An Opera box in the second tier, near the ‘stage.’ Light flickers from ‘the stage.’
The theatre is dark. The box empty. The performance of Madame Butterfly is going on, unseen, ‘on stage.’ Subdued talking; orchestra; singing.
Pause.
FEMALE USHER, the box attendant, enters and shows in the ACTRESS and ‘MOTHER.’
USHER
If you please, Madame.
‘MOTHER’ (about the Opera)
Where are we?
USHER
In the middle of the first act.
‘MOTHER’
(being helped by the USHER with her wrap)
Thank you, dear.
ACTRESS
Good house?
USHER
Full.
‘MOTHER’
About 6,000 crown gross. Nice.
USHER
Program?
(gives her one)
Opera glasses?
Thank you, dear. Just the program. Isn’t your name—Kadar?
USHER
It is, Madame. I didn’t think you remembered me.
ACTRESS
And your husband … He’s a scene painter?
USHER
Yes, Madame.
ACTRESS
Has he retired?
USHER
He has, Madame. Last November. You are looking lovely tonight, Madame.
ACTRESS
Please. Kadar, please.
(gives her money)
This is for you.
USHER
Thank you, Madame.
(She goes)
ACTRESS
(sits beside her ‘MOTHER,’ who bows off to someone in the house)
Who?
‘MOTHER’
Count Palamkai.
ACTRESS
Where is he?
‘MOTHER’
Downstairs. On the left. Second row.
ACTRESS
I see him.
(bows)
(She takes out her own opera glasses and looks at the audience)
‘MOTHER’
Dr. Feldman. Balcony. 12th row. Left corner seat.
ACTRESS
I see him.
(bows)
I don’t see Mezei.
‘MOTHER’
There—Where he always sits. 3rd row. Toward the middle.
ACTRESS
Oh, yes.
(bows)
‘MOTHER’
First tier on the left. Number nine. Dr. Bognar’s family. The girls are waving.
ACTRESS (waves)
Hello, girls!
‘MOTHER’
David from the box office is bowing—last door on the left.
ACTRESS (bowing to someone)
Hello!
‘MOTHER’
Who’s that?
ACTRESS
A gentleman named Mercz. He manages a bank. You don’t know him. We only just met …
‘MOTHER’
So while I’m scrubbing the kitchen floor …
ACTRESS
If you start complaining I’ll send you home …
‘MOTHER’
I beg your pardon. I’m so sorry.
(USHER enters after knocking)
Madame …
ACTRESS
What is it?
‘MOTHER’ (seeing a visitor’s card)
And so the flood gates open …
USHER
This gentleman wishes to see you.
(gives her the card)
ACTRESS
Of course, of course. Let him in.
(She moves to the back of the box, that is, downstage)
USHER (following her)
Who is it?
(USHER shows in the GUARDSMAN)
GUARDSMAN
Am I intruding?
ACTRESS
Not at all.
GUARDSMAN
Good evening.
ACTRESS (presenting)
Count de Latour-Schonichen … my Mother.
(They bow)
GUARDSMAN (to the USHER)
I am sorry to say that very soon my motorcar will be here to fetch me; the chauffeur will come up here to announce it.
USHER
Yes, sir.
GUARDSMAN
It’s as if I were a slave. Not for one hour am I my own master. There’s a party, and I shouldn’t be seen here. I should be there.
(USHER helps him off with his coat. He gives her a tip)
(He goes to the ‘back’ and speaks quietly to the ACTRESS)
‘MOTHER’
(following the USHER into the hallway)
Kadar … if someone comes for either the Count or my daughter, make sure to …
(gestures—to knock)
USHER
Yes. Yes, I know. I know.
‘MOTHER’
You can go.
USHER
Yes.
(She stays)
‘MOTHER’
Yes.
(gives her quickly some money)
USHER
Thank you.
(USHER leaves)
‘MOTHER’
(returning, writing in a little book)
Two crowns.
GUARDSMAN
What are you writing?
‘MOTHER’
My memoirs.
(closes the book)
GUARDSMAN
Do you go often to the Opera?
‘MOTHER’
Not for a while. I’m busy at home.
GUARDSMAN
Helping your daughter?
Yes. She’s an artist. They need help.
(affectionately)
Don’t you, dear?
GUARDSMAN
Not that I would know, but from what I hear of the theater world, she’s lucky to have a mother like you, to keep her two feet firmly on the ground.
ACTRESS
She’s a great comfort.
GUARDSMAN
The two of you—the resemblance is uncanny.
‘MOTHER’ (whispers to ACTRESS)
What did I tell you? Look what you get for your money.
(GUARDSMAN has put his helmet on the little couch)
So you think we look alike? I don’t see the resemblance myself. Some say she looks more like her father.
GUARDSMAN
So you knew her father?
‘MOTHER’
What are you suggesting?
GUARDSMAN
I didn’t mean—What am I thinking? How could you not know the father? Is your husband … in Budapest?
ACTRESS
He lives in the country.
(Pause)
‘MOTHER’
(smiling sweetly at the Count)
Excuse me, Count. I’ll sit up there. So I can hear the music. I love Opera music.
(She sits upstage, land leans over the railing ‘listening’)
You’re not interested in the performance?
GUARDSMAN
Honestly, no.
ACTRESS
So why are you here? What should I think?
GUARDSMAN
Think what you wish. Is this—a ‘quiet corner?’ And we’re almost in the dark.
ACTRESS
That’s how theaters are—the light is on the stage.
GUARDSMAN
How convenient.
ACTRESS
So what do we talk about—since you don’t like music?
(She sits down)
GUARDSMAN (sits)
I wouldn’t say that, but there is something I undoubtedly care about much more.
ACTRESS
And what is that?
GUARDSMAN
Don’t ask: what it is? Ask: who?
ACTRESS
Oh please …
GUARDSMAN
What did I say?
ACTRESS
Can’t you do better?
GUARDSMAN
What? What did I do wrong?
ACTRESS
Everything you’re doing now. You say you care about something. You say this to me. Then you try to be clever about it; but Count, I know what you’re talking about. I know that ‘something’ is me …
GUARDSMAN
And that’s wrong?
ACTRESS
No, but it’s annoying. It’s like I’m constantly fending off instead of hands—words. Why can’t we just talk? Why does it have to be about getting something?
GUARDSMAN
But … This afternoon I thought you liked the way I talked. Now you don’t?
ACTRESS
That was this afternoon. Look, Count, maybe I haven’t been clear enough with you.
GUARDSMAN
About—?
ACTRESS
Shush. Let me finish. I liked your letter very much. There was something manly about it. Direct. Almost child-like. So I said to myself, to hell with what people might think, I’ll let this man see me. And then—what happens?
GUARDSMAN
What?
ACTRESS
I’ll tell you. You sit here and talk to me, saying this nice thing and then that sweet thing, and then (snapping her fingers) one, two three—we’re supposed to what? What are you—in a rush? Somewhere you have to go? I like speed too, Count; we too have a motor car that can go very, very fast, but your pace … it’s a little too quick.
GUARDSMAN
I don’t understand how what I said to you—?
ACTRESS
Just listen to me. And don’t get me wrong, I like your saying sweet things; I’m a woman, an actress, we need that. I suppose like a field needs its rain. Otherwise I get grumpy, and don’t want to get out of bed, and I look terrible. I have a friend who’s bought this cream to smooth out the wrinkles around her eyes? I pity her. Because to me that means she doesn’t have a man telling her what she needs to hear, because that’s all it takes, a few passionate words from a man and my eyes sparkle all night and the wrinkles are gone. So I’m not criticizing you for that. That does me good. I know I need that.
GUARDSMAN
So then …
ACTRESS
But it’s the way you smile when you say things. That gives your hand away. You’re after something and you’re sure you’ll get it. But I don’t want you to be sure; that’s what I don’t like.
GUARDSMAN
But—
ACTRESS
So now we understand each other. I’m not saying don’t make love to me; I’m saying don’t be so obvious and certainly slow down. And one more thing.
GUARDSMAN
What?
ACTRESS
I’m married. I have a husband and I love this husband.
GUARDSMAN (happily)
Is that true?
(seriously, correcting himself)
Is that true?
ACTRESS
You seem oddly affected by what I’ve just told you.
GUARDSMAN
I am. And it affects everything … Because now, sans rancune, I must have an explanation. Do you believe my reasons for seeing you were respectable, and that I wished to express only feelings of admiration?
ACTRESS
I do.
GUARDSMAN
Because you know that I am a gentleman?
Because I know you are a gentleman.
GUARDSMAN
And do you believe that in the company of such a lovely, mysterious woman, full of life and passion, that I, a young, vigorous man, a soldier, have never for one instant felt anything but respect and admiration?
ACTRESS
No.
GUARDSMAN
Very well. If you know that … that perhaps there was something else on my mind other than respect and admiration, then will you allow me to tell you what the other something is? May I? May I tell you?
ACTRESS
You may.
GUARDSMAN
I may? You want to think it over?
ACTRESS
You may as long as I don’t think it over. If I think, I wouldn’t allow it.
GUARDSMAN
So … now you’ll see the type of man I am. I allow you to think it over.
ACTRESS
I’ve thought about it.
GUARDSMAN
And?
ACTRESS
You may.
(Pause. The GUARDSMAN stands up)
GUARDSMAN
Then, with your permission, I’ll say it. The other thing on my mind—is love. But I respect what you have said. I respect the fact that you are in love with your husband.
I didn’t say that.
GUARDSMAN
I’m sorry? But you just said so.
ACTRESS
I said that I loved my husband. There’s as much of a world between “I love” and “I am in love” as there is between black and white.
GUARDSMAN
I see … in that case … what can I say? That makes me … very happy.
ACTRESS
And that is all you have right now to be happy about.
GUARDSMAN
You mean that?
(happy)
ACTRESS
I’m surprised you’re pleased with that.
GUARDSMAN
With what? Oh I misunderstood. I thought you meant your husband. That there wasn’t much for him to be happy about.
ACTRESS
That’s true too.
GUARDSMAN
There isn’t?
ACTRESS
No.
(Pause)
GUARDSMAN
But I heard that … when you married him you loved him very much.
ACTRESS
I still do.
GUARDSMAN
You do?
(confused)
And I heard that when you married you two were in love.
Yes. Maybe more on his side … but … who really knows …
GUARDSMAN
What?
ACTRESS
Who ever really knows …
GUARDSMAN
I have often seen him on stage. He is a very handsome man.
ACTRESS
This is true.
GUARDSMAN
A very, very handsome man.
ACTRESS
Women think so.
GUARDSMAN
You say that as if you didn’t …
ACTRESS
Oh I do. And he’s quite clever. That’s rare for an actor.
GUARDSMAN
So he’s smart?
ACTRESS
Oh yes.
GUARDSMAN
Brilliant?
ACTRESS
I wouldn’t go that far. A good actor can have a mind. But a really smart man wouldn’t glue a beard on his face and speak lines he’s memorized. No.
GUARDSMAN
You seem not to like actors.
ACTRESS
That’s not true, I just don’t like my husband … But what am I saying? He’s fine.
Then you’re happy?
ACTRESS
I’m not that, my dear Count.
GUARDSMAN (angry)
Look at what you have.
ACTRESS
I do.
GUARDSMAN
If I were a woman I’d be very happy … with such a man.
ACTRESS
If I were the man, I’d probably be happy too.
GUARDSMAN
Isn’t it enough?
ACTRESS
No.
GUARDSMAN
It’s strange, isn’t it; to us, in the eyes of your public, you seem the happiest couple in the world. You’re worshipped; you stand together, holding hands as the curtain rises and falls—success is showered upon you with thunderous applause. That must be intoxicating.
ACTRESS
And then go home together, a quick supper together, tired … How intoxicating is that?
GUARDSMAN
I wonder if your husband feels the same way. I wonder if for him acting with you, being applauded and such isn’t something —thrilling. Something he enjoys sharing.
ACTRESS
I doubt it.
GUARDSMAN
I don’t.
ACTRESS
What?
I mean, men aren’t like women. They are … they are … not so easily—tired out. But perhaps not you …
ACTRESS
No, it’s true. I’m always tired.
GUARDSMAN
Are you?
ACTRESS
Very tired.
GUARDSMAN
Now I would like to be a little bold.
ACTRESS
Be bold.
GUARDSMAN
Very bold?
ACTRESS
As bold as you like.
GUARDSMAN
It’s about you and your husband. Do you think that there is even the slightest possibility, as inconceivable as it may be, that at some time …
(ACTRESS rises, GUARDSMAN does the same)
ACTRESS
At some time …
GUARDSMAN
At some time you could deceive your husband?
ACTRESS
(looks down, then suddenly turns away)
Mother! Have they begun my favorite duet?
(She sits with ‘MOTHER’)
GUARDSMAN (alone, to the armchair)
Oh my god … Did you see that, armchair? You’re looking at the happiest man in the world. I tell you; since I can’t do what I want and lean out of this box and shout to the whole theater, I’ll say it to you: “my wife is a saint.” It’s proven. You are my witness to my happiness.
(ACTRESS returns and quickly sits down in the armchair)
ACTRESS
Do you know why I have come back?
GUARDSMAN
Why?
(rubs the arm chair, to the chair)
It’ll be all right.
ACTRESS
I think I was rude.
GUARDSMAN
Oh yes. Yes.
ACTRESS
It was rude to leave you by yourself, like that.
GUARDSMAN
Absolutely.
ACTRESS
And I only have myself to blame, after all I allowed you to ask that horrible question.
GUARDSMAN
But I got an answer.
ACTRESS
No.
GUARDSMAN
You walked away, without saying anything. You were offended.
ACTRESS
And I’m sorry I did that. I should have told you quietly, directly and honestly, as I do now, that I would never, never be capable of deceiving my husband. Never. Forgive me.
GUARDSMAN (very happy)
For what?
For not telling you right away.
GUARDSMAN
Then as we have begun to speak quietly, directly and honestly, I too need to make a confession. Listen. You are the only woman I have ever loved in my whole life.
ACTRESS
My dear, Count …
GUARDSMAN
I’m not finished. Now I need you to know what I feel. I know I feel that there is no hope left for me. As quickly as it had grown, it died. I had expected another outcome. But I sincerely, devoutly ask your forgiveness and beg you only to respect, with a little sympathy and some womanly warmth, a grown man’s first time professing love, which I am doing now—with nothing in mind, in the words of a child, upon the honor of a soldier, but quivering with the suppressed tears of a man who is desperately in love.
ACTRESS
Then—you will forget me.
GUARDSMAN
That is not possible.
ACTRESS
You poor dear.
GUARDSMAN
Yes, that’s what is said at times like these.
ACTRESS
My dear friend …
GUARDSMAN
May I kiss your hand?
ACTRESS (warmly)
You dear, good man …
(He kisses her hand)
GUARDSMAN
And there is now a happy man in this world, and he is me. And if you’d like to know why …
(knock on the door)
Hush.
(CRITIC enters)
CRITIC
May I come in? Good evening.
ACTRESS
Good evening.
(presents)
Dr. Mezei, Count de Latour-Schonichen.
(bows)
CRITIC
I have seen the Count often around town.
GUARDSMAN
Dr. Mezei? The critic?
ACTRESS
Himself.
GUARDSMAN
I read everything you write.
CRITIC
I feel we have met somewhere before. I could be wrong.
GUARDSMAN
Maybe we have.
CRITIC
Now I remember. We met in the living room of a very pretty woman. And not that long ago.
GUARDSMAN
Yes, I think I remember that. Yes. Of course.
CRITIC
A very pretty woman, whose name I must not mention.
GUARDSMAN
Ah.
CRITIC
And who, I’m sorry to say, seemed to like you and not me.
Really?
CRITIC
But you knew this.
GUARDSMAN
I wasn’t sure, you never are.
CRITIC
But you worked things out?
GUARDSMAN
Almost.
CRITIC
Outcome still in doubt?
GUARDSMAN
I don’t think so.
ACTRESS (a little angry)
So Count, what ‘things’ are you working out with this lady?
GUARDSMAN
Oh just things.
CRITIC
I wouldn’t say that. Please.
GUARDSMAN
Yes, that one thing. That’s true.
(to the ACTRESS)
It’s nothing.
ACTRESS
Of course. I hope you don’t think, Count, that I wish to pry into your love affairs.
GUARDSMAN
Is that what you think …? That I …?
(ACTRESS, angry, goes and sits with ‘MOTHER’)
GUARDSMAN (happily)
I’m a happy man.
CRITIC
She doesn’t know?
Who could recognize me?
CRITIC
I would.
GUARDSMAN
No, no. It’d be terrible if she … Then all of this is just …
(thinks, then:)
No … She has no idea. She’s not talking the way she talks to me.
CRITIC
Then—what’s the problem?
GUARDSMAN
This afternoon, for a second, it seemed to go all wrong. She liked me. I could tell that. And she nearly almost said so … That was painful. But then I saw how this honest, brave, noble woman vanquished this feeling; how quickly she mastered it, how she restrained herself—then I could breathe. I breathed.
CRITIC
She is true to you.
GUARDSMAN
She is. I have no doubts about that anymore. And one that true, will stay true.
CRITIC
So now what?
GUARDSMAN
Now—I’m just happy. After all these months, this is such a happy day for me.
CRITIC
But what are you going to do now?
GUARDSMAN
Stay here and watch.
CRITIC
Why? You need an audience?
GUARDSMAN
I’m playing the role of my life, why not!
CRITIC
GUARDSMAN
When she rejected me, refused me, humiliated me in that warm loving way—I ended saying pretty much just what I felt about her.
CRITIC
And then …?
GUARDSMAN
You knocked. Just when I was at the point of taking her in my arms. But wait. A new thought. I’ll keep going. You keep pretending you don’t know anything. Just watch and listen. I’ll try to seduce her—as if I’m out of my mind with desire and I’ll and go so far that she tries to throw me out the door.
CRITIC
Why?
GUARDSMAN
Because, when she says to me: ‘Get out. Get the hell out of here!’ Only then will I take off my moustache and wig, and take her in my arms … Think of the laugh we’ll have. We’ll drink champagne and we’ll laugh so hard like we’ve never laughed before—the three of us. See what I mean?
CRITIC
I think so.
ACTRESS
(coming up angrily at the GUARDSMAN)
This is ridiculous. Do you know how conceited you are?!
GUARDSMAN
Me??
ACTRESS
Yes, you! Just now when I was joking and asked you what ‘things’ you had to work out with this woman, I could tell you thought I was serious. But I couldn’t care less about your ‘things.’ Do you believe me?
GUARDSMAN
I did believe you.
ACTRESS
Oh. Good. I thought you’d try and make some excuse … I’ve been sitting there trying to listen to the Opera, and I didn’t hear a single note; all I could think was that you thought I … And I don’t. I certainly don’t. Why would I?
GUARDSMAN
But …
ACTRESS
I can see it in your eyes, you’re still holding onto that delusion. What do I have to say to convince you that I don’t care?!
GUARDSMAN
I think you’ve said enough. Sadly …
ACTRESS
Oh, then you don’t even care what I think about your love affairs?
GUARDSMAN
Actually, I do.
ACTRESS
Oh …
GUARDSMAN
(gestures to the CRITIC who wants to say something, that now he will begin his trick)
Do you believe me?
ACTRESS
I don’t know what to believe about you anymore.
GUARDSMAN
Believe this: I do care what you think … Very much. One word from you, and that instant, I would drop everything else …
ACTRESS
I thought you’d never had affairs …
GUARDSMAN
Well, I …
ACTRESS
Don’t lie to me.
GUARDSMAN
It’s true. I wouldn’t call these—affairs. They are nothing … flirting, maybe. Who doesn’t flirt? But one word from you—one wink of your eye would be enough to make me renounce all the rest of the women in the world.
What do you think of that, Mezei?
CRITIC
I’d do the same.
GUARDSMAN
As I have always been honest with you, and hidden nothing, let me state in the presence of this witness, that there is no woman, no career, no other kind of happiness in the world that could compete with you … Should you …
ACTRESS
Should I what?
GUARDSMAN
I think you know.
ACTRESS (angrily)
I know. I know but I need to hear you say it.
GUARDSMAN (worried)
What?
ACTRESS
I need you to say it to me now. Before, when we were alone, you wouldn’t say it; that was fine. I didn’t really need to hear it then. But now … I don’t care about anything … I don’t care … Now I need to hear it.
GUARDSMAN (terrified)
What do you need to hear?
ACTRESS
Finish the speech. No woman, no career, no other happiness, and I don’t know what … I want to hear that you love me!
GUARDSMAN
Oh my god.
ACTRESS
(more and more passionately)
We haven’t much time. You have to go and god knows when I’ll see you again. Why are you looking at him like that?
(to the CRITIC)
You love me, don’t you?
Of course. Of course.
ACTRESS (taking the CRITIC’s hand)
You’re my dearest friend … My only friend in the world … My father, my mother, my brother … We have no secrets, do we?
CRITIC
But—
ACTRESS
Hush. Let me speak. Even if I’d been even for one second attracted to you, which I was not …
(to GUARDSMAN)
I hope you know that we never … we have not …
GUARDSMAN
I’m convinced of that.
ACTRESS (to CRITIC)
I will tell you everything that’s happened, as I have always told you everything.
CRITIC
Little cat, is that necessary—?
ACTRESS
I’m going to tell you. And you be the judge. This man, whom I met for the first time only this afternoon at six o’clock … this man … This man … dares to believe … that he could detect some jealousy … That very much upsets me … it angers me … and I would like to … Now even you believe it. I see how it looks. I must look … I don’t know what I’m saying. Mezei … I really do not care what this man thinks of me, I promise you …
(She covers her eyes, then quietly in a honest, childlike voice)
Mezei, my dear … this man …
GUARDSMAN
For god’s sake—
CRITIC (shouting at him)
Leave her alone! Don’t interrupt—
Marie, listen to me—!
CRITIC (screaming)
She’s listened to you enough and you have no right to talk to her in that tone of voice. Be quiet!
GUARDSMAN
Don’t tell me to be quiet.
CRITIC (to ACTRESS)
I’m listening, dear.
(to GUARDSMAN)
This lady is choosing to confide in me …
ACTRESS
(happily, an arm around the CRITIC’s neck)
I look up to you, Mezei. People don’t realize that. To hell with them … Mezei, this man isn’t what you’d call classically handsome … and his voice grates a little … he is, thank god, neither clever, nor witty; he’s not artistic, or cynical or smart … He is not like us … Mezei, because he’s simple, honest, stupid, and good looking and young and healthy, and he lives in a barracks so that’s why he doesn’t know how to behave … Mezei, my oldest friend … after all these years—at last: a man.
CRITIC
Congratulations.
ACTRESS
(She buries her head on the CRITIC’s shoulder, as if ashamed)
Mezei, dear, don’t be angry; this man has completely shaken me …
GUARDSMAN (in despair)
Oh my god …
CRITIC
(loud voice, to GUARDSMAN)
You will now behave as becomes a man. You will understand that this lady is not to be judged by the usual laws of society. She shall not be blamed for saying what she has said—in front of me. Because, as for me, brother—may I call you that—I give you my word of honor …
that nothing that has happened here will ever …
(as soon as the ACTRESS can’t hear)
This is—bad. It’s very bad. We can forget the laughter and champagne.
GUARDSMAN
Please, go away.
CRITIC
She loves the Guardsman.
GUARDSMAN
For god’s sake, go away …
CRITIC
Did you hear? She is in love with him.
GUARDSMAN
Go away!
CRITIC
Are you afraid that I’ll see her kiss him?
GUARDSMAN
Go! I don’t want you here.
CRITIC
And I don’t blame you.
GUARDSMAN
What?
CRITIC
Because the worst is yet to come.
GUARDSMAN
What do you mean?
CRITIC
You’re going to watch him seduce your own wife.
GUARDSMAN (seemingly cool)
I’ve told you, if that happens, I accept it. Now get out of here, you bastard.
CRITIC
I’m going. But let me first give you a warning. Your wife may cheat on you, but don’t also cheat yourself.
What do you mean?
CRITIC
Don’t try and break it off. Just so you can come to me and say, “In the end, she just threw him out.” No, no– you started this, you have to play it out. So the moment I’m gone, don’t start acting stupid or awkward just so she stops loving you. That’s a coward’s way out. A fool’s. Listen to me. This is not just my advice, but what you’d be telling yourself, if you could now see straight.
GUARDSMAN (pushes him)
Go. Go.
CRITIC
You know you can’t hide the truth from yourself. And probably when this thing is over your life will be in ruins. So—be bold. Perhaps she’ll change her mind. But if not—and these are you own words back to you—you’ll at least have gotten out of her one last honest kiss.
GUARDSMAN
Go.
(The CRITIC leaves, but stops to listen through the door when he hears the ACTRESS’s voice)
ACTRESS
You have behaved like a lawyer. Other men have died for me. Kalman Liebner shot himself because of me. And at Szeged, there was an officer—his name was Rappenschall—he also died out of love for me. But … no one has ever so unsettled me … you don’t know how attracted I am to you … or what I’m feeling … I’m mad … I don’t know what’s happening to me …
(CRITIC exits, frightened)
GUARDSMAN
I don’t know what to say.
ACTRESS
What’s to say? I am mad.
GUARDSMAN
Still I would like to say something.
What?
GUARDSMAN (husband’s voice)
You seem distraught.
ACTRESS
Your voice sounds different.
GUARDSMAN
It must be that I … all of this … happiness …
ACTRESS
That must be it. I’m sorry.
GUARDSMAN
Don’t be.
ACTRESS
Oh dear. You’re so nice.
GUARDSMAN (husband’s voice)
Not really.
(Pause)
ACTRESS (puzzled, questioning)
Are you trying to be stupid? You’re acting different all of a sudden.
GUARDSMAN
Didn’t you tell me I was stupid?
ACTRESS
Yes, but now you’re even more stupid. Like you’re trying to … as if … yes …
(mocking smile)
as if … you were afraid of me.
GUARDSMAN
Me?
ACTRESS
You are standing there like someone who wanted to play, but then got frightened when the playing got serious.
(coming up very close to him)
I think Counts don’t like it when they’re not in control.
GUARDSMAN
Please …
So Counts get afraid something bad is going to happen … But not to worry. They’re safe. There will be no scandal, no divorce, I don’t want to be a Countess.
GUARDSMAN
But—
ACTRESS
Still you should not be surprised that when set afire, I burn with a very bright flame—I am an actress. We are made of different stuff, different blood, flesh, nerves, we have different brains. Am I frightening you? If so, don’t you have yourself to blame? And isn’t this what you want? To go fast. To say anything, be foolish, and make love … To an actress! And then what? I throw away everything, give up everything, and aroused with passion—maybe more than my dear Count was prepared for—but then, frightened, you—stop? No. No. Stay with me. Burn with me. Die with me. Trust me, I’m no worse than your Countesses, it’s just that, sir, I ignite a little quicker and burn until I’m out.
GUARDSMAN
Don’t talk like that about Countesses. My mother and sister are Countesses.
ACTRESS
You must be very afraid of me to be so rude. You want to get rid of me. Well, let me tell you something that will either make you run away, or fall at my feet.
(severely, stopping him)
I am not letting you go!!
GUARDSMAN
No, no … I wasn’t … it’s just that all this happiness, it’s too much … I … love you … I …
ACTRESS
Kiss me.
(Pause)
GUARDSMAN
But …
Kiss me.
(GUARDSMAN makes a movement toward her, ‘MOTHER’ comes up. Sees them)
‘MOTHER’
It’s the final duet. Oh ….
(covers her face with her hands as she goes back to her seat happily)
ACTRESS (to GUARDSMAN)
The final duet … Where they throw all caution to the wind.
(She looks at the GUARDSMAN then overwhelmed, she follows ‘mother’ back to the seats)
(CRITIC returns)
CRITIC
The act is nearly over. This last duet, I can’t listen to it anymore …
(seeing that the GUARDSMAN is alone)
Well? How’s it going?
GUARDSMAN
Great. Great.
CRITIC
That bad. You look ten years older.
GUARDSMAN
There’s no point in lying. My wife—
CRITIC
You don’t have to say it. Your wife is in love with the Guardsman, and you want to blow his brains out.
GUARDSMAN
Yes.
CRITIC
How do you hope to shoot him, and miss you?
GUARDSMAN
Perhaps it’s for the best, there’s only one of us, kill the seducer and also get rid of myself. Now please, leave us alone. Go. Go.
(Pushes him out. ACTRESS comes back down stage)
Quickly because the act’s about to end. Do you love me?
GUARDSMAN
What?
ACTRESS
Do you love me?
GUARDSMAN
I love you. I adore you.
ACTRESS
And when will I see you again?
GUARDSMAN
Whenever you like.
ACTRESS
Tomorrow.
GUARDSMAN
Tomorrow.
ACTRESS
The afternoon?
GUARDSMAN
The afternoon.
ACTRESS
Five o’clock.
GUARDSMAN
Five o’clock.
ACTRESS
After tomorrow, my husband comes home.
GUARDSMAN
If he comes home early?
ACTRESS
He has a show.
GUARDSMAN
If he doesn’t do the show?
It’s a favorite role. You don’t know actors. Wild horses couldn’t keep him away.
GUARDSMAN
I understand that.
ACTRESS
Five o’clock then, at my home.
GUARDSMAN
Five o’clock at your home.
ACTRESS
Are you as happy as I am?
GUARDSMAN
I … am. Oh, I’m so happy. I’m—
(‘MOTHER’ ‘coughs’)
‘MOTHER’
It’s nearly over, dear.
ACTRESS
(as she goes to ‘MOTHER,’ to GUARDSMAN)
Don’t go yet. When it’s finished, then you can go …
(CRITIC peeks in)
CRITIC
Well?
GUARDSMAN
Well what?
CRITIC
I heard—at five.
GUARDSMAN
At four.
CRITIC
She said at five.
GUARDSMAN
To the Guardsman. But the husband comes back tomorrow unexpectedly at four.
You want to catch her with the Guardsman?
GUARDSMAN
No. Not that.
CRITIC
Then what?
GUARDSMAN
I want to stop her from sleeping with him.
CRITIC
You’ll end the charade?
GUARDSMAN
Yes.
CRITIC
Why wait until tomorrow? Why not now?
GUARDSMAN
One last time, I want to hear her say to me: “I love you. Kiss me.” And for her to mean it. To see her eyes sparkle, feel her warm breath … All that now is bound to these clothes.
CRITIC
You poor man.
GUARDSMAN
I ask of you only one more thing—to come to our house tomorrow afternoon.
CRITIC
Why?
GUARDSMAN
To see what happens? You never know. I’m young. I’m handsome. Maybe when I come home she’ll embrace me like she’s never embraced me before … And I won’t feel like the wretched husband, but … please god help me … the soldier coming home from the wars?
CRITIC
I’ll come. I owe that much to that poor fool who is out of town, longing for his wife.
(USHER sticks her head in)
USHER
The chauffeur is here, sir.
GUARDSMAN
(USHER leaves)
CRITIC
Goodbye.
(CRITIC goes and sits with the ladies)
(GUARDSMAN looks after him, then straightens himself and puts on his coat)
GUARDSMAN
Good night.
ACTRESS
(gets up, comes toward the GUARDSMAN)
Good night.
(They look into each others eyes, holding each others hands, then the GUARDSMAN goes a few steps towards the door, she goes with him, and they slowly, silently embrace. Long kiss. Then the lights on the ‘stage,’ and applause fills the theater. ‘MOTHER’ and CRITIC applaud as well. At the first clap of applause, the lovers separate.)
(GUARDSMAN goes toward the door)
(Slowly the applause begins to end)
ACTRESS
Tomorrow. At five o’clock.
GUARDSMAN
Five o’clock.
(He exits)
(The ACTRESS leans back against the wall of the box, closing her eyes in ecstasy. Applause begins again.)
CRITIC
(coming toward her, applauding)
The end was beautiful.
ACTRESS (rapturously)
Beautiful.
(She begins to applaud automatically, slowly)
CURTAIN.