[Thus talking, the ACTORS leave the stage; some going out by the little door at the back; others retiring to their dressing-rooms.

The curtain remains up.

The action of the play is suspended for twenty minutes ].

ACT II

The stage call-bells ring to warn the company that the play it about to begin again.

The Step-Daughtercomes out of the MANAGER'S office along with the CHILD and the BOY. As she comes out of the office, she cries: -

Nonsense! Nonsense! Do it yourselves! I'm not going to mix myself up in this mess. [Turning to the CHILD and coming quickly with her on to the stage. ] Come on, Rosetta, let's run! [The BOY follows them slowly, remaining a little behind and seeming perplexed. ]

The Step-Daughter [stops, bends over the CHILD and takes the latter's face between her hands ]. My little darling! You're frightened, aren't you? You don't know where we are, do you? [Pretending to reply to a question of the CHILD.] What is the stage? It's a place, baby, you know, where people play at being serious, a place where they act comedies. We've got to act a comedy now, dead serious, you know; and you're in it also, little one. [Embraces her, pressing the little head to her breast, and rocking the CHILD for a moment. ] Oh darling, darling, what a horrid comedy you've got to play! What a wretched part they've found for you! A garden . . . A fountain . . . Look . . . Just suppose, kiddie, it's here. Where, you say? Why, right here in the middle. It's all pretence you know. That's the trouble, my pet: it's all make-belive here. It's better to imagine it though, because if they fix it up for you, it'll only be painted cardboard, painted cardboard for the rockery, the water, the plants . . . Ah, but I think a baby like this one would sooner have a make-believe fountain than a real one, so she could play with it. What a joke it'll be for the others! But for you, alas! Not quite such a joke: you who are real, baby dear, and really play by a real fountain that is big and green and beautiful, with ever so many bamboos around it that are reflected in the water, and a whole lot of little ducks swimming about . . . No, Rosetta, no, your mother doesn't bother about you on account of that wretch of a son there. I'm in the devil of a temper, and as for that lad . . . [Seizes BOY by the arm to force him to take one of his hands out of his pockets. ] What have you got there? What are you hiding? [Pulls his hand out of his pocket, looks into it and catches the glint of a revolver. ] Ah! Where did you get this? [The BOY, very pale in the face, looks at her, but does not answer ]. Idiot! If I'd been in your place, instead of killing myself, I'd have shot one of those two, or both of them: father and son. [The FATHER enters from the office, all excited from his work. The MANAGER follows him. ]

The Father. Come on, come on dear! Come here for a minute! We've arranged everything. It's all fixed up.

The Manager [also excited ]. If you please, young lady, there are one or two points to settle still. Will you come along?

The Step-Daughter [following him towards the office ]. Ouff! What's the good, if you've arranged everything. [The FATHER, MANAGER and STEP-DAUGHTER go back into the office again (off) for a moment. At the same time, The SON followed by The MOTHER, comes out. ]

The Son [looking at the three entering office ]. Oh this is fine, fine! And to think I can't even get away! [The MOTHER attempts to look at him, but lowers her eyes immediately when HE turns away from her. SHE then sits down. The BOY and The CHILD approach her. SHE casts a glance again at the SON, and speaks with humble tones, trying to draw him into conversation. ]

The Mother. And isn't my punishment the worst of all? [Then seeing from the SON's manner that he will not bother himself about her. ] My God! Why are you so cruel? Isn't it enough for one person to support all this torment? Must you then insist on others seeing it also?

The Son [half to himself, meaning the MOTHER to hear, however ]. And they want to put it on the stage! If there was at least a reason for it! He thinks he has got at the meaning of it all. Just as if each one of us in every circumstance of life couldn't find his own explanation of it! [Pauses. ] He complains he was discovered in a place where he ought not to have been seen, in a moment of his life which ought to have remained hidden and kept out of the reach of that convention which he has to maintain for other people. And what about my case? Haven't I had to reveal what no son ought ever to reveal: how father and mother live and are man and wife for themselves quite apart from that idea of father and mother which we give them? When this idea is revealed, our life is then linked at one point only to that man and that woman; and as such it should shame them, shouldn't it?

[The MOTHER hides her face in her hands. From the dressing-rooms and the little door at the back of the stage the ACTORS and STAGE MANAGER return, followed by the PROPERTY MAN, and the PROMPTER. At the same moment, The MANAGER comes out of his office, accompanied by the FATHER and the STEP-DAUGHTER.]

The Manager. Come on, come on, ladies and gentlemen! Heh! You there, machinist!

Machinist. Yes sir?

The Manager. Fix up the white parlor with the floral decorations. Two wings and a drop with a door will do. Hurry up!

[The MACHINIST runs off at once to prepare the scene, and arranges it while The MANAGER talks with the STAGE MANAGER, the PROPERTY MAN, and the PROMPTER on matters of detail. ]

The Manager [to PROPERTY MAN]. Just have a look, and see if there isn't a sofa or divan in the wardrobe . . .

Property Man. There's the green one.

The Step-Daughter. No no! Green won't do. It was yellow, ornamented with flowers – very large! Arid most comfortable!

Property Man. There isn't one like that.

The Manager. It doesn't matter. Use the one we've got.

The Step-Daughter. Doesn't matter? It's most important!

The Manager. We're only trying it now. Please don't interfere. [To PROPERTY MAN.] See if we've got a shop window – long and narrowish.

The Step-Daughter. And the little table! The little mahogany table for the pale blue envelope!

Property Man [to MANAGER]. There's that little gilt one.

The Manager. That'll do fine.

The Father. A mirror.

The Step-Daughter. And the screen! We must have a screen. Otherwise how can I manage?

Property Man. That's all right, miss. We've got any amount of them.

The Manager [to the STEP-DAUGHTER]. We want some clothes pegs too, don't we?

The Step-Daughter. Yes, several, several!

The Manager. See how many we've got and bring them all.

Property Man. All right!

[The PROPERTY MAN hurries off to obey his orders. While he is putting the things in their places, the MANAGER talks to the PROMPTER and then with the CHARACTERS and the ACTORS.]

The Manager [to PROMPTER]. Take your seat. Look here: this is the outline of the scenes, act by act. [Hands him some sheets of paper. ] And now I'm going to ask you to do something out of the ordinary.