1 THE AWAKENING After the novel by Kate Chopin Henry I. Schvey © 2013 217 South Mosley Road St. Louis, Missouri 63141 Email: [email protected] Cell: 314.922.3872
Kate Chopin’s The Awakening, Adapted for the Stage by Henry I Schvey
Oct 20, 2015
The Awakening, originally titled A Solitary Soul, is a novel by St. Louisian Kate Chopin, first published in 1899. Set in New Orleans and the Southern Louisiana coast at the end of the nineteenth century, the plot centers on Edna Pontellier and her struggle to reconcile her increasingly unorthodox views on femininity and motherhood with the prevailing social attitudes of the turn-of-the-century South. It is one of the earliest American novels that focuses on women’s issues without condescension. It is also widely seen as a landmark work of early feminism, generating mixed reaction from contemporary readers and criticism.
Welcome message from author
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
1
THE AWAKENING
After the novel by Kate Chopin Henry I. Schvey © 2013 217 South Mosley Road St. Louis, Missouri 63141 Email: [email protected] Cell: 314.922.3872
1
Time and Place: Act One is set on Grand Isle, a popular seaside resort off the coast of Louisiana, during the summer of 1899. Act Two is set in New Orleans in the following year.
2
Cast of Characters Edna Pontellier. A young woman in her mid-to late twenties, married to Leonce Pontellier, and mother of two boys. Leonce Pontellier. A wealthy businessman; Creole, early forties. Robert Lebrun. A young man in his mid-twenties. His mother owns the seaside pension at Grand Isle where the Pontelliers and Ratignolles are summer guests. Adele Ratignolle. Beautiful; early thirties. Happily married with three children, and expecting a fourth. Mademoiselle Reisz. A solitary pianist. Mariequita. A young Spanish girl. Alcee Arobin. Mid-thirties; strikingly handsome. Notorious throughout New Orleans. Doctor Mandelet . Early sixties. Physician to both the Pontellier and Ratignolle families in New Orleans. Athenee. A servant in the Pontellier household.
3
PROLOGUE
Late spring evening, 1899. The sound of waves lapping gently against the shore
accompanied by cries of sea birds. (These sounds might be created by the rest of the
cast.)
Edna Pontellier is dressed in the style of the 1890s, wearing a sun hat with
attached veil, boots, stockings, etc. Perhaps her appearance is accompanied by a subtle
melody from the period. As she moves downstage, we understand that she is moving
towards the sea. She is drawn towards the water as if by magnetic force. The waves
continue their quiet undulation as she watches and listens.
EDNA Addressing someone offstage. Yes, I know the water’s cold, but the sun is so hot. I might go down and—just dip my toes in…My bathing costume from last summer is still hanging on a rack just inside the bathhouse, I believe. Do you think you could you fetch it? Thank you. (to herself) This sun is hot enough to have warmed the very depths of the ocean. Hot enough to warm the ocean’s blood. And mine. (Speaking to the offstage person) Oh, and do you think you could bring a couple of towels? I’d better go in right away, so as to be back in time. It will be too chilly if I wait until this afternoon….I hope you have fish for dinner…. but don’t do anything extra if you don’t. Lights slowly fade.
4
ACT ONE: GRAND ISLE SCENE 1 Late July, 1899. Bright sunshine. The beach on Grand Isle. A pair of young Lovers enter, strolling on the beach and swinging a basket between them. They are looking for a spot to spread out their picnic lunch in the sand. The Old Lady enters from upstage. She is dressed in black, wears a black veil, and carries a Bible and rosary beads. Her frowning presence and the clicking of the beads make the couple feel uncomfortable and they wander off. The Old Lady, perhaps pleased at shooing off the young couple, drifts off herself. Leonce Pontellier enters, a newspaper folded under his arm. He wears a hat as protection from the sun, and checks his pocket watch, apparently waiting for someone. He paces nervously back and forth. After a few moments, his wife Edna and Robert Lebrun enter laughing. Edna carries a pink parasol which she closes. LEONCE Where have you been? (Checks watch) We’re half-an-hour late for lunch! Madame Lebrun will be furious! EDNA Robert and I had the nicest time walking on the beach, collecting seashells. We were quite responsible about the time, until— LEONCE Let me remind you, this is not the first occasion that we’ve been late and had to pacify that woman. (to Robert) She’s your mother after all! Edna—can you kindly explain why didn’t you use your parasol? EDNA (Guilty) My parasol? (Confessing) How did you know, Leonce? LEONCE (Opens pocket watch to show her reflection) Just look at yourself—you’re burnt beyond recognition. EDNA (Hands flying to her face) I suppose I couldn’t be bothered. It was just so delightful walking on the beach. LEONCE (Smiling) You must have forgotten how easily you burn (touching her face) I know you better than you know yourself. Such soft, delicate skin. Reaching into the bucket. Pink and milky white as the skin of a child. (pause) We mustn’t let it burn, Edna.
5
EDNA You’re right of course, Leonce. I’ll be much more careful next time, I promise. Thank you for looking out for my welfare. LEONCE It’s my job. But Lebrun, I hold you equally responsible. You were supposed to offer my wife swimming lessons, not encourage her silly fancies, allowing her to get sunburnt in the process. ROBERT (To Edna) I told you he’d notice. (To Leonce) I warned her—but she insisted—said she didn’t need it! And she refused to go in the water! EDNA (Laughing, to Robert) Coward! Dirty little coward! In Robert’s defense … he did try, but I talked him out of the lesson. You know how I hate the sea. It’s so—I don’t know—
LEONCE So wet? EDNA Exactly! It’s too wet! (all laugh; Edna holds up her hands for her rings) LEONCE What is it? Ahhh! (finally understands) I guess you really didn’t need me to hold them if you weren’t going in the water. EDNA Perhaps not, but it made me feel so much better knowing that my husband was keeping them safe. (takes rings from the pocket of his waistcoat and replaces them one by one). LEONCE This one seems a bit loose, doesn’t it? We’ll need to get it re-sized when we return to the city. EDNA Thank you, Leonce. It was so lovely walking along the shore. LEONCE And what about your lesson? EDNA I’m just not a very apt pupil, I suppose.
ROBERT And I’m obviously a poor teacher! (they laugh)
6
EDNA
You’ll forgive us, won’t you, Leonce? Pretty please...with sugar on top… LEONCE It’s not in the least amusing. As the mother of two reckless little boys, you simply need to learn to swim. For their sake if not your own. What if one of them should have a cramp and go under? If I weren’t around—who’d save them? It’s your responsibility! EDNA I’ll try again tomorrow, I promise. (to Robert) Give me one more chance? ROBERT Any time. LEONCE (Yawning) Well, that’s settled, I suppose. Since it’s evidently too late to go in to lunch, how about a game of billiards at Klein’s? I’ll beat you quickly, Lebrun; then we’ll grab a bite together at the club and return home for dinner. ROBERT You may not be having luncheon, but I still have to help Mama to contend with the cleaning up or she’ll skin me alive. Besides, if I had the choice between billiards at Klein’s, or keeping the fair Madame Pontellier company, I’d rather accompany the fair lady. LEONCE (Reaching into his pocket) You don’t deserve it, but here’s the cigar I promised you for her swimming lesson. Let’s hope you earn the next one. Goodbye!
ROBERT
(Sniffs cigar) Merci, Monsieur Pontellier!
LEONCE (To Edna) Send the boy packing when he begins to bore you, eh, Edna? (starts off) EDNA When will you be back? You know the boys ask for a kiss from Papa before bed. LEONCE It’s a question of the game and how long these (waves a wad of bills) last. Tell them I’ll bring them chocolate and bonbons; that way they’ll have something to look forward to in the morning! That’ll get them to sleep, eh? (Pontellier exits). EDNA
7
(As Robert pockets the cigar and lights a cigarette) Why not smoke the cigar Leonce gave you? ROBERT This is for my after-dinner smoke. Mellow cigars like this are a luxury for me now. Come fall, when I move to Mexico—I’ll be able to afford all the cigars I want. EDNA Ah, Mexico; always Mexico. Haven’t you been singing that tune for the past three summers? ROBERT This time I fully intend to go. There’s real money to be made over there for a man like me who’s fluent in French, English and Spanish. My fortune’s certainly not going to be made at that tiny firm in New Orleans, or as a lackey waiting tables at mother’s summer pension for rich tourists. EDNA (Lightly mocking) You mean rich tourists like us? I see… ROBERT You know what I mean. (Pause) You don’t believe a word I’ve said, do you? Like everyone else, you think I’m a loafer who’ll never amount to anything. But, you’ll see—Adele will too. One day I’ll come back rich…a dark-eyed Mexican woman on my arm… both arms, maybe! And I’ll be offering you cigars, not the other way around. EDNA (smiling) What shall I do with them? I don’t smoke cigars, Robert. ROBERT You know what I mean. EDNA Yes, of course. I must get back to the children now. They’ll be wanting lunch. Thank you for a delightful afternoon. (exit) ROBERT All right, but remember, you’ve committed yourself to a lesson tomorrow morning bright and early! Before it gets too hot! (She exits, as Robert watches her leave.)
8
SCENE 2 (Night. The interior of the Pontellier cabin. The sounds of the sea. Edna is asleep at a small table. Pontellier returns tipsy, singing to himself in French and smoking a cigar. He surprises his wife from behind.)
PONTELLIER Surprise! (She wakes and squirms from his grasp) Don’t peek! I said don’t peek! EDNA Oh, Leonce! Goodness! You frightened me! I had such an awful time putting the boys to bed…It wasn’t until I remembered what you said…
PONTELLIER (Finally allows her to see) All right, you may now open! (Holds up his winnings). EDNA (Sees money) That’s wonderful, Leonce! Now we can buy Janet something really nice for her wedding present— PONTELLIER Oh, we’ll treat your sister a lot better than that. Where’s Athenee? EDNA I let her go back to the servants quarters after we got the children to sleep. But they were playing possum and— PONTELLIER ‘Playing Possum’? What’s that, one of your Kentucky expressions? Well, it doesn’t matter. (Loudly) Just look at all this money I won! EDNA How clever of you to think of promising them bonbons and chocolate… I never thought I’d succeed in getting them to bed—Oh, Leonce! You didn’t forget? Oh. PONTELLIER I just get home after winning all this money at roulette, and the first thing you do is criticize me for not bringing home bonbons. Because you were unable to properly perform your duties as a mother. Don’t you think I provide well enough, or that I’m doing all I should to be a good husband and father to you and— EDNA Of course you are. That’s not what I meant—
9
PONTELLIER Then what are you saying? … Must I arrange everything, including bribing our children to get to sleep, when it’s clearly your responsibility to see to… EDNA Please, Leonce, don’t… PONTELLIER But how can you reproach me? I’m ordering you to give me a direct answer. EDNA Reproach you? I didn’t rep— PONTELLIER Yes, you did. You reproached me because I happened to have a pleasant night at the club during our holiday, and you and the servant had difficulties putting the children to bed. I see it in your eyes, Edna. You blame me. EDNA No I don’t. (pause) I’m sorry. (pause) Truly sorry. PONTELLIER (Pause, then kissing her on the forehead) I forgive you, my dear. But please don’t lose track of your responsibilities. I’ll just go in and give the boys a kiss. EDNA All right. (he exits)
PONTELLIER (Rushing back in, shouting) Damn it, Edna! Raoul is on fire—just burning up! He’s feverish, delirious—talking nonsense about a basket of crabs! How could you let this happen? How long was I away—three hours, four at most? Everything goes haywire! Everything! What kind of mother puts her children to sleep with a fever? And the servant nowhere to be found. How many more do you need? I turn my back for one minute and our son falls dangerously ill! EDNA I’m sure it’s nothing. It can’t be. I just put him to bed … (pause) I’ll go in and check on him. (she exits; he begins to get undressed)) PONTELLIER (Yawns) I should think so. (exits.) EDNA (Entering) He’s fine, Leonce. There’s no fever. Just a dream. Just a bad dream.
10
PONTELLIER (Offstage.) Coming to bed, dear? Exhausted, Edna sits on the floor, arms wrapped around her knees, staring out into space.
11
SCENE 3 (Adele Ratignolle, dressed in white and wearing a veil, sits cutting out a pattern from a piece of newspaper spread out on the ground. Beside her is Robert.) ADELE It was generous of Leonce to send these bonbons from New Orleans. So expensive! (As Robert feeds her a nougat) And so delicious!
ROBERT And even more generous of Mme. Pontellier to pass them on to you. Here, have one more, darling. ADELE Yes, please. (She reclines sensually as he drops bonbon in her mouth) Umm. ROBERT You know, if I were a painter, I’d paint you just like that…stretched out, mouth slightly open, anticipating something sweet and delicious…(Laughing) Here, have another … ADELE All right. (Then, as he prepares to give her yet another) Robert stop it! You’re going to make me fat. And ill! I know Doctor Mandelet always tells me to ‘eat for two’—but there’s a limit. I won’t be able to take the weight off after my accouchement. (pause; she reflects) Well all right, just one, but this is the last. I mean it. ROBERT No amount of nougat could make you any sweeter, my Madonna. ADELE And yet last summer you spoke those same sweet nothings to a certain Mademoiselle Duvigne, n’est ce pas? (Edna enters carrying sketchpad and pencil) Ah, Edna! We were just talking about Leonce, and how dear it was for him to send this candy. EDNA Yes, he is caring that way. What are you two up to? ADELE Robert is doing his best to annoy me, as usual. Your very lucky, ma cherie. You have a model husband. Just like my Alphonse. (Holds up pattern) See this? Do you want me to teach you how to cut out the pattern so you can make one? EDNA What is it for? ADELE
12
(Holding it up) Winter pajamas, see? See the little holes for the eyes? And the feet? Just like a little Eskimo! EDNA But it’s only the middle of July, Adele! ADELE Well, I can assure you that one day it will most certainly be December. And I will be ready for it! (Robert tries to feed her yet another nougat, but she slaps away his hand) Non! Mechant! ROBERT (to Adele) Ouch! (to Edna) No one who looks at this faultless beauty could possibly fathom the depths of cruelty she has shown me over the years! Last summer she knew I I was desperately in love with her, adored her, yet she let me go on. It was always, ‘Robert, fetch me my slippers? Pretty please? Robert, ooh! I seem to have forgotten my thimble! Can you please go and get it for me from our cabin? Robert, do you think you could read me a chapter from Alphonse Daudet while I sew! ADELE What utter nonsense! I never had to ask you for anything; there you were, the whole summer, right under my feet, purring up against me like an annoying cat. ROBERT (to Edna) A slobbering dog, you mean. Then, when her husband appeared, she turned me into a real dog: Fetch boy! Sit! Scram! ADELE Did it ever occur to you that I was afraid all your attentions to me would make Alfonse jealous? ROBERT Monsieur Ratignolle—jealous ? Hah, that’s a laugh! (to Edna) Meanwhile, I burned, sizzled like the sea at noon, while she showed utter indifference (if not outright contempt) for my passion. ADELE and ROBERT (Overlapping with insults in French) Blagueur! Farceur! Gros bête! ADELE (Noticing Edna’s sketch pad for the first time) Look at her! All this time she’s been…oh, please let me see! EDNA (pause) It’s nothing, really. Just something to pass the time while I listen to you two quarrel as usual.
13
ROBERT But you must let me see! (Robert creeps closer and curls up at Edna’s feet, rubbing up against her, trying to peek at the sketch.) ADELE Yes! What has she been sketching? EDNA You’re terrible; stop! You’ll spoil it. All right, if you must, go ahead and look. (hands sketch to Adele) It’s of you, Adele, but it’s very rough, I know. ADELE (Examining the sketchbook) Well, it’s not bad at all… (Pause). You’ve got real talent, my dear. ROBERT When do I get to see the masterpiece? ADELE That’s easy—never! ROBERT But why? ADELE Because the artist does not want you to. ROBERT She didn’t say that! ADELE No, but I have! EDNA You’re terrible, both of you! (suddenly tears up sketch) ADELE AND ROBERT Don’t! No! Why did you do that? Edna! It was lovely! EDNA I didn’t like it…It didn’t do your beauty justice, Adele. (Pause). Perhaps tomorrow I’ll try again. ADELE You really shouldn’t have done that—it was good. You surprise me, Cherie.
14
EDNA I’m just frustrated by my lack of skill. ADELE Nonsense. (She stretches) I think it must be about time for my darlings to have their bath. (Stands, with gentlemanly assistance from Robert) Merci, Monsieur! ROBERT Pas de quoi. Madame Pontellier, isn’t it time for our next swimming lesson? You promised both me and your husband we would try again soon, didn’t you? (Pause). Didn’t you? EDNA For some reason, I am tired today. I think I’ll get back to my boys. ROBERT (Trying to lead her gently) The Gulf is so warm, so delicious at this time of the day. Just half-an-hour. Come, it will refresh your spirits! EDNA I don’t think so. Not today; perhaps tomorrow. ROBERT All right. But then you must solemnly promise tomorrow. Is it a date? Yes? All right, then. And we’ll see you and Monsieur Pontellier for tomorrow’s concert? EDNA Unless you’ve already left. ROBERT What? EDNA (Lightly) For Mexico, of course. (Seeing him frown) I’m only teasing. Sometimes you’re such a little boy, Robert. (She exits)
15
SCENE 4 The woman dressed in black walks past. It is early afternoon. Adele leads Edna onto a deserted stretch of beach where they sit. The woman exits.
ADELE We’d better make use of our precious freedom, however long it lasts! Robert will discover our hiding place soon, like all the others. And then what will we do? They sit. EDNA (Adele brushes Edna’s hair) Mmm….this is so peaceful and isolated. Please just keep doing that….it feels wonderful… ADELE You are beautiful when you relax like this. All sunlight. Even your voice is full of light, your skin so radiant. (As Edna gives a deep sigh) Why that terrible sigh? What do you have to sigh about, Cherie? You have everything, a terrific husband and provider; lovely children… so do I. We’re both very lucky. EDNA I know. (smiles) I haven’t the slightest idea why I sighed like that. (pause) Oh, I know! I was thinking— ADELE For God’s sake, please don’t think! It’s too hot to even think about thinking! It takes up too much energy. Just close your eyes, enjoy the warmth and….ahhh, this lovely breeze. EDNA No, I must tell you. I was thinking about a daydream I had… remembering the tall blue grass in Kentucky. I was eight or nine years old, no more than that. I was just paddling my arms through the head-high grass. And in my daydream I saw myself actually swimming—it felt wonderful to be so free, alone and free, swimming far away from everybody and everything. Nothing but waves of grass and the smell of new-mown hay. ADELE Sounds wonderful… EDNA And it was so real! I remembered my father shouting, calling me to return home for Sunday prayers! But instead of returning, I pretended I didn’t hear him and kept paddling out further and further until I was beyond his voice… ADELE Ahh, and have you been running away from prayers ever since, ma petite?
16
EDNA Not at all! In fact I was quite religious for a time. But if I was ever late for service, Papa beat me with a hickory switch. He whipped my bare legs until they bled. “Never do that again, he said! Never do that!” And I obeyed him. For some reason, this morning, when I was at the shore with Robert trying to learn to swim (or failing to swim, I should say) the sound of his voice and the pain of the beatings returned. Adele, I’ve never had such a day dream before… so very real! Adele! Have you been listening to me? ADELE Of course; every word. I just was thinking how rare it is for us to be completely alone, no one but the two of us with no children calling for us. I always think we should have days like this when we get back to New Orleans—but then I realize it’s impossible… How did you and Leonce meet? I don’t think you’ve ever told me. EDNA There’s not really much to tell. One day, Leonce met with Papa in the library about some business or other. I remember his study had these lovely oak pocket doors which slid in and out. On that day, the doors were shut so I crept up and pretended to admire the carving…but really to hear what they were saying. I couldn’t. After an hour, Leonce came out and invited me to sit with him in the parlor. We sipped lemonade, and he told me Papa had given him permission to speak to me alone. He looked just like he does now, only thinner with a bit more hair. After fifteen minutes, he went down on one knee and proposed. I remember hearing his knee creaking as he knelt and covered my mouth so I wouldn’t laugh. That was it. We were engaged, and a year later, married. When Papa found out he was Catholic, he screamed for an hour. But it was too late. ADELE What did your mother say? EDNA She died when I was four. All I remember is a lavender scented pillow and her sobbing behind a bedroom door. I can’t even remember her face! (pause) I haven’t thought about this for a long time, Adele… ADELE I’m surprised. I thought somehow… EDNA I did have a wild crush on an actor once. The kind you mean. He played Romeo in Romeo and Juliet. Papa took me backstage and he gave me his autographed picture. I kissed it every night before I went to sleep, and kept it under my mattress. (pause) Before I gave birth to Raoul I threw it away. Strange I should have thought of all this today. I don’t quite know why…(Adele holds her close.) ADELE
17
Shhhh…shhh! We all have those memories, torn bits of childhood fluttering past us like bits of cloud. I do too…sometimes. But look what we have instead: devoted husbands, beautiful children, gorgeous homes. (Robert enters) Oh no, we’ve been discovered! ROBERT I demand an explanation! You two have been hiding from me all afternoon, haven’t you! ADELE Of course. Did you think I would deny it? We wanted to be alone for a while. ROBERT Well, there’s something to be said for honesty at least. Now, tell me, what did you two talk about? I must catch up on all the gossip. ADELE We never gossip! Well, at least Mrs. Pontellier doesn’t. (to Edna) He knows me too well, perhaps. I’ve been known to indulge, on occasion. (back to Robert) But I’m sure you don’t expect an answer, do you? ROBERT No, a man can try, can’t he? ADELE Yes, but a real man wouldn’t ask. ROBERT (to Edna)You see how she treats me, this one? EDNA Because you deserve it. ROBERT (With an exaggerated sense of betrayal) Et tu brute? Well, now that I have been soundly thrashed, how about a ride in the pirogue? No? (pause) I know—we’ll build a castle in the sand! ADELE (Stretching) I, for one, am going inside. I’ve been away from the children for two whole hours, and I’ve gotten far too much sun for one day. ROBERT Too much sun! You’re encased in white from top to toe like a mummy! (she laughs) And what about the fair Madame Pontellier? She has no such excuse, does she? She loves the sun and the sand (goes up to Edna and slides his arm round her waist) and the water— EDNA
18
(Removing his hand politely but firmly) Thank you, but I must go home and rest before I change for dinner. (exits) ROBERT (shrugging his shoulders) Ahh, once again I am abandoned by les belles dames sans merci. (Heaves a melodramatic sigh) Well, there is always Mexico! (shouting after her) But Madame Pontellier, we haven’t decided on a time for our next— (starts to go after her; Adele holds him back) ADELE Robert, stop! This isn’t the time for your foolishness—I mean it! ROBERT What’s the matter? ADELE Trust me; leave her alone. ROBERT Why? I was only playing, you know that. You, of all people… ADELE She’s not like us, not Creole. She might make the mistake of taking you seriously. ROBERT What am I, a fool? What can you possibly mean? ADELE You know precisely what I mean, Robert, and don’t pretend otherwise. You are a gentleman. ROBERT I suppose so, but why shouldn’t she take me seriously? You wouldn’t dare say that if I were Alcee Arobin, would you?
ADELE Yes, but we both know the esteemed Monsieur Arobin is not a gentleman. I fear that Mme. Pontellier is in a somewhat fragile (this is pronounced the French way: fradge—eel) condition, and the banter you and I share might be misunderstood. ROBERT I’m sorry I got angry. But there is no chance that Madame Pontellier would ever take my attentions seriously, not a chance in the world. ADELE How do you know?
19
ROBERT I see how she looks at me; she sees me as a boy, just a few years older than her own sons. I’m not a man to her; so, that’s the role I play: teasing her, gathering shells, trying to teach her to swim … ADELE But how does that make you feel? (pause) You must be more careful then, mustn’t you? A bit less cavalier about the games, non? (pause) Oh, Robert, you look so serious. I’ve never seen this side of you before (kisses him lightly). Well, now that we are best friends again, could you please fetch me a cup of bouillon from the kitchen? You know how hungry I get at this time of day, don’t you? I must have something now or that concert will be utterly wasted upon me. Is Mademoiselle Reisz as good as you say? ROBERT Better. But she’s quite eccentric; not to everybody’s taste. Her dress is also…how shall I say, not quite up to date. Also, she doesn’t suffer fools gladly, and despises children—so take my advice and leave yours behind. But in spite of this, I find her completely charming—like no one else. And her playing is superior to any pianist I’ve ever heard. ADELE (Sarcastically) So she despises children—now I can’t wait to attend! Oh, and when you bring the bouillon, please take along one or two (or perhaps a small plate) of those flakey crackers? Remember, I must eat for two. (exits) ROBERT (Alone) Oui, Madame Ratignolle. And so we are friends once more. (Then, as Adele is out of earshot) Rruff! Rrruff! (The scene fades, as Chopin piano music of comes up.)
20
SCENE 5 A veranda outside the small room where the concert is being played, Edna is sitting alone. From within, we hear the end of the Chopin piece followed by polite applause; then, various overlapping Voices: VOICE 1 Shakes a man’s soul, by God! VOICE 2 I don’t know that—but it was better than those Farival twins! VOICE 1 Who invited them? My ears! VOICE 3 Their parents pushed them—who else? VOICE 2 Gracious, they were awful! VOICE 3 You’re wrong! They’d have to improve alot to be awful. How about some ice cream? I hear the ice cream is made right here. VOICE 4 It could use less sugar and a pinch more salt. VOICE 1 Certainly, but we’re at Madame Lebrun’s pension on Grand Isle, not Gallatoire’s! What did you think about that pianist, Mademoiselle Whatshername? VOICE 2 I couldn’t even listen—I was too distracted by that ridiculous hat—and those artificial violets! Voices fade, and Robert appears on a veranda where Edna has been sitting alone. ROBERT (To Edna) What are you doing all the way out here? How could you even hear the concert? PONTELLIER (Walking over as well) How the hell should I know? She disappeared after that first piece. Edna, I didn’t know if you were ill or what. Don’t do that again, please. (to Robert) That woman plays with power, doesn’t she? If she weren’t so damn ugly, she could make it in
21
New Orleans. But the way she looks and dresses, it will never happen. It takes more than talent these days. Did you see that outfit? ROBERT I know her a little, and can tell you she has absolutely no intention of changing her appearance—not even for a concert at Carnegie Hall. (Whispering) Hush! She’s coming this way. REISZ (Mlle. Reisz enters, brushing right past both men. To Edna) So, how did you like my work? (The men applaud and shower her with compliments, “Bravo, Mlle. Reisz! First-rate! Bravo!” but Edna remains silent; frozen, unable to speak a word. The pianist observes this and bends over and touches her on the shoulder). Don’t speak, my dear. I understand exactly how you feel. I watched you rise after the first movement of the Impromptu and knew you could not remain among the rabble. You understand the power of music. It’s Chopin, isn’t it?—He spoke to you, did he not? Your silence means more than the applause of the vulgar multitude. She turns on Robert. It was impossible for me to concentrate with those brats milling around, talking. And that slurping ice cream! Disgusting monsters! (Coldly) You may inform your mother that I will not play here again unless the room is cleared of both food and children under fourteen. I simply won’t do it!
EDNA Beautiful; so, so lovely. It was…I’ve never heard anything— ROBERT I’m deeply sorry, Mademoiselle Reisz. I’ll have a word with mother about it. REISZ You will or I won’t play here ever again. If it had not been for this lady’s genuine response, I would have walked out in the middle of the concert and left the room. But when there is one person like this…What is your name, my dear? (pause) EDNA Mrs. Pontellier. REISZ (Bows slightly and touches the back of Edna’s shoulder) Well, Madame Pontellier, I am Mademoiselle Reisz. (To Leonce) You are the fortunate husband—yes? Take care of this one, Monsieur; your wife is a rare and precious jewel. PONTELLIER Thank you. And let me say how much I enjoyed— REISZ (Ignoring Pontellier. To Robert.) This is the only one here worth playing for. The rest of you—(spits) Ptew! Au revoir. (Silence. Edna remains stunned)
22
PONTELLIER (Exploding into laughter.) Did you see those violets! And that sublime arrogance! Imitating her. “The rest of you—Ptew!” Unbelievable! Who does she think she is? A pathetic old woman playing in an insignificant sea resort—Sorry, Lebrun, no offense meant. (Pause.) How about a game of billiards at the club with me? I must head back to New Orleans tomorrow. ROBERT I have a better idea—why don’t we all take a dip? PONTELLIER What? You mean now? You want to go swimming at night? ROBERT Yes, by moonlight! What do you say? We’ll bathe by the light of the moon! PONTELLIER Well, it’s highly unusual, of course…some might say irresponsible…but the night is beautiful… and we are on holiday…so perhaps this once… EDNA No, Leonce, please! I don’t want to—I’m not ready for this… ROBERT Wonderful! I’ll let the others know! (Runs off; shouting offstage) We’re going to move the party to the sea—Yes! That’s right—now! A moonlight swim! PONTELLIER (His mind made up.) All right, we’ll join you. Edna, come along! Come! You must get changed! (He seizes her by the hand, and drags her off towards the bathhouse.)
23
SCENE 6 (Moonlight. Band music is heard from Klein’s some distance away. Robert stands on the beach, watching, along with Pontellier whose trousers are rolled up. PONTELLIER Where is she? Have you spotted her yet? ROBERT (Concerned) No…not yet… PONTELLIER Have you gone crazy? Are you completely mad? You drag us down to the sea in the middle of the night, set my wife afloat in the middle of the Gulf? May I remind you that Edna cannot swim! Whatever happens is entirely your fault, Lebrun! Entirely yours! It was your job! I should never have listened to a word you said—Never! Now… Oh, God, Edna…I’m so sorry…I should never have let you out of my sight for even a moment. ROBERT Monsieur Pontellier. Take a look! Take a good look out there. PONTELLIER What is it? Oh—my God! Yes, it’s her! Now if she can just—yes! She’s actually doing it! She’s paddling her arms! My God, Lebrun, she’s actually swimming! (His anger is now completely forgotten, and he embraces Robert, hysterically dancing around, kissing him on both cheeks). Well done, Edna! Well done! We knew you could do it! ROBERT Shhh! Don’t let her know we’re watching. You’ll spoil it! PONTELLIER What the devil are you talking about? My wife can swim! (Using body language to encourage her) That’s it! Good girl! Wonderful! Keep it up! (to Robert) You’ve done it! This is wonderful! Oh, wait—what’s she stopping for? What’s going on, Lebrun? Wait, now she’s…what’s she doing? She’s going farther out. (shouting to her) No, that’s too far, Edna, too far!!! !Stop! Come back! Lebrun, do something! ROBERT All right, I’ll go in after her—No wait—she’s swimming back to shore. Here she is!
PONTELLIER (After a moment or two, Edna staggers onto the beach). I must congratulate you, my dear! You’ve done it—I knew you could!—You can swim at last! (Exhausted, she collapses on the sand) Edna, are you all right? Lebrun, help! Help me! EDNA
24
(As they try to raise her) It’s all right. I’m fine. Just let me stay here a moment. (After a moment, she tries again to stand, but cannot.) PONTELLIER (To Robert) Are you sure she’s all right? EDNA Just a second—need to catch breath. ROBERT Take all the time you need; don’t rush, why not stay down there a bit. EDNA (Still struggling to breathe) Was so wonderful, skimming across the water. Then I thought—this is so easy! I’ll swim out further, further than…(smiling) any woman has ever swum before….Then suddenly so weak, arms like lead… legs of stone … going under… PONTELLIER We were both ready to dive in and rescue you, my dear. However, there was no reason to be alarmed, no reason at all, was there, Lebrun? (They both raise her up to a standing position) Now let’s get you home. EDNA Not yet, Leonce. Not yet. I’m all right. I promise. Give me room to…just need a moment to breathe. She looks out to sea, and the two men move apart, watching her. Then, Robert goes over to her and slips his jacket around her shoulders.) ROBERT (pause) How do you feel? EDNA Like spirits were watching me, in me; as though everyone else was were only half-human. ROBERT Maybe they are. Sometimes, when the moon is full like this, there’s a Creole legend has it that Gulf Spirits return to earth and search for some mortal to carry off to their underwater kingdom. Usually they return empty handed, but perhaps tonight they found someone—someone with whom they can share their palace beneath the waves. Perhaps they will never release you from their enchanted spell—perhaps you… EDNA (Cutting him off) Stop talking nonsense, Robert. Stop it. For a moment, I thought you were actually serious.
25
ROBERT Perhaps I was. (Silence) May I accompany you back to your cabin? EDNA I’d prefer to be alone this evening, if you don’t mind. ROBERT I understand. I promise not to say anything; no more about Gulf Spirits; just offer you my arm in silence. EDNA No, thank you. (She refuses his arm and walks off alone. Robert returns to Leonce, who has lit a cigar.) PONTELLIER Well? ROBERT She insists on walking back by herself. I don’t think she wants either of us around right now. PONTELLIER As long as she’s feeling better. Cigar? This time you deserve it. ROBERT Merci. (Pause.) PONTELLIER I’m completely exhausted from all this excitement, but I don’t feel like going to sleep; I think I’ll head over to Klein’s for a quick nightcap. Coming along? ROBERT After all we’ve all been through tonight, I think I’ll go to bed. (pause.) For a moment there… PONTELLIER Yes, I know. Well, I’m off… ROBERT If it’s all the same to you, I might swing by your cabin and fetch my jacket. PONTELLIER Of course. And here’s another cigar; bit of a bonus.
26
SCENE 7 (Outside the Pontellier cabin; Edna gazes downstage. Robert enters.) EDNA Robert, I told you I don’t want company tonight. ROBERT I just came by for my jacket. (Pause.) Are you waiting here until he returns? I could just stay here with you for a while. I won’t disturb you. (Pause.) EDNA I just want to be alone with my own thoughts, whatever they are, wherever they go. (Pause) Haven’t you ever felt that sense of peace and tranquility after something wonderful has happened? Something in your wildest dreams you never thought you could accomplish? ROBERT No. EDNA You’re trying to get me to laugh, Robert, but I don’t want silliness right now. Can’t you understand? ROBERT Yes. Is there anything I can get you before I go? EDNA No. (Pause) ROBERT Are you chilly? EDNA No, I am not. (Pause) ROBERT Oh. (pause) Cushion then? EDNA What? ROBERT A cushion to rest your head or feet on? I’m trying to be of service. EDNA
27
No. (Silence) ROBERT You know, I really think you’ll like it; I’ll be right back. (He fetches a cushion from inside) Well, I’m back! EDNA (He comes downstage and places cushion beneath her feet) Thank you, Robert. I appreciate it. ROBERT Anything else? EDNA Maybe it was that woman’s music or the time in the water, but everything feels strange, almost like being in a dream, floating …. unreal. I don’t know. Please leave me. I need to be by myself for a little while. ROBERT I’ll go now. (Robert exits, passing through the strips of moonlight. Silence. Pontellier enters.) PONTELLIER (Kissing her on the head) Asleep? EDNA No. PONTELLIER It’s past midnight. We should go in to bed. (pause) Come, dear! (starts inside) EDNA I’m really comfortable out here, Leonce. I appreciate your concern, but please don’t wait up for me. I’ll be in soon. PONTELLIER But it’s cold here. EDNA I said I’m comfortable. PONTELLIER But you’ll be devoured by mosquitoes. EDNA There are no mosquitoes.
28
PONTELLIER Oh. (then gently) Edna, sweetheart, you really must be very tired after all your exertions tonight; you must come in soon. (Pontellier exits; returns a moment later.) EDNA I’m staying out here. PONTELLIER It’s ridiculous to stay out here all night! I insist you come inside with me this minute! EDNA Go to bed, Leonce. I intend to stay out here, and I shall. If you talk to me that way again, I won’t answer. (Pontellier exits. After a few moments, he returns again with two glasses of wine. Offers her a glass.) No, thank you. (Sits upstage of Edna and lights cigar. They sit in silence, Edna as before. Pontellier drains one glass and begins the second. After a few moments, Edna stretches.) I’m going in to bed now; coming Leonce? PONTELLIER (Through clenched teeth) Yes, dear. Just as soon as I finish my cigar. (Lights fade on Pontellier)
29
SCENE 8
Members of the Grand Isle community (Chorus) wait for a boat to depart for Sunday mass. Edna paces on the dock; the old lady in black holds her Bible and rosary beads; a servant woman sweeps. The other passengers (the lovers; a distinguished gentleman, etc.) mill about, waiting for the boat to sail. Edna whispers to the woman sweeping. EDNA I thought you told me he was coming. They’re about to leave. SERVANT I did exactly as you said; I knocked at his door and told him you were waiting for him to go to Sunday Mass. He said he’d be right along. I don’t know what’s…Ah, Madame, there he is! (Robert enters from upstage accompanied by an attractive barefoot Spanish girl, Mariequita. Edna abruptly returns to the group waiting on the boat.) MARIEQUITA (Pointing towards Edna) What is that fine lady doing over there? Look, she’s staring at us! What does she want? ROBERT Perhaps she thinks you’re pretty. Shall we ask her? MARIEQUITA Is she your sweetheart? Oooh, she is! ROBERT Of course not! She’s a married lady with two small children. MARIEQUITA Francisco ran away with Sylvan’s wife, and they had four children. They stole all his money and took one of the children along too! (Laughing) They even stole his boat! ROBERT Are you trying to be funny, Mariequita? Hush—she’ll hear you! MARIEQUITA (Too loudly) Do you really think she hears what we’re saying?
ROBERT Be quiet, Mariequita! MARIEQUITA And those two there (points to the cuddling lovers, laughing). Maybe they’re married too?
30
ROBERT Stop it! Go home now, Mariequita! I don’t want you here—We’re going to the Cheniere for Mass, and I don’t want you around me, you understand? MARIEQUITA Just as you wish, Sir. Pause. (Then, with a sly wink) I’ll see you tonight, then? He ignores her and walks toward where Edna is waiting. They stand awkwardly together as the boat glides into the water. EDNA You took your sweet time, didn’t you? You know how Beaudelet gets when he’s late to Mass. We almost left without you. I had to beg him to wait ten more minutes; then when you still didn’t show, another ten—What kept you? Pause. Well, she’s very pretty, at least. But you should have her wash her feet next time she appears with you in public, don’t you think? (Pause.) You’re blushing now. ROBERT So are you. (Pause.) You know, I haven’t had my coffee yet. EDNA Coffee! I go to the trouble to have a servant wake you for Mass; we wait a half-hour for you to arrive; you stroll down to the dock with some barefoot trollop; and now you have the audacity to want your coffee! (Laughing) If he were here, Leonce would say, ‘Do I have to arrange for everything?’ ROBERT Well, I wouldn’t mind a cup. Now we’ll have to wait until after Mass. Where is Leonce, anyway? EDNA (The other passengers disembark, leaving Edna and Robert alone.) Look, the sun’s fully up now. ROBERT After Mass, why don’t we visit Grande Terre? EDNA I’ve never been before—what is there to do? ROBERT Climb the hill and listen to the ocean roar. Or we might explore the old, deserted fort; or just sit together… EDNA …that would be nice.
31
ROBERT And the day after that, we might sail to Bayou Brulow. EDNA What’s over there? ROBERT Fishing. EDNA Let’s remain at Grande Terre. Leave the fish alone. ROBERT All right! We’ll set off in the pirogue when the moon shines. You’re not afraid, are you? And maybe one of those Gulf Spirits will whisper to us which of these islands has buried treasure—direct us to the very spot, perhaps. EDNA We’d be rich! ROBERT Yes! EDNA And I’d give it all to you. All the pirate gold and treasure. I think you would know how to spend it—pirate gold isn’t a thing to be hoarded—fling it to the four winds, just for the fun of it. Watch the golden specks fly. ROBERT No, we’ll share it; scatter it together. Their conversation grows more intimate as the sky darkens. They have reached the old Church, and meanwhile the Chorus has created a set of pews. Robert and Edna sit and observe the quiet solemnity of the church interior; meanwhile, light fades on them and comes up on Adele and Leonce outside the Pontellier cabin. ADELE They’re fine I tell you. They just went to morning Mass together with all the others from the village. They’re fine.
PONTELLIER But why didn’t she say anything? It’s not like her—no note, no instructions for Athenee, not even a kiss goodbye…not a word… ADELE
32
That’s just not true. Only the other day, she said she wanted to visit that white church on Cheniere before we returned to New Orleans. This was her last chance to see it. PONTELLIER But why didn’t she at least tell me? You can afford to remain calm—it’s not your wife who’s missing. And what about the boys? ADELE Missing? Leonce, don’t behave like a child! You have Athenee to help with the children. She’s wonderful with them, you’ve said so yourself. PONTELLIER But to disappear at the break of dawn, without a word…it’s damned annoying, Adele, I can tell you that. ADELE I’ll stay and keep you company for as long as you need me. I’m absolutely sure she’s fine, and will be back by nightfall. Goodness—what a fuss you’re making!—she’s just gone to mass! And she’s not alone; half of Grand Isle and Robert Lebrun are with her. PONTELLIER How do you know Lebrun’s there? ADELE I’m sure of it; Mme. Lebrun saw him dress for church and walk towards the dock before breakfast. You have nothing to be worried about. PONTELLIER If anything has happened, I’m holding that damn boy responsible. All day long in the company of married women! He should be off getting a proper job for himself. Or a real girlfriend…And all that idiotic talk about Mexico— ADELE The point is Edna is safe. Now let’s go in and look in on your boys. Scene shifts back to the church on Cheniere Caminada. The setting sun has turned reddish gold, and we hear church bells in the distance. Edna is lying on one of the pews, her dress loosened and collar opened. Robert sits beside her. An old guitar leans nearby. ROBERT Sleeping Beauty! Feeling any better? EDNA What happened to me? All I remember was white walls, oppressive heat, and that Priest’s booming voice—then nothing. Where am I, Robert?
33
ROBERT You passed out during the service. It must have been the heat. You don’t remember anything? EDNA No, I feel I’ve been asleep for a hundred years…and just woke up. That’s how it feels. Where is everyone? Where did they go? ROBERT They all went back on the lugger with Beaudelet—hours ago. I told them not to wake you and said I would see to your safe return. EDNA But what about Leonce and the boys! I didn’t even tell him…he’ll be so worried. ROBERT Nonsense—he’ll know you’re safe; I told Mother I was going to mass this morning. EDNA But how do we get back? ROBERT Madame Antoine’s son has a boat; he’s already offered it to me—as soon as you’re strong enough to return to Grand Isle. EDNA Oh, I’m strong enough.—don’t you think we should start back now—(She tries to stand, but is unsteady.) ROBERT By no means! Besides, you must eat something to get your strength back first. Madame Antoine’s broiled a chicken—can you smell it on the fire? She’s a marvelous cook. EDNA It will be dark soon… ROBERT Don’t worry, when it’s time, we’ll find our way back by moonlight—wait, I have an idea! What if we stayed here tonight? And before you say no, listen: we could explore the island tomorrow, hunt for Jean Lafitte’s buried treasure in Barataria and after that, maybe even visit that old fort; watch the lizards squirming in and out among the ruins. How does that sound, Madame Pontellier? EDNA (Eyes closed.) It sounds wonderful. And absolutely impossible. (Pause.) You mustn’t call me that.
34
ROBERT (Smiling) Call you what, Madame Pontellier? (He takes her hand, and kisses her on the mouth. A beat. He jumps to his feet.) I’m so very sorry—I have no idea what— EDNA We’ve just spent an entire day together, you and I. One whole day. ROBERT Except the hundred years you were sleeping. EDNA (Rising) And in that time how everything has changed! The whole island, the whole world. Everyone who was alive is now dead, and a whole new race of beings has sprung up in its place. Only you and I—the last remnants of an ancient civilization—are still around! Only the two of us! ROBERT I have to show you something. (Picks up guitar) While you were sleeping, some benevolent deity or other ordered me to stand guard; and since there was nothing else to do, I carved this thing from a piece of rotten driftwood. I even taught myself to play while you slept. Listen. He begins to play a song (“Si tu savais”) on the guitar. Lights begin to fade. Robert continues to play as lights fade.
35
SCENE 9 Days later outside the Pontellier cabin. Overcast, leaden sky. Edna reading; Adele rushes in. ADELE Have you heard yet? EDNA No. ADELE I can’t believe it! EDNA What is it? ADELE Robert. EDNA Has he been hurt? He’s been hurt, hasn’t he? (pause; shaking her) Tell me! ADELE He’s leaving! For Mexico. EDNA (A fact) Impossible. ADELE I just heard it from his mother. EDNA But he was with me all that time. He never said a word. ADELE I know that, my dear, all too well. Who do you think was looking after Raoul and Etienne, not to mention Leonce, the biggest baby of all? EDNA But it’s impossible! How could he not have mentioned it to me? (pause) Leaving when? ADELE Tonight.
36
EDNA (A fact) It cannot be. ADELE Madame Lebrun says he has a ticket on the steamer from Vera Cruz first thing in the morning. Look—he’s coming! (Robert enters, jauntily carrying traveling bag and walking stick. He is dressed in traveling clothes, and wears a soft-brimmed hat.) ROBERT (Jauntily) Ahh, les belles dames! You both have heard the good news, I trust? ADELE And we’re furious. Neither of us can forgive your discourtesy in not telling us in person. Madame Pontellier is particularly upset, since you spent the entire day—and night—at Cheniere with her and didn’t mention a thing. Isn’t that so, Edna? (Edna walks away; too furious to speak.) ROBERT I always told you both I was going to Mexico. I’ve been promising that for years—as you both have taken great pains to remind me—on many different occasions. So why this consternation now? EDNA (Weakly) But why so suddenly? ROBERT Business. When a business opportunity like this presents itself, a man has to answer the bell. A letter came late last week by post, and I’ve been weighing it since then; I just informed mother at breakfast today. ADELE I see. (Pause) Well, I am very happy for you. Bon voyage, mon ami. (She embraces him and kisses him on both cheeks) Edna? (Silence) Edna? EDNA (Turning away) Goodbye. ADELE Is that the best you can do? ROBERT Might you be so kind as to leave us alone for just a moment, Adele? (Adele exits, reluctantly; they stand awkwardly for a few moments before speaking.) EDNA Come inside and explain.
37
ROBERT I can’t, Mrs. Pontellier. EDNA Why? ROBERT Because Beaudelet is waiting for me at the dock; I must leave now if I’m to catch the Vera Cruz steamer in the morning. EDNA How long you will be gone? ROBERT A long time. I don’t know. Possibly forever. EDNA …and if it’s not forever? ROBERT I don’t know. EDNA This is ridiculous! I don’t understand how anyone can make a decision like this on the spur of the moment! It’s childish is what it is. Why didn’t you say anything while we were together? It’s unforgivable. ROBERT I’m sorry you feel that way, but I hope you will forgive me, eventually. Friends? (extends his hand to her; she refuses. He exits.) EDNA (Calling after him) Will you at least write to me? ROBERT Of course. EDNA You promise? ROBERT Yes. I promise. (Puts hat back on, takes up his stick, and exits) EDNA Wait! (Robert returns)
38
EDNA You look absolutely absurd in that hat. Please remove it. Immediately. ROBERT (Smiles) All right. You keep it till I return. (She finally smiles; he runs off.) (Edna gazes after him, holding the hat. She places it down on the beach to be carried out to sea. The sounds of the sea build. And as the curtain falls, we hear a reprise of Robert’s “Si tu savais” melody on the guitar. Lights fade; the sea turns copper-gold.)
END OF ACT ONE
39
ACT TWO: NEW ORLEANS
SCENE 1 The dining room at the Pontelliers’ home on Esplanade Street. Leonce and Edna eat their evening meal in solemn formality. They have already been served soup. Edna dressed in a simple dressing gown. They eat their soup in silence. LEONCE Are you so very tired, my dear? EDNA Not at all. Pause. Why do you ask? LEONCE You’re in your dressing gown… and, well, today is Tuesday. Visiting Day. I can imagine you must be tired from all your visitors. EDNA No, in fact, I feel more than usually refreshed. LEONCE Did many stop by? Callers, I mean. EDNA I believe there may have been quite a few. LEONCE (Pause.) May have been? EDNA Yes. I noticed several cartes de visites when I returned home. LEONCE Returned? EDNA Yes, I went for a long walk. I was out all afternoon walking. LEONCE But whatever for? Was there some emergency? EDNA No, no emergency.
40
LEONCE Well, then, what explanation do you have? EDNA Explanation? LEONCE Yes, an explanation for what took you away from home on a Tuesday afternoon. EDNA Nothing. I felt like going for a walk, so I did. LEONCE But what came up that was more important than being at home on Visiting Day? I don’t understand—did you at least leave a suitable excuse? EDNA I told Athenee to say I was out. That’s all. LEONCE That’s unacceptable, dear. Simply unacceptable. EDNA Why? LEONCE (Rises, agitated) Because it is! (sitting down again; calmer) My dear, you know we have to keep up les convenances. EDNA What exactly do you mean by that? I’m afraid I’ve never understood that expression. LEONCE Les convenances. It means the procession, customs, society. You know what it means. It wasn’t at all proper to go out without leaving a suitable excuse—I simply don’t understand why you had to go for a walk. On a Tuesday. By the way, this soup is terrible! (pushes soup away) Do you at least know who came by? I hope Mrs. Belthrop didn’t. EDNA No, Leonce, but we can easily find out. (rings bell) ATHENEE Entering. Yes, Ma’am. EDNA
41
Athenee, please bring the tray with the Cartes de visites. (Athenee exits and a moment later returns with a silver tray) No, it’s for Mr. Pontellier. ATHENEE Certainly. (Pontellier takes tray and reads names, agitated.) LEONCE …Mrs. Laforce, Miss Wiggs, Mrs. James Highcamp, Mrs. Eleanor Belton. Here it is—Mrs. Hugh Belthrop. Damn it, Edna, this is no good! We can’t afford to snub people like that. Belthrop can buy and sell us ten times over. We can’t afford to alienate such people. EDNA I don’t understand why you’re making so much fuss about it. LEONCE I’m not making a fuss! You know we have to take such things seriously if we’re ever going to advance in New Orleans society. Tastes soup. Damn it, his is the worst soup I’ve ever tasted! That cook has got to go. EDNA Just last week you said Chantal was a treasure. LEONCE Well, she isn’t a treasure this week. Maybe she just lacks proper supervision. (Throws down napkin and gets up from table) I’m going to the club, where I can enjoy a decent meal. Goodnight, dear. (Leonce exits; the sounds of the sea come up, increasing through the rest of the scene.) EDNA Good night, Leonce. (Remains at the table. Pause. Rings bell) ATHENEE Yes, Ma’am? EDNA Mr. Pontellier is dining at his club this evening. You may clear the table. ATHENEE Yes, Ma’am. (She exits. Edna rises and nervously paces; sounds increase in volume and intensity. She tries to tear off her wedding ring, but is unable to do so. Then she dips her finger in a glass; the ring comes off. She drops ring in glass. The sea grows calm. Athenee clears table. Exits and returns.) Ma’am! This must have slipped off somehow. Here, let me wipe it off and put it back on your finger.
EDNA
42
Thank you, Athenee. (Athenee wipes off ring and replaces it on Edna’s finger. She exits. Edna again tries to remove ring, but to no avail. Sounds of storm build and continue into the following scene.)
43
SCENE 2 (Evening a few days later. The sounds of the storm create the transition into the next scene. A small room in Mlle. Reisz’s apartment in a poor section of the Quarter. A knock at the door. Mlle. Reisz comes to the door. Edna is wet and is wearing a cloak with a hood to protect her from the cold and rain.) REISZ My goodness—no! It can’t be! Why, it’s the beautiful Madame Pontellier! EDNA May I come inside for a moment, Mademoiselle Reisz? It’s very cold out here in the hall. REISZ Of course, my dear. How rude of me to leave you soaking wet in the foyer. EDNA I’ve been searching for your apartment for more than two hours. Your neighbors had no idea where you had moved— REISZ (Interrupting.) Why should they be informed where I live? They’re nothing but usurers and Philistines! Do come in—I have a pot of hot coffee on the fire, and I’ll bring you a towel and fresh clothes. EDNA (Smiling faintly) Just the towel and coffee, Mlle. Reisz. Thank you very much. I must leave soon. REISZ No fresh clothing? (pause) Ah, I understand. The fashionable Mme. Pontellier could not bear to wear the clothes of a poor piano teacher like Mlle. Reisz! EDNA That’s not what I meant at all! I didn’t want to put you to the trouble… and we hardly wear the same size! REISZ Naturellement. I understand. Just as you wish. Here’s a towel. I’ll go and heat up the coffee. (She hesitates, as Edna surveys the room) Dry yourself off well Madame Pontellier. We wouldn’t want you to catch pneumonia, would we? Sit down on the sofa and tell me what brings you here. To be honest, I never expected to see you, even though you solemnly promised to come visit me after the summer in Grand Isle. EDNA I don’t remember promising—
44
REISZ Aha, but I remember. You see, I recall everything. I thought you might not come because although you enjoyed my playing last summer, I don’t think you like me, Madame Pontellier. Now, what do you think about that? (exits) EDNA I don’t know whether I like you or not, Mlle. Reisz. REISZ (Immediately returns) Brava! Brava! This is good! This is very good! She says she doesn’t know if she likes me—this is very good! (pause) EDNA May I remind you that it was you who sent for me? You wrote and said something about a letter from Mexico City. REISA You miss your friend, Robert, do you not? EDNA Yes, Mlle. Reisz, of course I miss him. REISZ Well, we shall come to that in a second. First, we women are supposed to have some chitchat with our coffee. Do you like chitchat? Personally, I despise it; and I doubt you like it much either. But sometimes we must observe les convenances, as they say. So. (Speaking rapidly) How are those two lovely little boys? How’s your health—feeling well, etc.? And that rich husband of yours, how is he? (Silence). Well, I think that about covers the small talk. (pause) Now, what have you been doing since last summer at Grand Isle? EDNA Nothing much. REISZ She says, ‘nothing much’ but of course she’s lying. EDNA Pardon me, Mlle. Reisz? REISZ I don’t believe a word you say. You must be honest with me, Madame Pontellier, or else I will not tell you about the petite surprise (she pronounces this in the French way) I have. Now I ask you again: what have you been doing with yourself since those glorious summer days on Grand Isle?
45
EDNA I don’t know…riding the streetcar, taking long walks alone in the Quarter… (pause). I’ve also begun trying my hand at painting. REISZ Well, well, well, Painting! What sort of painting? EDNA Sketches mostly; a few watercolors. REISZ And what have you been painting? You must have a favorite subject. EDNA Our maid Athenee, the children, … one or two sketches of myself. REISZ Of yourself? So you’ve done “auto-portraits”? I’d love to see one. EDNA They’re not very good…but I’m thinking of taking classes. (smiling) One day perhaps I’ll become an artist like you, Mlle. Reisz. REISZ Ahh, I think that Madame Pontellier has pretentions. EDNA Just what do you mean by that? REISZ No one ‘perhaps becomes’ an artist. Becoming an artist chooses you. To be an artist is to live in the world as an ugly, wild, disagreeable bird. (pause) But a bird that soars above the common herd. The artist is the bird that dares and defies. EDNA I see. REISZ No you don’t. You’re just a child. How could you see? But that topic is for a later date. Sugar? Thought so. And now it is time for me to tell you about the surprise I lured you here to see. (Scurries over to a tiny box on the mantelpiece) It is in here. Are you curious? I thought so. Well, I have heard from your friend Robert from the Cite de Mexico. He has written a letter. EDNA To you? He’s written a letter to you!
46
REISZ Ah, oui. Several, in fact. That surprises you, ma petite? EDNA Yes…I am somewhat surprised. REISZ I don’t know why you should be. After all, he is very fond of me, and I am fond of him. (pause) However, this letter is all about you, Madame Pontellier. EDNA Me? It’s about me? REISZ He asks if I’ve seen you, how you look, what you’re wearing—that sort of thing. He also writes, ‘if you see her, play that Chopin Impromptu for her, the one I like so much. I want to hear exactly how she responds.’ That’s what he says. But, since you never kept your promise, I could hardly reply. So, I decided to write you. EDNA Will you show it to me, Mlle. Reisz? I’d like very much to see— REISZ Ah, I couldn’t do that. I’m very sorry. EDNA But why not? You just said the letter is all about me. REISZ I said the letter was about you, not to you. Besides, it’s getting late; shouldn’t you be getting back home to a nice warm dinner with that rich husband and those cute little boys of yours on Esplanade Street? EDNA Yes, I should; in fact, I’m late already. But you seem to be deliberately taunting me. Let me see it. REISZ I cannot. EDNA Mlle. Reisz. I would like to see that letter very much. REISZ
47
Women of your station usually stamp their little feet and get whatever it is they want. But you must remember a letter concerns only the person to whom it is addressed. It would be indiscreet. EDNA You know what I think? I don’t even believe there is such a letter, Mlle. Reisz. I think you merely told me that in order to get me here. REISZ Why would I do that? (holding box aloft) So you think this doesn’t exist? I’m making it all up? Surely you don’t think you’ll get it out of me that way, do you? EDNA Please…please…at least let me at least see the envelope. I won’t even read it.
REISZ Perhaps I will on your next visit? Do you think there will be a next visit? EDNA (Silence) Yes. REISZ You promise? EDNA Yes. REISZ Very good. Now I am happy.
EDNA I must go home now. Finding your flat took much longer than I expected. You’re right, Leonce and the children are expecting me home for dinner. (She grabs her cloak and heads to the door.) REISZ (Calling after her) Do come again, my dear. Day or night. And be careful on your way down. It’s dark there on the stairs! And remember your promise! (Chopin Impromptu rises, and continues on into the following scene.)
48
SCENE 3
The office of Dr. Mandalet. Leonce Pontellier sits beside him. SCENE 3 Dr. Mandelet, a physician in his sixties, and Leonce Pontellier in Mandalet’s office.
MANDELET But I just saw her the other day on Canal St. She was radiant; looked the picture of health. LEONCE Yes, she looks fine, I know that, doctor. But there’s something wrong, I know it. (Pause; almost inaudibly.) It’s…it’s that—that— MANDELET Speak up, man! Just start by describing her symptoms. LEONCE That’s it, Doctor—there are no symptoms. MANDELET Ridiculous! How can you know she’s ill if there are no physical symptoms? LEONCE There is nothing wrong as far as I or anyone else can see. But she’s not been…like herself. MANDELET Look, Pontellier, just tell me in your own words what you think is the matter. LEONCE Ever since we returned from Grand Isle, she’s been different somehow. For one thing, she’s let the house-keeping go to— MANDELET Stop right there! Despite appearances, all women are not exactly alike. Some are better at keeping house, others preparing weekly menus, still others excel at overseeing the servants or the children. Each one has her special skill— LEONCE It’s not that, doctor. It’s her attitude toward me and everybody and everything that has changed. She ignores her Visiting Days, takes the streetcar by herself, alone. Tramps about by herself— at all hours of the day and night! I’m worried, Doctor. If may I speak to you in complete confidence, Doctor Mandalay—sometimes she locks the door to her room, and I don’t even see her until we see one another at breakfast. Do you understand? MANDELET
49
This is damned difficult to ask, Pontellier, but is there anything you might have done, however inadvertent? Have you raised your hand against her recently? LEONCE Raised my hand? Parbleu! MANDALET All right. Hmm…has she been associating with any pseudo-intellectual, supposedly spiritual women who are in the news these days? I’ve read about them, and have even heard such women—are among us here in New Orleans.
LEONCE That’s the trouble—she doesn’t associate with anyone. MANDALET Is there anything hereditary in her background? Anything peculiar about her family, perhaps? That might explain… LEONCE Edna comes from solid old Kentucky Presbyterian stock. Her father was a Colonel in the Confederacy. Stern, old-fashioned, religious. Bit of a tyrant perhaps. Seems to have driven the mother to an early grave, and was quite strict with Edna and her sisters, one of whom is about to get married soon. MANDELET I have it! Why not send her back home for the wedding? Might do her a world of good being among her own people. LEONCE I suggested it myself! She refuses to attend her own sister’s wedding! When I asked her why, you know what she said? ‘A wedding is one of the saddest spectacles on earth’—says that to her own husband, if you please!
MANDELET Here’s my advice: don’t contradict her. Women, my dear fellow, are by nature moody and full of whims. Delicate and sensitive organisms, they are chock full of idiosyncrasies and inner disturbances we can’t possibly understand. When ordinary fellows like you and me try to fathom them, the result is sheer chaos. It may take a while, but my professional opinion is that these are whims and will soon pass.
LEONCE I hope so, Doctor. One more question: I have to take a business trip to New York which will keep me out of town for several weeks. Do you think I ought to bring Edna along?
MANDALET
50
Try not to cross her, Pontellier. The more you do, the more obstinate she’ll be. One morning, she’ll wake up and things will be back to normal. It may take a few weeks, perhaps a month or two, but it will pass. Meanwhile, have her swing by the office next week. LEONCE I can’t do that, Doctor, she’d know I’d come to see you. Could you come round for a meal or a cup of tea? That would give you a chance to examine her in her own “habitat,” as it were. MANDELET I’ll drop by next week. Remember, Pontellier, don’t worry. This will pass. Have patience. Leonce exits, and leads the Doctor into the Pontellier dining room for the following. The doctor’s office from the previous scene has become the Pontellier dining room. The dinner party alluded to in the previous scene has just concluded. Doctor Mandalay and Leonce sip brandy from liqueur glasses, and are about to light cigars in the library. EDNA That was a lovely story, Doctor Mandelet, so romantic. I just adore fairy tales. Before you adjourn to the library for your men’s talk, might I share a little story of my own, gentlemen? PONTELLIER Yes, of course, my dear. We would love to hear your story, wouldn’t we, Doctor? MANDELET Of course we would. EDNA This is a story told me by old Madame Antoine. You remember, don’t you, Leonce, that time I became ill after going to mass on the Cheniere Caminada. (He shrugs uncomfortably) Here it is: Once upon a time, a girl and boy started out on a boat ride one afternoon among the Baratarian Islands. They sailed out on their pirogue to avoid gossip and the lights of the town. They planned to visit the old fort and watch the lizards creeping among the ruins. But as they began their moonlit voyage, they suddenly changed their plans. They felt the warmth of summer night, and the two lovers decided to abandon their trip. And you know what they did? They let the current take them whichever way it wanted, and slid deep into the velvet night. And whether they ran off or were drowned, no one ever saw either of them again. A lovely romantic tale, isn’t it, Doctor Mandalet? Mandelet and Pontellier look at one another as the lights fade.
51
SCENE 4 Interior of the Pontellier home. Leonce sits alone in the dark; on a table is an unopened book; beside him, a suitcase with shirts and linens piled on top. EDNA (Edna enters the room with a candle; she starts at the appearance of her husband alone in the dark) Oh—I’m sorry, Leonce! I didn’t realize I was disturbing you. I’ll go. (Starts to leave) PONTELLIER No, don’t go! Please. (after a beat) I’m leaving in the morning for what may be a long while, and we’ve seen so little of one another. Please stay. EDNA I was just going to say goodnight to the boys. Of course, I’ll stay. You’ve told me never to enter your study unannounced; I didn’t want to disturb you. PONTELLIER As you see, the pages of this book aren’t even cut. I was just sitting here in the dark, thinking. Thinking about you, in fact. EDNA Me? PONTELLIER Us. I was thinking about us. EDNA I understand. PONTELLIER Do you? Do you really? EDNA What do you mean? PONTELLIER I don’t. EDNA Don’t what? PONTELLIER Understand where this is headed. (Pause.) I’m not blind, my dear, whatever you may think. I see that you’re unhappy. I just don’t know what to do about it. Or how I can
52
change it. And that’s why I’m sitting here trying to make sense out of things. (Pause.) On my way to New York, I’ll be stopping off in Louisville for your sister’s wedding. You could come along with me. The children will be in Iberville with mother; we could have some time for ourselves. It’s not too late to change your mind, you know… EDNA I can’t. I’ve told you… PONTELLIER Or you might join me in New York a week or two later… EDNA No. PONTELLIER But you’ll be all by yourself. For the first time since our marriage you’ll be without me or the children. What will you do? EDNA I'd be lying to you and myself if I said it didn’t frighten me a bit. All the same, I’m looking forward to it. (Pause) It was so nice of your mother to take the boys; there’s so much for them to do there— PONTELLIER Edna, what is really happening to us. We’re two separate people now. I…I love you, you know that. EDNA I know, Leonce. PONTELLIER I haven’t said that very often to you, have I? EDNA (Smiling) Never, as a matter of fact. But you’ve had little reason to lately. PONTELLIER What do you mean? EDNA I haven’t been a good wife to you since we’ve returned from Grand Isle. I know I’ve disappointed you. (He tries to embrace her, but she resists.) No, Leonce. I don’t want that now. PONTELLIER Edna! Married women don’t say that to their husbands—
53
EDNA I know, but let me finish. I wanted to tell you that this, whatever this thing is, it’s not your fault. I promise. PONTELLIER But what is happening? EDNA I’m not sure, but whatever it is, it’s not your fault. Remember that. PONTELLIER But how can I help you, my dear? I went to see Doctor Mandelet in secret a few days ago, and he said just leave you alone to your “whims”—or whatever he calls them. I don’t want to lose you. Goes to embrace her; she reluctantly accepts. EDNA Pulls away. There’s nothing you can do right now. I’ve promised the boys a bedtime story. PONTELLIER But what will people say when you’re not at your own sister’s wedding! They won’t understand—I won’t understand! I EDNA I’m confident you’ll think of something to say when the time comes. I’m absolutely certain. PONTELLIER Are you? EDNA Yes. But before I go, there’s something you must allow me. Will you? PONTELLIER (brightening) Of course. Anything. EDNA Sit back in your chair and let me light your cigar one last time. PONTELLIER All right. (Sits in chair; she kneels at his feet to light his cigar.) EDNA This is how I want you to remember me while you’re away. (Kisses him). Now I’m going to tell the boys their story.
54
She takes candle with her, and speaks to her children. EDNA Are you asleep? Tomorrow Grandmere Pontellier will bring you to Iberville. This will tell be my last story for a little while, so listen closely: once upon a time, there was a tiger, an animal with a beautiful orange coat and bold, black stripes. And this magnificent animal was born in a cage of iron. She grew in strength and beauty under the care of her keeper; there was always enough food, and never any cold or hunger. When the tiger grew thirsty, water magically appeared before her in a silver bowl; when she was tired, a soft bed of straw was provided for her rest. The tiger found it all good, and licked her beautiful flanks, and basked in the sun beams that existed for the sole purpose of brightening each day. Or so she thought. Then one day, she awakened from a deep sleep, and noticed that the door of her cage had been left open! It was left open by accident, and this great beast was terrified. She crouched in a corner, too afraid to move. Slowly she approached the open door and, terrified of the unknown, would gladly have shut the door had she only known how. But she could not. Finally, the tiger thrust her head out of the cage and saw the bright sky and the world outside. She could no longer rest. Again and again she peeked out of the open door, and each time she saw more and more light. Then she stood in the flood of light—took a deep breath, leapt, and was gone! She rushed forward—seeing, sniffing, tasting many things. She drank from a foul pool of water, imagining it sweet. She grew hungry, and discovered she must now kill for food that used to be hers without question. Her limbs were weary and her throat parched, unable to find water that would slake her terrible thirst. And so the tiger lived on, seeking, finding, suffering. The door which was left open by accident still remains open. But her cage is forever empty. Are you asleep? Goodnight, my lovely boys. Your Mama loves you. (Blows out candle.)
55
SCENE 5 (Several days later. Early evening on the street near the Quarter. A dashing, well-dressed young man, Alcee Arobin, rushes up behind her carrying Edna’s parasol.) AROBIN Madame, I believe you left this behind. (Hands her parasol). EDNA Thank you. It was a gift from my husband; he’ll be pleased to know it was not lost. AROBIN Won’t you be pleased as well? EDNA Yes. AROBIN Allow me to introduce myself; I am Alcee Arobin. EDNA Monsieur Arobin, everyone in New Orleans knows who you are. AROBIN Hmm…is that a good thing, I wonder? EDNA I’m sure it depends on how much one values one’s reputation. AROBIN Are you implying that I don’t? EDNA Certainly not, Monsieur Arobin. Just stating the obvious. AROBIN You are certainly very frank, Mademoiselle— EDNA Madame, not Mademoiselle. Pontellier. AROBIN Pontellier. I couldn’t help noticing you were placing bets at the track. Every day for about a week. Everyone saw you. It’s quite unusual to see a woman alone, betting on the nags. And winning, if I’m not mistaken.
56
EDNA I grew up around horses in Kentucky. I quite enjoy the races. AROBIN So do I, but I must say it’s the first time I’ve ever seen a woman at the Jockey Club who knew her way around the racetrack, both beautiful and unaccompanied. EDNA (pause) Unacccompanied, yes; but not unmarried. My husband is away on business in New York. He’ll be back soon. AROBIN Pity. EDNA Very soon. AROBIN In the meantime, how about coming with me to the races tomorrow? EDNA That would hardly be appropriate, Monsieur Arobin, as you well know. AROBIN Ah, yes, the gossip. But I had to ask anyway. EDNA Actually, I’m tired of the races. I don’t want to lose what I’ve won. I need to get back to my other work. I’ve been away from it too long. AROBIN And what kind of work is that, Madame? EDNA Painting. AROBIN Ah, you are an artist! EDNA No, I paint, but do not consider myself an artist. Not yet. AROBIN Might I visit your atelier some time? I’d love to see your work. Perhaps tomorrow? EDNA
57
I don’t think so, Monsieur Arobin. AROBIN I do know something about works of art—who knows, I might be able to offer you some tips. EDNA ‘Tips’? You mean like at the racetrack? Shouldn’t you be going, Mr. Arobin? AROBIN Yes, I should. However, that’s just the problem: I cannot. EDNA Why is that? AROBIN Isn’t it obvious? You have captivated me. Just tell me when I can see you; only then will I go. EDNA What did you just say? AROBIN (Seizes her hand and presses it to his lips). You are unlike any other woman I’ve ever met. EDNA (Tearing her hand away) What is that ghastly thing, there on your hand? AROBIN Nothing to be frightened of; it’s a dueling scar I received when I was young, and deeply in love. The coward who did it paid for it dearly. EDNA I don’t like you, Mr. Arobin. Goodbye. (Starts to exit) AROBIN Please don’t leave me like this! Forgive me? Please! EDNA Something in my manner must have misled you, Mr. Arobin. I insist you go. AROBIN It was nothing in your manner. I couldn’t stop myself from watching you at the track—please tell me I can come and see you tomorrow? (moves away) I’ll leave when you tell me to go; and if you wish me to stay gone, I promise I will. But, if you allow me to return
58
(he takes a step or two forward)—you will allow me to return, won’t you? (She smiles despite herself, and he takes her hand again and presses it lovingly to his lips) Thank you! Now I’m gone! (He vanishes while Edna stands watching him; lightly touches the hand he kissed as lights fade.)
59
SCENE 6 A few days later in the apartment of Mlle. Reisz. REISZ I was going to light the fire—now I won’t have to. EDNA Why not? REISZ Because sunlight just flooded the room! EDNA My walk here has chilled me to the bone. REISZ I have just the thing—a pot of hot cocoa. EDNA Don’t you have anything a little, I don’t know, stronger? Brandy perhaps? REISZ How Bohemian—first cigarettes, now brandy! What will the dear lady’s husband say? EDNA The ‘dear lady’ doesn’t know—and doesn’t care. REISZ In that case…I do have some. Let me look for a glass. (starting offstage) I think I have a lovely cut crystal liqueur glass somewhere— EDNA Any ordinary tumbler will do, Mlle. Reisz. REISZ You mean she drinks her brandy like a man? EDNA I suppose she does, yes. (pause) I’ve come to tell you something. I’ve decided to move from Esplanade Street to a little house around the corner. (pause) Does that surprise you? REISZ (pouring cocoa) Should it? EDNA Yes. It should.
60
REISZ Ah, but it doesn’t, you see. EDNA And why not? REISZ You haven’t told me why you’re moving, so why should I be shocked by the result? EDNA The house on Esplanade is far too large—I don’t need so many rooms, so many things, so many servants. The little house I am moving into has just four rooms, enough room for myself and Athenee. REISZ Do not lie, ma belle. I’m sure the size of your house is not the reason for the move. EDNA The house and the money that provide for it are not mine! How is that for a reason? REISZ Yes, they are your husband’s. EDNA And that is precisely why I want to move. I have some money from my mother’s inheritance; won a bit more at the racetrack; recently, I sold some sketches to a dealer. Why shouldn’t I live in my own house rather than live off Pontellier? REISZ What does your husband say about all this? EDNA I haven’t told him yet. REISZ Ahh… EDNA What does ‘Ahh’ mean? I only made the decision today; this morning at eleven o’clock to be exact. He’ll think me completely mad—you do too, don’t you? REISZ It’s not for me to say. I only felt you hadn’t told me what your real reasons were. I’m still not completely sure.
61
EDNA Neither am I. However, I’m planning a farewell party before I leave, and I want you there. Please tell me you’ll come! I’ll have everything you like to eat and drink— REISZ Of course I’ll come, if you want me to. By the way, I have another letter. From him. EDNA So soon? REISZ You realize why he does this, the fool? He’s in love with you. EDNA He doesn’t know you let me read his letters, does he, Mlle. Reisz? REISZ Of course not! If he even suspected I showed them, he would never write a single line. EDNA Why do you show them to me? REISZ I am unable to refuse you anything. EDNA Yet you violate his trust. REISZ What can I deny you? Nothing. (Hands Edna the letter.) Now turn around. I want to check something. (Edna hesitates) Do as I say—now! EDNA What is it, Mlle. Reisz? What’s the matter? (Mlle. Reisz walks slowly behind her, then takes her hands and places them across Edna’s back and shoulder blades as though reading something in braille) REISZ Ahhh! EDNA What is it? What are you doing? REISZ I am checking for wings, my beauty, that’s all. Checking your wings. The wildly feathered bird who soars above the common herd must have strong wings; very strong.
62
EDNA Suddenly frightened. And how are my wings, Mlle. Reisz…(Silence) Are they strong? Chopin music comes up as light fades.
63
SCENE 7 Edna is dusting a chandelier on top of a tall ladder center stage. She is reaching high with a feather duster, and her hair is up. AROBIN (Offstage) Athenee said I would find you—(sees Edna atop ladder) You’re going to kill yourself up there! Get down this instant! It makes me queasy just seeing you up there. Where are the other servants? EDNA (Continuing her dusting) Ellen was afraid to climb the ladder; Joe is at the ‘Pigeon House’ fixing things up. Ellen calls it the ‘Pigeon House’ because she says it’s so cozy it reminds her of a dovecote; I’m afraid the unfortunate name stuck. AROBIN I don’t care what the devil the name is—just get down from there, you’re making me dizzy! EDNA (laughing at him) If I do, who is going to dust for the party tomorrow night—you? AROBIN Me—of course not! (then, swallowing hard) All right, yes, I’ll do it. Just come down. EDNA All right. (she climbs down from the ladder) Let’s see (she acts the role of the French maid, exaggerating the accent comically) …ze gentilhomme will need to take off hiz lovely jacket and hiz waistcoat and he must put zis on (takes apron and ties it around his waist). And zen of course he needs zis tignon to protect his beautiful hair from all zis awful dust. (places tignon on his head). Now we take a look at ze Monsieur, non? (Shows Arobin his reflection in mirror; Edna dissolves into a fit of laughter at his discomfort. Then he slowly climbs up ladder and dusts.) I have to say, I’m very impressed with your new vocation. You may come back down now. AROBIN Thank God! (Begins descent) EDNA (Enjoying the moment) Oh, wait! I see another cobweb! No, I guess not. All right, you may descend. (She meets him on the bottom step, removes tignon, tosses it to the floor and takes his head in both her hands. Holding it a moment, she kisses him full on the mouth)
64
SCENE 8 (Early evening. Adele Ratignolle, now close to nine months pregnant, visits Edna at the ‘Pigeon House’. She wears a large cloak to conceal her belly.) ADELE Even though I took alleys and side-streets—I’m sure I’ve been seen by someone. If Alphonse ever gets word of this…why haven’t you visited me, Edna? It’s been so long. EDNA I’m sorry, Adele. I’ve been busy with the move, and— ADELE Nonsense! (then kissing her warmly) But I forgive you. And even if I didn’t, that champagne and those grapes you sent were so delicious! They’re practically the only thing I’ve been able to touch the last few days. (looking around) So this is your little ‘Pigeon House’! It’s darling! But where in heaven’s name will you put Leonce and the boys—in the cupboard? (pause) I know it’s not my business, my dear, but—may I speak frankly? EDNA Of course, you must always say anything you like to me, Adele. (Motions her to sit.) ADELE No thank you. I have to stand otherwise I won’t say it. You’re a married woman with two children and a husband, but you’re behaving like a child—as though your actions had no consequences. Are you quite mad? What can you possibly be thinking? What will people say? EDNA I know you’re not done yet, go on, Adele… ADELE I’m certainly not! Moving out of the house on Esplanade, living here alone…people are talking, it can’t be helped. It’s utter and complete madness! Couldn’t you at least ask someone else to move in with you? Mlle. Reisz would— EDNA Impossible. ADELE Why not! EDNA Because she wouldn’t want to, and I wouldn’t want her around.
65
ADELE But you know how people talk, Edna! Alphonse tells me he has even heard it said that Arobin has visited you here. Alone—(As Edna begins to respond) No! Don’t say a word—not one word—I don’t want to hear it! The very fact that people are talking about it is enough to— EDNA (calmly) But it’s true, Adele. He does visit me. I want you to know. ADELE Do you realize the mere mention of that man’s name is sufficient to destroy a woman’s reput— EDNA So I’ve heard. Is there anything else, Adele? ADELE Yes, of course there is. I’m worried about your children. EDNA They’re still in Iberville with Leonce’s mother. I thought you knew. ADELE I’m not referring to their whereabouts. I know where they are. I’m referring to the fact that you don’t care, and seem perfectly happy not to have them around. (Pause.) You don’t hate me yet for speaking my mind? EDNA No, Adele, not yet. ADELE I can’t imagine what you are doing. How can you feel anything toward your children but absolute, unconditional love. If their lives were in danger, I would sacrifice my life without a second’s thought; I know you would do the same. EDNA Yes, I would. ADELE Then how can you be so reckless— EDNA I would give my life for them, Adele, but I wouldn’t sacrifice myself. ADELE
66
For God’s sake, what’s the difference? Surely a mother can make no greater sacrifice than to give her life for her children? You’re willing to do that, and yet… EDNA I can’t explain what the difference is, but it’s there. I just don’t know how to put it into words. ADELE I’ve said what I wanted to say, what I needed to say to you as my dearest friend. What you decide to do is your own concern. Now that I’ve said what I had to, there is something else: I want you with me when it comes time for my accouchement. You will come, won’t you? It would mean everything to know you will be there for me. EDNA Of course I will. Send for me any time, day or night. ADELE I won’t be able to attend your farewell party; neither will Alphonse. For obvious reasons. I know you understand. And I can’t come back here again; indeed, it was foolish for me to come today; I’m sure I was seen. Please don’t avoid me, and don’t hate me for what I said. EDNA I don’t. You can say anything you want to me. Always. (They kiss; Adele exits.)
67
SCENE 9 (The morning after Edna’s farewell party. Vivaldi plays in a darkened room with a few candles still burning. All the guests have left except for Arobin. The floor littered with remnants of the previous night’s festivities, e.g. party favors, streamers, etc. Edna is still wearing her party dress, and her face is covered with the mask of a bird. Arobin also wears a mask; a bird of prey. His jacket is off, his shirt unbuttoned, and his shirtsleeves rolled up.) AROBIN What’s next? EDNA I don’t know. The servants are dismissed. The house must be locked and the candles snuffed out. (Arobin begins to extinguish candles.) There may be a window or two unlatched upstairs. (She attempts to rise but is too tired) Will you do that for me, Alcee? AROBIN Of course. EDNA I can barely move. Something feels like it was wound up too tight—and suddenly snapped. AROBIN You’re just overtired. You’ve been doing far too much—this party was the last straw. EDNA It was stupid and unnecessary. AROBIN No—it was lovely. Even that crazy, old woman—what’s her name—even she had a good time. She had so much to drink she had to be carried home. You’re just exhausted. (pause) You need to rest; then you’ll feel better. EDNA I thought you said you were leaving. AROBIN I am. (Tosses mask to the floor but does not move.) EDNA Are you? AROBIN
68
Yes. EDNA When? AROBIN When you’ve removed yours, so I can kiss you goodnight. Or good morning. Whichever applies. EDNA (lightly) Oh, this thing? It doesn’t come off anymore. Arobin kneels beside her, and begins gently massaging her shoulders. Then he tries to remove the mask, but Edna refuses to allow it. Instead, he opens her blouse, and begins kissing her. She remains passive, allowing him to explore her body.
69
SCENE 10
The following day in Mlle. Reisz’s flat. In the darkness, a few stray notes are heard on the piano. A series of knocks at the door. After a pause, more knocking. Finally, Edna answers the door. Robert Lebrun appears in the doorway. ROBERT Madame Pontellier! I didn’t expect to see you. EDNA (Quickly recovering) How long have you been back? ROBERT Three—no four days ago. I think. EDNA (Now fully in control) You think? ROBERT (reflecting) No, it was last Thursday. So it’s been about a week. Things didn’t work out as well in Mexico as I hoped. People weren’t very friendly, so I— EDNA You’ve been back all this time and hadn’t thought to come see me? ROBERT It’s only been a week. And there’s been so much to do—line up a new job…I had no idea you’d be here at Mlle. Reisz’s—you startled me. Do you come here often? EDNA I find it restful. She leaves me the key under the mat. ROBERT I didn’t know. EDNA So you said. ROBERT Yes. (pause) Mlle. Reisz usually keeps me informed, but she never told me. She did say you’d moved. EDNA Yes, into a much smaller house.
70
ROBERT Your husband is away— EDNA Yes. ROBERT And the boys? They must have grown— EDNA They’re in Iberville with Leonce’s mother. They love it and she loves taking care of them. They write often. The latest news is that Raoul trapped a rabbit; he kept it in a little cage in his room. ROBERT I see. EDNA Now he has seven rabbits. (they both laugh) EDNA You didn’t keep your promise. ROBERT Promise? EDNA Yes. ROBERT I’m afraid I don’t— EDNA You promised to write and never did. ROBERT Oh. EDNA That promise. The one you never kept. ROBERT I didn’t think it would matter… EDNA You’re lying.
71
ROBERT What!? EDNA You thought it wouldn’t matter to me? That’s a lie. (Pause) It doesn’t look as though she’s coming back. I’m leaving. ROBERT You’ll miss her. EDNA I come often. ROBERT Are you going back to your new home? EDNA Yes. ROBERT I never saw you in your old one. EDNA I’m glad. ROBERT Why? EDNA Never mind. ROBERT May I walk you home? EDNA You’ll miss Mlle. Reisz. ROBERT I’d rather be with you. EDNA All right. (they exit) (They cross to the ‘Pigeon House’. Scene follows immediately from the previous.)
72
ROBERT That huge mansion was all boarded up. EDNA When Leonce found out I moved out, he was furious! Then he placed an ad in the newspapers announcing that we were renovating. That was why I moved. ROBERT I don’t understand. EDNA It was brilliant. It avoided giving the appearance that we were forced to move for… other reasons. His lawyer made an announcement, saying we will be in France all summer while renovations are completed. ROBERT We’ll miss you at Grand Isle this summer. (pause) I’m afraid the sea won’t be the same. EDNA You look so thin and pale, Robert. You must let me make you dinner, won’t you? It’s been such a long time. ROBERT If you really want me to, you know I would love to stay. EDNA I don’t say things I don’t mean anymore. I’m glad you’re staying for dinner. Excuse me while I prepare things. Exits. He sits down, and looks through a pile of sketches on a table. ROBERT Are these yours? Your work has improved so much since last summer—these are remarkable! EDNA Not ‘remarkable,’ but I will happily accept the compliment. (Re-enter) I sold some to a dealer on Rue Royale; he’s even commissioned me to contribute to a show he’s organizing. ROBERT That’s wonderful— (sees photo) What’s this? What’s this doing here! EDNA It’s Alcee Arobin. ROBERT I know who it is. Is he a friend…
73
EDNA You can say that. ROBERT …of your husband’s? EDNA No, of mine. I’ve been painting his portrait; he thought this photograph might help. It hasn’t. ROBERT Don’t you think you ought to return it then? EDNA I have many things like that all around. They mean nothing. ROBERT Still, I think if— EDNA It’s nothing. I’d rather talk about you. What you’ve been doing. ROBERT I’ve been seeing the waves and white sand at Grand Isle; I’ve been dreaming about the Cheniere, and feeling like a lost soul. (pause) Tell me about yourself.
EDNA There’s far too much to tell. But the waves and white sand at Grand Isle are a good start, at least. (they laugh) ROBERT You must let me know when you grow bored of me.
EDNA You must have forgotten Grand Isle; we saw each other every day and I was never bored. ROBERT I haven’t forgotten one minute of our time together. Not one second. (He takes out a tobacco pouch and rolls a cigarette) EDNA Ahh, a new tobacco pouch! ROBERT Yes, I lost the old one. This one was given me in Vera Cruz.
74
EDNA Given you? ROBERT In Vera Cruz. EDNA So you said. Who gave it you? ROBERT A friend. EDNA A male friend, or—another sort of friend? ROBERT (pause) The other sort. EDNA Ahh, and this other sort—was she pretty? Those Mexican girls are very beautiful, with dark eyes and gleaming black hair! ROBERT Some are, some aren’t. This one was average, I suppose. EDNA Average, but extremely generous. ROBERT (looking away) Yes, she was generous. EDNA (smiling)And did you see this generous girl from Vera Cruz very often? Did she visit you at home? What was she like? You see how I am curious, Robert? I want to hear all about your adventures. (There is an uncomfortable pause during which Robert drops the tobacco pouch, and then picks it up and puts it away. Edna enjoys his discomfort. An abrupt knock at the door; Alcee Arobin enters. Robert jumps up.) ROBERT Arobin! AROBIN Lebrun, I heard you just returned. (They shake hands) I hope they treated you well over there?
75
ROBERT Fairly well, thanks. AROBIN But obviously not well enough. I visited Vera Cruz once, a few years back; I thought I’d never leave. The girls are gorgeous over there, aren’t they? ROBERT I—I—don’t know… EDNA Did the women in Vera Cruz embroider things like tobacco pouches for you? AROBIN No, certainly not. I’m afraid they made a much deeper impression on me than I upon them. EDNA Show him your pouch, Robert. You were evidently less fortunate than Robert. AROBIN This is exquisite; yes, I was far less fortunate than you were, Lebrun. (Robert stands) ROBERT I’ve been imposing far too much already, I really must be off. Please extend my greetings to your husband, Mrs. Pontellier. (Nods abruptly.) Arobin. (exits) AROBIN Peculiar young man. Never heard you mention him before. Was he imparting tender confidences? He seemed somewhat discomfited by my sudden appearance. EDNA We knew one another last summer at Grand Isle. Oh, here’s that photograph you lent me. I’m finished with it now. AROBIN What should I do with it? Throw it away if you like. (lets it fall back on table) Well, what shall we do this evening? A walk in the Quarter? It’s a lovely night for a drive out by Lake Pontchartrain. EDNA You’ll have to go and amuse yourself this evening, Alcee. AROBIN I shall go away if I must, but I promise you I won’t be amused. I only live when I’m near you.
76
EDNA Isn’t that one of those sayings you practiced roués always say to women to seduce them? AROBIN By God, it is! But I’ve never came so close to meaning it as I did just now. Goodnight, I adore you. (Arobin kisses her and exits. Edna remains by the table looking at the discarded photo.)
77
SCENE 11
(A week later. A secluded café just outside the city. Robert sits alone sipping coffee. Edna enters.) EDNA It seems as though we are only destined to meet by accident! ROBERT It seems so. (pause) Do you come here often? EDNA I practically live here; I discovered it once on one of my walks. Catiche serves the best coffee and beignets in New Orleans. I have no idea how she manages to keep everything so hot. What are you doing here? I thought this was my secret hideaway; that no one else ever came. ROBERT I used to come here often; this is the first time since my return. EDNA Why have you kept away from me, Robert? I need to know. ROBERT Why do you have to be so direct, Mme. Pontellier? You seem to get a kind of wicked pleasure forcing me into saying things which can only embarrass us both. EDNA I don’t easily embarrass anymore, Robert. ROBERT Please stop! EDNA You are extraordinarily selfish. Never, for an instant, do you think about what I feel or what your neglect does to me. I’m sorry to be direct, but I’ve gotten used to saying what’s on my mind. I know it’s not considered ladylike, and you can think me as unfeminine as you wish. ROBERT I only think of you as cruel. You enjoy baring wounds just for the pleasure of picking at scabs. EDNA (Rising) I’m spoiling your time here. I love this place too much to ruin it for anyone else; sit down. I’ll leave. (She starts off)
78
ROBERT No! (Passionately embraces her) I’ve been fighting against this since last summer. It’s why I left for Mexico, why I had to come back, and why I had to run away after I saw you again. This whole time, I kept fantasizing that somehow, some way, you would be mine, my wife. I know it’s wrong…Now that I’m back, I know it’s never going to happen. You’ll never belong to me. I mustn’t even dream…that’s why—What are you—are you laughing at me? EDNA (Taking him by the shoulders and kissing him hard on the mouth) My sweet boy, of course I’m not laughing at you! Only at where your silly thoughts have led. You are very, very foolish! ROBERT What can you mean? EDNA Only that I no longer ‘belong’ to Leonce Pontellier, to Arobin, or to anyone else. I give myself where and to whom I choose. If Pontellier were to deliver me to you on a silver platter, and say: ‘My good man, take her! She’s all yours!’ I would laugh in your faces! ROBERT I don’t understand you. (Athenee rushes in, breathless) ATHENEE Madame, Madame, please come quick! It’s Madame Ratignolle! She’s sent word to come immediately! It’s her time! EDNA Go back, and tell her I’ll be right there, just as I promised her. ATHENEE Yes, Madame. (rushes off) EDNA I must go, Robert. I promised Adele I would be there for her when her time came. ROBERT Please don’t! Not now! There’s so much I need to know, need to ask you— EDNA I have to, my sweet Robert. I promised Adele. (kisses him) Look, here’s my key, wait for me at the Pigeon House; I’ll be back as soon as I possibly can. (Gently pulling herself from his grasp) Please, let me go.
79
ROBERT At least let me come with you! (She pulls away) Please stay with me, Edna! Stay! (But she rushes off as the lights fade on Robert)
80
SCENE 12 A bedroom in the Ratignolle home. Adele upstage, screaming in agony behind a scrim. She is dressed in a peignoir with her hair tied back. Her face is white with blotches of red. She is in excruciating pain and shouting at a servant offstage.)
ADELE They’ve abandoned me, all of them—even Alphonse! I despise him for leaving me like this. At his damned club! As for Mandelet, that drunken quack should be drawn and quartered! You think I’m joking? I swear I mean it. He was supposed to be here an hour ago! Yesterday, I smelled liquor on his breath—(as she feels a contraction) Oh God, it’s coming again! I can’t wait anymore! It’s trying to come out! Help me! (Edna rushes to her.) EDNA Please try to stay calm; the doctor will be here soon. (Applying a cloth with vinegar and water to her forehead.) Just try and rest, my dear one. Shhhh…shhhh. It will all be over in a short while. We’ve both been through this; everything will be fine. It always is. Just remember that. ADELE You don’t understand! It’s different this time …I DON’T EVEN WANT IT ANYMORE! I DON’T! IT HURTS TOO MUCH! EDNA Shhhh, now, try and relax. Close your eyes. It will all be over in a minute. The Doctor’s coming any minute… ADELE (jumping up; holding onto Edna) I have this terrible feeling the baby’s going to die, Edna! Oh, God, (feels a contraction) it’s coming again! (Screams) The pain! Yes, put your hand there. I’ve never felt this kind of pain before—There’s something wrong! Nobody knows what I’m going through! No one! I’m so hot—so frightened! Where is that damned quack? I despise his pipe-smoking, pompous, know-it-all ways. What does he know about us—nothing! He’s a man. They’re all men! Even Alphonse! What is he doing now? He’s out drinking, smoking his filthy cigars until it’s all over or I’m dead. Why have they deserted me? It’s barbaric—it is! EDNA Nonsense, everything is fine. Here’s some cool water… no, don’t drink too much…Doctor Mandelet will be—look, thank God, here he is! ADELE (Mandalet enters) Please, Doctor—something’s terribly wrong! I know it! I can’t stand the pain! Give me something to get rid of this thing! I don’t want it anymore! So help me
81
God, I don’t want it, it’s ripping me apart, kicking and wriggling like a worm, trying to crawl its way out of my belly! (Doctor Mandalet takes bottle of chloroform and applies it to Adele as Edna drifts downstage, shaken by what she has seen and heard. Adele continues to scream from her bedroom until the chloroform takes effect.) MANDALET (Moving downstage and putting his arm around Edna) She’ll right as rain in a minute. It’s often like this until the chloroform kicks in… still, I’m very sorry you had to see it. (as Adele has another contraction and screams) I’ll be right back. (Mandalet moves upstage to Adele; Edna grows increasingly anxious as sounds of the sea rise, competing with Adele’s screams upstage. They build in volume to the end of the scene. After a few moments Mandalet returns, wiping his hands on a bloody towel.) MANDALET (Seeing Edna shaken) Are you all right, my dear? EDNA Yes. Fine. MANDALET She’s resting comfortably now. She’s fine. It’s another boy. ADELE (Offstage, Adele’s voice sounds different; it is now plaintive, lyrical) Forget everything I said, my dear. Come back in here and see! He’s a lovely, big boy! A healthy, beautiful boy! Just…look at him, Edna, how big he is! With a full head of thick, black hair! We must always think of the children first, my dear. Think of them, never of ourselves. Think, think, of them. Always remember them… MANDALET When do you expect Pontellier home, my dear? EDNA What? I…I don’t know—quite soon.... perhaps as early as next week… MANDALET That will be very good, won’t it? ADELE (Offstage, plaintive) Remember the children, Edna! Remember them! Always remember them! EDNA I want to be left alone, Doctor. Please. MANDALET
82
Alone, my dear? ADELE (Offstage) Remember them! Remember… EDNA I don’t want to… go to France, or … Nobody has the right—except maybe the children…And perhaps they do? But, even then, it seems—or rather, it did seem—I’m sorry, Doctor, I’m not making much sense. (pause) Years have slipped by like dreams. Maybe I should have gone on dreaming—maybe it’s better not to wake up after all? Is it better to wake up, or is it better to remain asleep? Which do you think, Doctor? MANDALET I think, my child, that you’re unhappy and in some kind of trouble... I think you’re confused. And in pain. (pause) I’m not asking for your confidence, I only want to say that if you would like to talk, I will try to understand… and there are not many who would...not many who… EDNA I don’t seem to talk about what I’m feeling. I feel almost like a child myself—but it doesn’t matter, it has to be this way. (pause) ‘Remember them’ she said: what do you think she means by that? I wouldn’t want to trample on the little ones—that would be terrible! Oh, God, don’t listen to me! I don’t even know what I’m saying anymore. ADELE (Off) He’s so beautiful! Come here and see! I hope you didn’t listen to what I was saying before—it was just the pain, only the pain talking. Remember the little ones! We need to think of them, remember them! (The sea rises in a deafening roar; Edna tries to block it out by holding her hands over her ears) MANDALET You should not have come, Madame Pontellier, I can see that. There are other women, less impressionable women, whom she might have called. (Edna starts to exit) Please stay—please! Or, if you will not, at least let me walk you home! Or stay here for a cup of tea. And we’ll talk. Please, Mme. Pontellier, please wait! It’s important that you listen to me! Edna drifts off. As the lights fades on Mandelet and Adele, it comes up on the Pigeon House where Robert is scribbling something. He stands and reads: ROBERT I love you. Goodbye, because I love you. Lights up on the beach at Grande Isle as at the top of the show. Edna stands alone, gazing out at the sea. EDNA
83
(She has read Robert’s note and repeats what it says.) ‘I love you. Goodbye because I love you.’ She moves downstage toward the water. EDNA Speaking to an offstage servant as at the top of the show. Yes, the water’s cold, but the sun is hot. I might go down and—just dip my toes in…My bathing costume from last summer is still hanging on a rack just inside the bathhouse, I believe. Do you think you could you fetch it? Thank you. (to herself) This sun is hot enough to warm the very depths of the ocean. Hot enough to warm the ocean’s blood. And mine. (Speaking offstage) Oh, do you think you could bring me a couple of towels? I’d better go in right away, so as to be back in time for dinner. It will be too chilly if I wait until afternoon….I hope you have fish for dinner…. but don’t do anything extra if you don’t. (begins to remove her hat and gloves, as the people from her past appear. As they speak, she continues undressing.) PONTELLIER Edna, just look at yourself! You’re burnt beyond recognition! ADELE I can’t imagine feeling anything toward my children but absolute, unconditional love.
ROBERT The Spirit of the Gulf returns to earth and searches for some mortal to carry off to her underwater kingdom. MANDELET You’re unhappy and in trouble, my child. I think you’re confused…and in pain. ADELE Surely a mother can make no greater sacrifice than to give her life for her children? (Sounds of crying children) MANDELET I understand what you seem to be going through. And there are not many who would. MLLE. REISZ To be an artist is to live in the world as an ugly, wild, disagreeable bird. An ugly, wild disagreeable bird. But a bird that soars above the common herd. ROBERT Seeing the waves and white sand at Grand Isle. (Begins to play the song “Si tu savais” on the guitar; it continues until end of play) REISZ Just checking your wings, my beauty, that’s all. Just checking your wings.
84
AROBIN You know I only live when I’m near you. ADELE Think of the children…think of them, never of ourselves. Remember them! Remember them! Sounds of crying children. ROBERT I love you…I love you… MLLE. REISZ Strong wings! Strong wings! Are your wings strong, my dear? Are they? PONTELLIER Married women simply do not do things like that! AROBIN You’re unlike any woman I’ve ever met. MLLE. REISZ Are they? Are they strong? Are your wings strong? (Silence. She is fully undressed. Robert concludes his song.) ROBERT Goodbye. Goodbye, because I love you. EDNA (She is in the water now.) It feels so strange, so pure. Like being born for the first time. Like a newborn bird. I feel the foam pricking my feet, curling round my ankles like tiny snakes; climbing over my legs and onto my breasts…yes, I am ready now. Yes. It is time. Wrap yourself around me. Yes. I am ready now.…(She wades deeper into the welcoming sea as the lights slowly fade.)
END OF PLAY
Related Documents
