Page:Foggerty.djvu/270

266 Archbishop and his daughter (that is to say, the actor and actress who are to play those parts) object to be "discovered." They want an "entrance," that they may receive special and individual "receptions," and they don't like to begin a piece, as in that case they are liable to constant interruption from the arrival of such of the audience as are not in their places when the curtain rises. Perhaps Jones, the manager, won't mind beginning, as his part is likely to be a particularly good one; he might call on the Archbishop about the rent of the Theatre. But in this case there must be a servant to receive him. Well, Facile tries this: Servant discovered (dusting, of course); soliloquy (this gives the manager an entrance); knock; servant don't answer it on principle, until several times repeated; eventually admits manager; treats manager contemptuously (or, better still, as he is an Archbishop's servant, with a grave and pitying air, as who would say, "Poor worldly sheep! we—that is to say, the Archbishop and I—despise you, but we don't hate you"); servant leaves to inform Archbishop; sarcastic soliloquy by manager; enter Archbishop; thunders of applause at Archbishop's "make-up"; and so on. Probably Facile writes and rewrites this scene half-a-dozen times—it gives him more trouble than all the rest of the act put together; for there are so many ways of beginning a piece, and it is so difficult to find sufficient reason for selecting one and rejecting all the rest. However, Facile is eventually satisfied; the scenes that he has already written are tacked together with dialogue of a more commonplace order, and Act I. is completed.