and I have picked out a nice girl for you—pretty and clever—

[KARL bows silent acquiescence.

And now—

[Goes up and knocks on back of chair—business of entering imaginary door, etc. She speaks in an everyday voice, in marked contrast to former tone.

How do you do, Professor? I have come to have my portrait painted.

KARL, quite enthusiastic, R. C.

Last night I made a sketch of you from memory.... Oh, I've made lots of sketches of you; but now, now I see you in another light.

OLGA, R.

How do you mean?

KARL

Yesterday I looked upon you as a model. To-day you are a motif—you are a revelation...? there is something in your eyes....

OLGA

Please, please, Karl, we agreed that—that—

KARL

Pardon me, I'll try to remember.

[Goes up on platform.

OLGA

Let's go to work now—it's getting late.

KARL

Whenever you are ready—

OLGA

What am I to do?

KARL, steps behind her to take hat pins out of her hat

Take off your hat and your coat, please.

OLGA

Thanks, I can do that myself.

[She takes her hat and coat off. KARL takes her coat up on platform.

KARL, passing her chair as he goes up

Do you use perfume in your hair?

OLGA

I? Never!

[At chair up in alcove.

KARL

Oh, then it is the natural perfume of your hair.

[She looks at him reproachfully.

Pardon me: I stood too near.

[Looks at her in silence. She crosses back of large chair to couch L., and sits facing audience.

OLGA, nervously, turns her head to him

What is it?

KARL, leaning against big chair, looking at her dress

I was just thinking—didn't your husband say an evening frock?

OLGA

Yes. Herman wants me painted décolletée—in an evening gown; just a head and shoulders, you know. I would have preferred a street dress.

KARL

I'm afraid I agree with Herman on that point. But have you?... Didn't you?... Where is the dress?

OLGA

Oh, I thought you would only be painting my face the first sitting.

KARL, comes C., laughs

So you thought I began at the top of a portrait and painted down?

OLGA, hesitating

Yes.

KARL

Why, the drawing of the shoulders is almost more important than the head in the first sketch.

OLGA

Oh, dear. How stupid of me.

KARL, crossing L.

I'll tell you what—

[He selects some draperies from those hanging in the corner.

I have some draperies here—

OLGA

Well—

KARL

You can arrange one of these around your shoulders like—like an evening gown.

OLGA, mechanically

Yes.

KARL, hanging drapery on cabinet L.

You will have to be quick because it will soon be dark. Here are the draperies—you'll find some pins over here, and I'll go into the studio while you—until you—

[Goes to door of studio.

OLGA, seated

Until when? Why?

KARL

Why, if I'm to paint your shoulders—well—

[Turns away towards studio.

—your blouse?

OLGA, terribly embarrassed

Of course—

KARL

Do just as if you were at home. I'll close this door.

[Goes to door R. to entrance hall and locks it.

And now I'll go into the studio ... and you can lock this door yourself.

[He has opened the door of the studio and has made one step into studio, and now says in a low tone:

Oh! It's snowing.

[He looks at Olga.

OLGA

Snowing?

KARL

Snowing hard.

[Silence.

OLGA

Hadn't we better?—perhaps—perhaps—tomorrow—or—or—

[She has been saying this very slowly, as if afraid, but now suddenly regains confidence, as if she had had a saving idea.

Tomorrow I could bring my maid.

KARL

Oh, no, no. Your husband would certainly want to know the reason, and really—if this door is closed—

[He goes back to his studio.

It's too bad! This snow takes all the light away. But never mind—never mind; the snow shovellers will be glad of it.

[He has spoken the last few sentences in a very low voice, as if the situation was painful to him. He goes backwards into the studio and now closes the door. [OLGA is standing with her back towards the studio, staring in front of her. She now shrinks together, shivers, turns around. Sudden resolution, she turns the key, locking the door to the studio. Slowly unbuttons her blouse, looks at the shawls, of which she chooses one, afterwards takes her blouse off quietly, putting the shawl around her shoulders. She has put the blouse on the settee before she arranges the shawl. She now picks up the blouse and wants to put it on the chair in front of the fireplace; her arm is already stretched out when she suddenly drops the blouse, utters a suppressed shriek, dropping blouse by chair, and crosses quickly to foot of couch.

[The DEVIL, in fashionable frock coat, a crimson carnation in buttonhole, a man of from thirty-five to thirty-eight years old, resembling in face classical Mephisto, very elegant, picks up the blouse and offers to OLGA in a most polite manner.

DEVIL

Pardon, Madame.

[Comes C. a little.

I think you dropped something.

[OLGA takes the blouse mechanically and looks at him frightened.

I must beg your pardon, Madame. I came from lunch. Karl was not at home. I waited and I fell asleep in this very comfortable chair.

[He rubs his eyes.

Forgive me, Madame, for opening my eyes at a moment when, for propriety's sake, I should have at least kept one eye shut.

OLGA, puts blouse on couch and goes L., horrified and disgusted

Oh!

DEVIL, Right of couch L.

I am aware this is a base insinuation—of course you only come here—

[Ironical.

OLGA

To have my portrait painted.