Three Plays Part 9

THE MANAGER (_conquering his surprise, and then becoming indignant_). What sort of a trick is this?

LEADING MAN (_almost at the same time_). What's going to happen next?

JUVENILE LEAD. Where does _she_ come from?

L'INGeNUE. They've been holding her in reserve, I guess.

LEADING LADY. A vulgar trick!

THE FATHER (_dominating the protests_). Excuse me, all of you! Why are you so anxious to destroy in the name of a vulgar, commonplace sense of truth, this reality which comes to birth attracted and formed by the magic of the stage itself, which has indeed more right to live here than you, since it is much truer than you--if you don't mind my saying so? Which is the actress among you who is to play Madame Pace? Well, here is Madame Pace herself. And you will allow, I fancy, that the actress who acts her will be less true than this woman here, who is herself in person. You see my daughter recognized her and went over to her at once. Now you're going to witness the scene!

_But the scene between the_ STEP-DAUGHTER _and_ MADAME PACE _has already begun despite the protest of the actors and the reply of_ THE FATHER. _It has begun quietly, naturally, in a manner impossible for the stage. So when the actors, called to attention by_ THE FATHER, _turn round and see_ MADAME PACE, _who has placed one hand under the_ STEP-DAUGHTER'S _chin to raise her head, they observe her at first with great attention, but hearing her speak in an unintelligible manner their interest begins to wane._

THE MANAGER. Well? well?

LEADING MAN. What does she say?

LEADING LADY. One can't hear a word.

JUVENILE LEAD. Louder! Louder please!

THE STEP-DAUGHTER (_leaving Madame Pace, who smiles a Sphinx-like smile, and advancing towards the actors_).

Louder? Louder? What are you talking about? These aren't matters which can be shouted at the top of one's voice. If I have spoken them out loud, it was to shame him and have my revenge (_indicates Father_). But for Madame it's quite a different matter.

THE MANAGER. Indeed? indeed? But here, you know, people have got to make themselves heard, my dear. Even we who are on the stage can't hear you. What will it be when the public's in the theatre? And anyway, you can very well speak up now among yourselves, since we shan't be present to listen to you as we are now. You've got to pretend to be alone in a room at the back of a shop where no one can hear you.

(THE STEP-DAUGHTER _coquettishly and with a touch of malice makes a sign of disagreement two or three times with her finger_).

THE MANAGER. What do you mean by no?

THE STEP-DAUGHTER (_sotto voce, mysteriously_). There's someone who will hear us if she (_indicating Madame Pace_) speaks out loud.

THE MANAGER (_in consternation_). What? Have you got someone else to spring on us now? (_The actors burst out laughing_).

THE FATHER. No, no sir. She is alluding to me. I've got to be here--there behind that door, in waiting; and Madame Pace knows it. In fact, if you will allow me, I'll go there at once, so I can be quite ready. (_Moves away_).

THE MANAGER (_stopping him_). No! Wait! wait! We must observe the conventions of the theatre. Before you are ready....

THE STEP-DAUGHTER (_interrupting him_). No, get on with it at once! I'm just dying, I tell you, to act this scene. If he's ready, I'm more than ready.

THE MANAGER (_shouting_). But, my dear young lady, first of all, we must have the scene between you and this lady ...

(_indicates Madame Pace_). Do you understand?...

THE STEP-DAUGHTER. Good Heavens! She's been telling me what you know already: that mamma's work is badly done again, that the material's ruined; and that if I want her to continue to help us in our misery I must be patient....

MADAME PACE (_coming forward with an air of great importance_). Yes indeed, sir, I no wanta take advantage of her, I no wanta be hard....

(_Note. Madame Face is supposed to talk in a jargon half Italian, half Spanish_).

THE MANAGER (_alarmed_). What? What? She talks like that?

(_The actors burst out laughing again_).

THE STEP-DAUGHTER (_also laughing_). Yes yes, that's the way she talks, half English, half Italian! Most comical it is!

MADAME PACE. Itta seem not verra polite gentlemen laugha atta me eef I trya best speaka English.

THE MANAGER. _Diamine_! Of course! Of course! Let her talk like that! Just what we want. Talk just like that, Madam, if you please! The effect will be certain. Exactly what was wanted to put a little comic relief into the crudity of the situation. Of course she talks like that! Magnificent!

THE STEP-DAUGHTER. Magnificent? Certainly! When certain suggestions are made to one in language of that kind, the effect is certain, since it seems almost a joke. One feels inclined to laugh when one hears her talk about an "old signore" "who wanta talka nicely with you." Nice old signore, eh, Madame?

MADAME PACE. Not so old my dear, not so old! And even if you no lika him, he won't make any scandal!

THE MOTHER (_jumping up amid the amazement and consternation of the actors who had not been noticing her. They move to restrain her_). You old devil! You murderess!

THE STEP-DAUGHTER (_running over to calm her Mother_). Calm yourself, mother, calm yourself! Please don't....

THE FATHER (_going to her also at the same time_). Calm yourself! Don't get excited! Sit down now!

THE MOTHER. Well then, take that woman away out of my sight!

THE STEP-DAUGHTER (_to Manager_). It is impossible for my mother to remain here.

THE FATHER (_to Manager_). They can't be here together. And for this reason, you see: that woman there was not with us when we came.... If they are on together, the whole thing is given away inevitably, as you see.

THE MANAGER. It doesn't matter. This is only a first rough sketch--just to get an idea of the various points of the scene, even confusedly.... (_Turning to the Mother and leading her to her chair_): Come along, my dear lady, sit down now, and let's get on with the scene....

(_Meanwhile, the_ STEP-DAUGHTER, _coming forward again, turns to Madame Pace_).

THE STEP-DAUGHTER. Come on, Madame, come on!

MADAME PACE (_offended_). No, no, _grazie_. I not do anything witha your mother present.

THE STEP-DAUGHTER. Nonsense! Introduce this "old signore"

who wants to talk nicely to me (_addressing the company imperiously_). We've got to do this scene one way or another, haven't we? Come on! (_to Madame Pace_). You can go!

MADAME PACE. Ah yes! I go'way! I go'way! Certainly! (_Exits furious_).

THE STEP-DAUGHTER (_to the Father_). Now you make your entry. No, you needn't go over here. Come here. Let's suppose you've already come in. Like that, yes! I'm here with bowed head, modest like. Come on! Out with your voice!

Say "Good morning, Miss" in that peculiar tone, that special tone....

THE MANAGER. Excuse me, but are you the Manager, or am I?

(_To the Father, who looks undecided and perplexed_): Get on with it, man! Go down there to the back of the stage. You needn't go off. Then come right forward here.

(THE FATHER _does as he is told, looking troubled and perplexed at first. But as soon as he begins to move, the reality of the action affects him, and he begins to smile and to be more natural. The actors watch intently_).

THE MANAGER (_sottovoce, quickly to the Prompter in his box_). Ready! ready? Get ready to write now.

THE FATHER (_coming forward and speaking in a different tone_). Good afternoon, Miss!