Redemption and two other plays Part 3

SASHA. Has the letter gone? (LISA nods.) He had no objections to taking it himself?

[LISA, R. C., shakes head.

SASHA (L.C.). Why did you ask him? I don't understand it.

LISA. Who else was there?

SASHA. But you know he's in love with you.

LISA. Oh, that's all past. (Over to table C.) Do you think Fedya will come back?

SASHA. I'm sure he will, but--

[Enter ANNA PaVLOVNA.

ANNA PaVLOVNA. Where's Victor Karenin?

LISA. Gone.

ANNA PaVLOVNA. Gone?

LISA. I've asked him to do something for me.

ANNA PaVLOVNA. What was it? Another secret?

LISA. No, not a secret. I simply asked him to take a letter to Fedya.

ANNA PaVLOVNA. To Fedor Protosov?

LISA. Oh, to Fedya, Fedya.

ANNA PaVLOVNA. Then it's not going to be over?

LISA. I can't let him leave me.

ANNA PaVLOVNA. Oh, so we shall commence all over again?

LISA. I'll do anything you like, but I can't give him up.

ANNA PaVLOVNA. You don't mean you want him to come back?

LISA. Yes, yes.

ANNA PaVLOVNA. Let that reptile into the house again!

LISA. Please don't talk like that. He's my husband.

ANNA PaVLOVNA. Was your husband.

LISA. No. He's still my husband.

ANNA PaVLOVNA. Spendthrift. Drunkard. Reprobate. And you'll not part from him!

LISA. Oh, Mother, why do you keep on hurting me! You seem to enjoy it.

ANNA PaVLOVNA. Hurt you, do I? Enjoy it, do I? Very well, then, if that's the case, I'd better go.

[Pause.

I see I'm in your way. You want me to go. Well, all I can say is I can't make you out. I suppose you're being "modern" and all that. But to me, it's just plain disgusting. First, you make up your mind to separate from your husband, and then you up and send for another man who's in love with you--

LISA. Mother, he's not.

ANNA PaVLOVNA. You know Karenin proposed to you, and he's the man you pick out to bring back your husband. I suppose you do it just to make him jealous.

LISA. Oh, Mother, stop it. Leave me alone.

ANNA PaVLOVNA. That's right. Send off your mother. Open the door to that awful husband. Well, I can't stand by and see you do it. I'll go.

I'm going. And G.o.d be with you and your extraordinary ways.

[Exit L. U. with suppressed rage.

LISA (sinking into a chair R. of table C.). That's the last straw.

SASHA. Oh, she'll come back. We'll make her understand. (Going to the door and following after her mother.) Now, Mother darling, listen-- listen--

[Exit L. U.

[All lights dim to black out.

CURTAIN

SCENE II

A room at the gypsies', dark but beautifully lit. The actual room is scarcely seen, and although at first it appears squalid, there are flaring touches of Byzantine luxury. Gypsies are singing. FeDYA is lying on the sofa, his eyes closed, coat off. An OFFICER sits at the table, on which there are bottles of champagne and gla.s.ses. Beside him sits a musician taking down the song.

AFReMOV (standing L. U.). Asleep?

FeDYA (on couch L. Raising his hand warningly). Sh! Don't talk! Now let's have "No More at Evening."

GYPSY LEADER. Impossible, Fedor Protosov. Masha must have her solo first.

FeDYA. Afterwards. Now let's have "No More at Evening."

[Gypsies sing.

GYPSY WOMAN (R. C., when they finish singing, turning to Musician who is sitting at table R., with his back to audience). Have you got it?