Redemption: Act II

Act II

ACT II

SCENE I

A dirty, ill-lighted underground dive; people are lying around
drinking, sleeping, playing cards and making love. Near the front a
small table at which F�DYA sits; he is in rags and has fallen very
low. By his side is PETUSHK�V, a delicate spiritual man, with long
yellow hair and beard. Both are rather drunk.

Candle light is the only lighting in this Scene.

PETUSHK�V (R.C. of table C.). I know. I know. Well, that's real love.
So what happened then?

F�DYA (L. C. of table C., pensively). You might perhaps expect a girl
of our own class, tenderly brought up, to be capable of sacrificing
for the man she loved, but this girl was a gypsy, reared in greed, yet
she gave me the purest sort of self-sacrificing love. She'd have done
anything for nothing. Such contrasts are amazing.

PETUSHK�V. I see. In painting we call that value. Only to realize
bright red fully when there is green around it. But that's not the
point. What happened?

F�DYA. Oh, we parted. I felt it wasn't right to go on taking, taking
where I couldn't give. So one night we were having dinner in a little
restaurant, I told her we'd have to say good-bye. My heart was so
wrung all the time I could hardly help crying.

PETUSHK�V. And she?

F�DYA. Oh, she was awfully unhappy, but she knew I was right. So we
kissed each other a long while, and she went back to her gypsy troupe
--(Slowly.) Maybe she was glad to go----

     [A pause.
PETUSHK�V. I wonder.
F�DYA. Yes. The single good act of my soul was not ruining that girl.
PETUSHK�V. Was it from pity?
F�DYA. I sorry for her? Oh, never. Quite the contrary. I worshipped
her unclouded sincerity, the energy of her clear, strong will, and God
in Heaven, how she sang. And probably she is singing now, for some one
else. Yes, I always looked up at her from beneath, as you do at some
radiance in the sky. I loved her really. And now it's a tender
beautiful memory.
PETUSHK�V. I understand. It was ideal, and you left it like that.
F�DYA (ruminatingly). And I've been attracted often, you know. Once I
was in love with a grande dame, bestially in love, dog-like. Well,
she gave me a rendezvous, and I didn't, couldn't, keep it, because
suddenly I thought of her husband, and it made me feel sick. And you
know, it's queer, that now, when I look back, instead of being glad
that I was decent, I am as sorry as if I had sinned. But with Masha
it's so different; I'm filled with joy that I've never soiled the
brightness of my feeling for her. (He points his finger at the floor.)
I may go much further down.
PETUSHK�V (interrupting). I know so well what you mean. But where is
she now?
F�DYA. I don't know. I don't want to know. All that belongs to another
life, and I couldn't bear to mix that life and this life.
     [A POLICE OFFICER enters from up R., kicks a man who is lying on
      the floor--walks down stage, looks at F�DYA and PETUSHK�V, then
      exits.
PETUSHK�V. Your life's wonderful. I believe you're a real idealist.
F�DYA. No. It's awfully simple. You know among our class--I mean the
class I was born in--there are only three courses: the first, to go
into the civil service or join the army and make money to squander
over your sensual appetites. And all that was appalling to me--perhaps
because I couldn't do it. The second thing is to live to clear out, to
destroy what is foul, to make way for the beautiful. But for that
you've got to be a hero, and I'm not a hero. And the third is to
forget it all--overwhelm it with music, drown it with wine. That's
what I did. And look (he spreads his arms out) where my singing led me
to.
     [He drinks.
PETUSHK�V. And what about family life? The sanctity of the home and
all that--I would have been awfully happy if I'd had a decent wife. As
it was, she ruined me.
F�DYA. I beg your pardon. Did you say marriage? Oh, yes, of course.
Well, I've been married, too. Oh, my wife was quite an ideal woman. I
don't know why I should say was, by the way, because she's still
living. But there's something--I don't know; it's rather difficult to
explain--But you know how pouring champagne into a glass makes it
froth up into a million iridescent little bubbles? Well, there was
none of that in our married life. There was no fizz in it, no sparkle,
no taste, phew! The days were all one color--flat and stale and gray
as the devil. And that's why I wanted to get away and forget. You
can't forget unless you play. So trying to play I crawled in every
sort of muck there is. And you know, it's a funny thing, but we love
people for the good we do them, and we hate them for the harm. That's
why I hated Lisa. That's why she seemed to love me.
PETUSHK�V. Why do you say seemed?
F�DYA (wistfully). Oh, she couldn't creep into the center of my being
like Masha. But that's not what I mean. Before the baby was born, and
afterwards, when she was nursing him, I used to stay away for days and
days, and come back drunk, drunk, and love her less and less each
time, because I was wronging her so terribly. (Excitedly.) Yes. That's
it, I never realized it before. The reason why I loved Masha was
because I did her good, not harm. But I crucified my wife, and her
contortions filled me almost with hatred.
     [F�DYA drinks.
PETUSHK�V. I think I understand. Now in my case----
     [ARTIMIEV enters R. U., approaches with a cockade on his cap,
      dyed mustache, and shabby, but carefully mended clothes.
ARTIMIEV (stands L. of table). Good appetite, gentlemen! (Bowing to
F�DYA.) I see you've made the acquaintance of our great artist.
F�DYA (coolly). Yes, I have.
ARTIMIEV (to PETUSHK�V). Have you finished your portrait?
PETUSHK�V. No, they didn't give me the commission, after all.
ARTIMIEV (sitting down on end of table). I'm not in your way, am I?
     [F�DYA and PETUSHK�V don't answer.
PETUSHK�V. This gentleman was telling me about his life.
ARTIMIEV. Oh, secrets? Then I won't disturb you. Pardon me for
interrupting. (To himself as he moves away.) Damn swine!
     [He goes to the next table, sits down and in the dim candlelight
      he can just be seen listening to the conversation.
F�DYA. I don't like that man.
PETUSHK�V. I think he's offended.
F�DYA. Let him be. I can't stand him. If he'd stayed I shouldn't have
said a word. Now, it's different with you. You make me feel all
comfortable, you know. Well, what was I saying?
PETUSHK�V. You were talking about your wife. How did you happen to
separate?
F�DYA. Oh, that? (A pause.) It's a rather curious story. My wife's
married.
PETUSHK�V. Oh, I see! You're divorced.
F�DYA. No. (Smiling.) She's a widow.
PETUSHK�V. A widow? What do you mean?
F�DYA. I mean exactly what I say. She's a widow. I don't exist.
PETUSHK�V (puzzled). What?
F�DYA (smiling drunkenly). I'm dead. You're talking to a corpse.
     [ARTIMIEV leans towards them and listens intently.
Funny, I seem to be able to say anything to you. And it's so long ago,
so long ago. And what is it after all to you but a story? Well, when I
got to the climax of torturing my wife, when I'd squandered everything
I had or could get, and become utterly rotten, then, there appeared a
protector.
PETUSHK�V. The usual thing, I suppose?
F�DYA. Don't think anything filthy about it. He was just her friend,
mine too, a very good, decent fellow; in fact the opposite of myself.
He'd known my wife since she was a child, and I suppose he'd loved her
since then. He used to come to our house a lot. First I was very glad
he did, then I began to see they were falling in love with each other,
and then--an odd thing began to happen to me at night. Do you know
when she lay there asleep beside me (he laughs shrilly) I would hear
him, pushing open the door, crawling into the room, coming to me on
his hands and knees, grovelling, whining, begging me (he is almost
shouting) for her, for her, imagine it! And I, I had to get up and
give my place to him. (He covers his eyes with his hands in a.
convulsive moment.) Phew! Then I'd come to myself.
PETUSHK�V. God! It must have been horrible.
F�DYA (wearily). Well, later on I left her--and after a while, they
asked me for a divorce. I couldn't bear all the lying there was to be
got through. Believe me it was easier to think of killing myself. And
so I tried to commit suicide, and I tried and I couldn't. Then a kind
friend came along and said, "Now, don't be foolish!" And she arranged
the whole business for me. I sent my wife a farewell letter--and the
next day my clothes and pocketbook were found on the bank of the
river. Everybody knew I couldn't swim. (Pause.) You understand, don't
you?
PETUSHK�V. Yes, but what about the body? They didn't find that?
F�DYA (smiling drunkenly). Oh yes, they did! You just listen! About a
week afterwards some horror was dragged out of the water. My wife was
called in to identify it. It was in pretty bad shape, you know. She
took one glance. "Is that your husband?" they asked her. And she said,
"Yes." Well, that settled it! I was buried, they were married, and
they're living very happily right here in this city. I'm living here,
too! We're all living here together! Yesterday I walked right by their
house. The windows were lit and somebody's shadow went across the
blind. (A pause.) Of course there're times when I feel like hell about
it, but they don't last. The worst is when there's no money to buy
drinks with.
     [He drinks.
ARTIMIEV. (rising and approaching them). Excuse me, but you know I've
been listening to that story of yours? It's a very good story, and
what's more a very useful one. You say you don't like being without
money, but really there's no need of your ever finding yourself in
that position.
F�DYA. (interrupting). Look here, I wasn't talking to you and I don't
need your advice!
ARTIMIEV. But I'm going to give it to you just the same. Now you're a
corpse. Well, suppose you come to life again!
F�DYA. What?
ARTIMIEV. Then your wife and that fellow she's so happy with--they'd
be arrested for bigamy. The best they'd get would be ten years in
Siberia. Now you see where you can have a steady income, don't you?
F�DYA. (furiously). Stop talking and get out of here!
ARTIMIEV. The best way is to write them a letter. If you don't know
how I'll do it for you. Just give me their address and afterwards when
the ruble notes commence to drop in, how grateful you'll be!
F�DYA. Get out! Get out, I say! I haven't told you anything!
ARTIMIEV. Oh, yes, you have! Here's my witness! This waiter heard you
saying you were a corpse!
F�DYA. (beside himself). You damn blackmailing beast----
     [Rising.
ARTIMIEV. Oh, I'm a beast, am I? We'll see about that! (F�DYA rises to
go, ARTIMIEV seizes him.) Police! Police! (F�DYA struggles frantically
to escape.)
     [The POLICE enter and drag him away.
CURTAIN
SCENE II
In the country. A veranda covered by a gay awning; sunlight; flowers;
SOPHIA KAR�NINA, LISA, her little boy and nurse.
LISA (standing C. in door. To the little boy, smiling), Who do you
think is on his way from the station?
MISHA (excitedly). Who? Who?
LISA. Papa.
MISHA (rapturously). Papa's coming! Papa's coming!
     [Exits L. through C. door.
LISA (contentedly, to SOPHIA KAR�NINA). How much he loves Victor! As
if he were his real father!
SOPHIA KAR�NINA (on sofa L. knitting--back to audience). Tant mieux.
Do you think he ever remembers his father?
LISA (sighing). I can't tell. Of course I've never said anything to
him. What's the use of confusing his little head? Yet sometimes I feel
as though I ought. What do you think, Mamma?
SOPHIA KAR�NINA. I think it's a matter of feeling. If you can trust
your heart, let it guide you. What extraordinary adjustments death
brings about! I confess I used to think very unkindly of F�dya, when
he seemed a barrier to all this. (She makes a gesture with her hand.)
But now I think of him as that nice boy who was my son's friend, and a
man who was capable of sacrificing himself for those he loved. (She
knits.) I hope Victor hasn't forgotten to bring me some wool.
LISA. Here he comes. (LISA runs to the edge of the veranda.) There's
some one with him--a lady in a bonnet! Oh, it's mother! How splendid!
I haven't seen her for an age!
     [Enter ANNA P�VLOVNA up C.
ANNA P�VLOVNA (kissing LISA). My darling. (To SOPHIA KAR�NINA.) How do
you do? Victor met me and insisted on my coming down.
     [Sits bench L. C. beside SOPHIA.
SOPHIA KAR�NINA. This is perfectly charming!
     [Enter VICTOR and M�SHA.
ANNA P�VLOVNA. I did want to see Lisa and the boy. So now, if you
don't turn me out, I'll stay till the evening train.
KAR�NIN. (L. C., kissing his wife, his mother and the boy).
Congratulate me--everybody--I've a bit of luck, I don't have to go to
town again for two days. Isn't that wonderful?
LISA. (R. C.). Two days! That's glorious! We'll drive over to the
Hermitage to-morrow and show it to mother.
ANNA P�VLOVNA. (holding the boy). He's so like his father, isn't he? I
do hope he hasn't inherited his father's disposition.
SOPHIA KAR�NINA. After all, F�dya's heart was in the right place.
LISA. Victor thinks if he'd only been brought up more carefully
everything would have been different.
ANNA P�VLOVNA. Well, I'm not so sure about that, but I do feel sorry
for him. I can't think of him without wanting to cry.
LISA. I know. That's how Victor and I feel. All the bitterness is
gone. There's nothing left but a very tender memory.
ANNA P�VLOVNA. (sighing). I'm sure of it. Lisa. Isn't it funny? It all
seemed so hopeless back there, and now see how beautifully
everything's come out!
SOPHIA KAR�NINA. Oh, by the way, Victor, did you get my wool?
KAR�NIN. I certainly did. (Brings a bag and takes out parcels.) Here's
the wool, here's the eau-de-cologne, here are the letters--one on
"Government Service" for you, Lisa---- (Hands her the letter. LISA
opens letter, then strolls R, reading it, suddenly stops.) Well, Anna
P�vlovna, I know you want to make yourself beautiful! I must tidy up,
too. It's almost dinner time. Lisa, you've put your another in the
Blue Room, haven't you?
     [Pause.
     [LISA is pale. She holds the letter with trembling hands and
      reads it, KAR�NIN seeing her.
What's the matter, Lisa? What is it?
LISA. He's alive. He's alive. My God! I shall never be free from him.
(VICTOR crosses to LISA.) What does this mean? What's going to happen
to us?
KAR�NIN (taking the letter and reading). I don't believe it.
SOPHIA KAR�NINA. What is it? (Rising.) What's the matter? Why don't
you tell us?
KAR�NIN. He's alive! They're accusing us of bigamy! It's a summons for
Lisa to go before the Examining Magistrate.
ANNA P�VLOVNA. No--no! It can't be!
SOPHIA KAR�NINA. Oh, that horrible man!
KAR�NIN. So it was all a lie!
LISA (with a cry of rage). Oh! I hate him so! Victor!--F�dya!--My God!
I don't know what I'm saying. I don't know what I'm saying.
     [Sinks in chair down R.
ANNA P�VLOVNA (rising). He's not really alive?
     [Lights dim and out.
CURTAIN
SCENE III
The room of the examining magistrate, who sits at a table talking to
M�LNIKOV, a smartly dressed, languid, man-about-town.
At a side-table a CLERK is sorting papers.
MAGISTRATE. (sitting R. of table R. C.). Oh, I never said so. It's her
own notion. And now she is reproaching me with it.
M�LNIKOV. (sitting C. back to audience). She's not reproaching you,
only her feelings are awfully hurt.
MAGISTRATE. Are they? Oh, well, tell her I'll come to supper after the
performance. But you'd better wait on. I've rather an interesting
case. (To the CLERK.) Here, you, show them in.
Clerk. (sitting C. facing audience). Both? Excellency. Magistrate. No,
only Madame Kar�nina.
     [CLERK exits L. I.
CLERK (calling off stage). Madame Protosova, Madame Protosova.
MAGISTRATE. Or, to dot my i's, Madame Protosova.
M�LNIKOV (starting to go out). Ah, it's the Kar�nin case.
MAGISTRATE. Yes, and an ugly one. I'm just beginning the
investigation. But I assure you it's a first-rate scandal already.
Must you go? Well, see you at supper. Good-bye.
     [Exit M�LNIKOV, R.
     [The CLERK shows in LISA; she wears a black dress and veil.
MAGISTRATE. Please sit down, won't you? (He points to a chair L. C.
LISA sits down.) I am extremely sorry that it's necessary to ask you
questions.
     [LISA appears very much agitated. MAGISTRATE appears unconcerned
      and is reading a newspaper as he speaks.
But please be calm. You needn't answer them unless you wish. Only in
the interest of every one concerned, I advise you to help me reach the
entire truth.
LISA. I've nothing to conceal.
MAGISTRATE (looking at papers). Let's see. Your name, station,
religion. I've got all that. You are accused of contracting a marriage
with another man, knowing your first husband to be alive.
LISA. But I did not know it.
MAGISTRATE (continuing). And also you are accused of having persuaded
with bribes your first husband to commit a fraud, a pretended suicide,
in order to rid yourself of him.
LISA. All that's not true.
MAGISTRATE. Then permit me to ask you these questions: Did you or did
you not send him 1200 rubles in July of last year?
LISA. That was his own money obtained from selling his things, which I
sent to him during our separation, while I was waiting for my divorce.
MAGISTRATE. Just so. Very well. When the police asked you to identify
the corpse, how were you sure it was your husband's?
LISA. Oh, I was so terribly distressed that I couldn't bear to look at
the body. Besides, I felt so sure it was he, and when they asked me, I
just said yes.
MAGISTRATE. Very good indeed. I can well understand your distraction,
and permit me to observe, Madame, that although servants of the law,
we remain human beings, and I beg you to be assured that I sympathize
with your situation. You were bound to a spendthrift, a drunkard, a
man whose dissipation caused you infinite misery.
LISA (interrupting). Please, I loved him.
MAGISTRATE (tolerantly). Of course. Yet naturally you desired to be
free, and you took this simple course without counting the
consequence, which is considered a crime, or bigamy. I understand you,
and so will both judges and jury. And it's for this reason, Madam, I
urge you to disclose the entire truth.
LISA. I've nothing to disclose. I never have lied. (She begins to
cry.) Do you want me any longer?
MAGISTRATE. Yes. I must ask you to remain a few minutes longer. No
more questions, however. (To the CLERK.) Show in Victor Kar�nin. (To
LISA.) I think you'll find that a comfortable chair. (Sits L. C.)
     [Enter KAR�NIN, stern and solemn.
Please, sit down.
KAR�NIN. Thank you. (He remains standing L. U.) What do you want from
me?
MAGISTRATE. I have to take your deposition.
KAR�NIN. In what capacity?
MAGISTRATE (smiling). In my capacity of investigating magistrate. You
are here, you know, because you are charged with a crime.
KAR�NIN. Really? What crime?
MAGISTRATE. Bigamy, since you've married a woman already married. But
I'll put the questions to you in their proper order. Sure you'll not
sit down?
KAR�NIN. Quite sure.
MAGISTRATE (writing). Your name?
KAR�NIN. Victor Kar�nin.
MAGISTRATE. Rank?
KAR�NIN. Chamberlain of the Imperial Court.
MAGISTRATE. Your age?
KAR�NIN. Thirty-eight.
MAGISTRATE. Religion?
KAR�NIN. Orthodox, and I've never been tried before of any charge.
(Pause.) What else?
MAGISTRATE. Did you know that Fedor Protosov was alive when you
married his wife?
KAR�NIN. No, we were both convinced that he was drowned.
MAGISTRATE. All right. And why did you send 1200 rubles to him a few
days before he simulated death on July 17th?
KAR�NIN. That money was given me by my wife.
MAGISTRATE (interrupting him). Excuse me, you mean by Madame
Protosova.
KAR�NIN. By my wife to send to her husband. She considered this money
his property, and having broken off all relations with him, felt it
unjust to withhold it. What else do you want?
MAGISTRATE. I don't want anything, except to do my official duty, and
to aid you in doing yours, through causing you to tell me the whole
truth, in order that your innocence be proved. You'd certainly better
not conceal things which are sure to be found out, since Protosov is
in such a weakened condition, physically and mentally, that he is
certain to come out with the entire truth as soon as he gets into
court, so from your point of view I advise....
KAR�NIN. Please don't advise me, but remain within the limits of your
official capacity. Are we at liberty to leave?
     [He goes to LISA who takes his arm.
MAGISTRATE. Sorry, but it's necessary to detain you. (KAR�NIN looks
around in astonishment.) No, I've no intention of arresting you,
although it might be a quicker way of reaching the truth. I merely
want to take Protosov's deposition in your presence, to confront him
with you, that you may facilitate your chances by proving his
statements to be false. Kindly sit down. (To CLERK.) Show in Fedor
Protosov.
     [There is a pause. The CLERK shows in F�DYA in rags, a total
      wreck. He enters slowly, dragging his feet. He catches sight of
      his wife, who is bowed in grief. For a moment he is about to
      take her in his arms--he hesitates--then stands before the
      MAGISTRATE.
MAGISTRATE. I shall ask you to answer some questions.
F�DYA. (rises, confronting the MAGISTRATE). Ask them.
MAGISTRATE. Your name?
F�DYA. You know it.
MAGISTRATE. Answer my questions exactly, please.
     [Rapping on his desk.
F�DYA (shrugs). Fedor Protosov.
MAGISTRATE. Your rank, age, religion?
F�DYA. (silent for a moment). Aren't you ashamed to ask me these
absurd questions? Ask me what you need to know, only that.
MAGISTRATE. I shall ask you to take care how you express yourself.
F�DYA. Well, since you're not ashamed. My rank, graduate of the
University of Moscow; age 40; religion orthodox. What else?
MAGISTRATE. Did Victor Kar�nin and Elizaveta Andreyevna know you were
alive when you left your clothes on the bank of the river and
disappeared?
F�DYA. Of course not. I really wished to commit suicide. But--
however, why should I tell you? The fact's enough. They knew nothing
of it.
MAGISTRATE. You gave a somewhat different account to the police
officer. How do you explain that?
F�DYA. Which police officer? Oh yes, the one who arrested me in that
dive. I was drunk, and I lied to him--about what, I don't remember.
But I'm not drunk now and I'm telling you the whole truth. They knew
nothing; they thought I was dead, and I was glad of it. Everything
would have stayed all right except for that damned beast Artimiev. So
if any one's guilty, it's I.
MAGISTRATE. I perceive you wish to be generous. Unfortunately the law
demands the truth. Come, why did you receive money from them?
     [F�DYA is silent.
Why don't you answer me? Do you realize that it will be stated in your
deposition that the accused refused to answer these questions, and
that will harm (he includes LISA and VICTOR in a gesture) all of you?
     [F�DYA remains silent.
Aren't you ashamed of your stubborn refusal to aid these others and
yourself by telling the entire truth?
F�DYA (breaking out passionately). The truth--Oh, God! what do you
know about the truth? Your business is crawling up into a little
power, that you may use it by tantalizing, morally and physically,
people a thousand times better than you.... You sit there in your smug
authority torturing people.
MAGISTRATE. I must ask you----
F�DYA (interrupts him). Don't ask me for I'll speak as I feel.
(Turning to CLERK.) And you write it down. So for once some human
words will get into a deposition.
     [Raising his voice, which ascends to a climax during this speech.
There were three human beings alive: I, he, and she.
     [He turns to his wife with a gesture indicating his love for her.
      He pauses, then proceeds.
We all bore towards one another a most complex relation. We were all
engaged in a spiritual struggle beyond your comprehension: the
struggle between anguish and peace; between falsehood and truth.
Suddenly this struggle ended in a way that set us free. Everybody was
at peace. They loved my memory, and I was happy even in my downfall,
because I'd done what should have been done, and cleared away my weak
life from interfering with their strong good lives. And yet we're all
alive. When suddenly a bastard adventurer appears, who demands that I
abet his filthy scheme. I drive him off as I would a diseased dog, but
he finds you, the defender of public justice, the appointed guardian
of morality, to listen to him. And you, who receive on the 20th of
each month a few kopeks' gratuity for your wretched business, you get
into your uniform, and in good spirits proceed to torture--bully
people whose threshold you're not clean enough to pass. Then when
you've had your fill of showing off your wretched power, oh, then you
are satisfied, and sit and smile there in your damned complacent
dignity. And....
MAGISTRATE (raising his voice. Rising excitedly). Be silent or I'll
have you turned out.
F�DYA. God! Who should I be afraid of! I'm dead, dead, and away out of
your power. (Suddenly overcome with the horror of the situation.) What
can you do to me? How can you punish me--a corpse?
     [Beating his breast.
MAGISTRATE. Be silent! (To CLERK, who is down L.) Take him out!
     [F�DYA turns, seeing his wife, he falls on his knees before
      her ... kisses the hem of her dress, crying bitterly.
     [Slowly he rises, pulls himself together with a great effort,
      then exits L.
     [The lights dim and out.
CURTAIN
SCENE IV
A corridor at the lower courts; in the background a door opposite
which stands a GUARD; to the right is another door through which the
PRISONERS are conducted to the court. IV�N PETROVICH in rags enters
L., goes to this last door, trying to pass through it.
GUARD (at door R. C.). Where do you think you're going, shoving in
like that?
IV�N PETROVICH. Why shouldn't I? The law says these sessions are
public.
GUARD. You can't get by and that's enough.
IV�N PETROVICH (in pity). Wretched peasant, you have no idea to whom
you are speaking.
GUARD. Be silent!
     [Enter a YOUNG LAWYER from R. I.
LAWYER (to Petrovich). Are you here on business?
IV�N PETROVICH. No. I'm the public. But this wretched peasant won't
let me pass.
LAWYER. There's no room for the public at this trial.
IV�N PETROVICH. Perhaps, but I am above the general rule.
LAWYER. Well, you wait outside; they'll adjourn presently.
     [He is just going into courtroom through door R. C. when PRINCE
      SERGIUS enters L. and stops him.
PRINCE SERGIUS. How does the case stand?
LAWYER. The defense has just begun. Petr�shin is speaking now.
PRINCE SERGIUS. Are the Kar�nins bearing up well?
LAWYER. Yes, with extraordinary dignity. They look as if they were the
judges instead of the accused. That's felt all the way through, and
PETR�SHIN is taking advantage of it.
PRINCE SERGIUS. What of Protosov?
LAWYER. He's frightfully unnerved, trembling all over, but that's
natural considering the sort of life he's led. Yes, he's all on edge,
and he's interrupted, both judge and jury several times already.
PRINCE SERGIUS. How do you think it will end?
LAWYER. Hard to say. The jury are mixed. At any rate I don't think
they'll find the Kar�nins guilty of premeditation. Do you want to go
in?
PRINCE SERGIUS. I should very much like to.
LAWYER. Excuse me, you're Prince Sergius Abr�skov, aren't you? (To the
Prince.) There's an empty chair just at the left.
     [The guard lets PRINCE SERGIUS pass.
IV�N PETROVICH. Prince! Bah! I am an aristocrat of the soul, and
that's a higher title.
LAWYER. Excuse me.
     [And exits down R. C. into courtroom.
     [PETUSHK�V, F�DYA'S companion in the dive, enters approaching
      IV�N PETROVICH.
PETUSHK�V (R.). Oh, there you are. Well, how're things going?
IV�N PETROVICH (L.). The speeches for the defense have begun, but this
ignorant rascal won't let us in. Curse his damned petty soul.
GUARD (C.) Silence! Where do you think you are?
     [Further applause is heard; door of the court opens, and there is
      a rush of lawyers and the general public into the corridor.
A LADY. Oh, it's simply wonderful! When he spoke I felt as if my heart
were breaking.
AN OFFICER. It's all far better than a novel. But I don't see how she
could ever have loved him. Such a sinister, horrible figure.
     [The other door opens over L.; the accused comes out.
THE LADY (this group is down R.). Hush! There he is. See how wild he
looks.
F�DYA (seeing IV�N PETROVICH). Did you bring it?
     [Goes to PETROVICH.
PETROVICH. There.
     [He hands F�DYA something; F�DYA hides it in his pocket.
F�DYA (seeing PETUSHK�V). How foolish! How vulgar and how boring all
this is, isn't it?
     [Men and women enter door L. and stand down L. watching.
     [Enter PETR�SHIN, from R. C., F�DYA'S counsel, a stout man with
      red cheeks; very animated.
PETR�SHIN (rubbing his hands). Well, well, my friend. It's going along
splendidly. Only remember, don't go and spoil things for me in your
last speech.
F�DYA (takes him by the arm). Tell me, what'll the worst be?
PETR�SHIN. I've already told you. Exile to Siberia.
F�DYA. Who'll be exiled to Siberia?
PETR�SHIN. You and your wife, naturally.
F�DYA. And at the best?
PETR�SHIN. Religious pardon and the annulment of the second marriage.
F�DYA. You mean--that we should be bound again--to one another----
PETR�SHIN. Yes. Only try to collect yourself. Keep up your courage.
After all, there's no occasion for alarm.
F�DYA. There couldn't be any other sentence, you're sure?
PETR�SHIN. None other. None other.
     [Exits R. I. F�DYA stands motionless.
GUARD (crosses and exits L. I. Calling). Pass on. Pass on. No
loitering in the corridor.
     [VICTOR and LISA enter from door L. Start to go off L. when pistol
      shot stops them.
F�DYA (He turns his back to the audience, and from beneath his ragged
coat shoots himself in the heart. There is a muffled explosion, smoke.
He crumples up in a heap on the floor. All the people in the passage
rush to him.) (In a very low voice.) This time--it's well done...
Lisa....
     [People are crowding in from all the doors, judges, etc. LISA
      rushes to F�DYA, KAR�NIN, IV�N PETROVICH and PRINCE SERGIUS
      follow.
LISA. F�dya!... F�dya!... What have you done? Oh why!... why!...
F�DYA. Forgive me---- No other way---- Not for you--but for myself----
LISA. You will live. You must live.
F�DYA. No--no---- Good-bye---- (He seems to smile, then he mutters
just under his breath.) Masha.
     [In the distance the gypsies are heard singing "No More at
      Evening." They sing until the curtain.
You're too late----
     [Suddenly he raises his head from LISA'S knees, and barely utters
      as if he saw something in front of him.
Ah.... Happiness!...
     [His head falls from LISA'S knees to the ground. She still clings
      to it, in grief and horror. He dies.
     [The lights dim and out.
CURTAIN
END OF _REDEMPTION_

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