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Lord Dunsany >> If
O, master!
HAFIZ
Let the tomb speak; let the stars cry out;
but do you be silent.
BAZZALOL
Aye, master.
HAFIZ [to THOOTHOOBABA]
And you. Though this one speak, yet be
silent, or dread the shadow of Hafiz el
Alcolahn.
[He drops a bag of gold.
THOOTHOOBABA goes down and grabs at the gold;
his eyes gloat over it.]
THOOTHOOBABA
Master, I speak not. Oh-h-h.
[Exit HAFIZ.
MIRALDA arranges herself on the
cushions. She looks idly at each Nubian. The
Nubians put each a finger over his lips and
go on fanning with one hand.]
MIRALDA
A queen. I shall look sweet as a queen.
[Enter JOHN. She rises to greet him
caressingly.
Enter DAOUD.]
Oh, you have brought Daoud with you.
JOHN
Why not?
MIRALDA
You know that I don't like Daoud.
JOHN
I wish to speak with him.
[MIRALDA looks straight at JOHN and
moves away in silence. Exit L.]
JOHN
Daoud.
DAOUD
Great master.
JOHN
Daoud, one day in spring, in the cemetery
of those called Blessed, beyond the city's
gates, you swore to me by the graves of both
your parents . . . .
DAOUD
Great master, even so I swore.
JOHN
. . . . to be true to me always.
DAOUD
There is no Shereef but my master.
JOHN
Daoud, you have kept your word.
DAOUD
I have sought to, master.
JOHN
You have helped me often, Daoud, warned
me and helped me often. Through you I
knew those currents that run through the
deeps of the market, in silence and all men
feel them, but a ruler never. You told me of
them, and when I knew--then I could look
after myself, Daoud. They could do nothing
against me then. Well, now I hold this
people. I hold them at last, Daoud, and now
--well, I can rest a little.
DAOUD
Not in the East, master.
JOHN
Not in the East, Daoud?
DAOUD
No, master.
JOHN
Why? What do you mean?
DAOUD
In Western countries, master, whose tales
I have read, in a wonderful book named the
"Good Child's History of England," in the
West a man hath power over a land, and lo!
the power is his and descends to his son's son
after him.
JOHN
Well, doesn't it in the East?
DAOUD
Not if he does not watch, master; in the
night and the day, and in the twilight
between the day and the night, and in the dawn
between the night and the day.
JOHN
I thought you had pretty long dynasties
in these parts, and pretty lazy ones.
DAOUD
Master, he that was mightiest of those that
were kings in Babylon had a secret door
prepared in an inner chamber, which led to a
little room, the smallest in the palace, whose
back door opened secretly to the river, even
to great Euphrates, where a small boat waited
all the days of his reign.
JOHN
Did he really now? Well, he was taking no
chances. Did he have to use it?
DAOUD
No, master. Such boats are never used.
Those that watch like that do not need to
seek them, and the others, they would never
be able to reach the river in time, even though
the boat were there.
JOHN
I shouldn't like to have to live like that.
Why, a river runs by the back of this palace.
I suppose palaces usually are on rivers. I'm
glad I don't have to keep a boat there.
DAOUD
No, master.
JOHN
Well, what is it you are worrying about?
Who is it you are afraid of?
DAOUD
Hafiz el Alcolahn.
JOHN
O, Hafiz. I have no fears of Hafiz. Lately
I ordered my spies to watch him no longer.
Why does he hate me?
DAOUD
Because, most excellent master, you slew
Hussein.
JOHN
Slew Hussein? What is that to do with
him? May I not slay whom I please?
DAOUD
Even so, master. Even so. But he was
Hussein's enemy.
JOHN
His enemy, eh?
DAOUD
For years he had dreamed of the joy of
killing Hussein.
JOHN
Well, he should have done it before I came.
We don't hang over things and brood over
them for years where I come from. If a
thing's to be done, it's done.
DAOUD
Even so, master. Hafiz had laid his plans
for years. He would have killed him and got
his substance; and then, when the hour drew
near, you came, and Hussein died, swiftly,
not as Hafiz would have had him die; and
lo! thou art the lord of the pass, and Hafiz is
no more than a beetle that runs about in the
dirt.
JOHN
Well, so you fear Hafiz?
DAOUD
Not for himself, master. Nay, I fear not
Hafiz. But, master, hast thou seen when the
thunder is coming, but no rumble is heard
and the sky is scarce yet black, how little
winds run in the grass and sigh and die; and
the flower beckons a moment with its head;
all the world full of whispers, master, all
saying nothing; then the lightning, master, and
the anger of God; and men say it came
without warning? [Simply.] I hear those things
coming, master.
JOHN
Well?
DAOUD
Master, it is all silent in the market. Once,
when the price of turquoises was high, men
abused the Shereef. When the merchant men
could not sell their pomegranates for silver
they abused the Shereef. It is men's way,
master, men's way. Now it is all silent in the
market. It is like the grasses with the idle
winds, that whisper and sigh and die away;
like the flowers beckoning to nothing. And
so, master, and so . . . .
JOHN
I see, you fear some danger.
DAOUD
I fear it, master.
JOHN
What danger, Daoud?
DAOUD
Master, I know not.
JOHN
From what quarter, Daoud?
DAOUD
O master, O sole Lord of Al Shaldomir,
named the elect, from that quarter.
JOHN
That quarter? Why, that is the gracious
lady's innermost chamber.
DAOUD
From that quarter, great master, O Lord
of the Pass.
JOHN
Daoud, I have cast men into prison for
saying less than this. Men have been flogged
on the feet for less than this.
DAOUD
Slay me, master, but hear my words.
JOHN
I will not slay you. You are mistaken,
Daoud. You have made a great mistake.
The thing is absurd. Why, the gracious lady
has scarcely seen Hafiz. She knows nothing
of the talk of the market. Who could tell
her? No one comes here. It is absurd. Only
the other day she said to me . . . But it
is absurd, it is absurd, Daoud. Besides, the
people would never rebel against me. Do I
not govern them well?
DAOUD
Even so, master.
JOHN
Why should they rebel, then?
DAOUD
They think of the old times, master.
JOHN
The old times? Why, their lives weren't
safe. The robbers came down from the
mountains and robbed the market whenever they
had a mind.
DAOUD
Master, men were content in the old times.
JOHN
But were the merchants content?
DAOUD
Those that loved merchandise were
content, master. Those that loved it not went
into the mountains.
JOHN
But were they content when they were
robbed?
DAOUD
They soon recovered their losses, master.
Their prices were unjust and they loved usury.
JOHN
And were the people content with unjust
prices?
DAOUD
Some were, master, as men have to be in
all countries. The others went into the
mountains and robbed the merchants.
JOHN
I see.
DAOUD
But now, master, a man robs a merchant
and he is cast into prison. Now a man is
slain in the market and his son, his own son,
master, may not follow after the aggressor
and slay him and burn his house. They are
ill-content, master. No man robs the
merchants, no man slays them, and the
merchants' hearts are hardened and they oppress
all men.
JOHN
I see. They don't like good government?
DAOUD
They sigh for the old times, master.
JOHN
I see; I see. In spite of all I have done for
them, they want their old bad government
back again.
DAOUD
It is the old way, master.
JOHN
Yes, yes. And so they would rebel. Well,
we must watch. You have warned me once
again, Daoud, and I am grateful. But you
are wrong, Daoud, about the gracious lady.
You are mistaken. It is impossible. You are
mistaken, Daoud. I know it could not be.
DAOUD
I am mistaken, master. Indeed, I am
mistaken. Yet, watch. Watch, master.
JOHN
Well, I will watch.
DAOUD
And, master, if ever I come to you bearing
oars, then watch no longer, master, but follow
me through the banquet chamber and through
the room beyond it. Move as the wild deer
move when there is danger, without pausing,
without wondering, without turning round;
for in that hour, master, in that hour . . . .
JOHN
Through the room beyond the banquet
chamber, Daoud?
DAOUD
Aye, master, following me.
JOHN
But there is no door beyond, Daoud.
DAOUD
Master, I have prepared a door.
JOHN
A door, Daoud?
DAOUD
A door none wots of, master.
JOHN
Whither does it lead?
DAOUD
To a room that you know not of, a little
room; you must stoop, master.
JOHN
O, and then?
DAOUD
To the river, master.
JOHN
The river! But there's no boat there.
DAOUD
Under the golden willow, master.
JOHN
A boat?
DAOUD
Even so, under the branches.
JOHN
Is it come to that? . . . No, Daoud, all
this is unnecessary. It can't come to that.
DAOUD
If ever I come before you bearing two oars,
in that hour, master, it is necessary.
JOHN
But you will not come. It will never come
to that.
DAOUD
No, master.
JOHN
A wise man can stop things before they
get as far as that.
DAOUD
They that were kings in Babylon were wise
men, master.
JOHN
Babylon! But that was thousands of
years ago.
DAOUD
Man changes not, master.
JOHN
Well, Daoud, I will trust you, and if it
ever comes to that . . .
[Enter MIRALDA.]
MIRALDA
I thought Daoud was gone.
DAOUD
Even now I go, gracious lady.
[Exit DAOUD. Rather strained silence
with JOHN and MIRALDA till he goes.
She goes and retakes herself comfortable
on the cushions. He is not entirely at ease.]
MIRALDA
You had a long talk with Daoud.
JOHN
Yes, he came and talked a good deal.
MIRALDA
What about?
JOHN
O, just talk; you know these Eastern
people.
MIRALDA
I thought it was something you were
discussing with him.
JOHN
O, no.
MIRALDA
Some important secret.
JOHN
No, not at all.
MIRALDA
You often talk with Daoud.
JOHN
Yes, he is useful to me. When he talks
sense I listen, but to-day . . .
MIRALDA
What did he come for to-day?
JOHN
O, nothing.
MIRALDA
You have a secret with Daoud that you
will not share with me.
JOHN
No, I have not.
MIRALDA
What was it he said?
JOHN
He said there was a king in Babylon who . . .
[DAOUD slips into the room.]
MIRALDA
In Babylon? What has that to do with
us?
JOHN
Nothing. I told you he was not talking
sense.
MIRALDA
Well, what did he say?
JOHN
He said that in Babylon . . .
DAOUD
Hist!
JOHN
O, well . . .
[MIRALDA glares, but calms herself
and says nothing.
Exit DAOUD.]
MIRALDA
What did Daoud say of Babylon?
JOHN
O, well, as you say, it had nothing to do
with us.
MIRALDA
But I wish to hear it.
JOHN
I forget.
[For a moment there is silence.]
MIRALDA
John, John. Will you do a little thing for
me?
JOHN
What is it?
MIRALDA
Say you will do it, John. I should love to
have one of my little wishes granted.
JOHN
What is it?
MIRALDA
Kill Daoud, John. I want you to kill
Daoud.
JOHN
I will not.
[He walks up and down in front of the
two Nubians in silence. She plucks
petulantly at a pillow. She suddenly calms
herself. A light comes into her eyes. The
Nubians go on fanning. JOHN goes on
pacing.]
MIRALDA
John, John, I have forgotten my foolish
fancies.
JOHN
I am glad of it.
MIRALDA
I do not really wish you to kill Daoud.
JOHN [same voice]
I'm glad you don't.
MIRALDA
I have only one fancy now, John.
JOHN
Well, what is it?
MIRALDA
Give a banquet, John. I want you to give
a banquet.
JOHN
A banquet? Why?
MIRALDA
Is there any harm in my fancy?
JOHN
No.
MIRALDA
Then if I may not be a queen, and if you
will not kill Daoud for me, give a banquet,
John. There is no harm in a banquet.
JOHN
Very well. When do you want it?
MIRALDA
To-morrow, John. Bid all the great ones
to it, all the illustrious ones in Al Shaldomir.
JOHN
Very well.
MIRALDA
And bid Daoud come.
JOHN
Daoud? You asked me to kill him.
MIRALDA
I do not wish that any longer, John.
JOHN
You have queer moods, Miralda.
MIRALDA
May I not change my moods, John?
JOHN
I don't know. I don't understand them.
MIRALDA
And ask Hafiz el Alcolahn, John.
JOHN
Hafiz? Why?
MIRALDA
I don't know, John. It was just my fancy.
JOHN
Your fancy, eh?
MIRALDA
That was all.
JOHN
Then I will ask him. Have you any other
fancy?
MIRALDA
Not now, John.
JOHN
Then go, Miralda.
MIRALDA
Go?
JOHN
Yes.
MIRALDA
Why?
JOHN
Because I command it.
MIRALDA
Because you command it?
JOHN
Yes, I, the Shereef Al Shaldomir.
MIRALDA
Very well.
[Exit L.
He walks to the door to see that she is
really gone. He comes back to centre and
stands with back to audience, pulling a
cord quietly from his pocket and arranging
it.
He moves half left and comes up behind
BAZZALOL. Suddenly he slips the cord
over BAZZALOL's head, and tightens it
round his neck.]
[BAZZALOL flops on his knees.
THOOTHOOBABA goes on fanning.]
JOHN
Speak!
[BAZZALOL is silent.
JOHN tightens it more. THOOTHOOBABA
goes on quietly fanning.]
BAZZALOL
I cannot.
JOHN
If you would speak, raise your left hand.
If you raise your left hand and do not speak
you shall die.
[BAZZALOL is silent. JOHN tightens
more. BAZZALOL raises his great flabby
left hand high. JOHN releases the cord.
BAZZALOL blinks and moves his mouth.]
BAZZALOL
Gracious Shereef, one visited the great
lady and gave us gold, saying, "Speak not."
JOHN
When?
BAZZALOL
Great master, one hour since.
JOHN [a little viciously]
Who?
BAZZALOL
O heaven-sent, he was Hafiz el Alcolahn.
JOHN
Give me the gold.
[BAZZALOL gives it.]
[To THOOTHOOBABA.] Give me the
gold.
THOOTHOOBABA
Master, none gave me gold.
[John touches his dagger, and looks like
using it.
THOOTHOOBABA gives it.]
JOHN
Take back your gold. Be silent about this.
You too.
[He throws gold to BAZZALOL.]
Gold does not make you silent, but there is
a thing that does. What is that thing?
Speak. What thing makes you silent?
BAZZALOL
O, great master, it is death.
JOHN
Death, eh? And how will you die if you
speak? You know how you will die?
BAZZALOL
Yes, heaven-sent.
JOHN
Tell your comrade, then.
BAZZALOL
We shall be eaten, great master.
JOHN
You know by what?
BAZZALOL
Small things, great master, small things.
Oh-h-h-h. Oh-h-h.
[THOOTHOOBABA's knees scarcely hold
him.]
JOHN
It is well.
Curtain
SCENE 2
A small street. Al Shaldomir.
Time: Next day.
[Enter L. the SHEIK OF THE
BISHAREENS.
He goes to an old green door, pointed of
course in the Arabic way.]
SHEIK OF THE BISHAREENS
Ho, Bishareens!
[The BISHAREENS run on.]
SHEIK
It is the place and the hour.
BISHAREENS
Ah, ah!
SHEIK [to FIRST BISHAREEN]
Watch.
[FIRST BISHAREEN goes to right and
watches up sunny street.]
FIRST BISHAREEN
He comes.
[Enter HAFIZ EL ALCOLAHN. He goes
straight up to the SHEIK and whispers.]
SHEIK [turning]
Hear, O Bishareens.
[HAFIZ places flute to his lips.]
A BISHAREEN
And the gold, master?
SHEIK
Silence! It is the signal.
[HAFIZ plays a weird, strange tune on
his flute.]
HAFIZ
So.
SHEIK
Master, once more.
[HAFIZ raises the flute again to his lips.]
SHEIK
Hear, O Bishareens!
[He plays the brief tune again.]
HAFIZ [to SHEIK]
Like that.
SHEIK
We have heard, O master.
[He walks away L. Hands move in
the direction of knife-hilts.]
THE BISHAREENS
Ah, ah!
[Exit HAFIZ.
He plays a merry little tune on his
flute as he walks away.]
Curtain
SCENE 3
The banqueting hall. A table along the
back. JOHN and MIRALDA seated with
notables of Al Shaldomir.
JOHN sits in the centre, with MIRALDA
on his right and, next to her, HAFIZ EL
ALCOLAHN.
MIRALDA [to JOHN]
You bade Daoud be present?
JOHN
Yes.
MIRALDA
He is not here.
JOHN
Daoud not here?
MIRALDA
No.
JOHN
Why?
MIRALDA
We all obey you, but not Daoud.
JOHN
I do not understand it.
A NOTABLE
The Shereef has frowned.
[Enter R. an OFFICER-AT-ARMS. He
halts at once and salutes with his sword,
then takes a side pace to his left, standing
against the wall, sword at the carry.
JOHN acknowledges salute by touching
his forehead with the inner tips of his
fingers.]
OFFICER-AT-ARMS
Soldiers of Al Shaldomir; with the
dance-step; march.
[Enter R. some men in single file;
uniform, pale green silks; swords at carry.
They advance in single file, in a slightly
serpentine way, deviating to their left a
little out of the straight and returning to it,
stepping neatly on the tips of their toes.
Their march is fantastic and odd without
being exactly funny.
The OFFICER-AT-ARMS falls in on their
left flank and marches about level with the
third or fourth man.
When he reaches the centre he gives
another word of command.]
OFFICER-AT-ARMS
With reverence: Salute.
[The actor who takes this part should
have been an officer or N. C. O.
JOHN stands up and acknowledges their
salute by touching his forehead with the
fingers of the right hand, palm turned
inwards.
Exeunt soldiers L. JOHN sits down.]
A NOTABLE
He does not smile this evening.
A WOMAN
The Shereef?
NOTABLE
He has not smiled.
[Enter R. ZABNOOL, a CONJURER, with
brass bowl. He bows. He walks to centre
opposite JOHN. He exhibits his bowl.]
ZABNOOL
Behold. The bowl is empty.
[ZABNOOL produces a snake.]
ZABNOOL
Ah, little servant of Death.
[He produces flowers.]
Flowers, master, flowers. All the way from
Nowhere.
[He produces birds.]
Birds, master. Birds from Nowhere.
Sing, sing to the Shereef. Sing the little
empty songs of the land of Nowhere.
[He seats himself on the ground facing
JOHN. He puts the bowl on the ground.
He places a piece of silk, with queer
designs on it over the bowl. He partly
draws the silk away with his left hand and
puts in his right. He brings out a young
crocodile and holds it by the neck.]
CONJURER
Behold, O Shereef; O people, behold; a
crocodile.
[He arises and bows to JOHN and wraps
up the crocodile in some drapery and walks
away. As he goes he addresses his
crocodile.]
O eater of lambs, O troubler of the rivers,
you sought to evade me in an empty bowl.
O thief, O appetite, you sought to evade the
Shereef. The Shereef has seen you, O vexer
of swimmers, O pig in armour, O . . .
[Exit.
SHABEESH, another CONJURER, rushes
on.]
SHABEESH
Bad man, master; he very, very bad man.
[He pushes ZABNOOL away roughly,
impetus of which carries ZABNOOL to the
wings.]
Very, very bad man, master.
MIRALDA [reprovingly]
Zabnool has amused us.
SHABEESH
He very, very bad man, lily lady. He get
crocodile from devil. From devil Poolyana,
lily lady. Very, very bad.
MIRALDA
He may call on devils if he amuse us,
Shabeesh.
SHABEESH
But Poolyana, my devil. He call on my
devil, lily lady. Very, very, very bad. My
devil Poolyana.
MIRALDA
Call on him yourself, Shabeesh. Amuse
us.
SHABEESH
Shall one devil serve two masters?
MIRALDA
Why not?
SHABEESH [beginning to wave priestly conjurer's
hands]
Very bad man go away. Go away, bad
man: go away, bad man. Poolyana not want
bad man: Poolyana only work for good man.
He mighty fine devil. Poolyana, Poolyana.
Big, black, fine, furry devil. Poolyana,
Poolyana, Poolyana. O fine, fat devil with big
angry tail. Poolyana, Poolyana, Poolyana.
Send me up fine young pig for the Shereef.
Poolyana, Poolyana. Lil yellow pig with
curly tail. [Small pig appears.] O
Poolyana, great Poolyana. Fine black fur and
grey fur underneath. Fine ferocious devil
you my devil, Poolyana. O, Poolyana,
Poolyana, Poolyana. Send me a big beast what
chew bad man's crocodile. Big beast with
big teeth, eat him like a worm.
[He has spread large silk handkerchief
on floor and is edging back from it in
alarm.]
Long nails in him toes, big like lion,
Poolyana. Send great smelly big beast--eat
up bad man's crocodile.
[At first stir of handkerchief SHABEESH
leaps in alarm.]
He come, he come. I see his teeth and
horns.
[Enter small live rabbit from trapdoor
under handkerchief.]
O, Poolyana, you big devil have your liddle
joke. You laugh at poor conjuring man.
You send him lil rabbit to eat big crocodile.
Bad Poolyana. Bad Poolyana.
[Whacks ground with stick.]
You plenty bad devil, Poolyana.
[Whacking it again. Handkerchief has
been thrown on ground again.
Handkerchief stirs slightly.]
No, no, Poolyana. You not bad devil.
You not bad devil. You plenty good devil,
Poolyana. No, no, no! Poor conjuring man
quite happy on muddy earth. No, Poolyana,
no! O, no, no, devil. O, no, no! Hell plenty
nice place for devil. Master! He not my
devil! He other man's devil!
JOHN
What's this noise? What's it about?
What's the matter?
SHABEESH [in utmost terror]
He coming, master! Coming!
ZABNOOL
Poolyana, Poolyana, Poolyana. Stay
down, stay down, Poolyana. Stay down in
nice warm hell, Poolyana. The Shereef want
no devil to-day.
[ZABNOOL before speaking returns to
centre and pats air over ground where
handkerchief lies.
Then SHABEESH and ZABNOOL come
together side by side and bow and smile
together toward the SHEREEF. Gold is
thrown to them, which ZABNOOL gathers
and hands to SHABEESH, who gives a share
back to ZABNOOL.]
A NOTABLE
The Shereef is silent.
[Enter three women R. in single file,
dancing, and carrying baskets full of pink
rose-leaves. They dance across, throwing
down rose-leaves, leaving a path of them
behind them. Exeunt L.]
A NOTABLE
Still he is silent.
MIRALDA
Why do you not speak?
JOHN
I do not wish to speak.
MIRALDA
Why?
[Enter OMAR with his zither.]
OMAR [singing]
Al Shaldomir, Al Shaldomir,
Birds sing thy praises night and day;
The nightingale in every wood,
Blackbirds in fields profound with may;
Birds sing of thee by every way.
Al Shaldomir, Al Shaldomir,
My heart is ringing with thee still
Though far away, O fairy fields,
My soul flies low by every hill
And misses not one daffodil.
Al Shaldomir, Al Shaldomir,
O mother of my roving dreams
Blue is the night above thy spires
And blue by myriads of streams
Paradise through thy gateway gleams.
MIRALDA
Why do you not wish to speak?
JOHN
You desire me to speak?
MIRALDA
No. They all wonder why you do not
speak; that is all.
JOHN
I will speak. They shall hear me.
MIRALDA
O, there is no need to.
JOHN
There is a need. [He rises.] People of
Shaldomir, behold I know your plottings.
I know the murmurings that you murmur
against me. When I sleep in my inner
chamber my ear is in the market, while I sit at
meat I hear men whisper far hence and know
their innermost thoughts. Hope not to
overcome me by your plans nor by any manner of
craftiness. My gods are gods of brass; none
have escaped them. They cannot be
overthrown. Of all men they favour my people.
Their hands reach out to the uttermost ends
of the earth. Take heed, for my gods are
terrible. I am the Shereef; if any dare
withstand me I will call on my gods and they shall
crush him utterly. They shall grind him into
the earth and trample him under, as though
he had not been. The uttermost parts have
feared the gods of the English. They reach
out, they destroy, there is no escape from
them. Be warned; for I do not permit any
to stand against me. The laws that I have
given you, you shall keep; there shall be no
other laws. Whoso murmurs shall know my
wrath and the wrath of my gods. Take heed,
I speak not twice. I spoke once to Hussein.
Hussein heard not; and Hussein is dead, his
ears are closed for ever. Hear, O people.
HAFIZ
O Shereef, we murmur not against you.
JOHN
I know thoughts and hear whispers. I
need not instruction, Hafiz.
HAFIZ
You exalt yourself over us as none did
aforetime.
JOHN
Yes. And I will exalt myself. I have been
Shereef hitherto, but now I will be king. Al
Shaldomir is less than I desire. I have ruled
too long over a little country. I will be the
equal of Persia. I will be king; I proclaim it.
The pass is mine; the mountains shall be
mine also. And he that rules the mountains
has mastery over all the plains beyond. If
the men of the plains will not own it let them
make ready; for my wrath will fall on them
in the hour when they think me afar, on a
night when they think I dream. I proclaim
myself king over . . .
[HAFIZ pulls out his flute and plays the
weird, strange tune. JOHN looks at him in
horrified anger.]
JOHN
The penalty is death! Death is the
punishment for what you do, Hafiz. You have
dared while I spoke. Hafiz, your contempt is
death. Go to Hussein. I, the king . . .
say it.
[DAOUD has entered R., bearing two
oars. DAOUD walks across, not looking
at JOHN. Exit by small door in L. near
back.
JOHN gives one look at the banqueters,
then he follows DAOUD. Exit.
All look astonished. Some rise and
peer. HAFIZ draws his knife.]
OMAR [singing]
Al Shaldomir, Al Shaldomir,
The nightingales that guard thy ways
Cease not to give thee, after God
And after Paradise, all praise,
CRIES [off]
Kill the unbeliever. Kill the dog. Kill the
Christian.
[Enter the SHEIK OF THE BISHAREENS,
followed by all his men.]
SHEIK
We are the Bishareens, master.
[MIRALDA standing up, right arm
akimbo, left arm pointing perfectly straight out
towards the small door, hand extended.]
MIRALDA
He is there.
[The BISHAREENS run off through the
little door.]
A NOTABLE
Not to interfere with old ways is wisest.
ANOTHER
Indeed, it would have been well for him.
[The BISHAREENS begin to return
looking all about them like disappointed
hounds.]