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The Project Gutenberg EBook of Dear Brutus, by J. M. Barrie This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. 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.net Title: Dear Brutus Author: J. M. Barrie Posting Date: June 4, 2009 [EBook #4021] Release Date: May, 2003 First Posted: October 11, 2001 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK DEAR BRUTUS *** Produced by A. Elizabeth Warren. HTML version by Al Haines. DEAR BRUTUS By J. M. Barrie ACT I The scene is a darkened room, which the curtain reveals so stealthily that if there was a mouse on the stage it is there still. Our object is to catch our two chief characters unawares; they are Darkness and Light. The room is so obscure as to be invisible, but at the back of the obscurity are French windows, through which is seen Lob's garden bathed in moon-shine. The Darkness and Light, which this room and garden represent, are very still, but we should feel that it is only the pause in which old enemies regard each other before they come to the grip. The moonshine stealing about among the flowers, to give them their last instructions, has left a smile upon them, but it is a smile with a menace in it for the dwellers in darkness. What we expect to see next is the moonshine slowly pushing the windows open, so that it may whisper to a confederate in the house, whose name is Lob. But though we may be sure that this was about to happen it does not happen; a stir among the dwellers in darkness prevents it. These unsuspecting ones are in the dining-room, and as a communicating door opens we hear them at play. Several tenebrious shades appear in the lighted doorway and hesitate on the two steps that lead down into the unlit room. The fanciful among us may conceive a rustle at the same moment among the flowers. The engagement has begun, though not in the way we had intended. VOICES.-- 'Go on, Coady: lead the way.' 'Oh dear, I don't see why I should go first.' 'The nicest always goes first.' 'It is a strange house if I am the nicest.' 'It is a strange house.' 'Don't close the door; I can't see where the switch is.' 'Over here.' They have been groping their way forward, blissfully unaware of how they
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