Three Plays Part 14

THE MANAGER. You've got to understand that you can't go on arguing at your own pleasure. Drama is action, sir, action and not confounded philosophy.

THE FATHER. All right. I'll do just as much arguing and philosophizing as everybody does when he is considering his own torments.

THE MANAGER. If the drama permits! But for Heaven's sake, man, let's get along and come to the scene.

THE STEP-DAUGHTER. It seems to me we've got too much action with our coming into his house (_indicating Father_). You said, before, you couldn't change the scene every five minutes.

THE MANAGER. Of course not. What we've got to do is to combine and group up all the facts in one simultaneous, close-knit, action. We can't have it as you want, with your little brother wandering like a ghost from room to room, hiding behind doors and meditating a project which--what did you say it did to him?

THE STEP-DAUGHTER. Consumes him, sir, wastes him away!

THE MANAGER. Well, it may be, And then at the same time, you want the little girl there to be playing in the garden ...

one in the house, and the other in the garden: isn't that it?

THE STEP-DAUGHTER. Yes, in the sun, in the sun! That is my only pleasure: to see her happy and careless in the garden after the misery and squalor of the horrible room where we all four slept together. And I had to sleep with her--I, do you understand?--with my vile contaminated body next to hers; with her folding me fast in her loving little arms. In the garden, whenever she spied me, she would run to take me by the hand. She didn't care for the big flowers, only the little ones; and she loved to show me them and pet me.

THE MANAGER. Well then, we'll have it in the garden.

Everything shall happen in the garden; and we'll group the other scenes there. (_Calls a stage hand_). Here, a back-cloth with trees and something to do as a fountain basin. (_Turning round to look at the back of the stage_).

Ah, you've fixed it up. Good! (_To Step-Daughter_). This is just to give an idea, of course. The Boy, instead of hiding behind the doors, will wander about here in the garden, hiding behind the trees. But it's going to be rather difficult to find a child to do that scene with you where she shows you the flowers. (_Turning to the Youth_). Come forward a little, will you please? Let's try it now! Come along! come along! (_Then seeing him come shyly forward, full of fear and looking lost_). It's a nice business, this lad here. What's the matter with him? We'll have to give him a word or two to say. (_Goes close to him, puts a hand on his shoulders, and leads him behind one of the trees_). Come on! come on! Let me see you a little! Hide here ... yes, like that. Try and show your head just a little as if you were looking for someone.... (_Goes back to observe the effect, when the Boy at once goes through the action_).

Excellent! fine! (_Turning to Step-Daughter_). Suppose the little girl there were to surprise him as he looks round, and run over to him, so we could give him a word or two to say?

THE STEP-DAUGHTER. It's useless to hope he will speak, as long as that fellow there is here.... (_Indicates the Son_).

You must send him away first.

THE SON (_jumping up_.) Delighted! delighted! I don't ask for anything better. (_Begins to move away_).

THE MANAGER (_at once stopping him_). No! No! Where are you going? Wait a bit!

(_The Mother gets up alarmed and terrified at the thought that he is really about to go away. Instinctively she lifts her arms to prevent him, without, however, leaving her seat_).

THE SON (_to Manager who stops him_). I've got nothing to do with this affair. Let me go please! Let me go!

THE MANAGER. What do you mean by saying you've got nothing to do with this?

THE STEP-DAUGHTER (_calmly, with irony_). Don't bother to stop him: he won't go away.

THE FATHER. He has to act the terrible scene in the garden with his mother.

THE SON (_suddenly resolute and with dignity_). I shall act nothing at all. I've said so from the very beginning (_to the Manager_). Let me go!

THE STEP-DAUGHTER (_going over to the Manager_). Allow me?

(_Puts down the Manager's arm which is restraining the Son_). Well, go away then, if you want to! (_The Son looks at her with contempt and hatred. She laughs and says_). You see, he can't, he can't go away! He is obliged to stay here, indissolubly bound to the chain. If I, who fly off when that happens which has to happen, because I can't bear him--if I am still here and support that face and expression of his, you can well imagine that he is unable to move. He has to remain here, has to stop with that nice father of his, and that mother whose only son he is. (_Turning to the Mother_).

Come on, mother, come along! (_Turning to Manager to indicate her_). You see, she was getting up to keep him back. (_To the Mother, beckoning her with her hand_). Come on! come on! (_Then to Manager_). You can imagine how little she wants to show these actors of yours what she really feels; but so eager is she to get near him that.... There, you see? She is willing to act her part. (_And in fact, the Mother approaches him; and as soon as the Step-Daughter has finished speaking, opens her arms to signify that she consents_).

THE SON (_suddenly_). No! no! If I can't go away, then I'll stop here; but I repeat: I act nothing!

THE FATHER (_to Manager excitedly_). You can force him, sir.

THE SON. n.o.body can force me.

THE FATHER. I can.

THE STEP-DAUGHTER. Wait a minute, wait.... First of all, the baby has to go to the fountain.... (_Runs to take the Child and leads her to the fountain_).

THE MANAGER. Yes, yes of course; that's it. Both at the same time.

(_The second Lady Lead and the Juvenile Lead at this point separate themselves from the group of actors. One watches the Mother attentively; the other moves about studying the movements and manner of the Son whom he will have to act_).

THE SON (_to Manager_). What do you mean by both at the same time? It isn't right. There was no scene between me and her.

(_Indicates the Mother_). Ask her how it was!

THE MOTHER. Yes, it's true. I had come into his room....

THE SON. Into my room, do you understand? Nothing to do with the garden.

THE MANAGER. It doesn't matter. Haven't I told you we've got to group the action?

THE SON (_observing the Juvenile Lead studying him_). What do you want?

THE JUVENILE LEAD. Nothing! I was just looking at you.

THE SON (_turning towards the second Lady Lead_). Ah! she's at it too: to re-act her part (_indicating the Mother_)!

THE MANAGER. Exactly! And it seems to me that you ought to be grateful to them for their interest.

THE SON. Yes, but haven't you yet perceived that it isn't possible to live in front of a mirror which not only freezes us with the image of ourselves, but throws our likeness back at us with a horrible grimace?

THE FATHER. That is true, absolutely true. You must see that.

THE MANAGER (_to second Lady Lead and Juvenile Lead_). He's right! Move away from them!

THE SON. Do as you like. I'm out of this!

THE MANAGER. Be quiet, you, will you? And let me hear your mother! (_To Mother_). You were saying you had entered....

THE MOTHER. Yes, into his room, because I couldn't stand it any longer. I went to empty my heart to him of all the anguish that tortures me.... But as soon as he saw me come in....

THE SON. Nothing happened! There was no scene. I went away, that's all! I don't care for scenes!

THE MOTHER. It's true, true. That's how it was.

THE MANAGER. Well now, we've got to do this bit between you and him. It's indispensable.

THE MOTHER. I'm ready ... when you are ready. If you could only find a chance for me to tell him what I feel here in my heart.

THE FATHER (_going to Son in a great rage_). You'll do this for your mother, for your mother, do you understand?

THE SON (_quite determined_). I do nothing!