 Act One of Six Characters in Search of an Author This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org Six Characters in Search of an Author A Comedy in the Making by Luigi Pirandello, translated by Edward Storer Characters of the Comedy in the Making The Father Read by Peter Yersley The Mother Read by Ruth Golding The Stepdaughter Read by Miss Navarice The Son Read by M.B. The Boy The Child The Last Two Do Not Speak Madame Pace Read by the Animalinger Actors of the Company The Manager Read by Denny Sayers The Leading Lady Read by Piper Hale Leading Man Read by Peter Bishop Second Lady Lead Read by Colinda Longenu Read by Bridget Tallinn Juvenile Lead By Liz Morad Other Actors and Actresses Read by Avayee Read by Robert in Baton Rouge, Louisiana Read by Lucy Perry Read by Maria Mester-Goldman Property Man Read by David Lawrence Promptor Read by O.Wandeltree Machinist Read by Iswa Manager's Secretary Doorkeeper By Joshua Bernworth Scene Shifters Narrated by Elizabeth Klett Daytime The Stage of a Theatre Act One N.B. The comedy is without acts or scenes. The performance is interrupted once without the curtain being lowered when the manager and the chief characters withdraw to arrange the scenario. A second interruption of the action takes place when, by mistake, the stage hands let the curtain down. The spectators will find the curtain raised and the stage as it usually is during the daytime. It will be half dark and empty so that from the beginning the public may have the impression of an impromptu performance. Promptor's box and a small table and chair for the manager. Two other small tables and several chairs are thought about as during rehearsals. The actors and actresses of the company enter from the back of the stage. First one, then another, then two together, nine or ten in all. They are about to rehearse a perendello play, mixing it up. Some of the company move off towards their dressing rooms. The prompter, who has the book under his arm, is waiting for the manager in order to begin the rehearsal. The actors and actresses, some standing, some sitting, chat and smoke. He leads a paper, another cons his part. Finally the manager enters and goes to the table prepared for him. His secretary brings him his mail through which he glances. The prompter takes his seat, turns on a light and opens the book. The manager, throwing a letter down on the table. I can't see. Two property men. Let's have a little light, please. Yes sir, yes, at once. A light comes down onto the stage. Come along. Come along. Second act of mixing it up. Sits down. The actors and actresses go from the front of the stage to the wings. All accept the three who are to begin the rehearsal. The prompter, reading the book. Leo Galla's house. A curious room serving as dining room and study. The manager, two property men. Fix up the old red room. Property man, noting it down. What's that? All right. The prompter, continuing to read from the book. The table already laid and writing desk with books and papers. Bookshelves. Exit rear to Leo's bedroom. Exit left to kitchen. Principal exit to right. Well, you understand. The principal exit over there. Here, the kitchen. Turning to actor who is to play the part of Socrates. You make your entrances and exits here. Two property man. The base doors at the rear and curtains. Property man, noting it down. Rado. Prompter, reading as before. When the curtain rises, Leo Galla dressed in cook's cap and apron is busy bidding an egg in a cup. Philip, also dressed as a cook, is bidding another egg. Guido Venanje is seated and listening. Leading man, two manager. Excuse me, but must I absolutely wear a cook's cap? I imagine so. It says so there, anyway. Pointing to the book. But it's ridiculous. The manager, jumping up in a rage. Ridiculous? Ridiculous? Is it my fault if France won't send us any more good comedies and we are reduced to putting all those works? Where nobody understands anything and where the author plays the fool with us all? The actor's grin. The manager goes to Leading Man and shouts. Yes, sir. You put on the cook's cap and beat eggs. Do you suppose with all this egg-beating business you are on an ordinary stage? Get that out of your head. You represent the shell of Leading. Silence and listen to my explanations, please. To Leading Man. The empty form of reason without the fullness of instinct, which is blind. You stand for reason. Your wife is instinct. It's a mixing up of the parts according to which you who act your own part become the puppet of yourself. Do you understand? I'm hanged if I do. Neither do I. But let's get on with it. It's sure to be a glorious failure anyway. But I say, please face three quarters. Otherwise, what with the obstruceness of the dialogue and the public that won't be able to hear you, the whole thing will go to hell. Come on. Come on. Pardon, sir. May I get into my box? There's a beat of drought. Yes. Yes, of course. At this point, the doorkeeper has entered from the stage door and advances towards the manager's table, taking off his braided cap. During this maneuver, the six characters enter and stop by the door at back of stage, so that when the doorkeeper is about to announce they're coming to the manager, they are already on the stage. A tenuous light surrounds them, almost as if irradiated by them, the faint breath of their fantastic reality. This light will disappear when they come forward towards the actors. They preserve, however, something of the dream, lightness in which they seem almost suspended, but this does not detract from the essential reality of their forms and expressions. He who is known as the father is a man of about fifty, hair, reddish in colour, thin at the temples. He is not bald, however, thick moustaches falling over his still-fresh mouth, which often opens in an empty and uncertain smile. He is fat-ish, pale, with an especially wide forehead. He has blue oval-shaped eyes, very clear and piercing, wears light trousers and a dark jacket. He is alternatively malifluous and violent in his manner. The mother seems crushed and terrified as if by an intolerable weight of shame and abasement. She is dressed in modest black and wears a thick widow's veil of crepe. When she lifts this, she reveals a wax-like face. She always keeps her eyes downcast. The step-daughter is dashing, almost impudent, beautiful. She wears morning too, but with great elegance. She shows contempt for the timid half-frightened manner of the wretched boy, fourteen years old and also dressed in black. On the other hand she displays a lively tenderness for her little sister. The child, about four, who is dressed in white and black silk sash at the waist. The son, twenty-two, tall, severe in his attitude of contempt for the father, supercilious and indifferent to the mother. He looks as if he had come on the stage against his will. Doorkeeper, cap in hand. Excuse me, sir. Hey, what is it? These people are asking for you, sir. I am rehearsing. And you know perfectly well no one's allowed to come in during rehearsals. Turning to the characters. Who are you, please? What do you want? The father, coming forward a little followed by the others who seem embarrassed. As a matter of fact we have come here in search of an author. An author? What author? Any author, sir. But there's no author here. We are not rehearsing a new piece. So much the better, so much the better. We can be your new piece. An actor, coming forward from the others. Oh, do you hear that? Yes, but if the author isn't here, unless you would be willing... You're trying to be funny. No, for heaven's sake, what are you saying? We bring you a drama, sir. We may be your fortune. Will you oblige me by going away? We haven't time to waste with mad people. Oh, sir, you know well that life is full of infinite absurdities, which, strangely enough, do not even need to appear plausible, since they are true. What the devil is he talking about? I say that to reverse the ordinary process may well be considered a madness. That is, to create credible situations in order that they may appear true. But permit me to observe that if this be madness, it is the sole raison d'etre of your profession, gentlemen. The actors look hurt and perplexed. The manager getting up and looking at him. So, our profession seems to you one worthy of madmen, then. Well, to make seem true that which isn't true without any need for a joke as it were, isn't that your mission, gentlemen? To give life to fantastic characters on the stage. The manager interpreting the rising anger of the company. But I would beg you to believe, my dear sir, that the profession of the comedian is a noble one. If today, as things go, the playwrights give us stupid comedies to play and puppets to represent the dead of men. Remember, we are proud to have given life to immortal works here on these very boards. The actors satisfied, applaud their manager. Exactly, perfectly. To living beings more alive than those who breathe and wear clothes. Beings less real, perhaps, but trueer. I agree with you entirely. The actors look at one another in amazement. But what do you mean? Before, you said... No, excuse me. I meant it for you, sir, who were crying out that you had no time to lose with madmen. Well, no one better than yourself knows that nature uses the instrument of human fantasy in order to pursue her high creative purpose. Very well. But where does all this take us? Nowhere. It is merely to show you life in many forms, in many shapes, as tree, or as stone, as water, as butterfly, or as woman. So one may also be born a character in a play. So you and these other friends of yours have been born characters. Exactly, and alive as you see. I am sorry that you laugh because we carry in us a drama as you can guess from this woman here veiled in black. Chuck it. Get away, please. Clear out of here. To property man. For heaven's sakes, turn them out. No, no, look here. We come here to work, you know? One cannot let oneself be made such a fool of. The father determined coming forward. I marvel at your incredulity, gentlemen. Are you not accustomed to see the characters created by an author spring to life in yourselves and face each other? Just because there is no book which contains us, you refuse to believe. Believe me, there are really six most interesting characters, sir. Side-tracked, however. Yes, that is the word. In the sense, that is, that the author who created us alive no longer wished or was no longer able materially to put us into a work of art. And this was a real crime, sir, because he who has had the luck to be born a character can laugh even at death. He cannot die. The man, the writer, the instrument of the creation will die, but his creation does not die. And to live forever it does not need to have extraordinary gifts or to be able to work wonders. Who was Sancho Panza? Who was Don Abondio? Yet they live eternally because live germs as they were they had the fortune to find a fecundating matrix, a fantasy which could raise and nourish them, make them live forever. That is quite all right, but what do you want here? All of you. We want to live. Hmm, for eternity? No, sir. Only for a moment in you. Just listen to him. They want to live in us. Juvenile lead, pointing to the step-daughter. I've no objection as far as that one's concerned. Look here, look here, the comedy has to be made. But if you and your actors are willing, we can soon concert it out among ourselves. But what do you want to concert? We don't go in for concerts here, here. We play dramas and comedies. Exactly. That is just why we have come to you. And where is the book? It is in us. Ha, ha, ha, ha. Ha, ha, ha, ha. Ha, ha, ha, ha. The drama is in us and we are the drama. We are impatient to play it. Our inner passion drives us onto this. My passion? Sir? If you only knew, my passion for him. Ha, ha, ha, ha, ha. Points to the father and makes a pretense of embracing him. Behave yourself and please don't laugh in that fashion. With your permission, gentlemen, I, who am a two-month orphan, will show you how I can dance and sing. If you want, I will let you dance and I will sing. I will sing and I will sing. I will sing and I will sing. Bravo! Well done! Silence! This isn't a cafe concert, you know? Turning to the father in consternation. Is she mad? No, she's worse than mad. Worse? Worse? Listen, stage this drama for us at once. Then you will see that at a certain moment, I, win this little darling here. Takes the child by the hand and leads her to the manager. Isn't she a dear? Takes her up and kisses her. Darling! Darling! Puts her down again and adds feelingly. Well, when God suddenly takes this dear little child away from that poor mother there it's imbecile here. Seizing hold of the boy roughly and pushing him forward. Does the stupidest things like the fool he is you will see me run away. Yes, gentlemen, I shall be off. But the moment hasn't arrived yet. After what has taken place between him and me, indicates the father with a horrible wink. I can't remain any longer in this society to have to witness the anguish of this mother here for that fool. Indicates the son. Look at him. Look at him. See how indifferent, how frigid he is because he is the legitimate son. He despises me. Despises him, despises this baby here. Because we are bastards. Goes to the mother and embraces her. And he doesn't want to recognize her as his mother. She who is the common mother of us all. He looks down upon her as if she were only the mother of us. Three bastards. Wretch. The mother to the manager in anguish. In the name of these two little children I beg you. She goes faint and is about to fall. Oh, God. The father coming forward to support her as do some of the actors. Quick, a chair. A chair for this poor widow. Is it true? Has she really fainted? Quick, a chair. Here. One of the actors brings a chair, the other's proper assistance. The mother tries to prevent the father from lifting the veil which covers her face. Look at her. Look at her. No, no. Stop it, please. The father raising her veil. Let them see you. The mother rising and covering her face with her hands in desperation. I beg you, sir, to prevent this man from carrying out his plan which is loathsome to me. I don't understand at all. What is the situation? Is this lady your wife? Yes, gentlemen. My wife. But how can she be a widow if you are alive? Don't laugh. Don't laugh like that for heaven's sake. Her drama lies just here in this. She has had a lover, a man who ought to be here. No, no. Fortunately for her, he is dead. Two months ago, as I said, we are in mourning as you see. He isn't here, you see. Not because he is dead. He isn't here. Look at her a moment and you will understand because her drama isn't a drama of two men for whom she was incapable of feeling anything except possibly a little gratitude. Gratitude, not for me but for the other. She isn't a woman. She is a mother and her drama powerful, sir, I assure you lies as a matter of fact all in these four children she has had by two men. I had them. Have you got the courage to say that I wanted them? To the company. It was his doing. It was he who gave me that other man who forced me to go away with him. It isn't true. Not true, isn't it? No, it isn't true. It just isn't true. And what can you know about it? It isn't true. Don't believe it. Do you know why she says so? She is there. Indicates the son. She tortures herself. Destroys herself on account of the neglect of that son there. And she wants him to believe that if she abandoned him when he was only two years old it was because he Indicates the father. Made her do so. He forced me to it and I called God to witness it. Ask him if it isn't true. To daughter. You are not in a position to know anything about it. I know you lived in peace and happiness with my father while he lived. Can you deny it? No, I don't deny it. He was always full of affection and kindness for you. To the boy. It's true, isn't it? Tell them. Why don't you speak, you little fool? Leave the poor boy alone. Why do you want to make me appear ungrateful, daughter? I don't want to offend your father. I have answered him that I didn't abandon my house and my son through any fault of mine, nor from any willful passion. It is true. It was my doing. What a spectacle. We are the audience this time. For once in a way. Let's hear them out. Listen. You're going to hear a fine bit now. He'll talk to you of the demon of experiment. You're a cynical imbecile. I've told you so already hundreds of times. To the manager. He tries to make fun of me on account of this expression which I have found to excuse myself with. Yes! Phrases! Phrases! Isn't everyone consoled when faced with a trouble or fact he doesn't understand some simple word which tells us nothing and yet calms us. Even in the case of remorse. In fact, especially then. Remorse? No, that isn't true. I've done more than use words to quieten the remorse in me. Yes, there was a bit of money too. Yes, yes, a bit of money. There were the hundred lira he was about to offer me in payment, gentlemen. A sensation of horror among the actors. The son. To the stepdaughter. This is vile. Vile? There they were in a pale blue envelope on a little mahogany table in the back of Madame Pace's shop. You know Madame Pace. One of those ladies who attract poor girls of good family into their ateliers under the pretext of their selling. And he thinks he has bought eyes over us all with those hundred lira he was going to pay. But which, fortunately, note this, gentlemen. He had no chance of paying. It was a near thing, though. You know. Shame, my daughter, shame! Shame indeed. This is my revenge. I am dying to live that seam. The room. I see it. The window with the mantles exposed. There the divan. The looking glass. A screen. There in front of the window the little mahogany table with the blue envelope containing one hundred lira. I see it. I see it. I could take hold of it. But you, gentlemen, you ought to turn your backs now. I am almost nude, you know. I am blush. I leave that to him. Indicating father. I don't understand this at all. Naturally enough, I would ask you, sir, to exercise your authority a little here, and let me speak before you believe all she is trying to blame me with. Let me explain. Ah, yes. Explain it in your own way. But don't you see that the whole trouble lies here in words. Each one of us has within him a whole world of things, each man of us, his own special world. And how can we ever come to an understanding if I put in the words I utter the sense and value of things as I see them? While you who listen to me must inevitably translate them according to the conception of things each one of you has within himself, we think we understand each other, but we never really do. Look here, this woman Indicating the mother takes all my pity for her as a specially ferocious form of cruelty. But you drove me away. Do you hear her? I drove her away. She believes I really sent her away. You know how to talk and I don't. But believe me, sir. To manager. After he had married me, who knows why? I was a poor insignificant woman. But good heavens, it was just for your humility that I married you. I loved this simplicity in you. He stops when he sees she makes signs to contradict him, opens his arms wide in sign of desperation, seeing how hopeless it is to make himself understood. You see she denies it. Her mental deafness, believe me, is phenomenal. The limit. Touches his forehead. Deaf. Deaf. Mentally deaf. She has plenty of feeling. Oh, yes, a good heart for the children, but the brain, deaf to the point of desperation. Yes. But ask him how his intelligence has helped us. If we could see all the evil that may spring from good, what should we do? At this point, the leading lady who is biting her lips with rage at seeing the leading man flirting with the stepdaughter comes forward and says to the manager, Excuse me, but are we going to rehearse today? Of course. Of course. But let's hear them out. This is something quite new. Most interesting. Yes. For the people who like that kind of thing. Casts a glance at leading man. Please explain yourself quite clearly. Very well, then. Listen. I had, in my service, a poor man, a clerk, a secretary of mine full of devotion, who became friends with her. Indicating the mother. They understood one another. Were kindred souls, in fact, without, however, the least suspicion of any evil existing. They were incapable even of thinking of it. So he thought of it. For them. That's not true. I meant to do good to them, and to myself, I confess, at the same time. Things had come to the point that I could not say a word to either of them without their making a mute appeal one to the other, with their eyes. I could see them silently asking each other how I was to be kept in countenance, how I was to be kept quiet. And this, believe me, was just about enough of itself to keep me in a constant rage, to exasperate me beyond measure. And why didn't you send him away, then, this secretary of yours? Precisely what I did, sir. And then I had to watch this poor woman drifting forlornly about the house, like an animal without a master, like an animal one has taken in out of pity. Yes. The father suddenly turning to the mother. It's true about the son anyway, isn't it? He took my son away from me first of all. But not from cruelty. I did it, so that he should grow up healthy and strong by living in the country. The stepdaughter pointing to him ironically. As one can see. Is it my fault if he has grown up like this? I sent him to a wet nurse in the country, a peasant, who says she did not seem to me strong enough. Though she is of humble origin. That was anyway the reason I married her. Unpleasant all this, maybe. But how can it be helped? My mistake, possibly. But there we are. All my life I have had these confounded aspirations towards a certain moral sanity. Ha ha ha ha ha ha ha. Ha ha ha ha ha. Stop it, stop it. I can't stand it. Yes, please stop it. For heaven's sake. But imagine moral sanity from him. If you please. The client of certain ateliers like that of Madame Pace. Fool, that is the proof that I am a man. This seeming contradiction, gentlemen, is the strongest proof that I stand here a live man before you. Why, it is just for this very incongruity in my nature that I have had to suffer what I have. I could not live by the side of that woman. Indicating the mother. Any longer. But not so much for the boredom she inspired me with as for the pity I felt for her. And so he turned me out. Well provided for. Yes, I sent her to that man, gentlemen, to let her go free of me. And to free himself. Yes, I admit it. It was also a liberation for me. But great evil has come of it. I meant well when I did it and I did it more for her sake than mine. I swear it. Crosses his arms on his chest then turns suddenly to the mother. Did I ever lose sight of you until that other man carried you off to another town like the great angry fool he was? And on account of my pure interest in you, my pure interest, I repeat, that had no base motive in it, I watched with the tenderest concern the new family that grew up around her. She can bear witness to this. Points to the step-daughter. Oh yes, that's true enough. When I was a kitty so, so high, you know, I laid silver my shoulders and knickers longer than my skirts. I used to see him waiting outside the school for me to come out. He came to see how I was growing up. This is infamous, shameful. No, why? Infamous, infamous. Then excitedly to manager explaining. After she indicating mother went away, my house seemed suddenly empty. She was my incubus but she filled my house. I was like a dazed fly alone in the empty rooms. This boy here indicating the son was educated away from home and when he came back he seemed to me to be no more mine. With no mother to stand between him and me he grew up entirely for himself on his own apart with no tie of intellect or affection binding him to me. And then, strange but true, I was driven by curiosity at first and then by some tender sentiment towards her family which had come into being through my will. The thought of her began gradually to fill up the emptiness I felt all around me. I wanted to know if she were happy in living out the simple daily duties of life. I think of her as fortunate and happy because far away from the complicated torments of my spirit and so to have proof of this I used to watch that child coming out of school. Yes, yes, true. He used to follow me in the street and smiled at me, waved his hand. Like this I would look at him with interest wondering who he might be. The mother who guessed it once The mother agrees with a nod Then she didn't want to send me to school for some days and when I finally went back there he was again looking so ridiculous with a paper parcel in his hands He came close to me caressed me and drew out a fine straw hat from the parcel with a bouquet of flowers all for me. Yes, you know, literature literature literature indeed this is life, this is passion it may be but it won't act I agree, this is only the part leading up I don't suggest this should be staged she pointing to the step-daughter as you see is no longer the flapper with plaits down her back and the knickers showing below the skirt the drama is coming now, sir something new, complex most interesting as soon as my father died there was absolute misery for them they came back here unknown to me through her stupidity pointing to the mother it is true she can barely write her own name but she could anyhow have got her daughter to write to me that they were in need and how was I to divine all this sentiment in him that is exactly your mistake never to have guessed any of my sentiments after so many years apart and all that it happened was it my fault if that fellow carried you away it happened quite suddenly for after he had obtained some job or other I could find no trace of them and so not unnaturally my interest in them dwindled but the drama culminated unforeseen and violent on their return when I was impelled by my miserable flesh that still lives what misery what wretchedness is that of the man who is alone and disdains debasing liaisons not old enough to do without women and not young enough to go and look for one without shame misery it's worse than misery it's a horror for no woman can any longer give him love and when a man feels this one ought to do without you say yes yes I know each of us when he appears before his fellows is clothed in a certain dignity but every man knows what unconfessable things pass within the secrecy of his own heart to pay to the temptation only to rise from it again afterwards with a great eagerness to re-establish one's dignity as if it were a tombstone to place on the grave of one's shame and a monument to hide and sign the memory of our weaknesses everybody's in the same case some folks haven't the courage to say certain things that's all all appear to have the courage to do them though yes but in secret therefore you want more courage to say these things let a man but speak these things out and folks at once label him a cynic but it isn't true he is like all the others better indeed because he isn't afraid to reveal with the light of the intelligence the red shame of human bestiality on which most men close their eyes so as not to see it woman for example look at her case she turns tantalizing inviting glances on you you seize her, no sooner does she feel herself in your grasp than she closes her eyes it is the sign of her mission the sign by which she says to man lined yourself for I am blind sometimes she can close them no more when she no longer feels the need of hiding her shame to herself but dry-eyed and dispassionately sees only that of the man who was blinded himself without love oh all these intellectual complications make me sick disgust me all this philosophy that uncovers the beast in man and then seeks to save him excuse him I can't stand it sir when a man seeks to simplify life bestially throwing aside every relic of humanity every chaste aspiration every pure feeling all sense of ideality duty, modesty shame then nothing is more revolting and nauseous than a certain kind of remorse crocodile's tears that's what it is let's come to the point this is only discussion very good sir this is like a sack which won't stand up when it is empty in order that it may stand up one has to put into it the reason and sentiment which have caused it to exist I couldn't possibly know that after the death of that man they had decided to return here that they were in misery and that she pointing to the mother had gone to work as a modeste and at a shop of the type of that of Madame Pace a real high class modeste you must know gentlemen in appearance she works for the leaders of the best society but she arranges matters so that these elegant ladies serve her purpose without prejudice to other ladies who are well, only so-so you will believe me gentlemen that it never entered my mind that the old hag offered me work because she had her eye on my daughter poor mama do you know sir what that woman did when I brought her back the work my mother had finished she would point out to me that I had torn one of my frocks and she would give it back to my mother to mend it was I who paid for it always I while this poor creature here believed she was sacrificing herself for me and these two children here sitting up at night sewing Madame Pace's robes and one day you met there him, him, yes sir an old client there's a scene for you to play super she, the mother, arrived just then almost in time no, in time in time fortunately I recognized her in time with me, to my house you can imagine now her position and mine she, as you see her and I, who cannot look her in the face absurd how can I possibly be expected after that to be a modest young miss a fit person to go with his confounded aspirations for a solid moral sanity for the drama lies all in this the conscience that I have that each one of us has we believe this conscience to be a single thing but it is many-sided there is one for this person and another for that diverse consciences so we have this illusion of being one person for all of having a personality that is unique in all our acts but it isn't true we perceive this when tragically perhaps in something we do we are, as it were, suspended caught up in the air on a kind of hook then we perceive that all of us was not in that act and that it would be an atrocious injustice to judge us by that action alone as if all our existence were summed up in that one deed now do you understand the perfidy of this girl she surprised me in a place where she ought to have known me just as I could not exist for her and she now seeks to attach to me a reality such as I could never suppose I should have to assume for her in a shameful and fleeting moment of my life I feel this above all else and the drama you will see acquires a tremendous value from this point the position of the others is indicating the sun leave me alone, I don't come into this what? you don't come into this? I've got nothing to do with it I don't want to have because you know well enough I wasn't made to be mixed up in all this with the rest of you we are only vulgar folk he is a fine gentleman you may have noticed, Mr. Manager that I fixed him now and again with a look of scorn in his eyes for he knows the evil he has done me I? you you I owe my life on the streets to you did you or did you not deny us with your behavior I won't say the intimacy of home but even that mere hospitality which makes guests feel at their ease we were intruders who had come to disturb the kingdom of your legitimacy have you witnessed, Mr. Manager certain scenes between him and me he says I have tyrannized over everyone but it was just his behavior which made me insist on the reason for which I had come into the house this reason he calls vile into his house with my mother who is his mother too and I came as mistress of the house it's easy for them to put me always in the wrong imagine the position of a son whose fate it is to see one day arrive at his home a woman of impudent bearing a young woman who inquires for his father with whom who knows what business she has the young man has then to witness her return bolder than ever accompanied by that child there he is obliged to watch her treat his father in an equivocal and confidential manner she asks money of him in a way that lets one suppose he must give it her must do you understand because he has every obligation to do so but I have as a matter of fact this obligation I owe it to your mother how should I know when had I ever seen or heard of her one day they'll arrive with her indicating stepdaughter that lad and this baby here I am told this is your mother too you know I divine from her manner indicating stepdaughter again why it is that they have come home I had rather not say what I feel and think about it I shouldn't even dare to confess to myself no action can therefore be hoped for from me in this affair believe me mr. manager I am an unrealized character dramatically speaking and I find myself not at all at ease in their company leave me out of it I beg you what it is just because you are so that how do you know what I am like when did you ever bother your head about me I admit it but isn't that a situation in itself this aloofness of yours which is so cruel to me and to your mother who returns home and sees you almost for the first time grown up who doesn't recognize you but knows you are her son pointing out the mother to the manager see she's crying the stepdaughter angrily stamping her foot like a fool the father indicating stepdaughter she can't stand him you know then referring again to the son he says that he doesn't come into the affair whereas he is really the hinge of the whole action look at that land who is always clinging to his mother frightened and humiliated in front of this fellow here possibly his situation is the most painful of all he feels himself a stranger more than the others the poor little chap feels mortified humiliated at being brought into a home out of charity as it were he is the image of his father hardly talks at all humble and quiet oh we'll cut him out you've no notion what a nuisance boys are on the stage he disappears soon you know and the baby too she is the first to vanish from the scene the drama consists finally in this when that mother re-enters my house her family born outside of it and shall we say superimposed on the original ends with the death of the little girl the tragedy of the boy and the flight of the elder daughter it cannot go on because it is foreign to its surroundings so after much torment we three remain I the mother that son then owing to the disappearance of that extraneous family we too find ourselves strange to one another we find we are living in an atmosphere of mortal desolation which is the revenge as he indicating son scornfully said of the demon of experiment that unfortunately hides in me thus sir you see when faith is lacking it becomes impossible to create certain states of happiness for we lack the necessary humility vain gloriously we try to substitute ourselves for this faith creating thus for the rest of the world a reality which we believe after their fashion while actually it doesn't exist for each one of us has his own reality respected before God even when it is harmful to one's very self there is something in what you say I assure you all this interest me very much I begin to think there's this stuff for drama in all this and not a bad drama either the stepdaughter coming forward when you've got a character like me the father shutting her up all excited to learn the decision of the manager the manager reflecting heedless of interruption it's new hmm yes absolutely new you've got a nerve though I must say to come here and fling it at me like this you will understand sir born as we are for the stage are you amateur actors then? no I say born for the stage because oh nonsense you're an old hand you know no sir no we act that role for which we have been cast that role which we are given in life and in my own case passion itself as usually happens becomes a trifle theatrical when it is exalted well that will do but you see without an author I could give you the address of an author if you'd like no no look here you must be the author I? what are you talking about? yes you you why not? because I have never been an author that's why then why not turn author now? everybody does it you don't want any special qualities your task is made much easier by the fact that we are all here it won't do what? when you see us live our drama? yes that's all right but you want someone to write it no no someone to take it down possibly while we play it scene by scene it will be enough to sketch it out at first and then try it over well I am almost tempted it's a bit of an idea one might have a shot at it of course you'll see what scenes will come out of it I could give you one at once by Jove it tempts me I'd like to have a go at it let's try it out come with me to my office turning to the actors you are at liberty for a bit but don't step out of the theater for long in a quarter of an hour twenty minutes all back here again to the father we'll see what can be done who knows if we don't get something really extraordinary out of it there's no doubt about it they indicating the characters had better come with us too hadn't they yes come on moves away and then turning to the actors be punctual please manager and the six characters cross the stage and go off the other actors remain looking at one another in astonishment is he serious what the devil does he want to do this is rank madness does he expect to knock up a drama in five minutes like the improvisers if he thinks I'm going to take part in a joke like this I'm out of it anyway I should like to know who they are alludes to characters well what do you suppose madmen are rascals vanity he fancies himself as an author now it's absolutely unheard of if the stage has come to this well I'm it's rather a joke well we'll see what's going to happen next thus talking the actors leave the stage some going out by the little door at the back others retiring to their dressing rooms the curtain remains up the action of the play is suspended for twenty minutes end of act one act two of six characters in search of an author this is a LibriVox recording all LibriVox recordings are in the public domain for more information or to volunteer please visit LibriVox.org six characters in search of an author a comedy in the making by Luigi Pirandello translated by Edward Storer act two the stage call bells ring to warn the company that the play is about to begin again the stepdaughter comes out of the manager's office along with the child and the boy as she comes out of the office she cries nonsense nonsense do it yourselves I'm not going to mix myself up in this mess turning to the child and coming quickly with her onto the stage come on Rosetta let's run the boy follows them slowly remaining a little behind and seeming perplexed the stepdaughter stops bends over the child and takes the latter's face between her hands my little darling you're frightened aren't you you don't know where we are do you pretending to reply to a question of the child what is the stage it's a place baby you know where people play at being serious a place where they act to comedies we've got to act a comedy now dead serious you know and you're in it also little one embraces her presses the little head to her breast and rocking the child for a moment oh darling darling what a horrid comedy you've got to play what a wretched part they've found for you a garden a fountain look just suppose kitty where you say why right here in the middle it's all pretense you know that's the trouble my pet it's all make believe here it's better to imagine it though because if they fix it up for you it'll only be painted cardboard painted cardboard for the rockery the water the plants but I think a baby like this one would sooner have a make believe fountain than a real one so she could play with it what a joke it'll be for the others but for you alas not quite such a joke you who are real baby dear and really play by a real fountain that is big and green and beautiful with ever so many bamboos around it that are reflected in the water and a whole lot of little ducks swimming about Rosetta no your mother doesn't bother about you on account of that wretch of a son there I'm in the devil of a temper and as for that lad seizes boy by the arm to force him to take one of his hands out of his pockets what have you got there what are you hiding pulls his hand out of his pocket looks into it and catches the glint of a revolver where did you get this the boy very pale in the face looks at her but does not answer idiot if I'd been in your place instead of killing myself I'd have shot one of those two both of them father and son the father enters from the office all excited from his work the manager follows him come on come on dear come here for a minute we've arranged everything it's all fixed up if you please young lady there are one or two points to settle still will you come along following him towards the office what's the good if you've arranged everything the father manager and stepdaughter go back into the office again off for a moment at the same time the son followed by the mother comes out looking at the three entering office oh this is fine fine and to think I can't even get away the mother attempts to look at him immediately when he turns away from her she then sits down the boy and the child approach her she casts a glance again at the son and speaks with humble tones trying to draw him into conversation and isn't my punishment the worst of all then seeing from the son's manner that he will not bother himself about her my god why are you so cruel isn't it enough for one person to support all this torment do you then insist on others seeing it also the son half to himself meaning the mother to hear however and they want to put it on the stage if there was at least a reason for it he thinks he has got at the meaning of it all just as if each one of us in every circumstance of life couldn't find his own explanation for it he complains he was discovered in a place where he ought not be seen in a moment of his life which ought to have remained hidden and kept out of the reach of that convention which he has to maintain for other people and what about my case haven't I had to reveal what no son ought ever to reveal how father and mother live and are man and wife for themselves quite apart from that idea of father and mother which we give them when this idea is revealed our life is then linked to one point only to that man and that woman and as such it should shame them shouldn't it the mother hides her face in her hands from the dressing rooms and the little door at the back of the stage the actors and stage manager return followed by the property man and the prompter at the same moment the manager comes out of his office accompanied by the father and the stepdaughter come on come on ladies and gentlemen hey you there machinist yes sir fix up the white parlor with floral decorations two wings and a drop with the door will do hurry up the machinist runs off at once to prepare the scene and arranges it while the manager talks with the stage manager the property man and the prompter on matters of detail the manager two property man just have a look and see if there isn't a sofa or divan in the wardrobe no no green won't do it was yellow ornamented with flowers very large and most comfortable there isn't one like that it doesn't matter use the one we've got doesn't matter it's most important we're only trying it now please don't interfere two property man see if we've got a shop window long and narrowish there's a little table the little mahogany table for the pale blue envelope there's that little guilt one that'll do fine a mirror and the screen we must have a screen otherwise how can I manage that's all right miss we've got any amount of them we want some clothes pegs too don't we yes several several see how many we've got and bring them all all right take your seat look here this is the outline of the scenes act by act hand sim some sheets of paper and now I'm going to ask you to do something out of the ordinary take it down in shorthand exactly can you do shorthand yes a little good turning to a stage hand going to get some paper from my office plenty as much as you can find the stage hand goes off and soon returns with a handful of paper which he gives to the prompter you follow the scenes as we play them and try and get the points down at any rate the most important ones then addressing the actors clear the stage ladies and gentlemen come over here pointing to the left and listen attentively but excuse me we don't worry you won't have to improvise what have we to do then nothing for the moment you just watch and listen everybody will get his part written out afterwards at present we're going to try the thing as best we can they're going to act now the father as if fallen from the clouds into the confusion of the stage we what do you mean if you please by a rehearsal a rehearsal for them points to the actors but since we are the characters all right characters then if you insist on calling yourself such but here my dear sir the characters don't act here the actors do the acting the characters are there in the book when there is a book I won't contradict you but excuse me the actors aren't the characters they want to be they pretend to be don't they now if these gentlemen here are fortunate enough to have us alive before them oh this is grand you want to come before the public yourselves then as we are I can assure you it would be a magnificent spectacle what's the use of us here anyway then you're not going to pretend that you can act it makes me laugh there you see they are laughing at the notion but by the way I must cast the parts that won't be difficult they cast themselves you played the mother to the father we must find her a name Amalia sir but that is the real name of your wife we don't want to call her by her real name way of a knot if it is her name still perhaps if that lady must makes a slight motion of the hand to indicate the second lady lead I see this woman here as the mother as Amalia but do as you like gets more and more confused I don't know what to say to you already I begin to hear my own words ring false as if they had another sound don't worry about it it will be our job to find the right tones and as for her name if you want her Amalia Amalia it shall be for the moment though we'll call the characters in this way to juvenile lead you are the son to the leading lady you naturally are the step-daughter what what I that woman there what is there to laugh at nobody has ever dared to laugh at me I insist on being treated with respect otherwise I go away no no excuse me I am not laughing at you you ought to feel honored to be played by that woman there but I wasn't speaking of you you know I was speaking of myself whom I can't see it all in you that is all I don't know but you aren't in the least like me true here's the point look here sir temperaments our souls temperament soul be hanged do you suppose the spirit of the piece is in you nothing of the kind what haven't we our own temperaments our own souls not at all your soul or whatever you like to call it take shape here the actors give body and form to it and my actors I may tell you have given expression to much more lofty material than this little drama of yours which may or may not hold up on the stage but if it does the merit of it believe me will be due to my actors I don't dare contradict you sir but believe me it is a terrible suffering for us who are as we are with these bodies of ours these features to see good heavens the makeup will remedy all that man the makeup may be but the voice the gestures now look here on the stage you as yourself cannot exist the actor here acts you and that's an end to it I understand and now I think I see why our author who conceived us as we are all alive didn't want to put us on the stage after all I haven't the least desire to offend your actors far from it but when I think that I am to be acted by I don't know by whom by me if you've no objection honored I assure you sir bows I must say that try as this gentleman may with all his goodwill and wonderful art to absorb me into himself oh chuck it wonderful art withdraw that please the performance he will give even doing his best with makeup to look like me it will certainly be a bit difficult exactly it will be difficult to act me as I really am the effect will be rather apart from the makeup according to how he supposes I am as he senses me if he does sense me and not as I inside of myself feel myself to be it seems to me then that account should be taken off this everyone whose duty it may become to criticize us haven't the man starting to think about the critics now let them say what they like it's up to us to put on the play if we can looking around come on come on is the stage set to the actors and characters stand back stand back let me see and don't let's lose any more time to the step is it alright as it is now well to tell the truth I don't recognize the scene my dear lady you can't possibly suppose that we can construct that shop of madam pace piece by piece here to the father you set a white room with flowered wallpaper didn't you yes well then we've got the furniture right more or less bring that little table a bit further forward the stage hands obey the order to property man you go and find an envelope if possible a pale blue one and give it to that gentleman indicates father an ordinary envelope yes yes an ordinary envelope at once sir exit ready everyone first scene the young lady the leading lady comes forward no no you must wait I meant her indicating the step daughter you just watch how I shall play it how I shall live it I shall live it also you may be sure as soon as I begin the manager with his hands to his head ladies and gentlemen if you please no more useless discussions scene one the young lady with madame pace oh looks around as if lost and this madame pace where is she she isn't with us sir oh then what the devil's to be done but she is alive to yes but where is she one minute let me speak turning to the actresses if these ladies would be so good as to give me their hats for a moment why what does he say what are you going to do with the ladies oh nothing I just want to put them on these pegs for a moment and one of the ladies will be so kind as to take off her mantle oh what do you think of that only the mantle he must be mad but why to hang them up here for a moment please be so kind will you the actresses taking off their hats one or two also their cloaks and going to hang them on the racks after all why not there you are there you are this is really funny we've got to put them on show exactly just like that on show may we know why I'll tell you who knows if by arranging the stage for her she does not come here herself attracted by the very articles of her trade inviting the actors to look towards the exit at back of stage look look the door of the back of the stage opens and Madame Pace enters and takes a few steps forward she is a fat oldest woman with puffy oxygenated hair she is rouged and powdered comical elegance and black silk round her waist is a long silver chain from which hangs a pair of scissors the stepdaughter runs over to her at once amid the stupor of the actors there she is there she is it's she I said so didn't I there she is what sort of a trick is this what's going to happen next they've been holding her in reserve I guess a vulgar trick any 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 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 stepdaughter 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 actor is called to attention by the father turn round and see Madame Pace who has placed one hand under the stepdaughter'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 well well what does she say one can't hear a word louder louder please the stepdaughter 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 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 theater 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 stepdaughter coquettishly and with a touch of malice makes a sign of disagreement two or three times with her finger what do you mean by no there's someone who will hear us if she indicating Madame Pace speaks out loud what have you got someone else to spring on us now 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 theater before you are ready no get on with it at once I'm just dying I tell you to act this scene lady I'm more than ready but my dear young lady we must have the scene between you and this lady indicates Madame Pace do you understand good heavens she's been telling me what you know already that mama's work is badly done again that the materials 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 know want to take advantage of her I know want to be hard what? what she talks like that? yes yes that's the way she talks half English half Italian most comical it is it seems not very polite gentlemen laugh at me if I try a best speak English diamine of course of course let her talk like that just what we want talk just like that Madame 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 magnificent? certainly when certain suggestions are made to one in a 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 senoré who want to talk nicely with you nice old senoré Madame? not so old my dear not so old and even if you know like 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 moved to restrain her you devil you mergers mother calm yourself please don't calm yourself don't get excited sit down now well then take that woman away out of my sight it is impossible for my mother to remain here 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 it doesn't matter the 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 stepdaughter coming forward again turns to Madame Pace come on Madame come on no no grazie I not do anything with your mother present nonsense just this old senore 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 ah yes I go away I go away certainly exits furious to the father now make your entry no you didn't go over here come here let's suppose you've already come in like that yes I'm here without head modest like come on out with your voice say good morning miss in that peculiar tone that special tone excuse me but are you the manager or am I to the father who looks undecided and perplexed get on with it man 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 quickly to the prompter in his box ready ready get ready to right now good afternoon miss the stepdaughter head bowed down slightly with restrained disgust good afternoon the father looks under her hat which partly covers her face perceiving she is very young he makes an exclamation partly of surprise partly of fear lest he compromise himself in a risky adventure but I say this is not the first time that you have come here is it no sir you've been here before then seeing her not agreement more than once waits for her to answer looks under her hat smiles and then says well then there's no need to be so shy is there may I take off your hat the stepdaughter anticipating him and with veiled disgust no sir I'll do it myself takes it off quickly the mother who watches the progress of the scene with the son and the other two children who cling to her is on thorns and follows with varying expressions of sorrow, indignation, anxiety and horror the words and actions of the other two from time to time she hides her face in her hands and sobs oh my god my god give it to me I'll put it down takes hat from her hands but a dear little head like yours ought to have a smarter hat come and help me choose one from the stock won't you I say those are our hats you know silence silence don't try and be funny if you please we're playing the scene now I'd have you notice begin again please no thank you sir oh come now don't talk like that you must take it I shall be upset if you don't there are some lovely little hats here and then madame she'll be pleased she expects it anyway you know no no I couldn't wear it oh you're thinking about what they'd say at home if they saw you come in with a new hat my dear girl there's always a way round these little matters you know no it's not that I couldn't wear it because I am as you see you might have noticed showing her black dress of course I beg your pardon I'm frightfully sorry the stepdaughter forcing herself to conquer her indignation and nausea stop stop it's I who must thank you there's no need for you to feel mortified or especially sorry don't think anymore of what I've said tries to smile I must forget that I'm dressed so stop a minute stop don't write that down cut out that last bit fine it's going fine and now you can go on as we arranged to the actors pretty good seeing that where he offers her the hat eh the best's coming now why can't we go on have a little patience to the actors of course it must be treated rather likely still with a bit of go in it of course it's easy enough shall you and I try it now why yes I'll prepare my entrance exit in order to make his entrance the manager two leading lady see here the scene between you and Madame Pace is finished I'll have it written out properly after you remain here oh where are you going one minute I want to put my hat on again goes over to Hatrack and put it on her head good you stay here with your head bowed down a bit but she isn't dressed in black but I shall be and much more effectively than you the manager two stepdaughter be quiet please and watch you'll be able to learn something come on come on entrance please the rendering of the scene by the actors from the very first words is seen to be quite a different thing though it has not in any way the air of a parody naturally the stepdaughter and the father not being able to recognize themselves in the leading lady and the leading man who deliver their words in different tones and with a different psychology express, sometimes with smiles sometimes with gestures the impression they receive good afternoon miss no no the stepdaughter noticing the way the leading man enters silence and you please just stop that laughing if we go on like this we shall never finish forgive me sir but it's natural enough this lady stands there still but if she is supposed to be me I can assure you that if I heard anyone say good afternoon in that manner and in that tone I should burst out laughing as I did yes yes the manner the tone nonsense rubbish stand aside and let me see the action if I've got to represent an old fellow who's coming into a house of an equivocal character don't listen to them for heaven's sake do it again it goes fine waiting for the actors to begin again well good afternoon miss good afternoon leading man imitating the gesture of the father when he looked under the hat and then expressing quite clearly first satisfaction and then fear ah but I say this is not the first time that you have come here is it good but not quite so heavily like this this isn't the first time that you've come here and you say no sir no sir you've been here before more than once stop let her nod yes first you've been here before the leading lady lifts up her head slightly and closes her eyes as though in disgust then she inclines her head twice the stepdaughter unable to contain herself oh my god puts a hand to her mouth to prevent herself from laughing what's the matter nothing nothing go on you've been here before then well then there's no need to be so shy is there may I take off your hat the leading man says this last speech in such a tone with such gestures that the stepdaughter though she has had her hand to her mouth cannot keep from laughing I'm not going to stop here to be made a fool of by that woman there neither am I I'm through with it silence for once and all I tell you forgive me for give me you haven't any manners that's what it is you go too far yes it's true but excuse her excuse what it's absolutely disgusting yes sir but believe me it has such a strange effect when strange why strange where is it strange no sir I admire your actors this gentleman here this lady but they are certainly not us I should hope not evidently they cannot be you if they are actors just so actors both of them act our parts exceedingly well but believe me it produces quite a different effect on us they want to be us but they aren't all the same what is it then anyway something that is that is theirs and no longer ours but naturally inevitably I told you so already yes I understand I understand well then let's have no more of it turning to the actors will have the rehearsals by ourselves afterwards in the ordinary way I never could stand rehearsing with the author present he's never satisfied turning to father and stepdaughter come on let's get on with it again and try and see if you can't keep from laughing well I shan't laugh anymore there's a nice little bit coming for me now you'll see well then when she says I don't think anymore of what I've said I must forget etc you addressing the father come in sharp with I understand I understand and then you ask her what why she is in morning not at all see here when I told him that it was useless for me to be thinking about my worrying morning do you know how he answered me oh well he said then let's take off this little frock oh great just what we want to make a riot in the theater but it's the truth what does that matter acting is our business here truth up to a certain point but no further what do you want to do then you'll see you'll see leave it to me whatever what you want to do is to piece together a little romantic sentimental scene out of my disgust out of all the reasons each more cruel and vile than the other why I am what I am he used to ask me why I'm in morning and I'm to answer with tears in my eyes that it is just two months since papa died no sir no he's got to say to me as he did say well let's take off this little dress at once and I with my two months morning in my heart went there behind that screen and with these fingers tingling with shame the manager running his hands through his hair for heaven's sake what are you saying the truth the truth it may be I don't deny it and I can understand all your horror but you must surely see that you can't have this kind of thing on the stage it won't go not possible very well I'm much obliged to you but I'm off now be reasonable don't lose your temper I won't I can see you fixed it all up with him in your office all this talk about what is possible for the stage I understand he wants to get at his complicated cerebral drama do you have his famous remorse and torments acted but I want to act my part my part your part but if you will pardon me there are other parts than yours his and hers on the stage you can't have a character becoming too prominent and overshadowing all the others the thing is to pack them all into a neat little framework and then act it is actable I am aware of the fact that everyone has his own interior life which he wants very much to put forward but the difficulty lies in this fact to set out just so much as is necessary for the stage taking the other characters into consideration and at the same time hint at the unrevealed interior life I am willing to admit my dear young lady that from your own point of view it would be a fine idea if each character could tell the public all his troubles in a nice monologue or a regular one hour lecture you must restrain yourself my dear and in your own interest too because this fury of yours this exaggerated disgust you show a bad impression you know after you have confessed to me that there were others before him at Madame Paces and more than once the stepdaughter bowing her head impressed it's true but remember those others mean him for me all the same what? the others what do you mean? for one who has gone wrong he who was responsible for the first fault is responsible for all that follow he is responsible for my faults was even before I was born look at him and see if it isn't true well well and does the weight of so much responsibility seem nothing to you give him a chance to act it to get it over how? to act all his noble remorses all his moral torments if you want to spare him the horror of being discovered one day after he had asked her what he did ask her in the arms of her that already fallen woman that child sir that child he used to watch come out of school the mother at this point is overcome with emotion and breaks out into a fit of crying all are touched the stepdaughter as soon as the mother becomes a little quieter adds resolutely and gravely at present we are unknown to the public tomorrow you will act us as you wish treating us in your own manner but do you really want to see drama do you want to see it flash out as it really did of course that's just what I do want so I can use as much of it as possible well then ask that mother there to leave us no no don't permit it sir don't permit it but it's only to try it I can't bear it I can't but since it has happened already I don't understand it's taking place no it happens all the time my torment isn't a pretended one I live and feel every minute of my torture those two children there have you heard them speak they can't speak anymore they cling to me to keep my torment actual and vivid for me but for themselves they do not exist they aren't anymore and she indicating stepdaughter has run away she has left me and is lost if I now see her here before me it is only to renew for me the tortures I have suffered for her too the eternal moment she indicating the stepdaughter is here to catch me fix me and hold me eternally in the stocks for that one fleeting and shameful moment of my life she can't give it up and you sir cannot either fairly spare me it I never said I didn't want to act it it will form as a matter of fact the nucleus of the whole first act right up to her surprise indicates the mother just so this is my punishment the passion in all of us that must culminate in her final cry I can hear it still in my ears it's driven me mad that cry you can put me on as you like it doesn't matter fully dressed if you like provided I have at least the arm there because standing like this she goes close to the father and leans her head on his breast with my head so and my arms around his neck I saw a vein pulsing in my arm here and then as if that a live vein had awakened disgust in me I closed my eyes like this and left my head sink on his breast turning to the mother cry out mother Barry's head in father's breast and with her shoulders raised as if to prevent her hearing the cry adds in tones of intense emotion cry out as you did then the mother coming forward to separate them no my daughter my daughter and after having pulled her away from him you brute you brute she is my daughter don't you see she's my daughter the manager walking backwards towards footlights fine fine and then of course curtain the father going towards him excitedly yes of course because that's the way it really happened oh yes no doubt about it curtain here curtain at the reiterated cry of the manager the machinist lets the curtain down leaving the manager and the father in front of it before the footlights the darned idiot I said curtain to show the act should end here and he goes and lets it down in earnest to the father while he pulls the curtain back to go on to the stage again yes yes it's alright effect certain that's the right ending I'll guarantee the first act at any rate end of act 2