. I can only advise that you embark upon a trial analysis—for a month, let us say. At the end of that time I should have enough data to at least make an honest diagnosis, and you, perhaps, may have ‘a more complete picture of the essential trouble. Isce. A month. (She hesitates) Very well. I can start next 4 ‘Tuesday. I think you should start immediately. Now? Yes, uma T couldn't, We go to press day after tomorrow. I coulda’t possibly spare the time. I've had to steal even this time. DR. BROOKS ‘Nevertheless, think it quite important that you begin now. 3LADY IN THE DARK nama I'm sorry. I can't, ‘DR, BROOKS (Gently) T'm afraid you'll have to find someone else, then. (Staring at hin for a moment. Angrily) Why is this suddenly so urgent? T happen to think it is. If you do not feel you cam trust me to know, then I think it wiser to go to someone else. I'm sorry, Miss Elliot. (There is a pause.) Alll right. (She looks uncertainly about) You want me to— start now? DR. BROOKS ‘Yes It’s a simple procedure. It may even seem a little foolish to you, Just remove your hat, lie down on the couch, and speak any of the thoughts that come into your mind. Any- thing at all, (A pause) You will gt into your beard meanwhile, I trust. % iin, Aper N q LADY IN THE DARK (Smiling) Yes. Just throw your hat on the chair. (She hesitates, then tosses her hat onto the chair, and goes quickly to the couch and lies down. There is a long pause) 1 ar listening. (Another pause, Then:) How curious—how very curious! Out of all the millions of litde pieces of which my life is made up, one silly litle thing keeps going round and round in my mind. It’s the first thought I had and it keeps turning. What is it? Tes a song—some little song I knew as a child. What are the words of the song? T don’t even remember them. Just a word here and there. DR. BROOKS Have you ever thought of the song before? Yes, 5 accilLADY-IN THE DARK DR. BROOKS “When was that? (Ob, various times. It’s a little childhood song. But when did you think of it? At what times? 1 don't know exactly. When I'm depressed, usually. Or when this feling of panic hits me. I seem to remember it then, When did you think of it last? Last night. I knew I was coming here this morning—and it frightened me. The song kept running through my head. ‘Over and over. Then I fell asleep—and the song was in the dream, too. Now that I think of it, the song is always there when I dream. It changes—but the music is always there. What was the dream? Tye forgotten it. Try to remember it I don't think I can, Tt was one of those confused, fantastic 16LADY IN THE DARK dreams. I knew the people—they were the people I see every day—and yet they were not the people I knew at all, (Her hands {goto her eyes and cover them) I can't remember it. How did it begin? With the song. DR, BROOKS Hum what you remember ofthe song. It doesn’t matte about the words, Just hum the music (There is « pause. Then softly, usta begins to hum the song. The lights dim.) + efoin RR ye (As the music swells, twelve men in faultless evening clothes, carrying lyres, march on. One carries a sign: “New York Chapter—trza exuiort Admirers." Itis early evening on Park Avenue.) ‘We come to serenade the lovely lady we adore. ‘She occupies the seventeenth to twenty-second floor. + Copyright, 15485 by Chappell & Coy Inca New York City, Internation copyright setied All rs reserved including pli performances for rot. ‘Ray srasgement or putin of this compesion without the constnt Of he ‘Owner ia dniogement of eopycght. 0LADY IN THE DARK (Our lady s0 seraphic May not be very near us, And with the sound of traffic ‘She may not even hear us— But love is wrong without a song, so, now as heretofore, We come to serenade the lovely lady we adore. THE LEADER Oh, Fabulous One in your ivory tower— Your radiance I fain would see! ‘What Mélisande was to Pelléas, ‘Are you tome... Oh, Fabulous One in your ivory tower— ‘My heart and I, they both agree: ‘Whit Juliet was to Romeo ‘Are you to me. . What Beatrice was to Dante . What Guinevere was to Lancelot ‘What Brunhilde was to Siegfried What Pocahontas was to Captain Smith . .. What Martha was to Washington ‘What Butterfly was to Pinkerton . .. ‘What Calamity Jane was to Buffalo Bill... ‘What Carmen was to Don José ‘Are you to me. . 8| etl LADY IN THE DARK Oh, Fabulous One in your ivory tower— Oh, Sweet! This is no potpourri! ‘What Mélisande was to Pelléas ‘Are you to mel (The music continues as surt0x, @ maid,slater to be identified as sss FosrER, L12A’s secretary, appears.) T'm Miss Elliot’s maid. Gentlemen, I'n afraid ‘Your loyalty we must be testing. ‘She cannot be seen. She's resting. But she wishes to thank you all for the serenade, Give the lady above ‘Salutations and love Advise her we leave in sweet sorrow But that we return en the morrow With our nightly serenade. (Leaving, they wave to the apartment above) Ea “Who occupies the seventeenth to twenty-second floor. 9 night we serenade the lovely lady we adoreB LADY IN THE DARK (As they leave, the apartment entrance disappears and | ready, The color theme i Bue. Doorbell rings.) Come in. in | (oy enters, carrying package.) A package for Miss Elli Put it on the table. (She points upstage) What is it? | ‘A coat of sable. (He dances upstage and dissppears. Bell rings.) Come in, A tall, distinguished man, in top hat and beribboned gt P iff shirt, enters, followed by a Zouave carrying an enor- mous rose whose cellophaned stem in at least fifteen feet Jong.) A flower for Miss Elliott j ‘Tribute to her splendor— 1 From His Royal Highness, ‘The French Pretender! 20LADY IN THE DARK (They salute as swrron curtsies; then she points up- stage in which direction they both dance off, #0 same step as boy, and diseppoar, Bell rings.) surron Yes? (weeKaan, later to be identified as nusseit raxtox, the Photographer of Allure, now appears as a chauffeur in 4 brights yellow uniform.) Good evening, Beekman, ‘Good evening, Sutton, (Looks at clothes strewn about) Ak, I see a touch of blue. She wears it as it’s worn by few. (They sing ecstatically:) When asin silks our Liza goes ‘Then, then, methinks how sweetly flows ‘The liquefaction of her clothes— | ‘The liquefaction of her clothes. A delicate poem by Herrick— , BERMAN | ‘Bus, surely, heavier chan a derrick 2LADY IN THE DARK » glamorous ‘Compared to our Miss Liza—she’s 80 ‘Hammacher Schlam- She makes all other women appear (He looks at his wrist watch) ‘A thousand pardons—I must quit the scene T must be off to perfume the gasoline. (He dances off. The music swells again, tis time in a romantic, glamorous mood, and ui2a appears. Her hair is now red.) Good evening, Se God esing Mix Bis | ‘Are there any messages? | / | | =m | Quite a number. (From dressing table surtow takes an are sortment of letters, cables, telegrams, etc.) Huxley wants to dedicate his book to you ‘And Stravinsky his latest sonata. Seven thousand students say they look to you ‘Tu be at the YaleHarvard Regatta. “Epstein says you simply have to pose for him. key to the Island of Tobago. aLADY IN THE DARK Du Pont wants you wearing the new hose for him, Can you christen a battleship in San Diego? (Dreamily) Housley wants to dedicate his book: to me, (surton finds another cable.) Shostakovitcl his latest cantata, Seven thousand students say they look to me To be at the Yale-Harvard Regatta. Oh, how lovely to be you! How splendid! But it only is your due. This must never be ended! Epstein says I simply have to pose for him... « No refusing these artistic whtimatal BLADY IN THE DARK Du Pont wants me wearing the new hose for him, Oh, how thrilling to be the world’s inamoratal Oh, how thrilling to be the world’s inamoratal You never looked lovelier, Miss Elliott. “Thank you, Sutton, (sttss FoRsYTHE, the secretary, enters) ‘And what are my engagements, Miss Forsythe? (The “Huxley” melody now becomes a Viennese waltz.) (From notebook) Dinner at the Seventh Heaven. With the Maharajah and those two handsome men from Texas. ‘Toscanini broadcast. told the Maestro V'd drop in for half an hour or so, [Miss FORSYTHE Party at the Harrimans’. Saroyan promises to write a play in front of us. 4LADY IN THE DARK Skyscraper Room. ‘Ah, yes. Sacheveral and I are reviving the cake-walk. ‘That's all I have here, Till probably motor to Bear Mountain to sce the sun rise, You needn't wait up. Good night. surton and ass rorsvrHe Good night, Miss Elliot. (As lights dim down, waltz emerges fortissimo, wien is seen waltzing in spotlight until weexsman is discovered, He is now in a blue uniform, standing at attention, beside a glittering car, The music stops.) I learned it would be blue tonight. So I'm driving the blue Duesenberg with the blue license plates and I've put the blue Picasso in the car. Very thoughtful, Beekman, (Music starts as weEKMAN opens door of car. .124 enters.) Where to, Miss Elliott? 5LADY IN THE DARK That new night club. The Seventh Heaven! (serxstan starts car. Green light. Then red light. Brakes) Where are we, Beekman? Columbus Circe. Would you get me my blue soap box, please? 1 want to make a speech. (The car is pulled to one side, red light dims. BEEKMAN jump: out of car, opens door for her. t1za-gets on soap box, and gestures to the crowd.) ‘There are many minds in circulation Believing in reincarnation, In me you see | One who doesn't agree. | Challenging possible affronts, Tbeliev: Til only live once | And I want to make the most of it; TE there's a party I want to be the host of its IE there's a haunted house I want to be the ghost ofits If T'm in town I want to be the toast of it | Refrain | T say to me ev'ry morning: You' | So why be done in? Let’s let the sun in only one life to live, And gloom can jump in the riv'lLADY IN THF DARK No use to beat on the doldrums— Let's be imaginative Each day is numbeced— No good when slumbered With only one life to live. Why let the goblins upset you? One smile and see how they run! And what does worrying net you? Nothing! ‘The thing Is to have fun! All this may sound kind of hackneyed Bur it’s the best I can give. ‘Soon comes December So, please remember ‘You've only one life to live— Just one life to live. She says to her evry morning She's only one life to live. So why be done in? Let's let the sun in ‘And gloom can jump in the riv'! ‘What you collect at the grindstone Becomes a millstone in time, "LADY IN THE DARK This is my thesis: ‘Why go to pieces? Step out while you're in your prime. (They dance back into car. Green traffic light. Sud- denly the Seventh Heaven appears. Couples are danc- ing. wt makes an entrance, wEKMAN in attendance ‘carrying her coat. wremnt, the head waiter, later to be identified as weNpALL. NesBITT, rushes t0 Liz.) Words fail me, My litle establishment which, I flatter my- self isthe world’s most exclusive night club since Louis the Fourteenth ran Le Petit Trianon, is only in the smallest degree worthy of your presence. ‘You are sweet, Pierre. \ PIERRE {Clapping for attention) ‘Miss Liza Elliot! (AIL turn 10 her. in waves a greeting) Gentlemen—a toast! The toast! The toast of toasts! Liza Eliow! Hip, hip! Hip, sip! Liza Elliott! 8LADY IN THE DARK "Gi of THE Monewx” nenx (Oh, girl of die moment With the smile of the day And the charm of the week ‘And the grace of the month ‘And the looks of the year— ‘Oh, giel of the moment, You're my moment Evry moment of the time. BEEKMAN Oh, girl of the moment With the light in your eyes And the sun in your hair ‘And the rose in your cheeks ‘And the laugh in your voice— Oh, girl of che moment, Ina moment You could make my life sublime. In all my flights of fancy Your image I drew— Took at you and can see “That fancy come true, Oh, girl of the moment ‘With the smile of the day 9LADY IN THE DARK And the charm of the week ‘And the grace of the month And the looks of the year— Oh, girl of the moment, You're my moment : Evry time! | (Suddenly, « bugle call is heard. AUt stop dancing, lis h ten; nothing heppens—they shrug their shoulders and resume dancing. This time the call is louder. Then on march a soutes, sar.on and a manmse. The seanine is i later to be identified as cuaxusx jouNson, advertising manager of Alluce.) Oh, goodness, oh, gracious! Our minds are capacious J But what in the world does this mean? \\ Although we are partial | ‘To men that are ma } What reason brings you on the scene? I bring a message for Miss Liza Elliot From? The President of the United States, EdLADY IN THE DARK ‘Ob, goodness, oh, gracious! ‘Our minds are eapacious But what in the world does this mean? Direct from the White House ‘He calls at the night house! ‘One cannot say this is routine! ua, And? ‘The President requests. uma ‘Yes? ‘That for the National unity . . . za Yes? For the furtherance of good will . .. za Yes? ‘And for the advancement of cultural and artistic achieve- ment... 3LADY IN THE DARK (rie crown can wait no longer.) ENSENRLE Yes? Your portrait be painted and your likeness used on the new ewo-cent stamp. How really lovely! ‘Oh, how thrilled she ought to be! ‘At that, there’s none so fair as she, ua ‘Who is to paint me~and where? ‘Tam to paint you-and here, (uiza acquiesces. The soldiers’ guns become legs of an easel, A thronelike chair is brought on for Lxzs. MARINE ‘poses her. Stans to paint her. AU this to the first half of “Girl of the Moment” which, from the instant uxza has nodded her acceptance to pose, has become an oratorio with Bachelike harmonies. There is a second's silence at conclusion of singing.) I's finished, The portrait is painted! BLADY IN THE DARK Of beauty untainted ‘The portrait is painted— ‘The portrait the nation awaits. Ob, please, sir—unveil it! ‘And when can we mail it ‘To friends in the forty-eight States? Is it Impressionistic? Or is it American Primitive? This work of art he’s done, 1s it Pointillistic? Is it Surrealistic? Or is it a W-P.Acish one? OF beauty untainted ‘The portrait is painted— ‘The portrait the nation awaits. | Ob, please, sir, unveil it, ‘And when can we mail it, ‘And when can we mail it, ‘And when can we ma it, And when can we mail it, ‘And when can we mail it To friends in the forty-eight States? Ladies and gentlemen—my little establishment tonight be- comes a shrine of historic importance. 33LADY IN THE DARK “The portrait painted on these premises promises to produce «popular period of peace and prosperity which probably will bie prolonged to perpetuity Oh, how thrilled she ought to bel ‘At that, there’s none so fair as she. (The portrait is unveiled. Ue is not flattering. Iti vita as she appeared in the doctor's office —wustere, some what forbidding, entirely without glamor. She looks at it fora few tense seconds, sreams, slaps the face ofits ‘creator, throws herself on the thronedike chair and hides her Jace. The crowd is at first perplexed, then becomes cynical) Ic looks like Lizal Buc is it Liza? ‘The looks of Liza— ‘The size o' Li But if it's Liza Why is Liza So un-Lizalike? 4LADY IN THE DARK I painted Lizal Ir must be Liza! ‘The looks of Liza— The size o' Liza— au Ti she is Liza (Pointing to portrait) And she is Liza (Pointing to 122s) What is Liza really ike? What is Liza really like? What is Liza really like? (Imperceptibly this rhythm becomes that of “Girl of the Moment” which now is traced orchestrally as a wild bolero. All sing accusingly and, later, in the wild, semi- Ballet formations encircling uss, they point at her scornfully and laugh mockingly.) Oh, girl of the moment ‘With the smile of the day ‘And the charm of the week And the grace of the month ‘And the looks of the year— Oh, girl of the moment, Ev'ry moment ‘Was a waste of precious time! 5LADY IN ‘THE DARK Oh, giel of the moment With the light in your eyes ‘And the sun in your hair ‘And the rose in your cheeks ‘And the laugh in your voice— Ob, giel of the moment, From this moment . To the heights no mote you'll climb. ‘My dreams are torn asunder. Your image I drew. 1 see you now and wonder ‘What I saw in you. Oh, girl of the moment With the smile of the day ‘And the charm of the week ‘And the grace of the month ‘And the looks of the year— ‘Oh, girl of the moment, Where's the gict ‘That was sublime? (Now all Become “frozen” as the lights start to dim down. The whirling light effect with which the dream began is again introduced and after a crescendo in the orchestra we are in the doctor's office. As the lights come up again, Lita is on the couch.) 6LADY IN THE DARK ‘You scem to have remembered a great deal of the dream. Yes, Da. BROOKS Did anything about the dream strike you as very strange? ‘Why—only that it seems incredible—when I think of it in relation to myself. Yes, but you dreamed it. No one else did. You did, Fantas- tic as it may seem, it came from you. And a dream, you know, is merely a daydream at night. Doesn't it strike you as strange, Miss Elliott, that in your fantasy you are the com- plete opposite of your realistic self? 1 don't know what you mean. Dn. BROOKS ‘Well, in realty, you are obviously a woman who cares very litde for any of the feminine adornments most women use to enhance their attractiveness. In reality, you go to the op- posite extreme—almost to the point of severity. Not only in dress, but in any form of rather innocent womanly. guil Yet, in your dream, the very opposite is true. In your fantasy ‘you are the epitome of the glamorous woman—a woman using aLADY IN THE DARK her femininity as a lure to all men—an cuchautress. Doesnt it strike you as curious, too, that you, who have rejected beauty for yourself, in reality, at least, should spend all your days, in fact, dedicate your life to the task of telling other women how to be beautiful? That is the function of your magazine, isn’t it? (Slowly) Yes—yes, that's true. What docs it mean? DR, BROOKS | I don't know. Perhaps we shall find out. (He rises) ‘That ‘will be all. Tomorrow at twelvesfteen. (asta rises from the couch and slowly takes her hat from 7 the chair. She looks at him for a moment, starts to speak, then checks herself.) za i Good day. i DDR. BROOKS Good day, Miss Elliot | (Ske walks quickly 0 the door and goes out.) Curtain |ACT ONE Scene II urzn's office. A large oat-paneled room, done in the Georgian manner. It is an impresive room, as befits the edizor of the most success ful woman's magazine in the country. It is not, however, a feminine room. The desk is a man's desk, the chairs large and heavy, the curtains severe, The office is empty at the moment, except for a lifesize dummy whieh stands almost in the center of the room, mag- nificenily clothed in full evening dress, and looking astonish- ingly like Greta Garbo. sss Fosrer, L12A’s secretary, a young girl of about twenty-five and very pretty, comes in from the ‘outer office end places some opened letters on the desk. The telephone rings. ss FOSTER Hello? No, this is Miss Foster. Put him on. Hello. No, Mr. Nesbitt she hasn’t come in yet. Just a moment. (She glances dows at a book on the desk) She has several office appointments and a luncheon engagement. Yes, Mr. Nesbitt, Til tell her. (She hangs up and makes a notation on the desk- pad. A tall, beautiful, willowy Blonde girl looks in through the doorway. She has a manner that stamps her immediately for what she is: the receptionist for the stream of celebrities who 39#s alone—then rusher over to her (Breathlessly) Elinor—did you get @ look at him? LADY IN THE DARK ‘pass through the offices of Allure. She makes sure sass rosren Randy Curtis? Yes, No, damn it, I was upstairs. | ‘Oh, God—that’s all—oh, God! Something, ch? SS STEVENS (Fervently) ‘The most beautiful hunk of man I've ever seen! Russell promised me I could sneak into the studio and stand in te back while he was taking the pictures. Dama! wish Miss Elliot would get here! Listen, He came to the reception desk and I was looking up 9LADY IN THE DARK 4 number in the telephone book, and he ssi, “I'm supposed to have my picture taken,” and of course that voce went through me like a pound of cocaine. Then I looked up—and I was a dead pigeon. (Reverensly) Elinor, you've never seen anything like ittake my word. Gseaccis cxawr strolls in. A good-looking woman in her early fortes. A little on the aciduleus side so far as umor goes, but « luty, earthy lady.) acorE Miss Elliott not in yer? MISS FosteR No. She's going to be awfully late forall her appointments, Miss srevens (Suill starry-eyed) ‘Miss Grant, did you get a look at Randy Curtis? deacons A fleeting eyeful, Not bad, Mass STEVENS (Outraged) ‘Not bad! Have you ever scen anything beter? encore Tm an older woman, gils. I know what gives me indiges- tion now. Give up, dear. Even if you could have it, it’s poison, aLADY IN THE DARK Diss STEVENS It’s a lovely way to dic, though. Oh, well. I con always see him in the movies, anyway. (She starts out, then stops as she passes the dummy) We featuring this in the next issue, Miss Grant? MacotE ‘Yes, if Miss Elliott okays it. (She circles around the dummy) Sometimes I think that Schiaparelli does 2 good deal of her designing at Wuthering Heights, (uiza comes briskly in, murmurs a "Good morning," and makes straight for her desk, tossing off her hat az she goes. She glances quickly at her watch, then down at the appointment pad.) Just tell me who's waiting, Miss Foster. T want to speak to Miss Grant frst mss FOSTER Mr, Johnson, the printers, Mr. Adams. Mr. Nesbitt has been trying to reach you. He’s coming in to see you. I tald him you had a luncheon engagement. He said to please wait for him, urea All right. Ill see Mr. Johnson in a few minutes—the others will have to wait. Send Mr. Nesbitt in when he comes, Close the door please. (She ruffles through the letters on her desk for a moment as sss srevexs and Miss FOSTER go out. Then ‘she looks up at score.) gLADY IN THE DARK Macor® (Regarding her for a moment) Been to see the Wizard of Oz? uaa Yer. agate ‘What did he say? He didn’t know what was the matter with me. (Plumping down into a chair) Say, [could tell ou that—at twenty dollars an hour! Tes going to be a slow process, Maggie. MAoGIE Sure—it mustn't be too quick at twenty bucks a throw. ‘What's it like—what does he do? He doesn't do anything. Ob, isn't that nice. He doesn’t do anything. What do you do? 8LADY IN THE DARK ay Just lie on a couch and talk. He listens. I's quite amazing, >aneote Amazing? I've been doing that free for years. You get paid for it now, huh? za (Tiredly) All right, Maggie. MacorE T'm sorry. (She gets up and comes over to her) 1 know you're having a tough time, Liza, bur this seenss such a strange thing for you to be doing—i’s so unlike you. I know that ‘other people do it—but I wish you weren't. Digging down into yourself and bringing up stuff that'll frighten the hell out of you. God, I could give him an earful. Te got to try it, anyway. MacctE Bad night? uta Ghasly. How do you feel now? ua, ‘A little better. I liked Dr. Brooks. Yes, I liked him—and T came away feeling a little steadier. At least I could talk 4LADY IN THE DARK to him about the unreality of this, and he understood. That was a great deal. (She lights a cigarette and pufls thoughtfully for a moment) He told me something at the end of the hour that staggered me. About yourself? aaa, Yes. acer ‘Uh-huh. Well, I hope it works—God knows, I hope it works. But it would be awfully hard to make me believe that the reason I can't stand artichokes is because my mother put me ‘on the pottie wrong when I was two years old. (The door flies open and auisox pu voxs rushes in under full steam. A woman who could be any age between thirty and fifty, and positively alive with costume jew- elry, She is actually as American as Appleton, Wis- ‘consin, but there is nothing on the Rue de la Paix quite as French as iss ov nots.) ‘usoN Liza, darling, forgive me—but I do want a moment. I want you to hear this, and please don’t stick it in the back of the ‘magazine with the girdle ads. It's too chic! Isn't it, Maggie? T read it to Maggie this morning. Listen to it, darling, it will only take a moment to get the idea. It’s very French— very gay! It’s called “Why Not.” (She reads from a typewrit- ten page in her hand) “Why not save your champagne corks 6LADY IN THE DARK and use them to tie back the curtains on your sun porch? They'll look lovely against the delphiniums! Why not take your old sable coat and make it into a play-rug for Junior? Babies love sable. Why not melt down your old silver service into a Kleenex receptacle for the boudoir? It will look stun- ning beside those new square bathtubs. Why not take your ‘old dog leashes and turn them into a tie-racx for Dad Why not take your old babies and turn them into a chan- delier? They'll look lovely in the new game room! auisow Now, Maggie, dear, you know what fun you made of my “Have You Tried Doing,” idea, and it was sensational. Liza, darling, don’t you think it’s a chic idee? You will use it, won't you? uaza Leave it here, Alison—I'll read it over. ‘Au1soN (Handing the papers to wea) Were either of you at the opening last night? Such a chic play! Omar Kiam did the clothes. Lovely. The play itself was dreadful, but chic. (4s she passes the dummy on her way out) A new Schiaparelli, isn't it? I loathe it. Hello, Russell, darling! (This last is tossed over her shoulder to a flaxen- haired young man who is just entering as she zoes out. RUSSELL. Paxton is the staf} photographer—the Cecil Beaton of Allure. 46LADY IN THE DARK He is sill in hs early twenties, but very Old World in man- ‘ner and mildly effeminate in a rather charming fashion.) (Hysterical, as usual) Girls, he's Godlike! T've taken pictures of beautiful men, ‘but this one is the end—the end! He's got a face that would mek in your mouth. . . . Liza, you've got to entertain him for a few momen's. He asked to see you. I want to do one pic- ture of him in color as Captain of the Coldstream Guards, and the damn costume hasn't arrived. He’s been sitting in the studio for the last half hour in a cowboy outfit. Maggie, did ‘you see him? Is he a creature out of this world or not? Liza, be charming to him—he's waited around like a perfect angel. ‘He's heaven. (He rushes out) (Laconically) What was all that? Randy Curis uma Ob, yes, of course, ‘The whole offce is in an uproar. (There is a knock at the door.) Come in. 7LADY IN THE DARK (cuanuer sounson saunters into the room, his hat on the back of his hecd, a topcoat slung over his arm, tail- jing on the floor. He looks and is slightly hung-over. In his rather dissipated face, there are still the remains of great good look:. To people who go for him, cuamey is the charmer of the world.) couaney ‘Think you'll get to me before lunch, Boss Lady? za Would you mind waiting 2 minute, Johnson? I've got to meet Mr. Curtis. I wor't keep you long. Stay right here. ccuARLEY ‘Thank you, Boss Lady. (He strolls over to stacott) Want a wet kiss? Macore (Holding him off) Get away from me, Charley—you reck of hangover. counmsy You're so right. (He strolls over to the dummy and lifts up the skirt) Good moming. (The door opens and ussein comes in, navoY cuRTis in tow. wun. conmis is indeed Godlike—even the cowboy outfit he is sheepishly wearing at the moment cannot detract from his overwhelming good looks. If anything, | gLADY IN THE DARK it adds 10 them. Tall, bronzed, sandy-haired, he is every woman's notion of what a good-looking man should be. There is none of the movie “pretty-boy” about him. He is rugged, powerful, and as sass sravews so aptly phrased it, a beautiful hunk of man.) UsseL. (As though he were pronouncing a benediction) Mr. Randy Curtis. ua (Coming forward) How do you do, Mr. Curtis? I'm Liza Elliott. This is Margaret Grant, our fashion editor. And Mr. Johnson, our advertising manager. (The others murmur how-do-you-do't) ‘Thank you so much for posing for us, Pd Glad to. Mr, Paxton said it was all right to come in here way—I feel 1 ought to be leading a horse. (Ruefully) Movie actors have to do the goddamnedest things! za (Smiting) Wee fairly used to strange getups, Mr. Curtis—this is a fashion magazine. Please sit down, RUSSELL Good God, no! Those pants just button! They sent over the wrong size. 9LL | i LADY IN THE DARK denoate | (Laughing) You're having a helluva day, aren't you, Mr. Curtis? Ob, nothing fazes me any more—that mob nearly tore the | trousers right off me in Grand Central Station when I got in ast week, It was awful, j RUSSELL ‘They adore him! They absolutely worship him! uaza How long are you to be in New York for, Mr. Curtis? RANDY T'm going back this afternoon. T only had a week between pictures. (He smiles at her) You don't remember me, do you, Miss Elliott? You know, we've met before. No! Really? I'm awfully sorry. When? Where was it? (Oh, that’s all right. It was just at dinner. But we had quite a talk afterwards. Oh, dear, Please forgive me—I've got a wretched memory. Where was it? 50LADY IN THE DARK ‘At Mrs. Brackett’s—about a year ago. I took you home, in } fac. Don't you remember that? We sat in the car talking. 2S ua ‘Of course, of course! How etupid of mel Want to take me home some night, Mr. Curtis? [1 re- member it! 1 do this all the time! Can we have a drink together before you leave? How awful of me not to remember! RANDY Say, it doesn't matter at all—I shouldn't have mentioned it. Please don't think twice about it. I love to have that drink with you, but T can't, The Century Ieaves at four and I've ‘got to get back to the hotel and do some last-minute pack- ing. Well have it next time I'm in town. ums Please do, Perhaps we can make it dinner, | (Suddenly coming forward) | May I have your autograph, Mr. Curtis? St i |LADY IN THE DARK RANDY, (Taken aback) Why—why . . . (He looks at cuantsx) Say, you're kidding, aren't you? cuansy (Witeeyed and innocent) Ob, no. I collect autographs of all the movie stars. I have them all in a big book and on rainy days I look at them, asset (Under his breath—furious) Realty! county (Pushing @ piece of paper and pencil at him) Please? saNDY (Embarrassed. Gruffty) Okay. (ous stavens, at her most willowy, drapes herself in the doorway.) Ss STEVENS ‘That costume has arrived, Mr. Paxton. (Her eyes devour this extra glimpse of her hero.) UssELL (Taking saxoy by the arm) Come on, duck. Color photos take a long time. (He grabs zu LADY IN THE DARK the paper and pencit out of raxvy’s hands and tosses them at ‘cuaner) Pay no attention to this one—he's just too funny for words! Really! ig (Being hurried out by wossex.—calling over his shoulder) Good-bye. Good-bye, Miss Elliot (The door closes.) Honestly, Charley, what a stinker you are! What did you do that for? I dunno, Maggie. Sometimes I think there's a devil in me. Ob, stop being a pixie, Charley—you're getting a little too old for it. You gota lunch date, Lica? Yes, you have—I know. Tl see you later. (She motions to the dummy as she crosses 10 the door) What about “Murder in the Rue Morgue”—are wwe going to use it? uz, Yes. >ancots Okay, Tl have it sent down to Russell, (‘She goes out, There 4s a litte silence after the door closes. cxanssy stands facing sua, whistling through his teeth—an off-ey, indiscriminate stune. Finally:) 53LADY IN THE DARK za, T know no way of phrasing an apology for the inexcusable. For me to apologize to you now wotld serve no purpose ex- cept to give me some personal satisfction, and I think my behaviour yesterday was such that Iam not entitled to any. (4 pause.) HARLEY May I keep the paperweight? (He takes a paperweight out ‘of his pocket asd tosses it up and down in the air) Maybe 1 can tell the litle ones some day what Grandpa was doing ‘during the Second World War. Or do you think you'll want to ‘throw it at somebody else? uu (Angry) ‘That will be all, Johnson. We won't discuss it any further. (Chere isa knack atthe door) Come in, (Two ovrice novs enter.) ‘Miss Grant told us to take this model down to the studio, Miss Elliott. Yes. Tell Mr. Paxton it’s to be a two-page spread in color. 4LADY IN THE DARK (The ortice novs carry the dummy out. uiza waits is- patiently until they are gone.) ura Was there something you wanted to say to me, Johnson? Y'm very busy—and not in an antic mood. (He looks at her—then suddenly bursts into laughter) You kill me, Boss Lady. za, (Slamming the paper-cutter she has been toying with down on the desk) Look here, Johnson. I don’t like you. I never have. Your so-called charm has always eluded me, and I am repelled by what you consider amusing, such as that litle episode with Mr. Curtis just now. You're here because you're excellent at your jeb and T have never allowed my personal dislikes to in- terfere with the magazine. (The telephone rings) Yes? Send him right in. (She hangs up and walks over to the fireplace, ‘her back t0 youxsos)) Suppose in the future you confine your remarks to your work. If you don’t think you can do that pperlaps you can make a pleasanter arrangement elsewhere, canter My, my! (He whistles shortly, that irritating shrough-the- ‘teeth whistle) Well, good morning. 5 aLADY IN THE DARK za Good morning. (He starts out as the door opens and KENDALL, NESBITE enters.) eso ‘Morning, Johnson. cuamey Morning, Be careful. ‘Veacher’s mad! (He goes our. wesoirr Looks after him for « moment, then crosses to uxza and takes her in his arms.) wesorrt (Kissing her fondly) Hello, darling. Feeling any better? A lite. Anything wrong, Kendall? (He shakes his head. xasons. wesorrt is a young fifty A pleasant rich man's life has given him a polish that he wears with becoming elegance. He is gray in just the right places and beautifully turned out, but his face, while a handsome one, has a soft, weak quality.) KENDALL (Running his hand over her hair) Did you sce Brooks this morning? uta ‘Yes. 56LADY IN THE DARK KENDALL Well? uma He didn’t say much. I'm going to try it for a month, KENDALL T don'e think you'll have to, darling. What do you mean? KENDALL 1 think I've found the solution. (He kisses her again) Tve been so worried about you, Liza—more than I ever let you know. (Disengaging herself) ‘What are you trying to tell me, Kendall? KENDALL, Listen. . (He takes her hand and draws her over to the sofa and down beside him) 1 think the trouble is—us! za (Looking at him for a long moment) T don't understand. KENDALL Yes, you do. Liza, we did the best we could under the cit- cumstances. It seemed at the time to be a civilized, adult 7LADY IN THE DARK way of handling an impossible situation, didn't it? For both of us, But it never works out in the end, Liza. Someone al- ways suffers in a setup of this kind and usually it's the ‘woman, Somehow—I don't know why—it's different for a man, but 2 woman can have no sense of fulfillment—no real peace and serenity as a woman, living out her life this way. T think that's what's been eating away at you. (He draws her closer to him) Thad a long talk with Kate last ni We're much better friends now. (He turns her toward him) She's agreed to give me a divorce. At last, Lizal (Calteringly) Oh... ENoaLL She’s going to Mexico next week, We discussed the setle- ment in detail this morning. (He shakes his head ruefully) Kate drives a hard bargain. She gets everything but the kitehen stove, practically. I don’t mind much. It’s worth it. (He Be- comes suddenly conscious that she isn’s listening) Liza—what's the matter? This is what we've always wanted, isn’t it? uma Yes. . .. Yes, of course, Kendall. (Her hands go to her eyes) What is the matter with me... ? KENDALL Liza, for God's sake, will you get out of this office and go home? Why do you keep driving yourself when you're not 8LADY IN THE DARK well? Maggie can get out the magazine—~you know very well she can. Why do you persist in this “show-must goon” none sense, when you're ill! 2a Its bewer for me here—really itis. Kendall, come to dinner ronight. We can talk then, I don't like the way you look. Let me take you home now. Please, Kendall! I know what's best for me. Just let me alone for a moment. (sass reste opens the door and stands in the door- way.) 28s Fostex Will you see Mr. Curtis, Miss Elliott? za Mr, Curtis? Why—yes ... ‘Will you come in, Mr, Curtis? (sanvy comes in. He wears a conservative dark business suis now.) 39LADY IN THE DARK RANDY Ob, Tm sorry. T+ zy “That's quite allright. This is Kendall Nesbitt, Randy Cur- fis, (They exchange how-do-youcdo's:) RANDY, Why-—er—I just had a call from the Coast. The shooting date has been postponed and I'm here for another thtce days. J-er—wondered if we could have dinner tonight. uaa ‘Oh, I'm sorry. I can't tenight, RANDY, ‘Tomorrow night? Tomorrow night—tomorrow night. Yes. Certainly. Td be delighted. (She nervously lights a cigarette) Would you mind picking me up here, Mr. Curtis? About seven-thirty? We're ‘going to press and I'll be working up to the last minute, RANDY. Not at all. 'm glad you can make it. (There is an awkward Tittle silence) Well—good-bye again. Glad to have met you, Mr. Nesbitt. (He almost runs out of the room.) 6LADY IN THE DARK (Looking after him—he laughs) That was rather like a bit from one of his pictures. Didn't T hear you say you were dining with the Newtons tomorrow night? Oh, God. Yes. I completely forgot. I'll phone him and break it. T said “yes” to get rid of him. Is that a eue for me to go, 00? za Do you mind? I've got an office full of people waiking (He crosses to her and kisses her lightly on the fore- head.) See you at dinner. But that i great news, isn't it, Liza? (uiza nods without speaking) And please spare yourself a lit- tle (He smiles at her) Kate may wind up with the magazine, anyway—so don’t work too hard. Good-bye, Good-bye, (He tosses her a kiss from the doorway, then goes ‘out. She stands quite still for « few moments after he has gone —then she crushes out her cigarette and picks up the tele- phone) See if Miss Grant has gone to lunch yet. If she hasn't, ask her to come in here right away. No—never mind. Don't &LADY IN THE DARK do that, Tell those people who are waiting I can't see them today, and tell Miss Foster T don't want to be disturbed by anybody—I don't want to see anyone until I ring her. Any- cone. Understand? Thank you. (She reaches for her handRer- chief and wipes her forehead—hangs up and leans heavily ‘against the desk for a moment. She goes quickly to the door and turns the Rey in the lock. Then she walks slowly to the couch and flings herself down on it. Her arm goes across her face. There is a long moment of stillness. Then, involuntarily, without quite knowing she is doing it, wan begins to hum thas little phrase of song.) (The lights dim into darkness. Through the darkness the name, uits, is heard, weirdly sung. The lights come up somewhat and we discover the singing is being done by a group of sors and omus, slowly moving forward. They are dressed as high-school graduates of a genera- tion ago. They carry diplomas. They sing as a Choral Mostly their lines are sung—a few are spoken.) We all knew her, We went to high school together. We graduated with her. toy ‘She was cheer leader in the thied year. cvionat Mapleton High, Mapleton High, &LADY IN THE DARK For you we will do and for you we will die! Rah, rab, raht Tsemember Liza well, We read Les Miserables in her room on rainy days, And A Tale of Two Cities, too. 1 liked her a lot. im Thought she was stuck up. I remember the house she used to live in ‘And the tree in the garden where she used to swing. I might as well tll it now. On Graduation Diy when Liza delivered the Valedictory ‘Lasked her if she'd wait for me. ‘She smiled, She didn’t take me seriously. ‘never quite understood her. She had a pretty voice, though. We sing the praize of Mapleton Highs Each heart is filled with loyalty. And for our school well do or well die And seach the goal of victory. &LADY IN THE DARK Oh, Alena Mater, Mapleton High— ‘Your bounty is on every hand ‘And while we live we'll never deny No finer school is in the land. soy She was a whiz at tennis, One time I had her 5—2, st point. She beat me, 97. Remember that caricature she drew of M. D'Albert, the French teacher? Instead of getting sore at her he took it home to show to his wife, crtonat Le, la, les! Parlez-vous frangais? Ouvrez la fenétre, Sil vous plaitl Lala Ia la la Ja I, Ja fa Ia Ja La, La Ja la lala Ja, Ja lala Ia Ja. (To the tune of “Clair de Lune”) soy Happy, happy days. ctioRAL Ob, Alma Mater, Mapleton High— Your bounty is on every hand; ‘And while we live welll never deny No finer school is in the land. (They split into two groups—opposite sides of the stage) 6,LADY IN THE DARK And now a Mapleton High girl is to be married. (Bolero rhythm starts) Liza Elliott is marrying Kendall Nesbitt. («expan is spotlighted, He looks around expectant.) Kendall Nesbite is forty-eight years old, He loves Liza and Liza loves him. They get along beautifully. es quite idyllic. He started the magazine for her. It’s been most successful, ‘They should be very happy. (utza appears in a white gown. KENDALL goes 10 her) And now they are buying the ring, But why is Liza hesitant? (A salesman with tray of rings appears. Its cuanusy younson) Shall it be with emeralds or shall it be with diamonds? (uiza finally decides, points. sounson bows and instead of giving her the ring proffers a smalt golden dagger. iza recoils as both men disappear and xanpy is spot- lighted.) Randy Curtis. Flame of the celluloid. A precious amalgam of Frank Merriwell, Anthony Eden and Lancelot. 6LADY IN THE DARK ‘WontEN’s vorces Forty million women see him every week and forty million women love him. In Kansas, in Patagonia, in Hollywood itself he is a man every woman wants. (nanoy sees uita whose face is covered by her hands. He turns her to face him. Slowly her expression changes. Finally she smiles up at him.) ‘With you I used to roam ‘Through The Pleasure Dome OF Kubla Khan, Theld you tight, my love, In the gardens of Old Babylon. I lost you through the centuries. Tfind you once again And find myself The luckiest of men, ‘This is new— 1 was merely existing. This is new ‘And I'm living at last. Head to toe, You've got me so I'm spellbound. T don’t know 6LADY IN THE DARK If Tam heaven or hell-bound. This is new— Is it Venus insisting ‘That I'm through With the shadowy past? T am hurled Up to another world ‘Where life is bliss And this Is new. (The second refrain is sung by the extonst. Liza leaves nanor’s arms, finds herself in yoxssow’s. They dance. Six girls in red wigs, with dresses exactly like w2n's, come on. JOHNSON disappears. xaxoy is again discovered. He sings 0 the sie. As they dance tiza merely watches. Finally vsza is alone on the stage. Slowly she hums the beginning of that phrase of song.) Go on. za Tean’t remember any more. What's worrying you, Liza? I don’t know.LADY IN THE DARK cttonaL What are you afraid of? You should be happy. Every woman wants to be married. ‘And this is the eve of your wedding day. What are you thinking of? VoICE OF DR. BROOKS Take all the time you want, Miss Elliot. uz ‘How curious! How very curious! Of all the things I could be thinking of at this moment, a little school play T acted in when I was a child keeps running through my mind. Hoa We are listening. za Ik was called “The Princess of Pure Delight.” (A Persian Prince, alittle child, appears, along with other children. They Bow, then proceed to enact uiza’s narrative.) The Prince in Orange and the Prince in Blue ‘And the Prince whose raiment was of Lavender hue— ‘They sighed and they suffered and they tossed at night For the neighboring Princess of Pure Delight. .. . (Who was secretly in love with a Minstrel) Her father, the King, didn’t know which to choose; ‘There were two charming suitors he'd have to refuse. 68LADY IN THE DARK 4 So he called for the Dean of his Sorcerers ard Tnquired which one was to win her hand. (Which they always did in those days) “My King, here's a riddle—you test them tonight: What word cf five letters is never spelled right? What word cf five letters is always spelled wrong? The one who can answer will be wedded ere long, That will be twenty gulden, please!" ‘The King called the three and he told them the test, ‘The while his fair daughter kepe beating her breast. He put them the riddle. They failed (as he feared), ‘Then all of a sudden the Minstrel appeared! (Quite out of breath) “Til answer that riddle,” cried the singer of song. “What's never spelled ‘right’ in five letters is ‘wrong’ And it’s right to spell ‘wrong—w--o-ng! Your Highness, the Princess belongeth to me! ‘And I love her, anyway!” “Be off with you, villain!” the King cried in mge, “For my Princess a Prince—not a man from the stage!” “But, Sire!” said the Minstrel, “tis love makes me say No King who’ a real King treats lovers this way! Ic isn't sporting. And i€ you're ao real King, no Princess is she— And if she's no Princess then she can wed me!” “By gud,” cried His Highness, “you handsome young knave, 6LADY IN THE DARK 1 fear me you're righ:!” and his blessing he gave, ‘Asa trumpeter began to trumpet. ‘The Princess then quickly came out of her swoon ‘And she looked at her swain and her world was in tune. ‘And the castle soon rang with cheer and with laughter ‘And of course they lived happily ever after. (All bow as orchestra music grows louder and children gradually disappear. Suddenly wedding bells fill the ‘ir. ua looks wonderingly about and slowly walks to other side of stage where she discovers her office desk. As though under a spell she goes to the desk and presses «a buzzer, sss rosteR appears.) ‘Miss Foster, where is everybody? Where's Miss Grant, Miss ‘Du Bois, Mr. Paxton, Mr. Johnson? (sts rosrex just looks at her and slowly backs away. t12a frantically pushes all the but- tons on the desk) Maggie! Alison! Russell! Johnson! Where are you? (Slowly they appear) Maggie, where are the proofs? Johnson, where's your layout? Alison, where’s your column? “What's the matter with you? What’s the matter with every- body? JouNson Why, don’t you know what day this is, Boss Lady? This is your wedding cay. Your wedding day. You must hurry, Liza. This is your wedding day. p[errr errr ie LADY IN THR DARK ‘ (Again the wedding bells ring out. As younsox backs away, naccre and ALison go to za and lead her up- ‘stage. ROSELL PAXTON appears in morning coat, high hat, striped trousers. In back of him are wovs and sieis ar bridesmaids and ushers and as they proceed to dress 20 4s a bride, the stage turns into a church. In the back a ge stained-glass window with a grotesque bride and ‘groom as the motif, and for the altar a huge wedding cake. The wedding procession starts.) And now Liza Elliott is going to be married. ‘At last Liza Elliot is going to be married, Let musie fill he aie We hail the happy pair! Lift every voice in praise! ‘This is their day of days! cursts “What a lovely day for a lovely wedding, ‘What a lucky man to win himself such a bride, : ‘To the gates of paradise both are heading ‘With love and loyalty ig as their guide, f (ossarrr appears, goes to u12a, offers his arm. The chil- dren now act as lower boys and girls. navy sings “This Is New" as though it were “Oh, Promise Me.” The pro- cession marches toward the altar. During the second half of “This Is New,’ cusnisy, who is now tie min- nLADY IN THE DARK ister, starts murmuring the marriage service. It becomes audible.) cuaney IE there be any who know why these two should not be joined in holy wedlock let him speak now or forever hold his peace. A vorce IN CHORAL ‘The murmurings of conscience do increase ‘And conscience can no longer hold its peace. ‘This twain should ne'er be joined in holy wedlock. Or cen in secular board and bed-lock. This is no part of heaven's marriage plan. This woman knows she does not love this man, cnn ‘This woman knows she does not love this man, uma No, nol no, no! That isn’t true! I do! I dot I dol I do! ctionat ‘This woman at the altar Is no: the true Liza Elliott. ‘Tell chem about yourself, Liza Elliot. ‘Tell them the woman you really want to be— Longing to be beautiful And yet rejecting beauty. A 1LADY IN THE DARK ‘Tell them the truth, ‘Tell them the truth, This is no part of heaven's marriage plan, za, No, nol It isn't true! ccuioraL This woman knows she docs not love this man, Ido! I do! I do! I do! (uiza, who has been backing away slowly, her hands pressing against her ears to shut out the accusing voices, soon disappears. xanoy starts intoning “This Is New” as the guests sing the counter melody "What a Lovely Duy.” It all becomes a bizarre combination of oratorio and mysterious and ominous movement winding up in a -eacophonous musical nightmare.) Curtain