Kean, a drama by Alexandre Dumas père

Hello, darling -- oh, completely sweet of you to come early like this! I have many things to say to you! We never see each other anymore. We meet -- that's all.

AMY

(before a Cheval glass)

(simpering)

I thought it would be marvelous to get here before everybody, too -- that way we ought to have at least a good half hour of conversation. For me too! I've a thousand things to tell you and the first, my beautiful Venetian, is that midst our blond hair and blue yes, your black hair and black eyes are still novel and better for the moment in our salons.

ELENA

Yet only it's this beautiful white throat, these beautiful white hands, and this supple slim figure like a sash. Oh, really, decidedly you force me to be of the opinion of your great poet -- and England is a nest of swans in the midst of a vast pond. Let's see -- are you afraid that our guests will escape? Sit down over there.

AMY

Now, and with great pleasure -- for I am tired -- so horribly tired! There was a race at New Market and I was unable to give up going there. I was forced to rise at ten in the morning and when I do such foolish things, it takes me the whole day to put myself together. It -- it was indeed necessary that I had to come to you, go on.

(sitting)

And what have you been doing?

ELENA

Nothing today, except for the necessary preparations.

AMY

And yesterday evening, did you go somewhere?

ELENA

Yes, to Drury Lane.

AMY

And what were they playing?

ELENA

Hamlet and a Midsummer Night's Dream.

AMY

And who played Hamlet? Young?

ELENA

No -- Edmund Kean.

AMY

Why didn't you write me that it was your day in the box? I would have asked you for a seat.

ELENA

And I would have given you one with great pleasure. Kean was really superb.

AMY

Superb?

ELENA

I should have said -- sublime!

AMY

What enthusiasm!

ELENA

It astonished you? Still you know we Italians don't have half sensations and we hide neither our scorn nor our admiration.

AMY

Promise me not to beat me too hard and I will tell you something.

ELENA

Speak --

AMY

Prepare to hear the most absurd thing ever invented.

ELENA

Speak --

AMY

I don't know how to tell you this -- it's ridiculous.

ELENA

Why, my God -- what is it?

AMY

No one can hear us.

ELENA

Do you know you terrify me?

AMY

Well, I will tell you that it's begun to be remarked that you are very assiduous at Drury Lane.

ELENA

Really? Well, it must flatter you compatriots that a foreigner is so devoted to Shakespeare.

AMY

Yes, but they add you attend church not to pay homage to God but to adore the priest.

ELENA

Young?

AMY

No.

ELENA

Macready?

AMY

No.

ELENA

Kemble?

AMY

Kean.

ELENA

Oh! Nonsense!

(twisting her lips)

And who says that?

AMY

Does anyone know who says such things? They fall from the sky.

ELENA

And it falls to a good friend to gather them up -- so, I love him?

AMY

Crazily, they say.

ELENA

And they blame me?

AMY

They pity you. To love a man like Kean.

ELENA

One moment, Countess -- I haven't made a confession -- and why shouldn't one love Kean?

AMY

Why first of all, because he's an actor and because that sort of person is not received in our salons --

ELENA

And mustn't be received in our boudoirs? Still, I met Mr. Kemble in the apartments of the Duke of York.

AMY

It's true!

ELENA

And who can shut to one doors which are open to the other?

AMY

He's frightful reputation, dear friend.

ELENA

Really?

AMY

Oh! Why you must be the only one who doesn't know it. Kean is a veritable hero of debauchery and scandal! A man who prides himself in effacing Casanova by the multiplicity of his love affairs, who competes in luxury with the Prince Royal, and who for all this with a contrast which reveals his extraction, after casting off the cape of Richard reappears in the dress of a dock hand, running from tavern to tavern, and is carried home more often than he is able to walk.

ELENA

I hear you, dear friend -- go on, go on!

AMY

A man crippled by debts, who speculates, they say, on the whims of great ladies to escape from the pursuit of his creditors.

ELENA

And people are able to imagine that I would love such a man -- a man like the one whose portrait you've just drawn for me! Really, seriously?

AMY

Why very seriously, you really think that I didn't believe it -- that Lord Delmours didn't believe it, that Milady --

ELENA

By the way, I was forgetting to task you news about him -- how's he doing?

AMY

Who?

ELENA

Lord Delmours --

AMY

News -- of him, from me? What? Do I know what he does? What's become of him.

ELENA

Pardon -- why everyone tells me, he's such an excellent young man -- handsome, elegant, witty -- a little indiscreet that's all.

AMY

Indiscreet?

ELENA

Yes. But who believes what he says? No one! Excuse me, I interrupted you. You were saying that -- ?

AMY

I don't know. Ah -- I think that it was at the Duke of Northumberland's last ball. It was delicious, and I was surprised not to see you there. I looked for you everywhere. I wanted to present you to the Duchess of Devonshire -- she would have taken the greatest pleasure in meeting you, I am sure of it.

ELENA

Thanks for thinking so often of me -- but the presentation was made long ago, my husband in his capacity as ambassador of Denmark was invited to her home as soon as he arrived in London.

AMY

And he doesn't let us see him, the dear ambassador.

ELENA

One would think you had a fairy's ring -- and your wishes are orders? Behold!

COUNT DE KOEFELD

(entering, to his secretary)

Send a courier instantly, and let him take the first boat that puts up a sail -- these dispatches cannot suffer any delay.

AMY

Does European politics leave the Count de Koefeld any leisure?

COUNT DE KOEFELD

The Count de Koefeld has put off all the sovereigns of Europe until tomorrow so as to dedicate his evening party to the Queen of England, to the beautiful Countess Amy de Goswell.

AMY

What a misfortune you can't believe a word of all that.

ELENA

Didn't he say that until tomorrow he had broken with diplomacy?

AMY

Yes, but habit is second nature.

COUNT DE KOEFELD

If that's so, I am going to say a nasty horrible thing to you -- Who dressed you thus, Milady? That dress give you a frightful figure -- and who chose white with a complexion of like yours? If at least you had blond hair and black eyes -- that severe beauty would repurchase all faults! But no -- nothing of all that. Oh, on my honor, when one has been mistreated by nature, one must be jealous of the whole world -- well, am I correct - this time?

AMY

More than the first.

COUNT DE KOEFELD

Why then -- what do you think?

AMY

All that you don't tell me.

COUNT DE KOEFELD

It's really unfortunate that woman aren't allowed to be ambassadors.

AMY

Why's that?

COUNT DE KOEFELD

Because there are few secrets that can be hidden from them.

ELENA

(looking at Amy)

They are ambassadors.

AMY

Naughty!

ELENA

And in that capacity they know how to keep those they're discovered.

AMY

Oh -- what a charming fan you've got there.

ELENA

A gift from Prince de Galles.

AMY

Let's see.

COUNT DE KOEFELD

Aren't we going to have Lord Goswell?

AMY

He couldn't come; at the moment, I think he's helping Lord Newell to enter into a misalliance.

COUNT DE KOEFELD

Oh, on my honor -- it's true! Today's the day Lord Newell is marrying that rich heiress whose dowry he's counting on to rebuild his fortune. What's the name of that young girl anyway? Miss Anna.

AMY

Anna Damby, I believe. Her's is one of those names that doesn't stick -- nothing recalls them.

COUNT DE KOEFELD

(to Elena)

You know, Madame, she's that young and pretty person who has the box almost facing ours, in the theatre at Drury Lane and who you noticed seeing at all the presentations -- still she could have made the same observation about you.

ELENA

Yes, yes, I know.

AMY

You can't guess, Count, the indiscretion I committed -- I asked my dear Elena a seat in her box for the first time Kean plays -- he's such a great actor -- a man of so much genius.

COUNT DE KOEFELD

You want to see him?

AMY

More than you can imagine -- and especially up close -- your box is rear the stage, and it must be marvelous not to lose any of his facial movements.

COUNT DE KOEFELD

Well, I'm very easy, that you have this desire -- for I will cause you to see him today -- even closer than from my box.

AMY

Really -- and from where?

COUNT DE KOEFELD

From one side of my table to the other -- I've invited him to dinner with us.

ELENA

How could you have done that without warning me?

AMY

Invite Kean!

COUNT DE KOEFELD

Why not? The Prince Royal invites him often. Anyway -- to invite -- to invite as one invites these gentlemen in their capacity as clowns -- we will make him play a scene from Falstaff after dinner -- it will amuse us -- we will laugh.

ELENA

Oh, but I repeat, how could you do this without warning me.

COUNT DE KOEFELD

It was a surprise that I was preparing for the Prince Royal who I am instructed to pay court to -- but you've wormed the secret out of me -- tell me again I'm a diplomat.

SERVANT

(entering with a letter in hand)

An express letter for the Count.

COUNT DE KOEFELD

You'll allow me, ladies?

AMY

Of course.

COUNT DE KOEFELD

(reading)

Milord, I am in despair not to be able to accept your gracious invitation, but an affair that I cannot put off deprives me of the honor of being Your Excellency's guest. Be good enough, Milord to place my most lively regrets and my most respectful homage, at the feet of the Countess."

ELENA

(aside)

Ah, I breathe.

COUNT DE KOEFELD

We are living in a singular century, it must be agreed -- an actor refuses the invitation of a minister!

AMY

Why that seems to me to be an excuse not a refusal.

COUNT DE KOEFELD

Oh, it's a refusal and really in proper form -- I know it. I've been employed in marriage negotiations with three royal highness.

ELENA

But your letter was polite?

COUNT DE KOEFELD

Judge by the response, Madame.

SERVANT

(announcing)

His Royal Highness, Milord, the Prince de Wales.

PRINCE

(entering and laughing)

Oh, God damn me, this is a marvelous thing. Pardon, Countess, if I enter your home so boisterously, but you see, at this moment, the funniest story I know of is running through the streets of London -- and without even a mask.

ELENA

Surely we pardon you, Milord, but on one condition, that you are going to tell us this adventure.

PRINCE

What! If I tell you -- ! I think so indeed. I would tell it to the reeds of the Thames, like King Midas if I had no one else to tell it to.

ELENA

I declare in advance that I shan't believe a word of it.

AMY

Oh, tell us, Milord -- if we don't believe it, rest assured, that won't prevent us from repeating it.

PRINCE

You know Lord Mewill, of course?

COUNT DE KOEFELD

Who's supposed to marry that little bourgeois girl?

PRINCE

Who's "supposed" -- well chosen words.

AMY

Why it was set for today, it seems to me?

PRINCE

Well, he was innocent enough to believe it like you, and consequently, he redecorated his house -- horses and carriages, creditors and debts, all this was put new -- Lord Mewill is an expeditious fellow - unfortunately, at the moment of marching to the altar, as the fiance was expecting him, they went to fetch her -- and they found the gate open and the young girl carried off; the cage, but no bird.

ELENA

Poor child! They intended to sacrifice her and, doubtless she loved someone else. Something evil has happened to her.

PRINCE

With that, note again she lives at five hundred paces from the Thames.

(laughs)

COUNT DE KOEFELD

She will not have thrown herself in -- the continual sight of the water --

AMY

Oh, my God -- and you laugh at that, my Lord?

PRINCE

Reassure yourself, Madame. The continual sight of the water gave her the desire to travel by sea -- that's all but since it's boring to travel alone, she chose a good companion -- who, I promise you, won't leave her on the way.

AMY

And is the ravisher's name known?

PRINCE

One of the most illustrious names in England.

AMY

Oh, Prince, Prince, I beg you!

COUNT DE KOEFELD

Ladies, don't press His Highness too hard -- you will embarrass him too much perhaps.

PRINCE

Bad joke! Don't worry -- I'm not attacking the little commoner. I have to much fear of failing. No, ladies, it's a name more illustrious than mine, a face crowned long ago while mine is still awaiting its crown; and God preserve it last many years on the head of my brother!

ELENA

(uneasy)

Why who is it then?

PRINCE

You haven't guessed? Eh, my God, it's been an hour since I pointed the finger for you - and who could it be if not the Casanova, the Richlieu, the Rochester of the three Kingdoms -- Edmund Kean?

ELENA

Edmund Kean? That's impossible!

COUNT DE KOEFELD

Impossible? Why on the contrary, it explains to me his refusal and it takes an affair of this importance to deprive Mr. Kean of the honor of being our guest.

ELENA

(aside)

Oh, my God!

COUNT DE KOEFELD

All the same, now I am enchanted by his refusal. If he'd come today and the thing happened tomorrow, people would think I was his accomplice.

PRINCE

And that would embroil England with Denmark -- ladies, we must really celebrate this event which prevents a foreign war and brings peace to the interior.

AMY

Were we then threatened with a revolution?

PRINCE

What -- why we were in a state of permanent civil war! Matrimonially speaking, there wasn't a husband who dared answer for his wife nor lover for his mistress. It's luck for public morality and I won't be surprised if half London is illuminated tonight.

AMY

Was he truly a man so much to be feared? And is it true that certain great ladies have had the truly unheard of kindness to raise him up to their own level?

PRINCE

Oh -- that's a mistaken idea. They haven't elevated him to their level -- they've sunk to his -- which is quite different it seems to me.

COUNT DE KOEFELD

Ah -- this is truly very funny and only in England can things like this be seen.

PRINCE

Take care, my dear Count -- Ambassadors are half naturalized.

ELENA

Milord.

PRINCE

Oh, forgive me, Countess.

AMY

Milord, do you think the news is true -- ?

PRINCE

Do I believe it? Why I bet that at this very moment, Kean is on his way to Liverpool.

SERVANT

(announcing)

Mr. Kean!

ELENA

(astonished)

Mr. Kean!

AMY

(astonished, too)

Mr. Kean?

COUNT DE KOEFELD

(astounded)

Mr. Kean?

PRINCE

Ah -- now this complicates matters for goodness sake.

COUNT DE KOEFELD

Have him in.

KEAN

(entering -- with fashionable manners)

Milady, Milord, I dare to hope you will excuse the contradiction between my letter and my conduct but an unexpected circumstance has suddenly changed planned projects and has created a duty, a law of proceeding, that I accomplish at this time.

(turning toward the Prince)

Your Highness deigns to receive my homage?

COUNT DE KOEFELD

I confess I was no longer counting on you, sir. First of all, because of the refusal contained in this letter I just received, then because of the strange rumors which have spread today on your account.

KEAN

These rumors are exactly what brings me here, sir, for these rumors however exaggerated they maybe have a certain consistency; yes, Miss Anna came to my home, but not finding me there, she left this letter. The spy who saw her enter lacked the patience to wait for her departure, that's all there is to it. But, sine the reputation of Miss Anna is compromised, I found no better way of thanking you for the gracious invitation you did me the honor of sending me, then by choosing you, Count to let London hear her justification and mine. Honor for honor.

COUNT DE KOEFELD

Your justification, sir! You are innocent or you are guilty. If you are innocent, a formal denial given by you will suffice.

KEAN

A formal denial given by me will suffice, you say? Oh, sir, sir, do you think I don't know the slanders to which our position exposes us? A denial given by the actor Kean will suffice for artists who know the actor Kean as a man of honor -- but it will carry no weight with people of fashion who know me only as a man of talent. Therefore this denial must come from the mouth of a person they -- cannot challenge, by a person whose high position and unstained reputation command confidence and respect -- by the Countess for example, and she can do it boldly, if she deigns to glance over this letter.

PRINCE

What's he up to?

COUNT DE KOEFELD

Read it yourself, sir, we are listening to you.

KEAN

Pardon, sir, but a secret on which a woman's future happiness and perhaps even her life depend, can often only be revealed to a woman. There are some mysteries and delicacies that our male hearts cannot comprehend. Allow me then to disclose the secret to the Countess. If this secret were mine, sir, I would expose it in full daylight where it would shine in the sun and dazzle all eyes. The Countess must only promise me not to reveal it but when the whole world knows she knows it, then she will raise her voice to say "Edmund Kean is not guilty of carrying off Miss Anna" and the whole world will believe her.

PRINCE

And does my rank give me the right to share this confidence?

KEAN

Milord -- all men are equal before a secret -- Count, I renew my appeal to you.

COUNT DE KOEFELD

Why, if the Countess consents, and you really attach as much importance to it as you appear to Mr. Kean, I see no obstacle.

KEAN

Well, the Countess ratify the favor granted me by the Count?

ELENA

Why I really don't know.

KEAN

I beg you --

AMY

(taking the Count by the arm)

Come, Count, once your wife knows this secret, you will soon guess it. You are a diplomat.

PRINCE

(taking him by the other arm)

And soon as you know it, you will share it with us, won't you Count? Unless it is contrary to the instructions of your government.

(they lead him near the chimney)

ELENA

(at the front of the stage. Kean behind her)

Give me this letter, since the reading of this letter can justify you.

KEAN

Here it is.

ELENA

(reading)

Sir, I presented myself at your home and didn't find you. To tell you, although I don't have the honor of being known to you, that this interview will determine the future of my entire life, assures me in advance that I will have the happiness to meet you tomorrow -- Anna Damby to Kean". Thanks, sir, a thousand thanks. But what reply did you make to this letter?

KEAN

Turn the page, Madame.

ELENA

(reading as Kean returns to chat with the Count)

I don't know how to see you, Elena, I didn't dare to write you. An opportunity presented itself and I seized it. You know that the rare moments you steal for me from those who surround us, pass so rapidly and in so much torment that they are really marked only in my life by their memory.

(She stops reading in astonishment)

KEAN

(returns to her)

Deign to read until the end, Madame.

ELENA

(reading)

"I have often sought a way that a woman in your position and who truly loved me could grant me an hour without compromising herself-- and here's what I've found -- if this woman loved me enough to grant me that honor in exchange for which I would give her my life -- she could, passing by the Drury Lane Theater, enter under the pretext of redeeming at ticket; the man who runs the box office is devoted to me, and I have given him the order to open a secret door which I've had constructed in my dressing room without anyone knowing bout it -- to a woman dressed in black and veiled who will deign perhaps to come see me -- on an opening night". Here's your letter, sir --

KEAN

A thousand thanks, Countess.

(bowing)

Count, Milady -- Your Highness.

(going to leave)

AMY

(who's eager)

Well, Elena.

PRINCE

Well, Madame.

COUNTESS

Well, Count.

ELENA

(slowly)

They are wrong to accuse Mr. Kean of seducing Miss Anna.

KEAN

Thanks, Countess.

PRINCE

(watching him leave)

Ah, Mr. Kean, you've just played a charade for us, and I swear I know the meaning of it.

SERVANT

(entering)

Milord is served.

(The prince offers his hand to the Countess, the Count to Amy, the other guess follow them.)

(curtain)

Act II

Scene ii

A room at Kean's home.

At rise, the stage shows all the traces of an orgy. Kean sleeps on a table, holding in one hand a hookah from a turkish pipe and in the other bottle of rum. David is extended under the table. Tom is asleep. Bardolph is astride a chair. Empty bottles roll on the floor -- two or three half-empty remain on the table. A shawl is hung to a clothes peg. The most complete darkness reigns on stage. Salomon appears at a little door with Pistol.

SALOMON

(in a low voice)

Wait for me here, Pistol; the illustrious Kean, the honor of London, the sun of England was released here yesterday to rest and I am going to listen at the door of his room to learn if he's awake or still sleeping.

PISTOL

(pointing)

Go in softly, Mr. Salomon, I have time to wait. If I can present myself whistle to me through the keyhole and I shall make my entry in two shakes without hesitation.

SALOMON

(looking the door)

Hush! It wasn't easy to get him to agree he'd return without passing through his cursed tavern. Here's a night of rest, tranquility and calm! They are rare. It seems he's sleeping nicely. This slothful Newman who hasn't yet opened by nine in the morning!

(going to a window and opening the shutters; it's broad day; the Thames can be seen)

(as he turns and sees the disorder)

Salomon, my friend, you are nothing but a ninny, and he's put one over on you again. This is the sixth time since the beginning of the month and today's the seventh! And with whom does he share such orgies? With the wretched third rate actors who play the Lion -- the Wall and the Moonlight in a Midsummer Night's Dream. Really, if they should be found here, I would be ashamed for the illustrious Kean.

(calling)

Tom.

TOM

(waking up)

Huh?

SALOMON

(in a low voice)

Hush! Don't wake up the others. It's that I met John Ritter coming here -- you know indeed, the young lover?

TOM

Yeah, a jerk.

SALOMON

He was just at your place -- and as he didn't find you, he came here expecting to find you -- he asked me if I know where he could meet you. As for me, at random, I sent him to little Bessy. I know you go there sometimes.

TOM

Yes -- but I don't like his going there.

SALOMON

Well, if you want to get their first, you have no time to lose.

TOM

(leaving)

Thanks, old pal.

SALOMON

And your hat?

TOM

(returning)

Right. Gimme.

(he leaves)

SALOMON

So much for that one.

(going to David)

David!

DAVID

(startled)

Hum!

SALOMON

Roaring! He's dreaming he's playing the lion. Roaring.

Bravo! Bravo!

DAVID

Who's applauding me?

SALOMON

Don't worry, it's not the audience.

DAVID

Ah, it's you, Pop.

SALOMON

Me, myself. Enchanted to meet you.

DAVID

And why's that?

SALOMON

Hush! You live in Regent Street don't you?

DAVID

Number 20.

SALOMON

That's right -- well, just imagine that I went by your place this morning to tell you you were great last night.

DAVID

Really?

SALOMON

Word of honor! Lion skin becomes you -- when I found in the midst of the street a Scotch platoon -- the corporal said to me, "No one can pass. What's the reason? Because of the fire. So what I am going to see a friend at the end of the street -- at number 20. At number 20. Well, your friend has something else to do rather than receive you -- his house is burning -- bah."

DAVID

What! Number 20's burning -- and you didn't tell me that right away -- Imbecile!

SALOMON

Ah, you have time. The fire started in the cellar and you live in the attic.

DAVID

Sonofabitch!

(leaves running)

SALOMON

Now that we are alone.

(moves a chair and notices Bardolph)

Ah -- I am mistaken -- there's still one more, excuse me! Ah indeed, this is going to be a difficult for heaven's sake. When he sleeps it's hard enough it's just like when he drinks --

(calling)

Bardolph!

Ah, yes, Bardolph! Bardolph! A glass of punch, my friend.

BARDOLPH

(hardly awake)

Present!

SALOMON

I've got an idea! Just wait -- I'm going to wake you up completely.

(gives him a glass of water)

BARDOLPH

To your health.

(drinking)

What are you giving me, there -- poisoner?

(grimacing)

Pouah!

(spits on it)

SALOMON

Water from the Thames.

BARDOLPH

Water! What an atrocious joke. Anyway, I should drink it. Let me wake up Kean.

SALOMON

Already? Ah, my God, you have plenty of time to fight.

BARDOLPH

What do you mean -- fight?

SALOMON

Eh, yes -- you have to fight each other this morning -- don't you know that?

BARDOLPH

We do?

SALOMON

You were in the wrong -- word of honor. You forced the quarrel.

BARDOLPH

Me?

SALOMON

Oh, I repeat, you were wrong. But the moment you offered to teach him manners there was nothing to say.

BARDOLPH

Is that so? Really, Salomon.

SALOMON

You've forgotten? Its' the wine, my God.

BARDOLPH

And we have to fight?

SALOMON

With swords.

BARDOLPH

With swords, with him! Give me some water, Salomon.

SALOMON

That's what your two witnesses -- Tom and David said -- but you didn't want to listen. You've got the argumentative demon. They went to get weapons. The rendezvous is at two o'clock -- in Hyde Park.

BARDOLPH

Say look, Salomon, can't the affair be settled?

SALOMON

Impossible -- a blow was given.

BARDOLPH

Who received it?

SALOMON

Ah, as to that, I know nothing.

BARDOLPH

It must be me. Listen my friend -- my brave Salomon -- my king of prompters it might be that Kean has forgotten this quarrel.

SALOMON

What, you don't remember it?

BARDOLPH

Indeed, indeed, I remember it quite well I got hit -- by god, but still, you understand -- if his memory is not as good as mine -- and he's forgotten --

(taking his hat)

No need to make him remember it.

(he leaves)

SALOMON

(locking the door)

And so for the third! If I hadn't gotten rid of them, they'd be set on drinking until tomorrow, seeing there's no performance at the theater tonight. Finally, this time, I think we are alone.

(looks around on all sides and notices the shawl)

Mercy! There still may be another one for goodness sake -- !

(looks around again, then opens the bedroom door and peeps)

Ah, I breathe! Let's see, now we have to take our place on the field of battle.

(examining the bottles and finding two half empty he arranges them in an armoire)

The devil! The devil! The combat has been murderous. Fifteen against four -- then I think that before my eyes, sleeping like an unconscious boxer, I have the noble, the illustrious, the sublime Kean, friend of the Prince of Wales -- ! The King of Tragedians, past, present, and future -- and who is holding the scepter at this very moment.

(noticing Kean is clutching a bottle by the neck)

When I said scepter, I was mistaken -- oh, my God!

(trying to pull the bottle from Kean's hand. Kean awakens and his eyes meet Salomon's)

KEAN

What devilish job are you up to, Salomon?

SALOMON

You can see quite well. I am trying to rescue this poor bottle you are strangling from your hands.

KEAN

Looks like I forgot to go to bed, huh?

SALOMON

You promised me so firmly to come back.

KEAN

Well -- but it seems to me I never left. I even spent the night at home -- which doesn't happen often.

SALOMON

And not alone.

KEAN

Don't scold me, my dear old Salomon -- it was the moonlight that didn't want to go to sleep. The wall that was overcome by the heat, and the lion, who as you know is the most thirsty beast in the zodiac.

SALOMON

Do you think that such nights ease your cares?

KEAN

Bah! For a few bottles of Bordeaux.

SALOMON

(taking a bottle of rum that Kean is still holding)

When does Bordeaux have neck and shoulders like this?

(reading the label)

Jamaican rum. Ah, master, master you will end by burning through the flannel vest on your breast.

(sighing sadly)

KEAN

You are right my old friend -- you are right. I can tell I am killing myself with this life of debauchery and orgies. But what do you want! I cannot change! An actor has to know all the passions to be able to express them well. I study them in myself -- that's the way to learn them by heart.

PISTOL

(outside)

Mr. Salomon! Mr. Salomon! Can I come in?

KEAN

Who's that there?

SALOMON

That's right, I had forgotten, Master, it's a poor fellow you doubtless no longer remember -- the son of Old Bob -- little Pistol -- the mountebank.

KEAN

Me, forget my old comrades -- come in Pistol, come in!

PISTOL

(as he opens the door)

On my hands or on my feet.

KEAN

On your feet -- you'll need your hand to shake mine.

PISTOL

Oh, Mr. Kean it's too great an honor.

KEAN

My poor child -- well, how's everybody in the company doing?

PISTOL

They're getting on pretty well.

KEAN

Kitty, the blonde?

PISTOL

She still loves you, poor child! Hell, it's not surprising. You are her leading man you see.

KEAN

Old Bob?

PISTOL

Still blowing the trumpet like a madman. They wanted to hire him as a trumpet-major in a Scotch regiment with the rank of corporal, but he didn't want to -- ah, indeed, yes!

KEAN

Your brothers?

PISTOL

The smallest ones are tumblers -- the biggest ones do the Niagra jump -- the in-between ones rope dance.

KEAN

And the respectable Madame Bob?

PISTOL

She's just had her thirteenth; the mother and child are doing well, I thank you, Mr. Kean.

KEAN

And you?

PISTOL

Well, I'm the one who replaces you. I've inherited your dress and your sword. I play the Harlequins but I don't have your strength.

KEAN

And you've come to ask for some lessons from me, right?

PISTOL

Oh, no, no! There's the egg dance that you really ought to show me -- I've never completely learned that -- I always break two or three. But now, I make them hardboiled so they are not lost, I eat 'em. But that's not it! When my father saw that God had the grace to send him a thirteenth, he said "You've got a bad number." With that, note he entered the world on a Friday. "We must choose him a powerful godparent." "Who?" said my mother. "The Prince of Wales of the King of England." "Better than that; Mr. Kean! Famous -- famous -- throughout the whole world -- but he won't want to do it." "As for me, I am sure that he will," said Kitty the Blonde. "Yes, if you go to ask him," replied my mother. "Oh, I'd never dare -- he's so far above us." "Well, give me a lift -- I will go," I said -- and here I am. You won't refuse me, Mr. Kean?

KEAN

No -- for the love of Shakespeare who began by being a juggler and acrobat like us. I won't refuse you, child and we will give your brother a royal baptism, don't worry.

PISTOL

It's a sister -- but that doesn't matter. When will it be, Mr. Kean?

KEAN

Tonight, if you like.

PISTOL

Agreed. But from here to there, have you time to find a godmother?

KEAN

She's found already.

PISTOL

Who is she -- if i'm not being too curious?

KEAN

Kitty, the Blonde. Do you think she might refuse?

PISTOL

She -- refuse? Oh, poor girl! Oh, yes, you don't know her? There'll have to be precautions to tell her about this -- she's going to swoon! Oh, Kitty -- how happy she'll be.

(does a headstand)

SALOMON

Hey, what are you doing?

PISTOL

Ah, really, too bad. Salomon. I am like the peacock when I am happy, I like to show off -- goodbye, Mr. Kean.

KEAN

Are you going already?

PISTOL

The others are waiting saying, "Will, he? Won't he? He will! He will!"

KEAN

Salomon, accompany this boy to his home and put ten guineas in his mother's hand for the layette.

PISTOL

Don't you reneg, Mr. Kean! The tears will flow in buckets if a misfortune like that occurs.

KEAN

Don't worry.

PISTOL

(returning)

I was forgetting -- where will we make the party?

KEAN

At Peter Patt's at the Coal Cellar. Do you know it?

PISTOL

Do I know it? At the harbor? Ten steps from the Thames celebrated by sailors. That's all I know about it. Goodbye, Mr. Kean.

(leaving with Salomon)

KEAN

Good and respectable family, family of patriarchs, children of God. Oh, I will never forget the happy days I spent with you! How many times have I gone to bed without supper saying I wasn't hungry so as to leave you my share! Why, it seemed to us that it was as difficult for money to fall into our purse as a star to fall from heaven! Have I earned enough so as to leave you happy -- and poor Kelly didn't she love me better than the noble ladies who today honor me with their kindness?

(someone knocks)

Someone's knocking.

(Salomon enters)

Who's there?

SALOMON

A young lady who must have written you yesterday.

KEAN

Miss Anna Damby -- show her in and ask her to wait a minute.

(Kean goes into his bedroom.)

SALOMON

(to the lady)

Miss!

(she enters, he leaves)

ANNA

(veiled)

So here I am come to his home! Have I the courage to tell him what brings me? Oh, my God, my God -- give me strength for I feel I'm dying!

KEAN

(returning with a coat)

You did me the honor to write to me, Miss! Can I be so happy to be of some good to you -- so favored by heaven to find myself useful to you.

ANNA

(aside)

Oh -- it's his voice.

(aloud)

Excuse my confession, sir -- it is quite natural and as modest as you are, you understand that your reputation, your talent, your genius --

KEAN

Madame.

ANNA

-- terrify me more than your greeting reassures me -- they say you are as good as you are great -- if you had only been great, I wouldn't come to you.

(she raises her veil. They sit down)

KEAN

(making a sign)

You told me I could do you a favor -- my desire to do it for you is great, Miss, still I hesitate to press you -- a favor is so soon accomplished!

ANNA

Oh, you've guessed precisely, sir -- and I expect much from you. It's a question of my happiness, my future, and my life, perhaps.

KEAN

Your happiness? Oh, you've got all the marks of happiness on your face, Miss. Your future? And what damned prophetess, were she one of Macbeth's witches, would dare to predict anything but happiness for you? Your life? Wherever it shines, it will yield flowers as if under a ray of sunlight.

ANNA

It may be that the years which remain for me to live will be much happier endowed than the years I've already lived -- for the last quarter of an hour, Mr. Kean, I've been asking myself if I ought to come to you or die.

KEAN

You frighten me, Madame --

ANNA

A quarter of an hour ago I was still the fiance of a man I detest, that I scorn, and that they want to force me to marry -- not my mother, not my father -- alas, I'm an orphan but by a tutor to whom my late parents delegated all this power. It was yesterday morning that my misfortune was to be completed, if I had not, be it madness, be it inspiration, left the house of my guardian. I fled, I asked where you live -- they indicated this house to me -- and I've come.

KEAN

And what has earned me the honor of being chosen by you, Miss -- either as advisor as a protector?

ANNA

Your example -- which proves to me that one can create for oneself honorable and glorious means.

KEAN

You've thought of the theater?

ANNA

Yes, for a long while -- my eyes have been fixed ardently on this career, and the example of Miss Siddons, Ms. O'neill and Fanny Kemble.

KEAN

Poor child!

ANNA

You seem to pity me, and yet you don't answer me, sir.

KEAN

There's so much youth, so much candor in you, that it would be a crime in me -- as perverse as I've been and still am perhaps -- not to answer you by telling you what I think. Would you allow me to speak to you as a father, miss?

ANNA

Oh, I beg you, too.

KEAN

Sit down, don't be afraid of anything. From this time forth you are as sacred to me as if you were my sister.

ANNA

(sitting down)

How good you are.

KEAN

(standing)

You've seen the golden side of our life and it dazzles you. It's my duty to show you the reverse side of this brilliant medallion which bears two crowns -- one of laurels, one of thorns.

ANNA

I am listening to you, sir, as if God were speaking to me.

KEAN

Your honor, your candor, your age, Miss, make the task I've imposed on myself delicate. There are things that are difficult for a man of my age to say -- difficult for a young girl of yours to understand. You'll excuse me won't you, if the expression tarnishes the chastity of the thought?

ANNA

Edmund Kean will say nothing that Anna Damby cannot hear, I hope.

KEAN

Kean ought not to say anything that he is going to say to Anna Damby, a young girl of fashion, destined to remain in society. Kean will say all that he must say to the young artist who accords him her confidence, and pays him the honor of coming to his home to consult him and what would appear to him in the first case as an inconvenience, seems to him, in the second, a duty.

ANNA

Speak, sir!

KEAN

You are beautiful, I've told you that. That's something, a lot even for the career you wish to embrace -- but it's not everything, Miss. The role of nature is complete, that of art remains to be done.

ANNA

Oh, directed by you, I will study, I will make progress, I will acquire a name.

KEAN

In five or six years, it's possible for don't think anything can be done without time or without study. Some lucky ones are born with genius, but as a block of marble is born with the statue -- it needs the hand of a Praxetiles or a Michelangelo to make a Venus or a Moses. Yes, certainly, I suppose, I even believe that you are one of the elect, that in four or five years, your talent, your reputation won't allow you to envy your rivals, for it's glory alone that you seek -- and your immense fortune.

ANNA

I have abandoned all of it from the moment I left the home of my guardian.

KEAN

So you have nothing?

ANNA

Nothing.

KEAN

Supposing you possessed all the necessary aptitudes you still require six months before your debut.

ANNA

Happily, I learned in my youth all the little feminine tricks which can nourish those who practice them. Anyway, I belong to a class which is accustomed to honor itself with what it earns. My family's fortune, considerable as it is, was squeezed from a commercial course -- I will work.

KEAN

That's fine! At the end of six months work, still supposing a brilliant debut -- you will find a director who will offer you 100 pounds sterling per year.

ANNA

But with my simple and retired tastes, 100 pounds sterling is a fortune.

KEAN

It's a quarter of what you will have to spend for your costumes. The silk, the velvet and the diamonds are expensive, Miss. Are you disposed to sell your love to adorn your person?

ANNA

Oh, sir --

KEAN

Pardon, Miss, but I must be silent now or you must let me tell you everything. From the moment you leave this room to reenter society, this conversation will be forgotten.

ANNA

(lowering her veil)

Speak, sir.

KEAN

It may be even that you'll be so lucky as to meet a man who is rich, refined, generous -- who loves you and whom you love -- who doesn't give you, who shares. Then the first danger is avoided. The first humiliation does not exist. But, I told you, you are beautiful. You don't know our English journalists, Miss. There are some who understand their mission honorably, who are partisans of all that is noble, defenders of all that is beautiful, admirers of all that is great. Those are the glory of the press, they are the nation's angels of judgment. But there are others, Miss, that inability has forced into criticism. These are jealous of everything, they blight whatever is noble. They sully what is beautiful. They abase what is great! One of these men, to your misfortune will find you beautiful, perhaps -- the new day he will attack your talent. The following day -- your honor. Then, in your innocence of evil, you will want to know the cause that drives him. Naive and pure, you will go to him as you've come to me -- you will demand the motive of his hate, and what you can do to make it cease -- then he will tell you that you are mistaken as to his intentions that your talent pleases him, that he doesn't hate you, that, on the contrary, he loves you -- you will rise, as you just did -- and he will say to you -- "Sit back down, Miss -- or tomorrow -- "

ANNA

Horror!

KEAN

And supposing you escape these two trials -- a third awaits you. Your rivals -- for in the theater there are no friends -- there are no competitors, there are only rivals -- will do what Cimmer and others I don't care to name -- have done to me. Each clique will extend its thousand arms to prevent you from rising one degree higher, will open its thousand mouths to spit mockery in your face, to make its thousand voices heard to speak good of them, and ill of you. They will employ to ruin you, means that you will scorn -- and they will ruin you with these means -- they will buy praise and insults at a price that will cost them nothing, and that you will never pay. The carefree, ignorant, credulous public not knowing how these reputations and lies are hideously manufactured, will take them for truth or for talent -- through hearing them boasted or repeated. In the end, one fine day you will recognize that baseness, ignorance and mediocrity are all behind the intrigue, that study, and talent, genius are useless without intrigue -- you won't want to believe it, you will doubt it again sometimes. Then finally, tears in your eyes, heart filled with disgust despairing in your soul you will come to curse the day, the hour, the minute that that fatal idea took you -- of pursuing glory which costs so dear and which brings back so little -- now, raise your veil miss. I've done with shameful things.

ANNA

O Kean! Kean! You must have suffered so much! How were you able to do it?

KEAN

Yes, I've indeed suffered! But less than a woman must suffer -- for I'm a man and I can protect yourself. My talent belongs to the critics, its true. They tread it under their feet, they tear it with their claws, they gnaw it with their teeth. That's their right and custom but when one of these arbiters of taste presumes to look into my private life, oh -- then the scene changes. Then it's I who threaten, and he who trembles. But that rarely happens. They see too often Hamlet duel for them to find a quarrel with Kean.

ANNA

But aren't all these sorrows paid for simply by the word you can say "I am King?"

KEAN

Yes, I am King, it's true -- three times a week, a bit more, King with a scepter of gold painted wood, of paste diamonds and a paper crown. I have a kingdom of 35 square feet, and a royalty that a little wind will make blow away. Oh, yes, yes, I am a King, well respected, very powerful, and moreover very happy! Go on!

ANNA

Still, all the world applauds you, admires you, envies you --

KEAN

Well, sometimes I blaspheme, sometimes I curse, I am jealous of the face of the streetporter bent under his burden, of the laborer sweating his plow and the sailor asleep on the bridge of his vessel.

ANNA

And if a woman, young rich and loving you came to tell you "Kean, my fortune, my love are yours -- leave this hell that consumes you -- this existence which devours you -- leave the theater -- "

KEAN

Me! Me! Leave the theater! Me! Oh, you don't know that it's a shirt of Nessus which cannot be torn from the shoulders without treating off one's own flesh? Me, leave the theater, renounce its motions, its dazzle, it's sorrows, me give my place to Kemble and to Macready to be forgotten at the end of a year at the end of six months, perhaps -- ! Why don't you know that an actor leaves nothing after him, that he lives only during his life, and that his memory fades with the generation to which he belongs, and that he falls from day into night, from the throne into Nothingness -- no, no! Once you've put your foot in this fatal career, it's necessary to pursue it to its end -- to drain out its joys and its sadness, to empty its cup and its chalice, to drink its honey and its dregs. It must end as it began, to die as one lived -- to die as Moliere died, to the sound of applause, whistles and bravos! But while there's still time not to take this path, when one has not crossed the barrier -- better not enter it, Miss -- believe me, on my honor, believe me!

ANNA

Your advice is an order, Mr. Kean, But what must I do?

KEAN

Where did you retire to, after leaving your guardian's house yesterday?

ANNA

I'm with an Aunt. Good, excellent -- and she loves me like her daughter.

KEAN

Well, you must return there and ask her asylum and protection.

ANNA

Can she grant them to me? Lord Meiwell is powerful and when he learns the place I've taken refuge --

KEAN

The law is equal for everyone, Miss, the weak as well as the strong -- except for us actors -- who are outside the law -- does your aunt live far from here?

ANNA

In Clay Street.

KEAN

A ten minute walk from here. Take my arm, Miss. I am going to escort you.

SALOMON

(entering)

His Highness, the Prince of Wales.

ANNA

Oh, my God!

KEAN

Tell the prince I cannot receive him, that I am completely worn out and that I'm sleeping.

SALOMON

I will add that you spent the night rehearsing, Master.

KEAN

No. Add that I spend the night drinking -- it's more likely he'll believe you. Come, Miss.

ANNA

Oh, Kean, Kean. You are twice my saviour.

(curtain)

Act III

Scene iii

Peter Patt's tavern at the Coal Cellar. The stage is divided at the rear by two partitions which form compartments. The sides are separated in the same manner so that each drinker finds himself in privacy although in a common area.

(At rise, there are drinkers in the back; the constable is reading a newspaper.)

1ST DRINKER

So then you knocked him out?

JOHN

(swallowing a glass of beer)

Knocked out -- ?

2ND DRINKER

And you broke seven of his teeth.

JOHN

(handing him his glass)

Seven! Three up top, four below -- two canines, four incisors.

3RD DRINKER

And then the Duke of Sutherland who bet on you, won.

JOHN

Then and there -- and he gave me a guinea for each broken tooth. So I promised him to drink his health.

(emptying his glass)

And I'm keeping my word to him.

1ST DRINKER

And you only caught a blow on the eye.

JOHN

In all and for all: a business of 72 hours -- black today, violet tomorrow, after tomorrow yellow and it's over with.

(Enter Lord Mewill.)

LORD MEWILL

The proprietor of the tavern?

PETER

Here I am, Your Honor.

LORD MEWILL

Listen to me, my friend, and remember well what I am going to tell you.

PETER

I am listening.

LORD MEWILL

A young woman will come in the evening and request a room; you will open for her the cleanest one in your tavern. You will give her everything she wishes. Have for her the greatest care, the greatest attention, for this young girl is destined to become one of the greatest ladies of England. Here's to pay you for your trouble.

PETER

Is that all you have to request, Milord?

LORD MEWILL

Could you acquaint me with the owner of a small boat, a fast sailing ship, that I can charter for a week?

PETER

I have just the thing for you.

(calling)

George!

(one of the drinkers dressed like a sailor comes from the back of the stage)

Here's a gentleman who has need of a sloop for a week or ten days.

GEORGE

For as long as he likes -- the whole thing is in the agreement.

LORD MEWILL

But fast sailing.

GEORGE

Oh, the Queen Elizabeth is known in the port. You can ask anyone you like if it doesn't go eight knots an hour.

LORD MEWILL

And can you bring it up here?

GEORGE

I can take it wherever I choose. It only draws three feet of water, choke it with a tune of beer and I will place it in this room.

LORD MEWILL

Can I see it?

GEORGE

It's anchored a quarter of a mile from here, that's all.

LORD MEWILL

Well, let's go -- and we will talk business on the way.

GEORGE

Willingly, Milord. Just wait while I finish my beer.

(drinks, then leaves with Lord Mewill)

PETER

And the other guy -- for how long will he be out?

JOHN

For three good months. Six weeks of pudding, six weeks bread soup, that will teach him to fight with John Cooks.

KEAN

(entering, dressed as a sailor)

Master Peter Patt!

PETER

There! -- Ah, it's you, Your Honor.

KEAN

In person. The supper.

PETER

It's being prepared in the big room.

KEAN

And?

PETER

Oh -- nothing better, you see -- there's nothing too good for your honor.

(Kean sits at a table facing the constable.)

KEAN

That's fine. Give me something to drink while I wait.

PETER

Ale on port?

KEAN

Do you take me for a Fleming, wise guy? Some champagne.

(Peter leaves)

JOHN

Did you hear that freshwater sailor who pretends beer dishonors his gullet?

KEAN

(to Peter, who brings him his wine)

No one is here yet?

PETER

No one.

KEAN

Go take a look at supper. I think it's burning.

PETER

I'm on my way, Your Honor.

(Peter leaves.)

JOHN

I've got to fathom this character. Leave me alone a bit, we're going to have a laugh.

2ND DRINKER

Whatcha gonna do?

JOHN

Listen -- if he swallows one glass of that bottle in front of him, don't call me John Cook.

(approaching Kean with a sneering manner)

It seems there wasn't too much ice this side of the pole, handsome whale bone dealer, and that the fishing wasn't bad.

KEAN

(looking at him)

And what have you got on your eye?

JOHN

And that we converted the oil into champagne.

(Kean pours some wine in his glass.)

KEAN

You must put four leeches on it my brave man; it's not pretty.

JOHN

(taking the glass)

Did you ask for the best, at least?

(he swallows the champagne and places the glass back on the table. Kean watches him do it.)

KEAN

At least you can hope of matching the other eye with that one -- which won't be difficult if you carry on as you're doing.

JOHN

Ah, you think so?

KEAN

(pouring a drink again)

I am sure to it.

JOHN

By giving a return, huh?

KEAN

Gratis.

JOHN

(taking the glass and drinking)

To the health of the dealer!

KEAN

(taking off his tie)

Thanks, friend.

JOHN

Ah, it seems you prize the clothing.

KEAN

(taking off his vest)

Yes, and I take care of the furniture.

JOHN

(laughing)

Ha, ha, ha.

ALL

Bravo! Bravo!

PETER

(returning to John)

Hey, what are you doing, John?

JOHN

You see quite well. I'm getting ready.

PETER

(to Kean)

What's Your Honor doing?

KEAN

You can see plainly. I'm preparing.

PETER

(to John)

You don't know with whom you're involved.

JOHN

What's that to me.

PETER

Constable!

CONSTABLE

(standing on a chair to get a better look)

Let me watch, you idiot.

PETER

Go on, go on, fight it out if it makes you happy.

(he leaves)

(Kean and John box -- at the end, John gets a fist in his other eye and falls in the arms of his friends, who surround him. Kean puts his vest back on and sits at the table.)

KEAN

Peter.

PETER

Here!

KEAN

Another glass.

PETER

It seems it's finished.

(glancing at the neighboring booth)

That didn't take long.

CONSTABLE

(coming down from this table and going to Kean)

Will you allow me to offer you my congratulations, sailor?

KEAN

Will you allow me to offer you a glass of champagne, Constable?

CONSTABLE

You gave a victorious blow with your fist there, young man.

KEAN

You flatter me, sir -- it's a 3rd order blow -- poor and paltry, if I'd slammed my elbow into the boy, and brought his arm down, the joker would certainly have split his head open.

(Peter brings glasses and Kean pours.)

CONSTABLE

It's a small misfortune, sailor, next time you will be luckier let's hope.

KEAN

I did all the damage I wanted to do. I promised him a black eye to match the one he had and I gave him one.

CONSTABLE

Oh, religiously, there's nothing to say to that. I think it will be a blacker one.

KEAN

You appear to be an amateur, Constable.

CONSTABLE

I'm a fan -- no boxing match or cock fight occurs on my beat that I don't participate in. I adore the artists.

KEAN

Really, well Constable, if you'd like to be one of my guests, I will introduce you to an artist myself.

CONSTABLE

You are giving a supper?

KEAN

I'm a godfather. And look, here's the godmother -- isn't she pretty?

(Kitty, the Blonde enters with all the guests.)

CONSTABLE

Charming. I'm going to go home for a sec to tell my wife I'll be late.

KEAN

Tell her you won't be home at all -- that's more prudent.

(The Constable leaves.)

KEAN

(going to Kitty and hugging her)

Kitty!

KITTY

Oh, Mr. Kean, you haven't completely forgotten me?

KEAN

And you, Kitty, do you still remember your poor juggler, David, although he's change his name and calls himself now Edmund Kean?

KITTY

Oh, always.

KEAN

And what have you done, child, since I saw you?

KITTY

I've thought about the time I was happy.

KEAN

Well, my poor Kitty, I want that time to return for you.

KITTY

(sadly)

Impossible, Mr. Kean.

KEAN

You love someone, doubtless? Come on!

KITTY

(lowering her eyes)

I don't love anyone.

KEAN

But still, if thing should ever happen and a few hundred guineas were necessary for your establishment, come find me, kid and I'll take care of the dowry.

KITTY

I will never marry--

(weeping)

Never, Mr. Kean.

KEAN

Heavens, pardon me, Kitty, I am an idiot.

(to Pistol who enters)

Well, Pistol, and old Bob -- is he coming?

PETER

Oh! Yes. Old Bob's is in his bed.

KITTY

In his bed!

KEAN

How's that?

PISTOL

Here's a bit of luck! Imagine, Mr. Kean -- there, he came down the street. He was superb, he had on his grey hat, his nut colored cape and cloak, and his big shirt collar, which covers up his ears you know. We stated got a little way, "Oh, I forgot my trumpet," he said. "Bah! What do you want to do with your trumpet," is how I answered him. "I want to play them a little tune at dessert, it will distract them. Don't they know all your tunes? Keep your breathe for something else, let's go. Do you intend to run get my instrument for me, and without are argument, wise guy? Oh, heavens, I don't know where your instrument is: go look for it yourself.

You know he's excitable, Papa Bob. I hadn't finished when he tried to kick me. Happily, I know his habits and I never lose sight of them when we are talking together.

KEAN

Well, you caught it, that's all.

PISTOL

Well, no. That's the bad luck. I leapt aside.

KEAN

Then you didn't catch it, better still!

PISTOL

No, I didn't catch it, but as he expected to meet with resistance -- something at the end of his foot, poor dear man and there was nothing to meet, he lost his equilibrium and fell on his back.

KITTY

Oh, my God.

PISTOL

Heck, don't say anything about it to me, I'd rather receive 25 kicks where he was aiming at than be the cause of the misfortune that he's experienced.

KITTY

Is he injured, my God?

PISTOL

(weeping)

They think that he dislocated his shoulder.

KEAN

And you sent for a doctor?

PISTOL

Yes, yes.

KEAN

What did the doctor say?

PISTOL

He said that Bob mustn't budge from his bed for at least six weeks -- and meanwhile, the whole troupe will have to tighten its belt you see, because Papa Bob's trumpet is known like the sign of Mr. Peter. Well, if tomorrow he took down his sign, they would think he was bankrupt and no one would come here anymore.

KEAN

There's no other misfortune than this.

PISTOL

Well, it seems to me this is enough of one, of ill luck, to fast for six weeks when they isn't Lent.

KEAN

Peter!

PETER

Your Honor?

KEAN

Pen, ink and paper.

KITTY

What's he going to do?

PETER

Here!

KEAN

(writing)

Have this letter taken to the director of the theater at Covent Garden. I am announcing to him that I will play -- tomorrow, the second act of Romeo and Juliette and the role of Falstaff for the benefit of one of my old friends who's dislocated his shoulder.

KITTY

Oh, Mr. Kean.

PISTOL

Now, there's a true friend! In Luck and bad luck.

PETER

(calling)

Philip!

(a waiter appears)

KEAN

(giving him the letter)

Here - there'll be a reply. Well, is everybody ready?

PISTOL

Everybody.

KEAN

Let's go then.

PISTOL

Right. We mustn't keep the Vicar waiting.

KEAN

Oh, never mind the Vicar, it's his job to wait. It's for the supper which won't. Peter, I leave it to you.

PETER

Don't worry, I am going to see if the spit is turning.

(They all leave except Peter.)

PETER

Got to watch the supper -- and carefully. Everyone knows you're a great trencherman, Mr. Kean, and treats you accordingly. Wine steward! Wine steward!

STEWARD

Here.

PETER

You will take care no one puts a drop of water in the bottles served Mr. Kean.

STEWARD

And the others?

PETER

In the others, I see much less concern.

STEWARD

Fine, boss.

(Anna enters, followed by a maid.)

ANNA

Sir, I want a room.

PETER

It's prepared.

ANNA

What?

PETER

Yes, someone directed me to prepare the best room in my inn for a lady who would come this evening. That lady is you, I presume.

ANNA

(aside)

He thinks of everything.

(aloud)

Lead me to this room quickly, my friend. I fear at any moment, someone may come.

PETER

Dolly! Dolly!

(a chambermaid appears)

Here's the key, Miss -- number one.

(to maid)

Escort her. Do you want anything?

ANNA

Thanks, but I don't need a thing.

(She leaves.)

(Salomon enters.)

SALOMON

Hello, Mr. Peter.

PETER

Ah, it's you, Mr. Salomon? The Devil you understand your business you come too late for the religious ceremony and too soon for supper. What can I offer you while waiting?

SALOMON

Nothing, Master Peter -- absolutely nothing -- I'm only come to speak to your great and illustrious Kean about theater business, a mere nothing -- nothing at all.

PETER

All the same, I'm still going to send you a mug of old beer. You will talk together while waiting.

SALOMON

That's not a difficulty. Time passes more quickly with a friend. But as soon as our great tragedian returns, tell him I am waiting for him here, okay. And that I have to speak to him alone, right away.

PETER

(leaving)

Agreed.

SALOMON

(alone, seated where the Constable was sitting)

Ah, let's see what they say about our last performance of Othello --

(taking some papers -- they bring him a mug of beer)

Thanks, friend.

(reading)

Hum, hum -- St. Petersburg, Vienna -- are they boring to fill their papers with political news form France, Russia and Austria. Who is it that bothers with that?

(reading)

Ah, "The Drury Lane presentation of Othello with Mr. Kean. Yesterday's performance attracted few spectators." They reserved five hundred seats to the government, the room was creaking. "The bad choice of plays". Thanks! They played Othello and a Midsummer Night's Dream, the two chief works of Shakespeare. "The mediocrity of the actors." Merely the elit of the troupe: Miss O'Neill, Mrs. Siddons, Kean the Illustrious Kean. "The frenetic performance of Kean which turned Othello into a savage!" Well -- what did they expect him to do -- play Othello as a dandy?

(looking that signature on the article)

Ah, this no longer surprises me. Cooksman. That explains it! -- O shame! Shame! There are the men who judge and condemn and who sometimes strangle.

(taking another paper)

And here's this other thing. The article is by a friend, Mr. Brixon. He's taken the habit of writing them himself, for fears others won't do him justice. The public doesn't know that, but we do. Let's see. "The presentation at Drury Lane yesterday was magnificent, the hall was choked with people, and half the people who came to the box office were unable to find seats. The great and sinister figure of Iago --" that's the part he plays "--was magnificently portrayed by Mr. Brixon." Well, here's one which doesn't assail us at least. As for the rest, it's not bad so long as he speaks well only of himself, each is free. "The weakness of the actor charged with portraying Othello --" He finds him too weak -- the other one found him too strong! "-- served only to better contrast the depth of acting by our celebrated --"

(tossing the paper)

Coterie! Coterie! Ah, my God, how happy I am to be only a humble prompter.

KEAN

(entering)

What are you so pressed to tell me, my dear Salomon? And why don't you join us at table?

SALOMON

I didn't come for supper; I'm not hungry you see -- something's happened at the hotel.

KEAN

What?

SALOMON

It's that brigand of a jeweler -- Samuel the Jew, you know? He's obtained a body attachment against you for your check for 400 pounds sterling -- and the sheriff and the attorneys are at the hotel!

KEAN

So what, since I am at the tavern?

SALOMON

But they say they will wait until you return.

KEAN

Well, Salomon, do you know what I will do, my friend?

SALOMON

No.

KEAN

I won't return.

SALOMON

Master!

KEAN

What am I missing here? Good wine, good food -- open and inexhaustible credit, friends who love me and make me forget the whole world -- let the sheriff and the attorneys bore themselves at the hotel and we will amuse ourselves at the tavern. We shall see which of us will leave first.

ANNA

(entering abruptly)

Mr. Kean. Mr. Kean -- it's your voice; I heard it. Here I am.

KEAN

Miss Anna! You're here, at a tavern on the dock? Excuse me, but the rights you gave me to your confidence allow me to address this question to you. In the name of heaven, why do you come here? Who accompanied you? Salomon, my friend -- go tell them to sit down while waiting for me.

ANNA

Oh! Now we are alone, explain yourself, Mr. Kean.

KEAN

But you yourself, Miss, tell me who brought you to a place so unworthy.

ANNA

Your letter.

KEAN

My letter? But I haven't had the honor of writing to you.

ANNA

You didn't write me, sir, that my liberty was in danger, that it was necessary I leave my aunt's house, because one must? Oh, but I have your letters on me. Here, here -- there it is.

KEAN

There's some infamy concealed under all this. Although they tried to imitate my writing it's not mine.

ANNA

Never mind! Read it, sir. It will explain to you my presence here, my joy in seeing you again. Read, read, I beg you.

KEAN

(reading)

"Miss, you were seen entering my home; you were seen leaving, they followed us -- your refuge is discovered; they are seeking to tear you from it. They'll obtain a court order. There's only one way to escape your persecutors -- a rendezvous tonight at the port. Ask for the tavern known as the Coal Cellar. A man in a mask will come to take you there. Follow him with confidence -- he will escort you to a place where you will be sheltered from all pursuit, and where you will find me. Fear nothing, Miss, and grant me your entire confidence for I have for you more respect than love. They are watching me as they are you. That's why I am not coming myself to beg you to take this decision, which alone can save you."

ANNA

That's the explanation of my conduct, Mr. Kean. I don't need to give you any other. I thought that this letter was from you. I entrusted myself to you. I came to you.

KEAN

Oh, Miss! How much I thank chance or rather Providence which led me here! Listen, in all this there's some mysterious infamy which I am going to fathom, I swear to you, and the author of it will repent it. But, in the situation, we are in, you have to tell me everything, Miss. You mustn't have any secrets from me. I must know you like a sister -- for I am going to defend you, I swear it to God as if you were my closest and dearest family.

ANNA

Oh! With you, near you, I fear nothing.

KEAN

And yet you are trembling, Miss.

ANNA

Oh, Mr. Kean, is it really generous of you to question me when there are things I cannot say -- especially to you?

KEAN

And what can a young heart like yours have to hide, Miss? Speak to me as you would speak to your best friend, to your brother.

ANNA

But how would I dare look you in the eyes after that?

KEAN

Hear me, for I am going to go beyond your words. I am going to raise a corner of the veil under which you hide your secret. Accustomed as we actors are, to reproduce all human emotions our continual study must be to search them out to the deepest thought. Well, I think I read in yours, pardon, Miss, if I am mistaken, that your hate for Lord Mewill comes from an opposing love for another.

ANNA

Yes, yes and you are not mistaken. But that is not my fault. I've been led by a bizarre fatality that no woman could resist. Oh, why don't they let me die?

KEAN

Die! You so young, so beautiful -- and why do you want to die?

ANNA

It wasn't I who wanted to quit life, it was God who seemed to have condemned me. A profound melancholy, a bitter disgust with existence seized me. My body lacked strength, my breast air, my eyes light -- I sensed the impossibility of living and I felt I was drawn toward death, without aid, without sadness, without fear even, for I felt no wish to live. I wanted nothing. I hoped for nothing. I loved nothing. My guardian consulted the most able doctors in London, and all said that the illness was without remedy -- that I was attacked by this illness of our climate -- against which all science fails. One of them alone asked, if among the distractions of my youth, the theater was granted to me. My tutor responded that raised in a strict boarding school, this amusement was always forbidden me. So he suggested it was a last hope. My tutor fixed the experiment for the very same day. He obtained a box and announced to me after dinner that we would spend our evening at Drury Lane. I hardly heard what he said to me. I took his arm when he asked me, I got in the carriage and I let myself be escorted as usual, charging in some way the persons who accompanied me to feel, to think, to live for me. I entered the theater. My first emotion was almost melancholy -- all the lights blinded me. The hot embalmed atmosphere choked me -- all my blood flowed back toward my heart and I was near fainting. But at that moment, I felt a little breeze, which came from the rise of the curtain. I turned -- instinctively searching for air to breathe. Then it was I heard a voice -- oh -- one which vibrated to the depth of my heart. All my being shivered. This voice spoke verses melodiously as I'd never heard before words of love I'd never thought human lips could pronounce -- my entire soul passed into my eyes and my ears. I remained mute and motionless as a statute from astonishment. I looked, I listened -- they were playing Romeo.

KEAN

And who played Romeo?

ANNA

The evening passed like a moment, I hadn't breathed, I hadn't spoken, I hadn't applauded -- I returned to my tutor's hotel, still cold and silent to all appearances, but already reanimated and living at heart. The day after that they took me to Othello. I came with all my memories of Romeo. Oh, but this time, it was no longer the same voice, it was no longer the same love, it was no longer the same man -- but it was still the same joy the same ecstasy, the same rapture. Now, I could speak, I could say, "He's handsome, he's great, he's divine!"

KEAN

And who played Othello?

ANNA

The next day -- it was I who asked if we weren't going to Drury Lane. It was the first time for perhaps a year that I manifested any desire -- you can imagine how easily it was accomplished. I returned to this palace of fairies and enchantments. I went to find the sweet melancholy face of Romeo -- the burning, tanned face of Othello, and I found the somber pale head of Hamlet! Oh, this time, all the sensations amassed over three days gushed at once from my heart -- too full to shut them in. My hands clapped, my mouth applauded, my tears flowed.

KEAN

And who played Hamlet, Anna?

ANNA

Romeo made me understand love, Othello jealousy, Hamlet despair. This triple initiation completed my being. I was languishing without strength, without desire, without hope -- my breast was empty, my soul had already fled from it, or if it had not yet escaped, the soul of the actor passed into my breast. I understood that I was beginning from that day to breathe, to feel, to live.

KEAN

But you haven't told me yet, Miss, what man relit the expiring soul, and what Christ had revived the young girl, already sleeping in the tomb.

ANNA

Oh -- that's just the name I dare not say to you -- for fear of not being able to look at you again.

KEAN

Anna, is it true? Is it really true? And am I so unfortunate?

ANNA

(terrified)

What are you saying?

KEAN

Something that you cannot understand, Anna -- something that one day perhaps I will admit to you -- much later -- but at this moment, Miss Anna, we are thinking only of you, dear sister.

ANNA

Kean, my brother, my friend!

KEAN

Let's get back to this letter, for now that I know everything, there's not a moment to lose.

ANNA

But, in your turn, tell me how you came, and what does this outfit signify?

KEAN

Godfather to a child who belongs to poor people I used to know. I thought this dress would give them more freedom with me, making me more their equal. I wore it, and here I am -- but let's speak of other things. This masked man hasn't come.

ANNA

Not yet.

KEAN

He's going to come then?

ANNA

Doubtless.

KEAN

(calling)

Peter.

ANNA

What are you going to do?

(Peter enters.)

KEAN

Has the Constable arrived?

PETER

He's in the big room with the rest of the company.

KEAN

Beg him to come here.

ANNA

Oh, Kean, you terrify me.

KEAN

What can you fear?

ANNA

I don't fear for myself -- it's for you!

KEAN

Oh, don't worry. Ah, come Constable, come -- here's Miss Anna Damby, one of the richest heiresses in London to whom they intend to do violence to choose a spouse. I've called you to confide her to you. Your mission is grand and noble, Constable. Lay your arm on this young girl and save her.

CONSTABLE

What a transformation! And who are you, sir -- who claim my ministry with so much confidence and authority?

KEAN

Little matter who claims the protection of the law, since the law is equal to all, since justice wears a blindfold and it's ears alone are open. In any case, if you want to know who I am, I am the actor, Kean. You told me that you loved artists, and I promised to make you know one. You see that I hold to my word.

CONSTABLE

How could I not recognize you -- I who have seen you play a hundred times and who am one of your warmest admirers? So, Miss, you claim my protection?

ANNA

On my knees.

CONSTABLE

You have it, Miss, only tell me in what way --

KEAN

Anna, go into that room with the Constable -- tell him -- tell him everything -- as for me, I have to remain here alone.

ANNA

Kean, be prudent!

KEAN

Go, I beg you -- as for us, Constable, don't worry. This will change nothing in the program of our soiree and we shall dine most joyously, I swear to you.

(Anna and the Constable leave.)

KEAN

(alone)

Oh what a strange thing! Poor Anna! What persecution! What a deception! What conspiracy! And all this against a child frail enough to be broken by a breath, and still pale from the death which she barely escaped. And when I think that there were a thousand chances that I wouldn't find myself here and that a rape would be committed in my name! Ah -- that's why that rumor spread so fast and so strangely -- that I had kidnapped Miss Anna before I'd even seen her -- I was to serve as a cloak for a ruined lord who wanted to repair his fortune. Oh, but I came and here I am. Nothing can happen to Miss Anna except through this door -- and she is guarded at this time and well guarded, I swear it. Ah, here's someone coming, it seems to me. Long live God -- it's him. I was afraid he wouldn't come.

(Almost midnight on stage.)

LORD MEWILL

(enters, masked)

She's come.

(to Kean)

Pardon me, my friend. I want to pass.

KEAN

Pardon, Milord, but you cannot pass.

LORD MEWILL

Why's that, if you please?

KEAN

Because we are not in the time of the year nor in an era where one travels with masks. It's a fashion lost in England since the time of Queen Mary.

LORD MEWILL

These maybe situations in which it is necessary to hide one's face.

KEAN

An honest man and a noble project always go with uncovered faces, Milord. Your project I already know and it's an infamous project. As for your face, I will know it soon -- and I know it form thinking of it from knowing your project, Milord -- and if you don't take off your mask, I sear I will tear it form you, and that instantly -- do you hear?

LORD MEWILL

Sir!

KEAN

Hurry, hurry, Milord.

(Lord Mewill starts to leave. Kean grabs his right arm with his left hand)

Oh - you shall not leave and it's I who tell you so. You still have one hand free -- use it to unmask and believe me better not let my hand near your face.

LORD MEWILL

(wanting to free his arm)

Ah, that's enough of that! I want to know who the insolent fellow is who insults me.

KEAN

And I want to know who the coward is who wants to flee!

(tearing off Mewill's mask)

Come in -- come in everyone -- and bring some lights so we can all see each other.

(Everyone comes in.)

LORD MEWILL

Kean.

KEAN

Lord Mewill. I wasn't deceived.

LORD MEWILL

This is a trap!

KEAN

No, Milord -- for the thing will remain between us -- but since you have insulted me by using my name to commit an act of baseness you will offer me satisfaction, and all will be taken care of.

LORD MEWILL

There's only one difficulty about that, sir. It's that a Lord, a noble, a peer of England cannot fight with a juggler, a mountebank, an actor.

KEAN

(replacing a chair he had knocked down)

Yes, you are right, there's too great a distance between us. Lord Mewill is an honorable man, belonging to one of the first families of England -- rich and of the old conquering nobility if I am not mistaken. It's true that Lord Mewill has consumed the fortune of his fathers by playing cards and dice, in cock matches and horse racing; it's true that his escutcheon is tarnished by the odor of his debauchery and his base action and instead of raising it, he's lowered it. While the juggler Kean was born in the destitution of the people and has been exposed in public squares and having begun without name and without fortune has made his name equal to the most noble name, and a fortune which from the day he cares to make it can rival that of the Prince of Wales. That doesn't prevent Lord Mewill from being an honorable man or Kean from being a juggler! It's true that Lord Mewill wanted to rebuild his fortune to the detriment of that of a young beautiful and defenseless girl -- and without caring, she was from a class beneath his, he tired her with his love, pursued her with his pretentions, and crushed her with his influence. While the Mountebank Kean offered protection to the fugitive who came to ask it of him, received her in his home like a brother would a sister, and let her leave as pure as she came in, although she was young, beautiful and defenseless. That doesn't prevent Lord Mewill from being a lord and Kean from being a Mountebank. It's true that Lord Mewill, Peer of England has his seat in the Lords, makes and unmakes the laws of England, wears an Earl's crown on his carriage and the cloak of a peer on his shoulders, and has only to say his name and the doors of the royal palace open before him. It happens that sometimes Lord Mewill, when he deigns to lower himself among the people, changes his name so that he makes those ancestors blush (though he hoped to avoid making them do so). So he assumes the name of a juggler, a Mountebank and signs a letter in the assumed name. That's a matter of prison and hard labor, nothing more -- nothing less -- do you hear, Milord? While the actor, Kean, walks with his face unmasked and says his name aloud -- for the luster of his name doesn't come from his elders, but turns on itself -- while the actor, Kean, tears the mask from all faces in the theater as in the tavern and strong in the law that he's received, invokes it against the one who did it. Then the actor, Kean, offers Lord Mewill not to speak of that, on this condition of receiving satisfaction for an insult for which society could demand justice. Lord Mewill replies he cannot fight with a juggler, a mountebank, an actor -- oh, on my honor, that's a fine response -- for there is too great a distance between these two men -- Milord, you haven't forgotten in all this that there are three choices? The first is I could denounce your outrage to justice, and place you at this time in its hands; the second is that these are insults that mark a man's face like the brand of the shoulder of a galley slave -- and that I could offer you such an insult -- the third is that you are locked here in my power, in my power and that I could break you between my hands -- do you see? As I would break the glass.

(laughing)

Ha, ha, ha, if I didn't prefer to use it to offer a toast. Pour, Peter! To the happiness of Miss Anna Damby -- to her free choice of spouse -- and may this spouse give her all the happiness she deserves and that I wish her!

ALL

Long live Kean!

KEAN

Now, you may withdraw, Milord.

(curtain)

Act IV

Scene iv

Kean's dressing room.

(Salomon is preparing glasses of sugar water.)

PISTOL

Say there, Papa Salomon, without being too curious, what is it you are doing, huh?

SALOMON

I am preparing a glass of sugar water.

PISTOL

Well, Papa Bob is like Mr. Kean, he must always have something to gargle during the intermissions: only with him it's rum.

SALOMON

Oh, I didn't have to reason for two, we would both do it, but I am of an incorruptible severity, about this -- once in a while I permit a cup of grog, but never anything stronger.

PISTOL

And you are right.

(looking in the armoire)

What are all these old clothes?

SALOMON

What, wise guy -- you call these old clothes, do you? Magnificent costumes!

PISTOL

Of gold -- of real gold -- oh, oh, oh, excuse me then -- there are some shillings in it.

SALOMON

(strutting and preening)

Why we have a wardrobe which is worth two thousand pounds sterling, no less.

PISTOL

Then richer than the King? Choked with diamonds from the crown -- say Papa Salomon here's a door.

SALOMON

Hush!

PISTOL

Does he know that, Mr. Kean? 'Cause someone could come in this way to steal and although it seems not to open -- here, it opens.

SALOMON

Why, serpent that you are -- how'd you do that?

PISTOL

Why with the point of my knife.

SALOMON

If Mr. Kean knew what you just did!

PISTOL

He'd be angry? Then we mustn't tell him. Let's suppose I had seen nothing -- then there is no door -- where would there be a door? It's not me! It's you, Papa Salomon -- oh, pretender!

SALOMON

Are we to have company tonight?

PISTOL

Company? There's a line stretching three times around the theater -- I walked a quarter of an hour the length of the line.

SALOMON

And what are you thinking of it?

PISTOL

I thought that in all those pockets out there -- there's money that's going to go into Papa Bob's pocket. Is he happy, Papa Bob? I'll never have luck or bad luck like his come to me!

SALOMON

Silence, here's Mr. Kean.

PISTOL

(he leaves)

I will make myself scarce.

(Kean enters, tossing his hat.)

SALOMON

Oh! Oh! Pistol did well to get out -- a storm is brewing.

KEAN

Salomon.

SALOMON

Master.

KEAN

Roll out a lion skin, a tiger skin -- a rug -- on the floor -- whatever you like -- it makes no difference to me.

SALOMON

What are you going to do?

KEAN

Somersaults.

SALOMON

(stupefied)

Somersaults!

KEAN

I began that way. In the squares of Dublin and I see quite well, I will be forced to resume my first profession. Have posted in the four corners of London that the lewd Kean will perform acts of agility in Regent Street and in Saint James, on the condition that he be paid five guineas per window, and then a week will suffice to make me a royal fortune for everybody will want to see Hamlet walking on his hands and Othello do a back somersault. While in this cursed theater, I will need, Shakespeare assisting, years and yet more years at the rate I'm going. The more years I spend the more I go into debt, to amass wherewithal to die in miserable honesty in the depths of some village in Devonshire between a slice of rotten beef and a mug of beer. Oh, Glory! Genius! Art! Art! Emaciated skeleton, vampire dying of hunger on whose shoulders we toss a cloak of gold and which we adorn like a god. I can be your victim again, but I will no longer be your dupe. Bah!

SALOMON

What's wrong, master?

KEAN

My hotel is infested with attorneys and I spent the whole day in my carriage after having spent the night in a tavern -- which puts me in a marvelous disposition to be hissed tonight. And all this for a miserable note for four hundred pounds sterling. Come tell me again that I am the greatest actor in England and you wouldn't change my situation for that of the Prince of Wales! Vile flatterer!

SALOMON

Why, it's your fault, too -- if you'd observe some order.

KEAN

Order! That's it and genius -- what will become of genius while I observe order? With a life full and agitated like mine, have I the time to calculate minute by minute and pound by pound what I ought to spend during the day or squander else? Oh, if God had given me that honorable faculty, I'd be selling drapes in the city and not verse in Convent Garden and Drury Lane.

SALOMON

But it seems to me, Master, to return to those four hundred pounds sterling, that you could -- on the tonight's receipts.

KEAN

Are those receipts mine? They're for those brave folks, and do you want me to make them pay for the service, I'm rendering them -- that's a lackey's advice, Ms. Salomon.

SALOMON

But you haven't understood me, master in three or four days you'll give it to them.

KEAN

That's it, right? I will borrow from mountebanks -- me, Kean, get out!

SALOMON

Pardon, Master, pardon.

KEAN

Fine! Fine! Go play my part, do you hear, wise guy? And take care I that I don't forget a single word.

SALOMON

Yes, boss.

KEAN

Or, if you do, you'll have some business with me, my good Salomon -- my old comrade, my only friend.

SALOMON

Come on, come on -- it seems the storm is passed.

KEAN

Eh! Doubtless -- am I not Prospero the Magician? Can't I, by extending my wand cause calm or a tempest evoke Caliban or Ariel? Go away Caliban -- I am waiting for Ariel.

SALOMON

Oh -- that's another matter! Why didn't you say so right away! I'll get out, Master -- I'll get out.

(returning)

By the way, Master, don't forget we are playing six acts tonight.

(he leaves)

KEAN

(alone)

Good and excellent man, friend, at all times, faithful at all hours -- the only soul from which my soul has no secrets, mirror of my sorrows and my vanity. You who only approach me to caress me like a dog does its master -- and who receive, as the reward for your friendship only taunts and scoldings. I will have your name engraved on my tomb in golden letters and people will know Kean had only two friends his lion and you -- my poor Abraham. There's one who understands how to receive my creditors. I have only to spread a rug before the door of my rom to sleep and I was sure of sleeping peacefully -- but I heard steps in the corridor. I'm not mistaken -- will it be she?

(Running to the door by which Salomon left and locking it.)

(Elena enters.)

KEAN

Elena!

ELENA

Kean!

KEAN

Oh -- it's you!

ELENA

(turning)

Wait for me, Gidsa -- I'll only be a minute.

KEAN

But are you sure of this woman?

ELENA

As myself. She's an exile from Venice, like me.

KEAN

You've come. Oh, I hoped for you but I wasn't expecting you.

ELENA

Don't I have reproaches and thanks for you at the same time? What imprudence.

KEAN

What! Now you want me to repent for having acted?

ELENA

Why, who asks you to repent? Come on!

KEAN

And you've come! And you're here! Oh, I cannot believe my luck.

ELENA

Do you believe that I love you now?

KEAN

Oh, yes, I believe it.

ELENA

That's the way you men are: always unjust. It's not enough we confide our honor to you -- we still must risk ruin for you.

KEAN

Oh, no, no - but put yourself for a moment in the place of a poor pariah who sees society swirling around him and who, like a man dreaming, feels himself chained in his place and is reduced to darting avid glances into enchanted gardens where he sees privileged beings gathering the fruits he thirsts for. Oh, indeed they must come to us since we cannot go to them.

ELENA

And as I cannot come as often as I would desire, I wanted that in my absence, my picture would answer for me.

KEAN

Your picture -- you've had your portrait done for me, Elena? Yes, there it is. Why you are even more beautiful!

ELENA

Don't you want it, sir?

KEAN

Oh, yes, yes, I want it -- here -- here by my heart -- always.

ELENA

You love me then?

KEAN

Can you ask that of me?

ELENA

(taking his hand)

My Othello.

KEAN

Oh, you got that right -- for I am as jealous as the Moor of Venice, do you understand, Desdemona?

ELENA

Jealous ! and of whom, Good God?

KEAN

Oh, you know quite well.

ELENA

No, I swear to you.

KEAN

Don't swear for I no longer believe in your other oaths -- women have an instinct which tells them that a man loves them before he tells them himself.

ELENA

Why many young dandies pay me court, sir --

KEAN

I know it, and yet there's only one man I fear.

ELENA

You fear someone?

KEAN

I ought to say that I fear his reputation, his rank.

ELENA

You want to say the Prince of Wales, I see.

KEAN

Yes -- not that I fear you love him, I fear only they will say so.

ELENA

But what do you want me to do? It's not I who asks him to come, it's my husband.

KEAN

I know that very well, on my honor! And that's what torments me. At your home, at the theater, promenading, he's always at your side. How do you expect anyone to believe that the most powerful man in England loves without hope -- especially as one knows perfectly well, that's not what he's accustomed to do? Oh, when I see him near you, Elena, it drives me mad!

ELENA

Well -- would you like me not to come to the performance this evening?

KEAN

On the contrary -- oh! Come there, I beg you. If you don't come and by chance he doesn't come either, then I will think you are together.

ELENA

How crazy you are to create such fears!

KEAN

But, mustn't we always be wretched? Wretched if we are not loved -- wretched if we are? Elena! Elena!

(falling to his knees)

Pity me! Pardon me!

ELENA

And what do you want me to pity, you for -- dreamer? And what should I forgive you for -- jealous man?

KEAN

Pardon me for having spent these few moments that you granted me tormenting you and tormenting myself instead of using them to tell you I love you and repeating it to you a hundred times.

ELENA

Someone's knocking.

KEAN

The key's out!

ELENA

Ah, my God.

KEAN

Who is there?

PRINCE

Me!

ELENA

The voice of the Prince of Wales.

KEAN

Who are you?

PRINCE

The Prince of Wales, by God.

COUNT

And the Count de Koefeld.

ELENA

My husband? Oh, I am ruined.

KEAN

Silence! Your veil and leave! Leave! Pardon my Prince, but I am ill for the moment.

(to Elena)

Hurry!

ELENA

How do you open this door?

KEAN

From having on my heels certain men who pursue me for four hundred miserable pounds sterling.

PRINCE

I understand.

ELENA

(to Kean)

Come help me.

KEAN

Wait.

(to Prince)

And who do not scruple to employ the respectable name of Your Highness to get to me = be good enough to slip your name to me written in your hand, Milord.

PRINCE

What are you doing?

KEAN

I am withdrawing the key to free up the passage.

(to Elena)

Here I am: goodbye, Elena, I love you, love me, goodbye.

(Kean locks the door by which Elena leaves and returns to the other door through which the Prince passes a banknote)

A banknote for 400 pounds sterling. It's truly a royal calling card. Enter my Prince, it's really you.

(he opens: The Prince and the Count enter)

PRINCE

(entering and looking in every direction)

You don't suspect a thing, Count. On entering Romeo's dressing room, we've made Juliette flee.

COUNT

Really?

KEAN

Oh, what a crazy idea, Milord. See -- look around.

PRINCE

Oh -- an actor's dressing room is a machine like a castle in a gothic novel. There are invisible trap doors which lead into subterranean depths, panels which open into secret corridors --

KEAN

(to the Count)

How grateful I am to Your Excellency for having come to the dressing room of a poor actor!

PRINCE

Oh, don't think you deserve it, you coxcomb, it's from curiosity. The Count, diplomat that he is, had never set foot in the greenroom of a theater, and he wanted to see --

KEAN

An actor dressing -- I warn Your Highness. We have a very strictly observed etiquette, Count -- we actors, we courtiers of the public just like you courtiers of the King -- we must be ready on time, under pain of being hissed -- and wait -- that's the second time it rang -- so you'll allow me --

COUNT

Eh, my God -- act as if we weren't here. At least don't let us disturb you.

KEAN

Not at all.

SALOMON

(entering)

Here I am, Master.

KEAN

But above all, Milord, take back this note, I pray.

PRINCE

No -- it's the price of my seat, which it pleases me to pay you, Scotsman instead of paying at the box office.

KEAN

Under that title, I accept it -- come Salomon, my friend, you know what must be done with this money.

(Kean steps behind a curtain.)

COUNT

(to Prince)

And you think he was with a woman?

PRINCE

I'm sure of it.

COUNT

Miss Anna, perhaps.

PRINCE

Oh, it's very difficult to tell.

COUNT

(noticing a fan forgotten by his wife)

Well, I'll find out, I'll answer for that.

(slipping the fan into his pocket)

PRINCE

What's that?

COUNT

It's a diplomatic secret.

KEAN

(behind the curtain)

Well, Your Highness, what's new?

PRINCE

Nothing, really important, ah, an insolent fellow, I believe, insulted Lord Mewill, yesterday evening at the Coal Cellar Tavern.

COUNT

And why's that?

KEAN

Because Lord Mewill refused to fight with him, under the pretext he was an actor? Yes, I heard tell of that, it seems to me.

PRINCE

What do you say of the excuse, Count?

COUNT

I don't know what the customs of the English are on this subject, but we Germans, when we feel we've been insulted fight with everybody, except thieves whom we entrust to the galleys to do us justice.

KEAN

(returning with his tights and his pointed slippers)

Fine Count, you have a noble heart. And the Germans are a noble people -- I promise you to go get myself killed in Vienna.

COUNT

And you will be well received, while waiting, I thank the Prince for having introduced me to this sanctuary of the arts.

KEAN

As for me, Count, I offer you my excuses as the grand priest for receiving you from the first day, like an initiate.

COUNT

Shall we let Mr. Kean finish dressing, Milord?

KEAN

(low to the Prince)

I urgently want to speak to Your Highness.

PRINCE

Go ahead, Count, I will rejoin you.

COUNT

Your Highness knows the number of the box.

PRINCE

Yes, in the --

(low)

You'll tell me, right?

COUNT

Don't worry.

(bows)

Mr. Kean.

KEAN

(bowing)

Milord.

(The Count leaves.)

KEAN

Oh, my Prince, I am lucky to find myself alone with you.

PRINCE

And why's that?

KEAN

To thank you for all your kindnesses first of all, and then to present my excuses. You went by my lodging and they told you I wasn't home.

PRINCE

While you were home?

KEAN

Yes, but business of the greatest importance.

PRINCE

Bah! Between friends -- is that something to be annoyed about?

KEAN

I stop you at the word, Milord. Between friends.

PRINCE

Do you think that it compromises you?

KEAN

No, surely, but I want to know if Your Highness, lets this word fall from the tip of his lips or from the depths of his heart?

PRINCE

Hey! What have I done to have deserved Mr. Kean posing me that question in a manner so blunt and precise? Isn't my purse always at your service? Isn't my palace open at any hour? And each day the people and the nobility -- don't they see you traverse the streets of London in my carriage and at my side?

KEAN

Yes, and these things, I know, are proofs of friendship to the world, and surely everyone thinks that I have only to ask Your Majesty to obtain whatever I choose to wish.

PRINCE

Ah, everybody thinks that.

KEAN

Except me, Milord! Except me -- I am not deceived that much by these exterior signs -- sufficient for my vanity -- but, as flattering as they are, still leave a doubt at the bottom of my heart.

PRINCE

And what is it, if you please?

KEAN

Here it is, Milord -- it's that if I had asked Your Highness not for those favors which a Prince grants a subject but a sacrifice from one equal to another, perhaps the beneficence of the protector wouldn't go as far as the devotion of a friend.

PRINCE

Put it to the proof.

KEAN

If I said to Your Highness, we artists, Milord, we have bizarre loves that don't resemble those of other men -- for they don't cross the footlights, well, these loves are not less passionate and jealous -- sometimes it happens that among the women who are habitually present to our performances, we choose one who is for us the angelic inspiration of our genius -- all that our parts contain of passion and tenderness -- we address that to her -- the two thousand spectators who are in the audience disappear before our eyes -- which see only her; the applause of the public is indifferent to us for only her applause drives our ambition -- it's her soul that our voice seeks out amongst all those souls -- it's not for the reputation, not for the glory, for the future that we are playing -- it's for a sight, for a glance, for a tear -- from her.

PRINCE

Well?

KEAN

Well, Milord, if this woman deigns to notice this power she is exercising over us; if taking pity on the distance that separates us from her in reality, she allows us to cross it in our dream, if the happiness we feel from it, vain and frivolous as it is -- is happiness nonetheless! If finally, this imaginary love has its jealousies like a material love, shouldn't the man causing them take pity on the wretch who is enduring them?

PRINCE

Meaning, I am your rival, right?

KEAN

That word supposes equality, Milord, and you know I am stationed too far beneath you.

PRINCE

Hypocrite! And what can I do for the greater tranquility of your love, Mr. Kean?

KEAN

Milord, you are young, you are handsome, you are a prince. There's not a woman in England who can resist all your seductions. You have for your distractions, your whims, or your love affairs, London and it's suburbs, finally, you have Scotland and Ireland, the three Kingdoms. Well, pay court to all the women -- except --

PRINCE

Except to Elena, right?

KEAN

You've guessed it, Milord!

PRINCE

Ah -- it's the beautiful countess of Koefeld, the lady of our secret thoughts? I suspected it, you rogue! When I saw you come to her home to clear yourself, you are her lover!

KEAN

No, Milord! I have for her, I told you only that artistic love to which the greatest actors owe their most exalted success. But I've made this love my life, you see -- more than my life -- my glory -- my happiness!

PRINCE

But if I withdraw, another will take my place.

KEAN

And what does anyone else matter to me, Milord -- I only fear you -- for on anyone else I can avenge myself -- whereas, you, Milord --

PRINCE

You are her lover!

KEAN

No, Your Highness, but for example, when she's at a performance, and when from the stage where I am chained, I see you enter her box -- oh, you cannot understand all that takes place within me; I no longer see; I no longer hear -- all my blood is rushing to my head -- it seems to me I am going to lose my mind.

PRINCE

You are her lover!

KEAN

No, I swear to you. But if you have the least friendship for me -- and you don't want to involve me in some scandal -- of which I will repent from the bottom of my heart -- don't go into her box, I conjure you! Heavens, talking of nothing but this -- I'm forgetting myself. It's ready to begin and I am not ready.

PRINCE

I'm leaving you.

KEAN

Do you promise me?

PRINCE

Confess you are her lover.

KEAN

But I can't confess to you something that isn't.

KEAN

But I can't confess to you something that isn't.

PRINCE

Goodbye, Kean.

KEAN

Milord.

PRINCE

I am going to applaud you.

KEAN

In your box?

PRINCE

No half confidences, Mr. Kean or I will make only half promises.

KEAN

(bowing)

I can tell you only things as they are. Act as seems proper to you, Milord.

PRINCE

(leaving)

Thanks for your permission, Mr. Kean.

(Exit the Prince.)

SALOMON

(entering)

(holding a vest in his hand)

Master! Master! Let's hurry --

KEAN

Here I am!

(putting on the vest)

Oh, I had understood very clearly. My friend! Him, my friend! There's only one friendship between equals, Milord, and it was nothing but vanity to have me in your carriage -- what stupidity for me to get in it --

(knocking on the secret door)

Someone's knocking on the secret door which is known only to Elena.

GIDSA

Open up, Mr. Kean. It's me Gidsa.

KEAN

(opening)

Gidsa -- what do you want? What's happened?

GIDSA

My mistress forgot her fan, and I've come to get it.

KEAN

Her fan? Have you see it, Salomon?

SALOMON

No, Master.

KEAN

Look, Gidsa -- search.

GIDSA

Oh! My God -- what's to be done? My Mistress is fond of it -- it's a gift from the Prince of Wales.

KEAN

Ah! It's a gift from the Prince of Wales? Look in her carriage, she probably forgot it there.

GIDSA

You are right.

KEAN

(giving her a purse)

Here, child, if your Mistress has lost her fan, at least you've found something.

GIDSA

Thanks, Mr. Kean.

(She leaves.)

KEAN

A fan given by the Prince of Wales! I understand that why you cling to a royal present.

(calling)

Darius!

Well, why doesn't he come -- that fool of a dresser? Darius!

SALOMON

Adjust your diamonds, Master, at least me call him in your place.

(calling)

Darius!

DARIUS

(entering, wig in hand)

Here! Here!

KEAN

(sitting down)

What were you doing then, wise guy?

DARIUS

(fussing with the wig)

I beg your pardon, I was --

KEAN

Gossiping -- right? Come here and dress me.

STAGE MANAGER

(opening the door)

Can we notify the public in the foyer, Mr. Kean?

KEAN

Yes, I am ready.

STAGE MANAGER

(withdrawing)

Thanks --

KEAN

While he's dressing me, Salomon, find that fan --

DARIUS

What fan?

KEAN

A fan that was lost here.

DARIUS

Ah, I can tell you, because I saw the gentleman who came with the Prince of Wales -- he had it -- which was funny -- a fan --

KEAN

A fan trimmed with diamonds?

DARIUS

Yes -- and which was shining boldly. I said to myself when I saw it, "If I found a fan like that, I wouldn't do anymore wigs" and yet I do wonders with wigs!

KEAN

(jumping up)

You saw that fan in the hands of the Count de Koefeld?

DARIUS

I don't know if he was the Count de Koefeld but what I do know is he wasn't very happy and he put the fan in his pocket as if he was a little vexed.

KEAN

Oh -- why what's he going to think? He'll suspect that Elena came here.

STAGE MANAGER

(at the door)

They're going to raise the curtain, Mr. Kean.

KEAN

I am not ready.

STAGE MANAGER

But you said we could ring.

KEAN

Go to the devil!

STAGE MANAGER

(terrified)

Don't raise the curtain! Don't raise the curtain.

KEAN

What's to be done? How to warn her? I cannot go there, and I cannot send someone to her -- oh -- this is enough to make one lose one's mind.

DARIUS

Well, Mr. Kean -- your wig?

KEAN

Leave me alone.

(Noise outside.)

SALOMON

Boss -- do you hear?

THE AUDIENCE

(shouting and stamping)

The curtain! The curtain! The curtain!

SALOMON

The audience is getting impatient!

KEAN

What's that to me? Oh cursed profession! Where no feelings belongs to us, where we are neither masters of our joy nor our sadness -- where broken hearted we must play Falstaff, where with a joyous heart we must play Hamlet! Always a mask never a true face. Yes, yes, the public's getting impatient -- for it's expecting me to amuse them, and it doesn't know that at this hour, my tears are choking me. Oh, what torture and then if I go on stage with all the tortures of hell in my heart, if I don't smile there, where I'm supposed to smile, if my wandering mind changes word the audience will hiss, the public which knows nothing, which understands nothing which conceives of nothing that's happening behind the curtain -- which takes us for automatons as having no other passions than those of our roles -- I shall not play.

(Pistol appears in the doorway.)

SALOMON

Master, Master, what are you saying?

KEAN

I won't play, that's what I am saying.

STAGE MANAGER

(returning on this last word)

Sir, they will force you.

KEAN

Who will, if you please?

STAGE MANAGER

The Constable.

KEAN

Let him come.

SALOMON

Master, Master, in the name of heaven! They will put you in prison.

KEAN

In prison? Well, so much the better. I shall not play!

SALOMON

Nothing can be done to make you change your decision?

KEAN

Nothing in the world. I won't play.

STAGE MANAGER

But the box office is closed.

KEAN

Then return the money.

STAGE MANAGER

Sir, you are not performing your duty.

KEAN

I will not play, I will not play, I will not play.

(breaking a chair)

STAGE MANAGER

Do as you please, the benefit is not for me.

(he leaves. A prolonged uproar. Kean falls into a chair)

PISTOL

(by Kean's side)

Well, Mr. Kean and Papa Bob?

SALOMON

(on the other side of Kean)

These brave people cannot pay the expenses of the evening.

PISTOL

It's not the fault of Bob's poor family if someone has vexed you.

SALOMON

Come, Master, have pity on the poor wretches.

PISTOL

You gave us your word.

SALOMON

And it would be this first time you broke it.

KEAN

(in great despair)

Enough -- James, take this.

(gives him his dressing grown)

Where is Darius?

SALOMON

He left.

DARIUS

Here I am!

KEAN

Where is the stage manager?

SALOMON

(to Pistol)

Go find him.

(Darius and Pistol bump into each other.)

KEAN

Where's my cape?

(they give it to him)

What's this? It was my sword belt that I asked for.

PISTOL

(returning)Here, Mr. Kean, here!

STAGE MANAGER

You called me?

KEAN

Yes, sir, my sword.

SALOMON

Your sword?

KEAN

Eh! Yes doubtless -- my sword. Does that astonish you? How do you expect me to kill Tybalt?

(to Stage Manager)

Sir, I am playing.

STAGE MANAGER

Oh, Mr. Kean -- how grateful!

KEAN

That's fine -- only make an announcement. Say I am indisposed, that I am ill. Then say whatever you please, I am choking.

STAGE MANAGER

Oh, thanks, Mr. Kean. Thanks.

(he leaves)

SALOMON

It was in time. It seems the public was beginning to break the seats.

KEAN

And the public is right, sir. I would really like to see you in the hall if you took your ticket at the door and they made you wait -- what were you saying?

SALOMON

Hell! Master!

KEAN

What were you saying? You were saying that an actor belongs to his public above all?

SALOMON

Oh!

KEAN

And you would be right. Come on plough horse, now that you are in harness, go plough your Shakespeare.

STAGE MANAGER

I'm ready, Mr. Kean. Can I make the announcement? The hall is packed. They're still beating on the door.

KEAN

Go.

(The curtain falls. The stage manager steps in front of it the moment it touches the ground.)

STAGE MANAGER

(to the real audience)

Ladies and gentlemen, Mr. Kean finding himself suddenly indisposed and fearing not to be able to perform worthily of the honorable eagerness that you show for him, charges me to ask all your indulgence.

AUDIENCE

Bravo! Bravo! Bravo!

(The Stage Manager bows again and withdraws -- the orchestra, plays "God Save the King" -- and the curtain when it rises on the farewell scene from Romeo and Juliette.)

(short blackout or curtain)

Scene v

Romeo, at the door of a gothic dungeon on a balcony. Juliet on the last step of the dungeon. The Countess de Koefeld, the Prince of Wales in a box overlooking the stage. Lord Mewill in a box on the side.

(Enter Romeo and Juliet aloft (at the window.))

JULIET

Wilt thou be gone? It is not yet near day.

It was the nightingale, and not the lark,

That pierced the fearful hollow of thine ear.

Nightly she sings on yond pomegranate tree.

Believe me, love, it was the nightingale.

ROMEO

It was the lark the herald of the morn;

No nightingale. Look, love, what envious streaks

Do lace the severing clouds in younder East.

Night's candles are burnt out, and jocund day

Stands tiptoe on the misty mountain tops.

I must be gone and live, or stay and die.

JULIET

Yond light is not daylight; I know it, I. It is some meteor that the sun exhales

To be to thee this night a torchbearer

And light thee on they way to Mantua.

Therefore stay yet; thou need'st not to be gone.

ROMEO

Let me be ta'en, let me be put to death. I am content, so thou wilt have it so.

I say yon gray is not the morning's eye,

'Tis but the pale reflect of Cynthia's brow;

Not that is not the lark whose notes do beat

The vaulty heaven so high above our heard.

I have more care to stay than will to go.

Come, death, and welcome! Juliet wills it so.

How is't, my soul? Let's talk; it is not day.

JULIET

It is, it is! Hi hence, be gone, away!

It is the lark that sings so out of tune.

Straining harsh discords and unpleasing sharps.

Some say the lark makes sweet division;

This doth not so, for she divideth us.

Some say the lark and loathed toad change eyes;

O, now I would they had changed voices, too,

Since arm from arm that voice doth us affray,

Hunting thee hence with hunt's-up to the day.

O, now be gone! More light and light it grows.

ROMEO

More light and light -- more dark and dark our

woes.

(Enter Nurse (hastily))

NURSE

Madam!

JULIET

Nurse?

NURSE

Your lady mother is coming to your chamber.

The day is broke; be wary, look about.[Exit]

JULIET

Then, window, let day in, and let life out.

ROMEO

Farewell, farewell! One kiss, and I'll descend.

(He goethe down.)

JULIET

Art thou gone so, love-lord, ay husband-friend?

I must hear from thee every day in the hour,

For in a minute there are many days.

O, by this count I shall be much in years

Ere I again behold my Romeo!

ROMEO

Farewell!

I will omit no opportunity

That may convey my greetings, love, to thee.

JULIET

O, think'st thou we shall ever meet again?

ROMEO

I doubt it not; and all these woes shall serve

For sweet discourses in our times to come.

JULIET

O God, I have an ill-divining soul!

Methinks I see thee, now thou art so low,

As one dead in the bottom of a tomb.

Either my eyesight fails, or thou lookest pale.

ROMEO

And trust me, love, in my eyes so do you,

Dry sorrow drinks our blood. Adieu, adieu!

(Exit)

JULIET

O Fortune, Fortune! All men call thee fickle.

If thou art fickle, what dost thou with him

That is renowned for faith? Be fickle, Fortune,

For then I hope thou wilt not keep him long

But send him back.

(She goethe down from the window)

(At this moment, Kean, who had already put his leg over the balustrade, notices the Prince of Wales in Elena's box -- and instead of making his exit, he comes downstage and stares fixedly at the box, arms crossed.)

JULIET

(following him)

Well, what's he doing.

(low to Kean)

Mr. Kean, you are forgetting your exit.

SALOMON

(in the winds, script in hand)

Master! Master!

JULIET

(repeating)

Adieu, my Romeo.

SALOMON

(whispering)

My Juliet, adieu.

KEAN

(laughing)

Ha, ha, ha!

SALOMON

(whispering)

Romeo.

JULIET

Romeo --

KEAN

Who's calling me Romeo? Who here thinks I am playing the role of Romeo here?

JULIET

Kean, are you going nuts?

KEAN

I am not Romeo -- I am Falstaff, the companion in debauchery of the crown prince of England. Help me, my brave comrades -- help me, Pons, help me, Peto! Help me Bardolph -- to me quickly, the innkeeper and pour, pour to the brim so I can drink to the health of the Prince of Wales, the most debauched, the most indiscreet, the most conceited of us all. To the health of the Prince of Wales, to whom everyone is good from the tavern wench, who serves sailors in the port, to the maid of honor who throws the royal mantle over the shoulders of his mother! To the Prince of Wales, who I thought my friend and to whom I am only the jester and plaything. Ah, prince royal, indeed it's good you are taken to be sacred and inviolable, I swear it -- otherwise you'd have an affair with Falstaff.

LORD MEWILL

(from his box

Down with Kean! Down with the actor!

KEAN

Falstaff? Eh! I am no more Falstaff than I was Romeo -- I am Punch -- the Falstaff of the squares -- A stick for Punch, a stick for Lord Mewill, a stick for the wretched kidnapper of young women, who wears a sword at his side and refuses to fight with those whose name he has stolen, and who under the pretext he is noble, that he is a lord, that he is a peer -- ah, yes, a stick for Lord Mewill -- and we shall laugh -- ah, ah, ha -- how I suffer -- help me! My God! Help me!

(Kean falls into the arms of Juliet and Salomon, who drag him through the door of the dungeon.)

STAGE MANAGER

(appearing at the back)

Is there a doctor in the theater? A doctor in the theater -- where is he?

DARIUS

(running to retrieve Kean's wig, which Kean threw down)

He's with Mr. Kean.

STAGE MANAGER

Where?

DARIUS

(pointing to the dungeon)

There.

MERCUTIO

(entering in costume)

What's happened?

CAPULET

(also in costume)

I don't know -- it happened to him while he was on stage.

THE LEADER OF THE DUMB SHOW

(leading his men)

Come.

(The Dumb Show enter.)

MERCUTIO

That's not your entrance.

(diverse chatter)

Yes -- no -- yes.

CAPULET

(seeing Salomon appear)

Silence!

SALOMON

(coming forward -- a handkerchief in his hand)

Ladies and gentlemen, the performance cannot continue. The sun of England is eclipsed -- the celebrated, the illustrious, the sublime, Kean has just been struck with a fit of madness.

(A sorrowful scream can be heard from the box of the Countess de Koefeld.)

(curtain)

Act V

Scene vi

A room at Kean's home.

SALOMON

That's it, gang -- inscribe your name -- here's the list.

BARDOLPH

(after having written his name)

And what kind of night did he have?

SALOMON

Terrible!

TOM

Then he's really mad?

SALOMON

Chained up.

DAVID

And at this very moment the doctor's bleeding him?

SALOMON

White.

DARIUS

White.

BARDOLPH

But what is the nature of his madness?

DARIUS

Yes, look what kind of madness is it?

SALOMON

Frenzied madness.

DAVID

And what's he do when he's in his fit?

SALOMON

He lashes out.

DARIUS

On what?

SALOMON

On everything -- and preferably on those he knows.

DARIUS

What, he attacks his acquaintances?

SALOMON

Ah, my God, yes.

DARIUS

He must have been better.

SALOMON

I'm afraid of it?

DARIUS

And he's rabid -- I've dressed the hair of a rabid man. A man who had a position, what! He was a member of the City Council. Well, his madness was to write tragedies. No one else writes them -- well, all the same, others did but then they refused -- he always did.

SALOMON

And he became rabid?

DARIUS

Yes, yes, yes, but he didn't do any harm -- he no longer had any teeth -- they let him write them, pour dear man -- that amused him.

SALOMON

Eh! Wait -- someone's coming.

DARIUS

Mr. Kean, I'm just leaving.

SALOMON

No, the doctor.

(Enter the doctor.)

DARIUS

Ah, the doctor. Well doctor?

TOM

How's Kean doing?

DAVID

Is there some hope?

DOCTOR

(giving Salomon a paper)

You will follow these orders precisely; any other treatment except as indicated on this paper can only worsen his condition.

(leaves)

SALOMON

You see that the thing is serious, huh? Let's see what the doctor orders.

(turning the paper on all sides. it is blank)

Ha, ha.

DARIUS

Well, what's the doctor's order?

SALOMON

Four dashes, two bleedings, a mustard plaster.

DAVID

Do you want me to tell you something, Salomon? Your doctor seems like an ass to me.

DARIUS

Yes, yes, he indeed seems an ass to me.

DAVID

And in your place, I would treat him my own way.

SALOMON

What would you give him? Look!

DAVID

I'd take some good Bordeaux wine, put it in a saucepan with some lemon, cinnamon, and sugar. I would heat it up and in a jiffy I would give him some in a glass.

DARIUS

No, no, no, as for me, I wouldn't do that.

SALOMON

Well -- what would you do?

DAVID

I tell you that a glass --

DARIUS

No - -listen, David, you play the lion very well, you are magnificent in an animal skin, but when it's a question of medicine, it's another matter, in Salomon's place I would make hot wine.

DAVID

You see -- indeed --

DARIUS

Patience! I would shave his head like his kneecap, that would refresh his brain, the I would order a wig -- which is full of the best hair -- hair number one.

SALOMON

And the hot wine?

DARIUS

I'd brink that, if course.

(they ring)

Say Salomon -- someone's ringing.

SALOMON

Come one, another fit is taking him.

DARIUS

A fit, I'm off.

(Salomon stops him.)

DAVID

We have to go, we have to go.

DARIUS

Salomon, Salomon, no kidding around, look.

(More ringing.)

TOM and BARDOLPH

Save yourself if you can.

SALOMON

Darius, my friend, you are the bravest. Stay with me, I beg you.

DARIUS

Papa Salomon, if you don't release me, I shall make a complaint, I'll denounce you. I will never again powder your wigs, I will stuff black needles in your breeches and I will bite your nose.

(Salomon release him)

Ah, why.

(he runs away)

SALOMON

Ah, they're gone -- I hope this is going to spread, for if he came to know --

PISTOL

(rising from the corner where he had remained seated and going to Salomon)

Mr. Salomon.

SALOMON

You are still here, you -- why didn't you leave with the others?

PISTOL

Because you said you needed someone, sir.

SALOMON

You're a brave lad; get out.

PISTOL

Me? Never.

SALOMON

Promise me to be discreet?

PISTOL

Me? I should think so.

(Salomon whispers in his ear)

Really? Oh!

SALOMON

Not a word.

PISTOL

They can sooner cut my throat. Oh, how happy I am -- how happy I am.

(he bursts into tears)

Oh, Mr. Kean, Mr. Salomon! Oh, I am going.

(he leaves)

KEAN

(entering)

With whom were you talking then?

SALOMON

With some comrades from the theater -- that imbecile, Darius and little Pistol.

KEAN

And what did you tell them?

SALOMON

That you were so mad you had to be chained up.

KEAN

You were wrong.

SALOMON

What do you mean, I was wrong? But think -- if they were to leave, this madness was only a sham.

KEAN

Well?

SALOMON

And that you'd insulted in cold blood Lord Mewill and the Prince of Wales.

KEAN

So?

SALOMON

They would punish you severely.

KEAN

What does it matter to me? What can they do to me? Put me in prison? Well, I will go.

SALOMON

Yes, but me, I won't go.

(aside)

Egoist!

(aloud)

Still, if you only pretend for a week -- you are so good in King Lear!

KEAN

Mr. Salomon, I play comedy from eight in the evening until midnight, but never do I give matinees.

SALOMON

Master.

KEAN

Enough on this subject. Give me the list of characters who came to see me.

SALOMON

There are two lists, one here, the other with the concierge -- this is that of intimate friends.

KEAN

That's fine, go! She won't dare show herself here but she will come below or send someone, I'll find -- no, not her name, doubtless but a word, a sign which will allow me to recognize that she has thought of me -- of me, who is suffering so much for her, my God!

SALOMON

Here!

KEAN

Give me.

SALOMON

There are these more than two names that are surprising to find together.

KEAN

Yes, yes, there are names of the rich, the noble, the powerful -- there are names of artists, of workers, of street porters -- from that of the Duke of Sutherland, Prime Minister, to William, the Coachman -- yes, I think all the names are there except the one I seek -- she won't have dared to send. Oh, to come herself, without doubt -- she will seize the occasion -- the first moment that her husband lets her free. Salomon, go into the side room, don't let in anyone except --

SALOMON

Except Ariel, right? Ariel excepted, right?

KEAN

Yes, yes, Ariel. Go, my good Salomon, go - -and if she comes bring her in instantly -- without asking her name -- for she's a great lady, you see.

SALOMON

But how will I recognize her?

KEAN

I'm expecting only her.

SALOMON

Rest easy.

(Exit Salomon.)

KEAN

Ten o'clock and not a word from her, not a message, not a letter! Ah, you were more worried about your fan than about me. Oh, this is not as if you were in love Elena, and it's sad to think if that accident were real, at this hour I would be dead -- without having seen you -- without hearing your voice. How uneasy I am. I have her portrait here -- on my heart, and I am lamenting. Could it be that the Count who found the fan, before whom I played that scandalous scene yesterday to the Prince of Wales has opened his eyes? Oh, yes, it's possible, it's probable, that's it. And when I think that right now, perhaps, Elena is suspected, accused -- threatened -- calling me to her aid -- oh, I can stand it -- Salomon! Salomon!

SALOMON

(entering)

Master?

KEAN

No one yet?

SALOMON

No one.

KEAN

Hitch the horses to the carriage.

SALOMON

The horses?

KEAN

Eh! Yes, the horses -- what's surprising in that? I'm going out.

SALOMON

You're going out?

KEAN

Newman! Newman!

SALOMON

What do you want with him?

KEAN

Perhaps he will obey me.

SALOMON

Don't you know that whatever you wish, your poor Salomon will do?

KEAN

Well, go about it then, and don't let me suffer any longer. Don't you see I've got a fever, that my head is burning, that my blood boils -- anyway, I will shut the blinds, I will content myself with passing beneath her windows, I --

(seeing that Salomon has not left)

Well, not yet?

SALOMON

I am going, Kean, I am going -- ah -- someone's knocking.

KEAN

Yes, yes -- someone's knocking -- well, go open up.

SALOMON

And if it's she, you will stay, right?

KEAN

(laughing)

Imbecile!

SALOMON

I'm running.

(leaves)

KEAN

(leaning on the back of a chair)

Child that I am -- but it's because may god forgive me -- my heart is beating as it did when I was 20 -- I am really crazy -- and I don't need to feign madness.

SALOMON

(appearing)

She's here, Master, she's here --

KEAN

She is? Elena! Elena! Elena! -- it's you.

ANNA

(raising her hood)

No, Mr. Kean, it's me.

KEAN

(collapsing into a chair)

Ah!

ANNA

Pardon me for having come like this, but you understand? This morning a terrible rumor spread through the town that yesterday, during the performance, you were struck with a fit of madness -- I said, "he has no mother, he has no sister -- there's no one hear him! I shall go to him."

KEAN

Anna! Ah! I recognize indeed your devoted heart -- Anna, on my God, you are a good honest soul -- ah, you didn't tremble, did you -- for your reputation? For your honor? You weren't afraid that people would say you are my mistress? You listened only to your heart -- you came -- whereas she -- that's fine -- let's talk about you, Anna.

ANNA

Oh -- then this rumor was not true?

KEAN

No, I am not so fortunate. A madman must really be happy -- he laughs -- he sings -- he remembers nothing.

ANNA

Ah, now I shall be able to leave in peace if not happy.

KEAN

You are leaving? You're quitting London?

ANNA

London? Oh -- that wouldn't be enough. I'm leaving England.

KEAN

Are you free to do it? And your guardian?

ANNA

I attained my majority this morning and the first use I made of it was to sign an engagement with an agent of a theater in New York.

KEAN

So nothing has changed your determination -- and picture I painted you of this career?

ANNA

That career was painted for a poor girl and not a rich heiress -- do you think silk and velvet are so expensive, Mr. Kean, that 20,000 pounds sterling of income will be insufficient to pay for my costumes?

KEAN

And why with so great a fortune and so much beauty -- ?

ANNA

Neither the one nor the other has sufficed to make me love -- and I want to add talent to it to increase my dowry.

KEAN

Poor child.

ANNA

Oh, even in the midst of your triumphs, your pleasures, your love affairs, even so, you'll retain a memory of the poor exile, who would have left everything with a single goal -- a single hope?

KEAN

Anna, dear Anna!

ANNA

Oh -- and you'll allow me to write you, to tell you my regrets, my work -- my progress? For -- I'm going to do it, oh -- I swear to you -- especially as quite distant from me as you may be, you will indeed counsel and support me.

KEAN

Oh, all that I can for my best friend -- I will do, be sure of it -- but when will you leave?

ANNA

In two hours.

KEAN

Here?

ANNA

My place is reserved on the steamboat, Washington.

SALOMON

(entering mysteriously)

Master!

KEAN

Well.

SALOMON

She came up by the private staircase -- she came in the moment. I expected her the least.

KEAN

Who?

SALOMON

A lady.

KEAN

What's her name?

SALOMON

She only wanted to tell me her first name: Elena?

KEAN

Where is she?

SALOMON

In the side room. She seems desperate. She absolutely wanted to see you.

KEAN

Oh, my God! What to do?

ANNA

It's she, right?

KEAN

Yes.

ANNA

They say she's beautiful. Let me see her, Kean.

KEAN

Oh, it can't be.

ANNA

Don't be afraid. I have only one thing to ask of her, one prayer to demand -- I will throw myself at her feet, and I will say to her "Make him happy, Madame, for he really loves you."

KEAN

No, no, Anna, that's impossible. She won't believe in the innocence of our relations. How could she -- seeing you so young and so beautiful -- ? Oh, go into this room, I beg you -- forgive me Anna, forgive me.

ANNA

(going in)

Do I have the right to complain?

KEAN

Now, Salomon, show her in, show her in right away.

(Elena enters.)

KEAN

It's you, Elena -- it's you -- oh, then you have come, risking everything that could happen to you? If you knew how I was waiting for you?

ELENA

I hesitated a long while, I will admit it to you, Kean but our common danger.

KEAN

Our danger?

ELENA

Yes, a letter might be intercepted. I was trembling that you might be arrested.

KEAN

Arrested, me? And why's that?

ELENA

Because the rumor begun to spread that it was a fit of rage and not madness, that made you insult the Prince of Wales and Lord Mewill -- the rumor says Lord Mewill was seen this morning by the King to whom he complained an the Minister from whom he obtained a warrant -- a terrible trial threatens you, Kean -- flee -- you don't have a moment to lose -- and tonight leave London, leave England, is possible -- you will only be in safety in France or in Belgium.

KEAN

Me, flee? Me, leave London, England like a trembling coward? Oh, you don't know me, Elena. Lord Mewill wants publicity -- well, we will give it to him. His name is not known honorably enough -- it will be as it deserves to be.

ELENA

You are forgetting that another name will also be pronounced in the debates; they'll seek out the motives for this double distraction, against the Prince Royal and Lord Mewill -- and they will find it.

KEAN

Yes, yes -- you are right -- and all this is perhaps a piece of luck. Do you love me, Elena?

ELENA

You ask that?

KEAN

Listen; you too, you are compromised.

ELENA

I know it.

KEAN

No -- you don't know everything yet - that fan that you forgot yesterday in my dressing room.

ELENA

Well?

KEAN

It was found.

ELENA

By whom?

KEAN

By the Count.

ELENA

Great God!

KEAN

He knew it, didn't he?

ELENA

Doubtless.

KEAN

Well?

ELENA

Well?

KEAN

You've given me advice to flee. I am ready. Will I flee alone?

ELENA

Oh, you are mad, Mr. Kean -- no, no, the thing is impossible, no! Our love was a moment of distraction, of error, of folly -- which mustn't be thought about, and we must forget it ourselves -- so that others may forget it.

KEAN

Forget it? Oh -- don't think of doing that, Elena! But when I am in exile, when I stop seeing you, won't your image be eternally in my heart and before my eyes? Don't I have your portrait -- your cherished portrait?

ELENA

I've come to ask you to return it, Kean.

KEAN

You've come to ask me to return your portrait -- your portrait given yesterday you come to ask it back of me today!

ELENA

But think what reason demands. Kean, you love me, I believe it. I know it -- but do you think that far from me that love will withstand absence? No, with your talent, and celebrated as you are the opportunities will present themselves to you, you will love another woman, and my portrait, my portrait which is at the moment a souvenir of love will then only be a victory trophy.

KEAN

Ah! There it is, Madame! Such a suspicion leaves no way for refusal. In love whoever doubts accuses.

ELENA

Kean.

KEAN

There it is -- I haven't kept it long, and no one has seen it, Madame, so that, if you've promised it to someone else you can dispense making a new one and give him this in its place.

ELENA

Promised to whom?

KEAN

Do I know? In exchange for some fan, perhaps.

ELENA

Oh Kean! Kean! After all I have done for you, after all I have sacrificed.

KEAN

And what have you sacrificed to me, Madame, except for your pride? It's true, Madame, the Countess de Koefeld has stooped to love an actor, you are right this love was an error, a distraction, a folly. But calm yourself, Madame, the error was mine alone, I alone was distracted, I alone was crazy, oh, yes, crazy and really crazy to believe in devotion from a woman, mad to risk my future for her, my liberty, my life and that on a suspicion of jealousy, while I was so ardently loved! Oh! I was wrong, God's blood, I was wrong! And this is why! It was to listen to these things leave your mouth, that I was waiting since yesterday with such mortal impatience -- that's why my heart was beating so as to burst my chest, at each rap made on that door; I knew how deep and enduring it is, this type of love -- and vain as I was, I let myself be taken in by then! There's your portrait, Madame.

ELENA

Oh! Kean, don't wish me ill for having more sense than you.

KEAN

More sense than I? Oh, I defy you to, Madame, and you have just effected a marvelous cure. I was transported, delirious in something like a fever of the brain -- you've applied ice to the head and the heart. I am cured. But a very long absence will probably augment the Count's suspicions, assuming that this fan has given them to him, and then at any moment the constable may come to arrest me.

ELENA

Ah, Kean, Kean, I prefer your fury to your irony. Will, you leave me this way? Is this the way you will say goodbye to me?

KEAN

Does the Countess de Koefeld permit Kean the comedian to kiss her hand?

(bowing to kiss her hand)

COUNT

(in the antechamber)

I tell you I will enter, sir.

SALOMON

And as for me, I tell you you won't.

ELENA

The Count! The Count!

KEAN

Your husband -- oh, why then it's fate that brings him here. Hide yourself, hide yourself, Elena.

(going to Anna's room)

No, not there -- here! here! From there at least no one can see you. The windows give on the Thames.

ELENA

A last word, a last prayer.

KEAN

What is it? Speak, speak.

ELENA

Doubtless, my husband has come to demand satisfaction from you.

KEAN

Don't worry, Madame -- the Count will be sacred to me. Yesterday, perhaps I would have given years of my life for a meeting with him -- but today, don't worry, I don't wish him ill anymore.

COUNT

I tell you I must see him.

KEAN

(going to open the door)

What's this mean, Salomon? And why don't you let the Count de Koefeld in?

(The Count enters. Kean relocks the door and puts the key in his pocket.)

SALOMON

Master, you told me.

KEAN

That I didn't wish to receive anyone, it's true -- but I was far from expecting the honor the count is doing me.

(he signals Salomon to leave)

COUNT

On the contrary, sir, I thought you'd closed your door because you were expecting my visit.

KEAN

And what would have given me that presumption, Count?

COUNT

What I told you, yesterday, in your dressing room, on the subject of Germans -- when we think we been offended -- we will fight with anyone; well, I am offended, sir, and I am come to fight. The cause you know, but it is important that it remain between ourselves -- so you see that, contrary to the established procedures, I didn't write you. I didn't send anyone to you, and I came to you -- by myself and trusting, like a man of honor. As we pass the first military barracks on the way to Hyde Park, we will beg two officers to serve as our witnesses. As for the motive of our meeting, it shall be whatever you like, a quarrel apropos of the death of Lord Castlereagh or the Election of Mr. O'Connell.

KEAN

But you understand, Count, that while this motive will suffice for all others, it doesn't for me. There can be only a duel when there has been an offense, and I don't think there's been enough of a wrong.

COUNT

That's fine, sir, that's fine! I understand this delicacy -- but this delicacy is almost a new insult, if you won't fight where you've given offense, will you fight when you are insulted?

KEAN

That depends, sir -- if someone were to offend me without reason, I would attribute to madness, the insult given me -- and I would pity the person who insulted me.

COUNT

Mr. Kean, must I think that your reputation for courage is counterfeit?

KEAN

No Count, for I've given proof of it.

COUNT

Take care, I will tell everyone you are a coward.

KEAN

You won't be believed.

COUNT

I will say I raised my hand --

KEAN

And you will add that I caught it to spare one of us a mortal disgrace.

COUNT

That's fine. You don't wish to fight. I cannot force you. But my wrath must have a release -- think carefully, if not on you, it will fall on your accomplice.

KEAN

(retaining him)

I swear to you, sir, that you are in the most profound error, I swear to you that you have no reason to suspect either me or anyone else.

COUNT

Ah! I wanted all this to pass in silence and you are forcing me to make a commotion. Your blood will satisfy my anger, and I ask for nothing else, but you fear my vengeance and pass it on to a woman, that's fine.

KEAN

Sir, there is something more cowardly than a man who will not fight and that's a man who attacks a woman who cannot answer him.

COUNT

All vengeance is permitted from the moment that it reaches the guilty.

KEAN

And as for me, I tell you, sir, that the Countess is innocent, I tell you that she has the right to your care and your respect; I tell you that if you pronounce a single word to comprise her, that if you damage a pleat in her dress that if you touch a hair on her head, there are men in London who will not leave such an act unpunished. And furthermore, first of all, I who have seen her only once, I who hardly know her, I who do not know her --

COUNT

Oh, great actor through you are, Mr. Kean, you just betrayed yourself. Well now, let's speak frankly look me in the face and don't turn away: do you recognize this fan?

KEAN

This fan?

COUNT

It belongs to the Countess.

KEAN

What of it, sir?

COUNT

Well, sir, yesterday, I found it.

SALOMON

(entering)

An express letter from the Prince of Wales --

KEAN

Later --

SALOMON

(low)

No -- right away!

KEAN

Will you excuse me, Count?

COUNT

Go ahead, go ahead: I am not going anywhere.

KEAN

(after having read it)

You know the signature of the Prince of Wales?

COUNT

Doubtless -- but what's the signature of the Prince of Wales got to do with it?

KEAN

Read it.

COUNT

(reading it)

"My dear Kean, would you search your dressing room with the greatest care -- I think I forgot a fan there belonging to the Countess de Koefeld that I borrowed in order to make a duplicate for the Duchess of Northumberland. I will go to demand satisfaction from you today for the stupid quarrel you sought with me at the theater yesterday, on the subject of that little slut at the Opera: I would never have thought that a friendship like ours could be altered by such a bagatelle. Your affectionate, George."

KEAN

This letter answers better than I could those suspicious that I begin to understand, that my modesty would not allow me to believe myself the object of.

COUNT

Mr. Kean, there's talk of arresting you and placing you in prison -- don't forget that the palace of an embassy is inviolable, and that the Embassy of Denmark is inviolable.

KEAN

Thank you, Count.

COUNT

Goodbye, Mr. Kean.

(Kean escorts him to the door.)

KEAN

She is saved! Good and excellent George: by what miracle did he learn about it? Now she must leave without losing a moment.

(The Constable enters.)

KEAN

Who's coming now? Is Salomon letting the whole world enter?

CONSTABLE

I ask a thousand pardons for him, Mr. Kean, but it was I who forced his hand.

KEAN

It's you, Constable.

CONSTABLE

Yes, and desolated by the circumstances which bring me! I love the artists! But you understand, Mr. Kean -- duty above all, and in the name of the King and both chambers.

(touching him with his truncheon)

I arrest you.

KEAN

And what am I accused of?

CONSTABLE

Of grave insults pronounced in a public place against the Prince of Wales and a member of the Lords.

KEAN

And what must I do?

CONSTABLE

Follow my men who are in the antechamber.

KEAN

And so I must abandon my hotel?

CONSTABLE

I'll remain to put on the seals -- on your return you will find everything as you left it.

KEAN

Pardon me, Mr. Constable, but perhaps they are things in my hotel which cannot, in conscience, remain under seal during all the time of my absence. But you are not as severe as that?

CONSTABLE

No, Mr. Kean, and if I can do something for an artist that I admire.

KEAN

You received an order to arrest me, but not to arrest persons found in my home, right?

CONSTABLE

The order names you and you alone.

KEAN

Well, in this room --

(pointing to the room Anna is hidden in)

-- there's a young lady you know and who wishes to leave.

CONSTABLE

Before all the seals are put on, I understand.

KEAN

And without being forced to be searched by your men?

CONSTABLE

And I know this young lady?

KEAN

Unless you've already forgotten the name of Miss Anna Damby.

CONSTABLE

Miss Anna Damby.

KEAN

She's leaving for New York, in an hour on the Steamboat Washington.

CONSTABLE

I know it, I was the one who escorted her to the agent and who obtained her reservation.

KEAN

You must understand that she had some particular orders to give me before her departure?

CONSTABLE

You promise me not to try to escape, Mr. Kean?

KEAN

I give you my word of honor --

(the Constable leaves. Kean opens the door)

Anna.

ANNA

What did I hear, my God! They want to arrest you. Oh, I'm not leaving, Kean, I'm staying. You, a prisoner!

KEAN

Anna, here's the Constable who allows me a last goodbye before you leave. Constable, she will leave now wrapped in her cape and veil. I remind you of your promise.

COUNT

And I will keep it, Mr. Kean. I won't break my word to an artist like you.

(he leaves)

KEAN

He's gone -- Anna, oh, I am going to make a strange request to you, but you won't refuse me. A last sacrifice -- a last devotion. A woman is there, you know -- a woman who will be ruined if her face is recognized, if her name is mentioned, for she is married. Oh, Anna! Anna -- in the name of all you hold most dear and most sacred -- take pity on her!

ANNA

(removing her veil and her cape)

Here, Kean!

KEAN

(falling to his knees)

Anna! Anna! You are an angel!

(to Elena)

Elena! Elena! You are saved.

(utters a scream)

Ah!

ANNA

My God -- what's wrong?

KEAN

Elena -- Elena! No one -- disappeared -- and the window is open. The Thames -- oh, she heard the voice of her husband, his threats -- I am her murderer -- her assassin -- it is I who killed her --

(rushing towards the window)

Lost! Lost!

PRINCE

(entering)

Saved!

KEAN

Elena!

PRINCE

Yes.

KEAN

How?

PRINCE

By a friend who's been watching over you since yesterday and who at all events and foreseeing every peril had a gondola under your windows and a carriage before you door.

KEAN

And where is she?

PRINCE

At her home, where I had her escorted by a trusty man while I was writing. Did you receive my letter?

KEAN

Yes, my Prince and you saved me twice. How can I atone for my wrongs to you, Milord? Ah, I deserve punishment -- I will go to prison with joy.

PRINCE

Indeed, not at all. You won't go, sir.

(Anna raises her head.)

KEAN

Why?

PRINCE

I've obtained from my brother, with considerable difficulty, I admit it to you -- that's why my gondola was beneath your window, and my carriage before your door -- that your six months in prison -- for it was to be no less than that -- be converted into a year of exile.

KEAN

Ah, Your Highness is sending me into a year of exile while the Countess de Koefeld --

PRINCE

-- will return to Denmark, where the next dispatches from her king will recall the ambassador -- are you calm now?

KEAN

Oh, my prince, and where must I spend my exile?

PRINCE

You will go wherever you like so long as you leave England: Paris, Berlin, New York.

KEAN

I will go to New York.

ANNA

(rising)

What's he say?

KEAN

Is the time for my departure set?

PRINCE

You will have a week to settle your affairs.

KEAN

I will leave in an hour.

ANNA

(come to Kean)

Ah! My God!

KEAN

Is the ship on which I am to leave designated.

PRINCE

No -- you can take anyone that seems good to you.

KEAN

I choose the Steamship Washington.

ANNA

(leaning on Kean)

Kean!

PRINCE

And I hope, sir, that the American air will refresh your brain and render you wiser!

KEAN

I am counting on marrying, sir.

ANNA

Ah!

PRINCE

Who is this young girl?

KEAN

Miss Anna Damby -- engaged today to play the best parts in the New York theaters.

PRINCE

Miss Anna Damby? Ah, I see --

(bowing)

Miss!

ANNA

(curtsying)

Milord.

SALOMON

(entering with gaiter and a suitcase in his hand)

There!

KEAN

Well, my poor Salomon?

SALOMON

Well, boss, I'm ready.

KEAN

What for?

SALOMON

Aren't you going to New York?

KEAN

Yes.

SALOMON

To give performances?

KEAN

Doubtless.

SALOMON

Well -- the moment you put on a play, won't you need a prompter?

KEAN

(to Salomon and Anna)

Are you my only, my two true friends.

PRINCE

You are an ingrate, Mr. Kean.

KEAN

(throwing himself in the Prince's arms)

May Your Highness forgive me!

(curtain)