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Transcript

The Romancers - Edmond Tostand · Comedy Library

• 0:00
  Speaker 1: Act one scene. The stage is divided by an old
• 0:05
  Speaker 1: wall covered with vines and flowers. At the right a
• 0:10
  Speaker 1: corner of Bergaman's private park, at the left a corner
• 0:14
  Speaker 1: of pasquinos. On each side of the wall, and against
• 0:19
  Speaker 1: it is a rustic bench. As the curtain rises, Personnet
• 0:24
  Speaker 1: is seated on top of the wall. On his knee
• 0:28
  Speaker 1: is a book, out of which he is reading to Silvette,
• 0:31
  Speaker 1: who stands attentively listening on the bench, which is on
• 0:35
  Speaker 1: the other side of the wall.
• 0:38
  Speaker 2: Monsieur Perconnet, how divinely beautiful is it not?
• 0:43
  Speaker 3: Listen to what Romeo answers.
• 0:46
  Speaker 1: Reading It was the lark, the herald.
• 0:48
  Speaker 3: Of the morn. No nightingale, look love, What envious streaks
• 0:52
  Speaker 3: do lace the suffering clouds in yonder east. Night's candles
• 0:56
  Speaker 3: are burnt out and darkened. Days stands tiptoe on the
• 0:59
  Speaker 3: misty mountain tops.
• 1:01
  Speaker 1: I must be gone, Silvette interrupts him as she listens.
• 1:07
  Speaker 1: Sh Percinet listens a moment, then.
• 1:11
  Speaker 3: No one, and Mademoiselle, you must not take fright like
• 1:14
  Speaker 3: a startled bird. Hear the immortal lovers, Juliet Yon. Light
• 1:19
  Speaker 3: is not the daylight. I know it. I it is
• 1:22
  Speaker 3: some meteor that the sun exhales to be to thee
• 1:25
  Speaker 3: this night a torch bearer, and light thee on my
• 1:27
  Speaker 3: way to Mantua. Therefore stay, Yet thou needst not to
• 1:31
  Speaker 3: be gone, Romeo. Let me be tain, let me be
• 1:35
  Speaker 3: put to death. I am content, so thou wilt have it.
• 1:38
  Speaker 3: So I'll say, yon gray is not the morning's eye,
• 1:42
  Speaker 3: tis but the pale reflex of Cynthia's brow. Nor that
• 1:45
  Speaker 3: is not the lark whose notes do beat the vaulty
• 1:47
  Speaker 3: heaven so high above our heads. I have more care
• 1:50
  Speaker 3: to stay than will to go. Come death and welcome.
• 1:54
  Speaker 2: No, he must not say such things, or I shall cry.
• 1:59
  Speaker 3: Then let us stop and read no further until tomorrow
• 2:01
  Speaker 3: we shall let Romeo live.
• 2:03
  Speaker 1: He closes the book and looks about him.
• 2:06
  Speaker 3: This charming spot seems expressly made. It seems to me
• 2:09
  Speaker 3: to cradle the words of the divine will.
• 2:12
  Speaker 2: The verses are divine, and the soft air here is
• 2:15
  Speaker 2: a divine accompaniment. And see these green shades. But Monsieur personnae,
• 2:22
  Speaker 2: what makes them divine to me is the way you read.
• 2:26
  Speaker 1: Flutterer Silvette, sighing.
• 2:29
  Speaker 2: Poor lovers, their fate was cruel.
• 2:33
  Speaker 1: Another sigh, I think.
• 2:35
  Speaker 3: What nothing, something that made you blush red as a rose?
• 2:39
  Speaker 2: Nothing, I say.
• 2:41
  Speaker 3: Oh, that's too transparent. I see it all. You are
• 2:44
  Speaker 3: thinking of our fathers, perhaps of their terrible hatred for
• 2:48
  Speaker 3: each other.
• 2:49
  Speaker 2: The thought often pains me and makes me cry when
• 2:51
  Speaker 2: I am alone. Last month, when I came home from
• 2:55
  Speaker 2: the convent, my father pointed out your father's park and
• 2:59
  Speaker 2: said to me, my dear child, you behold there the
• 3:03
  Speaker 2: domain of my mortal enemy Bergama. Never cross the path
• 3:08
  Speaker 2: of those two rascals, Bergama and his son Perconnee. Mark
• 3:13
  Speaker 2: well my words, and obey me to the letter, or
• 3:16
  Speaker 2: I shall cast you off as an enemy. Their family
• 3:19
  Speaker 2: has always been had bitter enmity with our own, And
• 3:23
  Speaker 2: I promised. But you see how I keep my word?
• 3:27
  Speaker 3: Did I not promise my father to do the same? Silvette?
• 3:30
  Speaker 2: Yet I love you, holy saints, I love you, my dearest.
• 3:36
  Speaker 1: It's sinful, very, But what can we do.
• 3:39
  Speaker 3: The greater the obstacles to be overcome, the sweeter the reward.
• 3:42
  Speaker 3: Sylvet kiss me.
• 3:44
  Speaker 2: Never.
• 3:45
  Speaker 1: She jumps down from the bench and runs off a
• 3:48
  Speaker 1: few steps.
• 3:49
  Speaker 3: But you love me, what, my dear child, I too
• 3:53
  Speaker 3: sometimes think of us and compare you and me with
• 3:56
  Speaker 3: those other lovers of Ferona.
• 3:58
  Speaker 2: But I didn't compare you.
• 4:00
  Speaker 3: And I are Juliette and Romeo. I love you to despair,
• 4:04
  Speaker 3: and I shall brave the wrath of Pasquino, Capulet and
• 4:07
  Speaker 3: Bergama Montague.
• 4:09
  Speaker 1: Silvette, coming a little nearer to the.
• 4:11
  Speaker 2: Wall, then we love. But how, monsieur personnee, has it happened?
• 4:16
  Speaker 2: So soon love is born?
• 4:19
  Speaker 3: We know not how, because it must be borne. I
• 4:22
  Speaker 3: often saw you pass my window. I saw you too,
• 4:25
  Speaker 3: and our eyes spoke in silence.
• 4:28
  Speaker 2: One day I was gathering nuts in the garden by
• 4:30
  Speaker 2: the wall.
• 4:31
  Speaker 3: One day I happened to be reading Shakespeare. See how
• 4:34
  Speaker 3: everything conspired to unite two hearts.
• 4:36
  Speaker 2: And a little gust of wind blew my scarf in
• 4:39
  Speaker 2: your direction.
• 4:40
  Speaker 3: I climbed to the wall to return.
• 4:42
  Speaker 1: It, Silvette, climbing the wall again, I climbed.
• 4:46
  Speaker 3: Too, And since that day, my dear, I have waited
• 4:49
  Speaker 3: at the same hour here by this wall, and each
• 4:51
  Speaker 3: time my heart beat louder and faster, until I knew
• 4:54
  Speaker 3: by your soft laugh that you were near.
• 4:57
  Speaker 2: Now, since we love, we must be married.
• 5:00
  Speaker 1: I was just thinking about that, Silvett.
• 5:03
  Speaker 2: Solemnly I last at the Pasquinos, do solemnly pledge myself
• 5:08
  Speaker 2: to you, last of the Bergamas.
• 5:11
  Speaker 3: What noble recklessness.
• 5:13
  Speaker 2: We shall be sung in future ages.
• 5:16
  Speaker 3: Two tender children of two hard hearted fathers.
• 5:20
  Speaker 2: But who knows whether the hour is not at hand
• 5:22
  Speaker 2: when our father's hatred may end?
• 5:24
  Speaker 3: I doubt it.
• 5:26
  Speaker 2: I have heard of stranger things. I can think of
• 5:29
  Speaker 2: half a dozen. What, for instance, Imagine that the reigning
• 5:33
  Speaker 2: prince comes riding past some day. I run to him
• 5:37
  Speaker 2: and kneel and tell him the story of our love
• 5:40
  Speaker 2: and of our father's hatred. The Prince asks to see
• 5:44
  Speaker 2: my father and Bergama, and they are reconciled.
• 5:48
  Speaker 3: And your father gives me your hand.
• 5:50
  Speaker 2: Yes or else you languish. The doctor declares you cannot.
• 5:54
  Speaker 3: Live, and asks what ails you.
• 5:57
  Speaker 2: And you answer, I must have Sylvat.
• 6:00
  Speaker 3: And his pride is then forced to bend.
• 6:02
  Speaker 2: Yes or else. An aged duke, having seen my portrait,
• 6:07
  Speaker 2: falls in love with me, sends a squire to sue
• 6:10
  Speaker 2: for my hand, and offers to make me a duchess.
• 6:13
  Speaker 3: And you say no.
• 6:15
  Speaker 2: He is offended, And some dark night, when I am
• 6:18
  Speaker 2: in the garden meditating, he springs forth out of the darkness.
• 6:23
  Speaker 2: I scream, and.
• 6:24
  Speaker 3: I lose not a second, him springing over the wall,
• 6:26
  Speaker 3: dagger in hand. I fight like a tiger.
• 6:29
  Speaker 2: You lay low three or four men. Then my father
• 6:32
  Speaker 2: rushes in and takes me in his arms. You tell
• 6:36
  Speaker 2: him who you are. His heart softens. He gives me
• 6:39
  Speaker 2: to my savior. Your father consents, for he is proud
• 6:44
  Speaker 2: of your bravery.
• 6:45
  Speaker 3: Then we live together for years, happy and content.
• 6:48
  Speaker 2: This is not at all impossible. Is it?
• 6:52
  Speaker 1: Someone's coming, Silvett forgetting herself kiss me, persone kissing.
• 6:58
  Speaker 3: Her this evening at eight, Then as usual you will come.
• 7:03
  Speaker 1: No, yes, Silvett. Disappearing behind the wall, your father personnet
• 7:10
  Speaker 1: jumps quickly from the wall.
• 7:12
  Speaker 4: Enter Bergaman, Aha, I find you here again, dreaming in
• 7:18
  Speaker 4: this corner of the park.
• 7:20
  Speaker 3: Father. I love this old corner. I adore this bench
• 7:23
  Speaker 3: over which the vines of the wall have so gracefully
• 7:25
  Speaker 3: draped themselves. See what graceful arabesques those festoons make. The
• 7:30
  Speaker 3: air is purer.
• 7:31
  Speaker 4: Here by the side of this wall.
• 7:34
  Speaker 3: I love it.
• 7:35
  Speaker 4: I see nothing lovable about it.
• 7:37
  Speaker 1: Silvett aside he cannot see why, but it is charming,
• 7:42
  Speaker 1: all covered with ivy and creeper.
• 7:44
  Speaker 3: See here what honeysuckle, this hundred year old wall, that
• 7:48
  Speaker 3: it's clinging vines, its constellations of flowers looking through the crannies,
• 7:52
  Speaker 3: kissed by the summer sun, makes the bench a throne
• 7:54
  Speaker 3: fit for kings.
• 7:56
  Speaker 4: Nonsense, you hair brained use Do you mean to tell
• 8:00
  Speaker 4: me that this wall has eyes?
• 8:03
  Speaker 5: Ah?
• 8:03
  Speaker 3: What eyes?
• 8:04
  Speaker 1: Turns toward the wall.
• 8:07
  Speaker 3: Of soft azure yet dazzlingly blue. Let put a tear,
• 8:10
  Speaker 3: come to dimmer brightness, or a single kiss.
• 8:14
  Speaker 4: But the wall hasn't eyes, you idiot.
• 8:16
  Speaker 3: Oh see this vine?
• 8:18
  Speaker 1: Though He plucks part of the vine from the wall
• 8:21
  Speaker 1: and graciously presents it to his father. Silvette aside, how clever.
• 8:28
  Speaker 4: How stupid? But I know now what has turned your
• 8:32
  Speaker 4: silly head?
• 8:33
  Speaker 1: You come here to read, Silvette starts as she hears this.
• 8:38
  Speaker 1: Percinet also shows signs of fear as his father pulls
• 8:42
  Speaker 1: the book from the youth's pocket plays he drops the
• 8:47
  Speaker 1: book in horror.
• 8:48
  Speaker 4: And verse verse that's what has turned your head now,
• 8:54
  Speaker 4: I see why you talk about eyes and honeysuckle. I
• 8:58
  Speaker 4: tell you to be useful. A wall doesn't have to
• 9:01
  Speaker 4: be beautiful. I am going to have all this green
• 9:04
  Speaker 4: stuff taken away, and the bricks relaid, and the hole
• 9:08
  Speaker 4: stopped up. I want a white wall, and a high
• 9:11
  Speaker 4: one to keep the neighbors from looking into our park.
• 9:14
  Speaker 4: I want no vines and honeysuckles along the top. I'll
• 9:18
  Speaker 4: sprinkle broken glass. Pity, no pity, I insist on it
• 9:24
  Speaker 4: glass all along the top of the wall.
• 9:27
  Speaker 1: Silvette and Personet are in despair. Bergaman sits down on
• 9:32
  Speaker 1: the bench.
• 9:33
  Speaker 4: And now I have something to say to you.
• 9:36
  Speaker 1: He rises and examines the wall.
• 9:39
  Speaker 4: If the wall hasn't eyes, it may possibly have ears.
• 9:43
  Speaker 1: He is about to stand on the bench when Personet
• 9:47
  Speaker 1: takes fright and Silvett clings close to her side of
• 9:50
  Speaker 1: the wall, making herself as small as she can. Bergaman
• 9:55
  Speaker 1: decides not to scale the wall, but motions to his
• 9:58
  Speaker 1: son to do so.
• 10:00
  Speaker 4: See whether some curious listener.
• 10:03
  Speaker 1: Personet climbing to the top and leaning over so that
• 10:07
  Speaker 1: Silvett can hear him till tonight, Silvette giving him her hand,
• 10:12
  Speaker 1: which he kisses.
• 10:14
  Speaker 2: I'll come as soon as the clock is striking.
• 10:17
  Speaker 1: I adore you, bergamann to personee well, Personet jumping down
• 10:24
  Speaker 1: to his father, no one, Bergament reseating himself.
• 10:29
  Speaker 4: Well, then, my boy, I should like to see you married, Silvett.
• 10:35
  Speaker 1: Aside, oh, what's that?
• 10:38
  Speaker 3: Nothing?
• 10:39
  Speaker 4: I thought I heard a.
• 10:40
  Speaker 1: Cry Personet looking into the air, some wounded bird.
• 10:45
  Speaker 4: Perhaps I have given the matter my undivided attention and
• 10:49
  Speaker 4: have chosen a wife for you.
• 10:51
  Speaker 1: Personet whistles and walks away.
• 10:54
  Speaker 4: I tell you I am in earnest and I intend
• 10:57
  Speaker 4: to force you if necessary.
• 10:59
  Speaker 1: Personne continues whistling.
• 11:02
  Speaker 4: Will you stop that confounded whistling. The young woman is rich,
• 11:06
  Speaker 4: She's a jewel.
• 11:08
  Speaker 3: I want none of your jewels.
• 11:09
  Speaker 4: I'll show you, you young.
• 11:11
  Speaker 1: Insolent Personae grasping his father's cane, which is raised as
• 11:16
  Speaker 1: if to strike him.
• 11:17
  Speaker 3: Spring has filled the bushes with the songs of birds.
• 11:21
  Speaker 3: The brooklets accompany the love notes of wild birds.
• 11:24
  Speaker 1: Rascal Personae, still holding the cane.
• 11:28
  Speaker 3: The whole world laughs, and things farewell to April.
• 11:31
  Speaker 1: The butterflies rough in Personae as before.
• 11:35
  Speaker 3: Wing their way across the meadows to make love to
• 11:38
  Speaker 3: the adored flowers. Love villain, Love opens wide the heart
• 11:42
  Speaker 3: of all nature. And you ask me to consent to
• 11:44
  Speaker 3: a marriage of reason, of course, I.
• 11:47
  Speaker 1: Do, Personae passionately.
• 11:50
  Speaker 3: No, no, no, Father, I swear by this wall, but
• 11:53
  Speaker 3: hears me. I hope that my marriage will be more
• 11:56
  Speaker 3: romantic than any dreamed of in the most poetic of
• 11:59
  Speaker 3: the world love stories.
• 12:01
  Speaker 1: He runs out Bergaman pursuing him.
• 12:04
  Speaker 4: Oh, let me catch you.
• 12:07
  Speaker 2: I can really understand now why Papa hates that odious
• 12:10
  Speaker 2: old man.
• 12:11
  Speaker 1: Enter pasquinow left, Misselle.
• 12:15
  Speaker 5: What are you doing here?
• 12:17
  Speaker 2: Nothing?
• 12:18
  Speaker 1: Taking the air alone?
• 12:20
  Speaker 5: But you, silly girl, aren't you not afraid, not in
• 12:23
  Speaker 5: the least near this one. I've forbade you to come
• 12:27
  Speaker 5: near it. You see that park over there that belongs
• 12:31
  Speaker 5: to my mortal enemy.
• 12:32
  Speaker 2: I know it, Father, dear, Why here are.
• 12:35
  Speaker 5: You exposed to any insult? Any if those orasquirls knew
• 12:40
  Speaker 5: that my daughter were walking alone in this park, bir
• 12:45
  Speaker 5: it makes me shiver to think of. I'm going to
• 12:48
  Speaker 5: have the wall repaired and erect a huge iron grill
• 12:52
  Speaker 5: on top of it.
• 12:54
  Speaker 1: Sill that aside.
• 12:56
  Speaker 2: He'll never do it, it would cost too much.
• 12:59
  Speaker 1: No, go into the house quick, She goes out, Pasquino
• 13:04
  Speaker 1: glowering at her. Bergamy heard from the other side of
• 13:08
  Speaker 1: the wall as he enters.
• 13:10
  Speaker 4: Take this note at once to Monsieur Straforo.
• 13:14
  Speaker 1: Pasquinau running to the wall and climbing to the top
• 13:17
  Speaker 1: of it. Bergabelle Bergament doing likewise ask. We know they embrace.
• 13:25
  Speaker 4: How are you pretty well?
• 13:27
  Speaker 5: How's your golt better?
• 13:29
  Speaker 4: And how is your called?
• 13:31
  Speaker 5: Still troubles me? Devil?
• 13:33
  Speaker 4: Take it well? The marriage is arranged. What I heard
• 13:39
  Speaker 4: everything I was hidden in the bushes. They adore each other. Bravo,
• 13:45
  Speaker 4: we must bring matters to a head.
• 13:47
  Speaker 1: He rubs his hands.
• 13:51
  Speaker 4: Now we can do as we had planned. This Intil
• 13:54
  Speaker 4: downs the wall and live together.
• 13:57
  Speaker 5: Joining our properties.
• 13:58
  Speaker 4: By marrying our our children. But I wonder whether they
• 14:03
  Speaker 4: would be so anxious if they knew we wished it.
• 14:06
  Speaker 4: Our marriage arranged beforehand is not so tempting. The two
• 14:09
  Speaker 4: young children so romantic as ours. That is why we
• 14:13
  Speaker 4: kept our own wishes a secret. I felt sure that
• 14:17
  Speaker 4: after they had been separated Silvette in the convent, Personee
• 14:22
  Speaker 4: at school, they would thrive on their secret love. That
• 14:27
  Speaker 4: is how I came to invent this hatred of ours,
• 14:30
  Speaker 4: and you even doubted its success. Now all we have
• 14:34
  Speaker 4: to do is to say yes.
• 14:37
  Speaker 5: But how can this be done? Remember I called you
• 14:41
  Speaker 5: a scoundrel, a fool, idiot.
• 14:44
  Speaker 4: Idiot scoundrel was sufficient. Now what we text your daughter
• 14:49
  Speaker 4: herself has given me an inspiration. This evening, they are
• 14:54
  Speaker 4: to meet here at eight Personnee comes first. At the
• 14:58
  Speaker 4: moment Silvette appears, mysterious men in black will emerge from
• 15:02
  Speaker 4: the shadows and start to carry her off an abduction.
• 15:07
  Speaker 4: She screams that our young hero gives chase, draws his sword.
• 15:12
  Speaker 4: The Ravishers pretend to flee. I arrive on the scene.
• 15:16
  Speaker 4: Then you, your daughter is safe and sound. You bless
• 15:20
  Speaker 4: the couple and drop a few appropriate tears. My heart
• 15:24
  Speaker 4: is softened.
• 15:26
  Speaker 5: Tableau a silk of genius.
• 15:29
  Speaker 1: Bergament modestly, yes, I think it really is.
• 15:34
  Speaker 4: Look see that man coming. It's Strafarel, the Bravado whom
• 15:39
  Speaker 4: I wrote to a few minutes ago. He is to
• 15:42
  Speaker 4: superintend the abduction.
• 15:44
  Speaker 1: Strafarel, in an elaborate swordsman's costume, appears at the back
• 15:49
  Speaker 1: of Bergaman's park and swaggers downstage. Bergamann, descending from the
• 15:55
  Speaker 1: wall and bowing low to Strafarel.
• 15:58
  Speaker 4: Allow me to introduce you to my friend Pasquia.
• 16:01
  Speaker 1: Straferel bowing Missur. He raises his head and sees no
• 16:07
  Speaker 1: Pasquina Bergaman, pointing to Pasquinau on the crest of the wall.
• 16:13
  Speaker 4: There on the wall. Now, my dear master, does my
• 16:17
  Speaker 4: plan meet with your approval?
• 16:19
  Speaker 6: It does. It is most simple.
• 16:22
  Speaker 4: You must act quickly. You understand and say nothing. A
• 16:26
  Speaker 4: make believe abduction and stage fight with swords.
• 16:30
  Speaker 6: I understand perfectly.
• 16:32
  Speaker 4: You must have skilled swordsmen. I can't have my boy hurt.
• 16:36
  Speaker 4: He is my only child.
• 16:38
  Speaker 6: I will see to that myself good.
• 16:41
  Speaker 4: In that case, I shall fear.
• 16:43
  Speaker 1: Nothing, Pasquino. Aside to Bergaman Eskim's a price.
• 16:48
  Speaker 4: For an abduction, Maestro, how much do you charge?
• 16:52
  Speaker 6: That depends, monsieur, on the kind you wish. We have
• 16:57
  Speaker 6: them at all prices in an fare of this kind, however,
• 17:02
  Speaker 6: nothing should be spared. If I were in your place,
• 17:06
  Speaker 6: I should have a first class.
• 17:08
  Speaker 1: Abduction, Bergama surprised.
• 17:12
  Speaker 4: Then you have many classes.
• 17:14
  Speaker 6: Indeed I have. I have the ordinary vulgar abduction, and
• 17:19
  Speaker 6: a cab with two men dressed in black that's rarely used.
• 17:24
  Speaker 6: The daylight abduction, the midnight abduction, the pompous subduction, and
• 17:29
  Speaker 6: a court carriage with powdered servants, wigs or extra with mutes, negroes, brigands, musketeers,
• 17:36
  Speaker 6: anything you like. The abduction in a pusschase with two
• 17:41
  Speaker 6: three four five horses ad lib are the discreete and
• 17:45
  Speaker 6: quite abduction, and a small carriage. That one's rather lugubrious.
• 17:51
  Speaker 6: The ralic in abduction, in which the victim is carried
• 17:54
  Speaker 6: away in a sack. The Romantic abduction in a boat, ah,
• 17:59
  Speaker 6: but a lake necessary. The Venetian abduction in a gondola. Ah,
• 18:04
  Speaker 6: you have no lagoon. Moonlight abduction, or the abduction on
• 18:11
  Speaker 6: a dark and starless night. Those moonlight abductions are quite
• 18:15
  Speaker 6: the style, though they are a little deer. Besides these,
• 18:20
  Speaker 6: there is the abduction by torchlight with cries and screams
• 18:24
  Speaker 6: and clash and shock of arms. The brutal abduction, the
• 18:28
  Speaker 6: polite abduction, the classical one with masks, the gallant abduction
• 18:33
  Speaker 6: to the accompaniment of music. But the latest, the most stylish,
• 18:37
  Speaker 6: gayest of all is the sedan chair abduction.
• 18:42
  Speaker 1: Bergama scratching his head aside to Pasqui, Now.
• 18:46
  Speaker 4: Well, what do you think, h what do you? I think?
• 18:51
  Speaker 4: We should do everything in the best possible way, no
• 18:54
  Speaker 4: expense spared. Let us give our young romancers something they'll
• 18:58
  Speaker 4: not soon forget. Let's have it with masks, dark mantles, torches,
• 19:04
  Speaker 4: music and a sedan.
• 19:05
  Speaker 1: Chair, strafarel taking notes.
• 19:09
  Speaker 6: A first class then with all extras.
• 19:12
  Speaker 4: That's it.
• 19:13
  Speaker 6: I shall return soon to Pasquino. Remember, monsieur to leave
• 19:18
  Speaker 6: open the door of your park tonight.
• 19:21
  Speaker 4: Very well, it shall be done.
• 19:23
  Speaker 1: Straffarel, bowing my compliments, turning to.
• 19:28
  Speaker 6: Go one first class with extras.
• 19:32
  Speaker 1: He goes out.
• 19:33
  Speaker 5: See honest men, he went without telling a surprise.
• 19:37
  Speaker 4: Everything is arranged. Now we'll live together after demolishing the.
• 19:41
  Speaker 5: Wall and in wind till we'll have but one hoss
• 19:45
  Speaker 5: and home.
• 19:46
  Speaker 4: Our dearest wishes are about to be realized.
• 19:49
  Speaker 5: And will go old together.
• 19:52
  Speaker 4: Dear Old Pasquino, dear Old Belgemont.
• 19:56
  Speaker 1: They embrace. Silvette and Personet enter from each side of
• 20:01
  Speaker 1: the stage, and seeing their father's embrace, Oh Bergaman aside
• 20:07
  Speaker 1: to Pasquinaux.
• 20:08
  Speaker 3: Your daughter, Oh.
• 20:10
  Speaker 1: Pasquinau, aside to Bergaman, your son, Bergaman aside to Pasquinaux.
• 20:17
  Speaker 4: We must pretend to fight.
• 20:18
  Speaker 1: Their embrace is transformed into a struggle Rascal wool, Silvette
• 20:25
  Speaker 1: pulling her father's coat tails, Papa Personet doing the same
• 20:30
  Speaker 1: with his father.
• 20:31
  Speaker 3: Papa let us be.
• 20:33
  Speaker 5: He insulted me, he struck me, coed Papa fief Papa bandits.
• 20:40
  Speaker 2: Papa.
• 20:41
  Speaker 1: Silvette and Personet finally succeed in separating the fathers. Personet
• 20:48
  Speaker 1: dragging his father away.
• 20:50
  Speaker 3: Go in now it's late.
• 20:52
  Speaker 1: Bergaman trying to go to the wall again.
• 20:55
  Speaker 4: I can't control myself. Just let me.
• 20:58
  Speaker 1: Personet takes him out. Pasquino also trying to return to
• 21:03
  Speaker 1: the wall. I'll kill him, Silve dragging Pasquino out.
• 21:09
  Speaker 2: The air is so damp. Think of your rheumatism.
• 21:12
  Speaker 1: They go out. Little by little. It grows dark. For
• 21:17
  Speaker 1: a moment the stage is empty. Then in Pasquino's park
• 21:22
  Speaker 1: enter straferel and swordsman, musicians and torch bearers.
• 21:26
  Speaker 6: I see one star already the day is dying.
• 21:30
  Speaker 1: He places his men about the stage.
• 21:33
  Speaker 6: Stay there, you there, and you there. The hour is near.
• 21:41
  Speaker 6: You will see as the cock strites eight a figure
• 21:44
  Speaker 6: in white enter on this side. Then I whistle.
• 21:47
  Speaker 1: He looks at the sky again.
• 21:50
  Speaker 6: Ah, the moon splendid. Every effect is perfect tonight.
• 21:56
  Speaker 1: Examining the costumes of his band.
• 21:59
  Speaker 6: The capes and bat are excellent. Look a little more
• 22:02
  Speaker 6: dangerous over there.
• 22:04
  Speaker 1: Now ready a sedan chair is brought in.
• 22:08
  Speaker 6: The chair over there in the shade.
• 22:10
  Speaker 1: Seeing the Negroes who carry the chair.
• 22:13
  Speaker 6: Ah, the Negroes are good.
• 22:16
  Speaker 1: Speaking at a distance.
• 22:18
  Speaker 6: Torches there, you understand, you are not to come until
• 22:21
  Speaker 6: you receive the signal.
• 22:22
  Speaker 1: The faint reflection of the torches is seen at the
• 22:25
  Speaker 1: back of the stage. Through the underbrush. Enter the musicians.
• 22:31
  Speaker 6: Musicians there at the back. Now a little distinction of life.
• 22:38
  Speaker 6: There your poses from time to time. Stand straight, mandolin,
• 22:43
  Speaker 6: sit down, alto there severely. To a swordsman, you first mass,
• 22:50
  Speaker 6: don't look so harmless. I want a villainous slouch ah good. Now,
• 22:56
  Speaker 6: instruments play softly, tune up good, tall alah.
• 23:02
  Speaker 1: He puts on his mask. Percinet enters slowly from the
• 23:07
  Speaker 1: other side of the stage. As he speaks the following lines,
• 23:12
  Speaker 1: the stage becomes darker, until at the end it is night.
• 23:17
  Speaker 3: My father is calmer. Now the day is dying, and
• 23:20
  Speaker 3: the intoxicating odor of the elders is wafted to me.
• 23:24
  Speaker 3: The flowers close their petals in the gray of the
• 23:26
  Speaker 3: evening strafarel.
• 23:29
  Speaker 1: Aside to the violins music. The musicians play softly until
• 23:35
  Speaker 1: the end of the act. I tremble like a read
• 23:39
  Speaker 1: She is coming straferel to the musicians.
• 23:43
  Speaker 6: Amolso my first evening meeting.
• 23:47
  Speaker 3: I can scarcely stand. The evening breeze sounds like the
• 23:51
  Speaker 3: fluttering of her dress. Now I can't see the flowers,
• 23:54
  Speaker 3: but I can smell them. Ah, this great tree with
• 23:57
  Speaker 3: a star above it. Who a pause, night has come.
• 24:05
  Speaker 1: After another pause, a clock strikes eight in the distance.
• 24:10
  Speaker 1: Silvette appears at the back of her park.
• 24:13
  Speaker 2: The hour has struck. He must be waiting.
• 24:17
  Speaker 1: A whistle is heard. Straferel rises in front of Silvette,
• 24:21
  Speaker 1: and torch bearers appear in the background. Silvette screams. The
• 24:26
  Speaker 1: swordsman sees and put her into the sedan chair.
• 24:30
  Speaker 2: Help help, great heavens, personee. They are carrying me off.
• 24:35
  Speaker 1: Personet leaping to the wall.
• 24:37
  Speaker 5: I come.
• 24:38
  Speaker 1: When he reaches the top of the wall, he draws
• 24:41
  Speaker 1: his sword, jumps down on the other side, and engages
• 24:45
  Speaker 1: four or five swordsmen in combat. They flee before him.
• 24:50
  Speaker 1: There and fair and fair Straferel. To the musicians, tremolo.
• 24:57
  Speaker 1: The violins now play a dramatic tremola purbacco.
• 25:01
  Speaker 6: He's the devil that child.
• 25:03
  Speaker 1: Personet now engages Strafarel in a duel. Strafarel. After a
• 25:09
  Speaker 1: few thrusts, puts his hand to his breast.
• 25:13
  Speaker 6: Ah, I'm mortally wounded.
• 25:17
  Speaker 1: He falls. Personet running to Silvett, who sits in the
• 25:21
  Speaker 1: sedan chair Silvette. He kneels to her, my savior, Pasquina.
• 25:29
  Speaker 5: Entering Bergamon's son, your ceo, your servio, I give you
• 25:34
  Speaker 5: to him.
• 25:36
  Speaker 1: Bergama now appears on his side of the wall. Pasquinau
• 25:41
  Speaker 1: to Bergama, who is seen on top of the wall.
• 25:44
  Speaker 5: Bergamond, your son is a hero. Let us forget our
• 25:48
  Speaker 5: quails and mikas He's children happy.
• 25:52
  Speaker 1: Bergama solemnly, I hate you no more.
• 25:57
  Speaker 3: Silver, don't speak loud. I know I am dreaming, but
• 26:01
  Speaker 3: don't wake me.
• 26:02
  Speaker 4: Our hatred is ended in the marriage of our.
• 26:04
  Speaker 1: Dear ones, indicating the wall.
• 26:07
  Speaker 4: Henceforth, let there be no Pyrenees who would.
• 26:11
  Speaker 3: Have believed that my father could change.
• 26:13
  Speaker 2: So I told you everything would turn out happily.
• 26:17
  Speaker 1: While the lovers go upstage with Pasquinaux, Strafarel rises and
• 26:22
  Speaker 1: hands a folded paper to Bergaman. Bergaman aside, what is it?
• 26:28
  Speaker 4: This paper? Your signature?
• 26:31
  Speaker 6: What is it?
• 26:31
  Speaker 4: If you please?
• 26:32
  Speaker 1: Strafarel, bowing, monsieur, it's my bill. He falls down again.
• 26:41
  Speaker 1: Curtain and Act one, Act two scene the same, except
• 26:48
  Speaker 1: that the wall has disappeared. The benches which were formerly
• 26:52
  Speaker 1: against it are removed to the extreme right and left.
• 26:56
  Speaker 1: There are a few extra pots of flowers and two
• 26:59
  Speaker 1: or three plaster statues. To the right is a small
• 27:03
  Speaker 1: garden table with chairs about it. As the curtain rises,
• 27:08
  Speaker 1: Pasquino is sitting on the bench to the left reading
• 27:11
  Speaker 1: a paper. Blaze is at the back, busy with his rake.
• 27:16
  Speaker 7: So the notary comes tonight, mister Pascanau. It is pleasant
• 27:20
  Speaker 7: now that the wall is down and you're living together.
• 27:23
  Speaker 7: This past month it was high time. I'm thinking, the
• 27:26
  Speaker 7: little lovers must be.
• 27:27
  Speaker 1: Happy, Pasquino, raising his head and looking about.
• 27:32
  Speaker 5: So you lucked without the wall, Blaze.
• 27:35
  Speaker 7: The garden is superb.
• 27:37
  Speaker 5: Here's my property. Has he increased one hundred percent?
• 27:40
  Speaker 1: Poking a tuft of grass with his foot? Have you
• 27:43
  Speaker 1: watered the grass furiously?
• 27:46
  Speaker 5: You have no business doings that during today.
• 27:49
  Speaker 7: But mister Burger May told me to.
• 27:51
  Speaker 5: I see. He seems those things that the more glass
• 27:54
  Speaker 5: is what held, the better it becomes. But takes those
• 27:58
  Speaker 5: plants out of the greenhouse.
• 28:00
  Speaker 1: As Blaize begins arranging plants which he gets from the greenhouse.
• 28:04
  Speaker 1: Just off stage entered Bergamin. At the back, Bergamin watering
• 28:10
  Speaker 1: some flowers from a large watering can.
• 28:13
  Speaker 4: Dear me, these plants never get enough water.
• 28:17
  Speaker 1: To a tree.
• 28:18
  Speaker 4: Hey there, old man, you never get enough to drink,
• 28:22
  Speaker 4: do you? Here's for you?
• 28:25
  Speaker 1: Laying down the watering can, he looks about him with satisfaction.
• 28:30
  Speaker 4: Yes, it is better now, very pretty. Those statues there
• 28:35
  Speaker 4: are a decided improvement.
• 28:37
  Speaker 1: Catching sight of Pasquina.
• 28:40
  Speaker 4: How are you?
• 28:41
  Speaker 1: No answer, how are you?
• 28:44
  Speaker 4: How are you?
• 28:45
  Speaker 1: Pasquinau raises his head.
• 28:48
  Speaker 5: Well, my friend, why is that? We see itaza? Is
• 28:52
  Speaker 5: there time?
• 28:53
  Speaker 4: Oh? Very well?
• 28:55
  Speaker 1: Seeing Blaize arranging the plants?
• 28:58
  Speaker 4: Will you take those plants?
• 29:00
  Speaker 1: Blaze, not knowing what to do, takes them back immediately.
• 29:05
  Speaker 1: Pasquinau raises his eyes, shrugs his shoulders, and then resumes
• 29:10
  Speaker 1: his reading. Bergamin walks back and forth and finally sits
• 29:14
  Speaker 1: down near Pasquino. There is a pause.
• 29:19
  Speaker 4: I used to come here every day in.
• 29:22
  Speaker 1: Silence, Pasquino, laying aside his paper too.
• 29:27
  Speaker 5: It was most amusing, and our secret severe danger was amusing.
• 29:33
  Speaker 4: And the things we had to say of each.
• 29:35
  Speaker 5: Other vially amusing, Bigamon.
• 29:38
  Speaker 4: Pasquinou some things lacking no the idea.
• 29:44
  Speaker 1: After a moment's reflection.
• 29:46
  Speaker 4: Yes, I agree with you, funny, are you losing your sense?
• 29:52
  Speaker 4: The romantic?
• 29:53
  Speaker 1: He looks at Pasquino and says, aside.
• 29:57
  Speaker 4: His waistcoat often lacks a button. It's disgusting.
• 30:02
  Speaker 1: He rises and walks back and forth, Pasquinau looking over
• 30:07
  Speaker 1: his paper Aside.
• 30:09
  Speaker 5: He looks like some immense beeter.
• 30:12
  Speaker 1: He pretends to be reading as Bergamin passes him. Bergamin aside,
• 30:18
  Speaker 1: see the ridiculous way he reads. He whistles as he
• 30:22
  Speaker 1: walks away up stage. Pasquia aside, whistling, Oh, heavens, don't
• 30:29
  Speaker 1: do that.
• 30:30
  Speaker 5: Whistling makes me nevess.
• 30:32
  Speaker 1: Bergamin with a smile.
• 30:35
  Speaker 4: Remember the moat in your neighbor's eye. You too, get
• 30:39
  Speaker 4: on my nerves sometimes. I you tell the same story
• 30:43
  Speaker 4: twenty times a day.
• 30:44
  Speaker 5: Why aye?
• 30:45
  Speaker 4: And when you sit down you swing your foot like
• 30:48
  Speaker 4: a pendulum. At meals you roll your bread in a
• 30:53
  Speaker 4: most disgusting manner.
• 30:54
  Speaker 5: How you take me to test for my irritating man ofisms.
• 30:58
  Speaker 5: But let me tell you you are no less unpleasant.
• 31:01
  Speaker 5: You are ridiculous and the surly selfish. I know now
• 31:05
  Speaker 5: what the zetabel is. A while with it, we were happy.
• 31:10
  Speaker 5: Now we don't live at all.
• 31:12
  Speaker 4: We didn't do this for ourselves, did we, No, we
• 31:16
  Speaker 4: did not. It was for our children, for children.
• 31:20
  Speaker 5: Yes, letters are therefore suffire and silence, and the regret
• 31:25
  Speaker 5: former liberty.
• 31:27
  Speaker 4: Sacrifice is the lot of parents.
• 31:30
  Speaker 1: Silvette and Personae appear at the left upstage, arm in arms,
• 31:38
  Speaker 1: Berghaman looking at them, see.
• 31:41
  Speaker 4: Them how they love each other, Like the old pilgrims
• 31:45
  Speaker 4: of love. They return each day to the sacred spot.
• 31:49
  Speaker 1: The lovers, who have meantime disappeared reappear on the opposite
• 31:55
  Speaker 1: side of the stage and come down toward the old man.
• 32:00
  Speaker 5: Looking as they usually do. So our conversation will be
• 32:03
  Speaker 5: well worth listening to.
• 32:05
  Speaker 1: Bergamant and Pasquino retire behind a tree.
• 32:09
  Speaker 3: I love you, I love you.
• 32:12
  Speaker 1: They stop.
• 32:13
  Speaker 2: Here is the famous spot.
• 32:15
  Speaker 3: Yes, he fell here, that big fellow pierced to the heart.
• 32:18
  Speaker 2: There I was like Andromeda.
• 32:21
  Speaker 3: And I was Perseus.
• 32:23
  Speaker 2: How many were there against you, dan?
• 32:25
  Speaker 4: Oh?
• 32:26
  Speaker 2: There were twenty at least, not counting the big leader.
• 32:30
  Speaker 3: Or thirty there must have been.
• 32:32
  Speaker 2: Tell me once more how it was accomplished.
• 32:35
  Speaker 3: They fell like cards in a row.
• 32:37
  Speaker 2: Our story should be put into a poem.
• 32:40
  Speaker 3: It shall be how I love you, I adore you.
• 32:44
  Speaker 2: A realized dream, How my heart beats. I would never
• 32:49
  Speaker 2: think of marrying a commonplace little husband picked out by
• 32:52
  Speaker 2: my father indeed, no, no, not the way husbands are
• 32:56
  Speaker 2: usually given to young girls.
• 32:58
  Speaker 3: No, you would never have fought of marrying the son
• 33:01
  Speaker 3: of your father's best friend.
• 33:02
  Speaker 1: Silvett laughing.
• 33:05
  Speaker 2: Indeed, not have you noticed how our fathers have lately?
• 33:09
  Speaker 1: Yes, like two dogs, Bergama a side, mm and.
• 33:14
  Speaker 3: I know the reason why this new arrangement is not
• 33:17
  Speaker 3: the best thing for their property. Our fathers are very
• 33:19
  Speaker 3: good people. You know that they haven't much soul, and
• 33:21
  Speaker 3: our brilliant adventure rather throws them into the shade.
• 33:25
  Speaker 1: Pasquino aside.
• 33:27
  Speaker 5: How's that you see?
• 33:30
  Speaker 2: They are fathers of celebrated lovers, poor fathers. How they
• 33:34
  Speaker 2: have been.
• 33:35
  Speaker 1: Deceived Pasquino aside.
• 33:38
  Speaker 3: Aha, Yes, fate has been with.
• 33:41
  Speaker 1: Us, Bergama aside aha.
• 33:45
  Speaker 2: And tonight the marriage contract is to be signed.
• 33:49
  Speaker 3: I must have musicians.
• 33:51
  Speaker 1: Then go quick, I fly, Silvett calling him back.
• 33:56
  Speaker 2: I'll take you as far as the gate.
• 33:58
  Speaker 1: They go upstage, arm in arm.
• 34:01
  Speaker 2: We are at least as great as the most celebrated lovers.
• 34:05
  Speaker 3: We shall take our place with Romeo and.
• 34:07
  Speaker 2: Juliet, Aminta and her shepherd Pussispy and so many others.
• 34:13
  Speaker 1: They disappear, but their voices are heard outside.
• 34:17
  Speaker 3: Francesca and Poilo, Petroch and.
• 34:20
  Speaker 1: Laura, Bergamat and Pasquino emerge.
• 34:24
  Speaker 5: See how well your plan has succeeded. Our children are
• 34:28
  Speaker 5: quite mad thanks to you.
• 34:31
  Speaker 4: Your daughter with her famous abduction is most aggravating.
• 34:36
  Speaker 5: Your son thinks he is a hero. He gets on
• 34:39
  Speaker 5: my nails.
• 34:40
  Speaker 4: But the worst of it all is that they think
• 34:43
  Speaker 4: we are two idiotic old fools whom they have deceived.
• 34:48
  Speaker 4: I don't like it at all.
• 34:50
  Speaker 5: Why didn't you think of that before? Wise men, I'm
• 34:53
  Speaker 5: going to tell you everything.
• 34:55
  Speaker 4: No, please don't do that, at least not until after
• 34:59
  Speaker 4: the signing the contract. Let us not say a word
• 35:02
  Speaker 4: until then.
• 35:04
  Speaker 5: Here you will. But meantime, helly, our cart is a
• 35:07
  Speaker 5: net of your own makings.
• 35:09
  Speaker 4: But my dear friend, you admired the plan, a fine
• 35:13
  Speaker 4: plan in truth.
• 35:15
  Speaker 1: Silvette enters gaily with flowers in her hand. She waves
• 35:20
  Speaker 1: to personee in the distance, then comes downstage.
• 35:24
  Speaker 2: Good day Papa, good day, father in law.
• 35:27
  Speaker 4: To be, good day, daughter in law, to be.
• 35:31
  Speaker 2: My my, What a bad humor you are in.
• 35:34
  Speaker 4: It's Pastuenoul's fault, he.
• 35:37
  Speaker 1: He Silvette, waving her flowers in Bergama's face.
• 35:42
  Speaker 2: Sh please don't quarrel. Of course, I understand you can't
• 35:47
  Speaker 2: behave quite as old friends, and you like to quarrel
• 35:50
  Speaker 2: a little in a friendly way.
• 35:53
  Speaker 4: Of course, our hatred was so great, a.
• 35:56
  Speaker 2: Mortal hatred too. When I think about what you've said
• 35:59
  Speaker 2: about Papa bah, oh, dear, I used to sit by
• 36:03
  Speaker 2: the wall and hear every word. And to think you
• 36:06
  Speaker 2: never once suspected that I came there to meet person
• 36:09
  Speaker 2: a Pasquino. Ironically, oh I we came here every day
• 36:14
  Speaker 2: at the same hour. To Bergaman, I can still hear
• 36:19
  Speaker 2: Persone telling you that he was going to marry most romantically,
• 36:24
  Speaker 2: and he kept his word.
• 36:25
  Speaker 1: Bergama put out.
• 36:28
  Speaker 4: Really, and do you think that if I had wished now?
• 36:32
  Speaker 2: Now, now I know lover's dreams are always realized, and
• 36:36
  Speaker 2: that fathers who are mortal enemies always end by falling
• 36:40
  Speaker 2: into each other's arms or let me laugh, But we
• 36:44
  Speaker 2: proved it.
• 36:46
  Speaker 4: I could say something, what nothing.
• 36:49
  Speaker 1: Silvett to Bergama, you seem changed.
• 36:53
  Speaker 2: What do you mean?
• 36:55
  Speaker 5: I mean it was one?
• 36:56
  Speaker 1: Would we could aside and to tell her he walks
• 37:02
  Speaker 1: upstage two or three steps.
• 37:05
  Speaker 2: Well, if you have nothing to say, why not keep.
• 37:07
  Speaker 1: Still pasking now angrily?
• 37:11
  Speaker 5: He's still nothing to say. Do Imagion said, everything just happened?
• 37:17
  Speaker 5: How do you think people could come into my park,
• 37:20
  Speaker 5: Susie iron Gates?
• 37:22
  Speaker 4: Do you imagine for one instant that young ladies are
• 37:25
  Speaker 4: carried off like that nowadays?
• 37:27
  Speaker 1: Do I?
• 37:28
  Speaker 2: What are you saying that will do?
• 37:31
  Speaker 4: It is high time you knew the truth. I tell
• 37:34
  Speaker 4: you the victory was on the side of the old man.
• 37:38
  Speaker 5: But it's the old place. Your father was always the dupe,
• 37:42
  Speaker 5: and now it is we do zaduping? What is of you?
• 37:46
  Speaker 5: Have loved the other? If you had been told to
• 37:49
  Speaker 5: do so?
• 37:50
  Speaker 2: No, then perhaps you suspect it. Of course we did
• 37:54
  Speaker 2: our meetings.
• 37:55
  Speaker 4: I heard you every time.
• 37:57
  Speaker 5: But the benches we put himselves on the duel.
• 38:01
  Speaker 4: A trick prepared beforehand.
• 38:03
  Speaker 2: The Bravadoes actors. Then my abduction, it was all a joke.
• 38:09
  Speaker 1: Bergamn, searching in his pocket, joke. Here's the bill, Silvette,
• 38:16
  Speaker 1: snatching the bill from him, Give it to me, She reads.
• 38:20
  Speaker 2: Straw frel Confidential Affairs one abduction, Setting and Scenery for
• 38:27
  Speaker 2: purposes of bringing about a marriage. Oh eight assistants at
• 38:33
  Speaker 2: five francs ahead, eight masks.
• 38:36
  Speaker 1: Bergament to Pasquino. I think we told her too soon,
• 38:41
  Speaker 1: Silvette continuing.
• 38:43
  Speaker 2: One sedan chair with porters laid a style with red trimmings.
• 38:50
  Speaker 1: Laughing, she throws the bill on the table.
• 38:53
  Speaker 5: Didn't she isn't angry?
• 38:54
  Speaker 1: Silvette graciously a.
• 38:57
  Speaker 2: Charming idea, but truly, Monsieur Bergama, do you think I
• 39:01
  Speaker 2: love Personet merely because of your trick?
• 39:04
  Speaker 5: She takes it very well.
• 39:06
  Speaker 1: Bergama to Silvette.
• 39:08
  Speaker 4: You're not offended?
• 39:10
  Speaker 5: Are you going to tell Personne?
• 39:12
  Speaker 6: Oh?
• 39:12
  Speaker 2: No, men are so stupid.
• 39:15
  Speaker 4: Very sensible. But I had an.
• 39:18
  Speaker 1: Idea taking out his watch.
• 39:21
  Speaker 4: Now we must see about the contract.
• 39:24
  Speaker 1: Offering his hand to Silvette.
• 39:26
  Speaker 4: We are still good friends, of.
• 39:28
  Speaker 1: Course, Bergama, turning about once more before he goes out.
• 39:33
  Speaker 4: You don't blame me, do you, Silvette?
• 39:36
  Speaker 1: Sweetly, not in the least. Bergamett and Pasquina go out.
• 39:42
  Speaker 1: As they leave, Silvette bursts into a rage.
• 39:46
  Speaker 2: Oh, I hate that, Monsieur Bergama.
• 39:49
  Speaker 1: Enter Personne still here, Ah, I see you did not
• 39:53
  Speaker 1: want to leave the sacred spot. Silvette sitting on the
• 39:57
  Speaker 1: bench to the left, outrageous.
• 40:00
  Speaker 3: There is where you saw me like commitis put to flight.
• 40:03
  Speaker 3: Thirty of the ruffians, no.
• 40:05
  Speaker 1: Ten personee going to her.
• 40:08
  Speaker 3: Dearest, what is the matter? Are you troubled. Your eyes
• 40:11
  Speaker 3: are not so bright as they were. I know this
• 40:14
  Speaker 3: marvelous place makes you sad sometimes? Are you sad because
• 40:18
  Speaker 3: our balcony, our Verona balcony is destroyed?
• 40:21
  Speaker 1: Silvett impatiently, Oh, dear.
• 40:24
  Speaker 3: But does not the wall still exist in our memories,
• 40:27
  Speaker 3: that wall which cradled our love.
• 40:30
  Speaker 1: Silvett aside.
• 40:32
  Speaker 2: Will he never end?
• 40:34
  Speaker 7: You?
• 40:34
  Speaker 3: Remember? Not long ago you said our story should be
• 40:36
  Speaker 3: put into a poem. Yes, well, I have occasionally written verses.
• 40:41
  Speaker 2: Are you going to write our story?
• 40:44
  Speaker 3: Listen to this? I thought it out when I was
• 40:46
  Speaker 3: walking The fathers who are mortal enemies? First canto?
• 40:49
  Speaker 1: Oh personae ready to declaim er?
• 40:53
  Speaker 3: Oh what is the matter?
• 40:56
  Speaker 2: I imagine? I am too happy. I'm nervous. I don't feel well.
• 41:01
  Speaker 1: She bursts into tears.
• 41:03
  Speaker 2: I'll be well in a moment, Let me be.
• 41:06
  Speaker 1: She turns her back and hides her face in a handkerchief.
• 41:10
  Speaker 1: Personet surprised.
• 41:13
  Speaker 3: I'll leave you for a moment aside on a day
• 41:16
  Speaker 3: like this, it's only too natural.
• 41:18
  Speaker 1: He goes to the right, sees the bill on the table,
• 41:22
  Speaker 1: takes a pencil from his pocket, and sits down.
• 41:25
  Speaker 3: I'll just drot down those lines.
• 41:27
  Speaker 1: He picks up the bill and starts to write. Notices
• 41:31
  Speaker 1: the writing and reads aloud.
• 41:34
  Speaker 3: I straferel, having pretended to be killed by a sword
• 41:38
  Speaker 3: thrust from a foolish young blade, hereby render account for
• 41:41
  Speaker 3: torn clothes and wounded pride forty francs smiling.
• 41:45
  Speaker 5: What is it?
• 41:46
  Speaker 1: He continues reading to himself, and his smile dies away.
• 41:51
  Speaker 1: Silvette wiping her eyes.
• 41:54
  Speaker 2: He would fall from the clouds if he knew. I
• 41:57
  Speaker 2: must be careful.
• 41:59
  Speaker 1: Personee rising po well well, Silvette going toward him. What
• 42:08
  Speaker 1: is it, personee? Hiding the bill?
• 42:11
  Speaker 3: Nothing aside, Now I see where the body was never found.
• 42:16
  Speaker 1: Silvette, turning around to show Persone her dress.
• 42:21
  Speaker 2: You've said nothing about my dress.
• 42:22
  Speaker 1: Today, Persone preoccupied.
• 42:26
  Speaker 3: And blue is not becoming. I wwist prefer you in pink?
• 42:29
  Speaker 1: Silvette aside?
• 42:31
  Speaker 2: What is the matter? Can he have found out?
• 42:34
  Speaker 1: She looks toward the table the bill. She runs to
• 42:38
  Speaker 1: the table.
• 42:39
  Speaker 3: What are you looking for?
• 42:40
  Speaker 2: Nothing? Now, let me hear your poem?
• 42:43
  Speaker 1: No, please, no, but.
• 42:46
  Speaker 2: I want to hear it.
• 42:48
  Speaker 1: The verses are not good, Oh a side. I think
• 42:52
  Speaker 1: he knows personae aside. I think she knows each to
• 42:59
  Speaker 1: the other. You know after a pause, they laugh.
• 43:07
  Speaker 3: Isn't it funny? Very we were made to play a
• 43:10
  Speaker 3: farce or father through the best of friends.
• 43:12
  Speaker 2: All the time, good neighbors.
• 43:14
  Speaker 1: I'll warrant they are cousins too, Silvette bowing.
• 43:18
  Speaker 2: I am about to marry my cousin. My cousin, how
• 43:22
  Speaker 2: nice and respectable.
• 43:23
  Speaker 3: Classic.
• 43:25
  Speaker 2: Of course I had dreamed of a marriage more. But
• 43:29
  Speaker 2: it is comforting to know that our love concides with
• 43:32
  Speaker 2: our duty.
• 43:34
  Speaker 3: And the material interests of our fathers.
• 43:36
  Speaker 2: In excellent marriage, in short, a marriage of convenience, and
• 43:41
  Speaker 2: our poor idol gone gone. So I'm the good little
• 43:46
  Speaker 2: girl of the family.
• 43:48
  Speaker 3: And I the obedient little son. But it was only
• 43:51
  Speaker 3: as Romeo that I appealed to you.
• 43:53
  Speaker 2: Well, you are no longer that?
• 43:56
  Speaker 3: And do you think you are? Juliet?
• 43:57
  Speaker 6: Now?
• 43:57
  Speaker 3: You're bitter and you cynical?
• 44:00
  Speaker 2: If you were ridiculous, is it my fault?
• 44:02
  Speaker 3: I at least had a partner, I too.
• 44:05
  Speaker 2: Poor bluebird, you are beautifully plucked persone, bitterly free.
• 44:11
  Speaker 3: Arranged abduction farce, all of it by your savior. All
• 44:17
  Speaker 3: our poetry was bought and paid for. Our beautiful bubble
• 44:20
  Speaker 3: is now a tiny fleck of soap. Farewell, Shakespeare in Lovers,
• 44:24
  Speaker 3: we have nothing in common with you. Nothing in place
• 44:27
  Speaker 3: of a divine drama. We played an infamous parody.
• 44:30
  Speaker 2: Our Nightingale was a sparrow.
• 44:33
  Speaker 3: Under the immortal wall a Punch and Judy theater. We
• 44:36
  Speaker 3: were the puppets worked by our fathers.
• 44:38
  Speaker 2: But how much more ridiculous we should be if we
• 44:40
  Speaker 2: loved each other less than we do?
• 44:43
  Speaker 3: M we must now love more than ever.
• 44:45
  Speaker 2: But we do.
• 44:47
  Speaker 3: We adore the word is not a bit too strong?
• 44:49
  Speaker 2: Love can console us? Can it not? My treasure?
• 44:53
  Speaker 3: Certainly my jewel.
• 44:55
  Speaker 2: Goodbye, then, my dearest.
• 44:57
  Speaker 3: Goodbye, my darling.
• 44:59
  Speaker 2: I shall dream of you, my heart, and I view
• 45:02
  Speaker 2: good night.
• 45:03
  Speaker 1: She goes out.
• 45:05
  Speaker 3: So this is how I've been treated? But who is this?
• 45:09
  Speaker 3: He's the long mustaches. I don't know him.
• 45:12
  Speaker 1: Strafarel enters and walks majestically toward persone Strafarel with a
• 45:18
  Speaker 1: profound bow.
• 45:20
  Speaker 6: I have come to collect a small bill.
• 45:23
  Speaker 3: Are you an upholsterer?
• 45:25
  Speaker 6: Run along, young man, and tell you Papa. I am
• 45:28
  Speaker 6: waiting for him.
• 45:29
  Speaker 3: What is your name?
• 45:30
  Speaker 6: My name is Strafarel.
• 45:33
  Speaker 1: Personee with a start. He this is too much, Strafarel, smiling.
• 45:39
  Speaker 1: Then you know, young man persone, throwing the bill in
• 45:44
  Speaker 1: Straffarel's face.
• 45:46
  Speaker 3: Which it was you?
• 45:47
  Speaker 6: It was probacco.
• 45:49
  Speaker 3: I have you at last.
• 45:51
  Speaker 6: The people you kill, you see are in the best
• 45:54
  Speaker 6: of health.
• 45:55
  Speaker 1: Personet drawing his sword and making a pass at Strafarel.
• 46:00
  Speaker 3: You will see.
• 46:01
  Speaker 1: Straferel parrying with his arm like a fencing master giving
• 46:05
  Speaker 1: a lesson hand.
• 46:07
  Speaker 6: High foot out, Monsieur dr age, you should know better
• 46:11
  Speaker 6: than that.
• 46:12
  Speaker 1: He takes the sword from Personet with his naked hand
• 46:15
  Speaker 1: and returns it as he bows.
• 46:18
  Speaker 6: What are you stopping your fancy lessons so soon?
• 46:21
  Speaker 1: Personet exasperated as he takes back the sword.
• 46:26
  Speaker 8: I'm going away here, I am treated like a child.
• 46:30
  Speaker 8: I shall have my revenge. I am going to seek
• 46:32
  Speaker 8: my romance, true romance, love affairs, duels. Er ah, don't, Juan,
• 46:37
  Speaker 8: I will scandalize your ghost. I will elope with actresses.
• 46:41
  Speaker 1: He dashes out, brandishing his sword.
• 46:45
  Speaker 6: Very well, But who is going to pay me?
• 46:48
  Speaker 1: Looking in the distance, I'll.
• 46:50
  Speaker 6: Stop there, here's someone else.
• 46:54
  Speaker 1: Enter Bergama and Pasquinaux, their hair and clothes ruffled as
• 46:58
  Speaker 1: if they had been fighting. Pasquine readjusting his clothes and
• 47:03
  Speaker 1: holding Bergama's wig.
• 47:05
  Speaker 5: Heils you weak and here's yours after this, you can't imagine.
• 47:10
  Speaker 4: I would no more live with you now.
• 47:12
  Speaker 1: Than Enter Silvette, my daughter.
• 47:15
  Speaker 5: I say nothing about.
• 47:16
  Speaker 1: This, Silvette throwing her arms around her father's neck.
• 47:21
  Speaker 2: Papa, I can't marry persone.
• 47:24
  Speaker 1: Enter the notary and four witnesses.
• 47:27
  Speaker 4: The witnesses the devil.
• 47:29
  Speaker 1: What Strefarel in the midst of the tumult my bill?
• 47:35
  Speaker 6: Who is going to pay me? Ninety pistoles?
• 47:40
  Speaker 1: Enter the guests and three fiddlers who.
• 47:42
  Speaker 4: Play what's all this? The guests music.
• 47:47
  Speaker 1: The fiddlers continue their minuet straferel to Bergaman. Well see
• 47:54
  Speaker 1: Pasquina strafarrel reading.
• 47:57
  Speaker 6: For the purpose of bringing a pout of marriage.
• 48:00
  Speaker 4: Well, there is to be no marriage, therefore I owe
• 48:04
  Speaker 4: you nothing.
• 48:05
  Speaker 1: Enter Blaze strafarel to Pasquina.
• 48:09
  Speaker 5: But monsieur, what pay you know? The DTIs ropen.
• 48:14
  Speaker 1: Off Bergaman, to whom Blaize has just whispered.
• 48:19
  Speaker 2: My son run away, run away, well quick follow him.
• 48:26
  Speaker 1: He runs out, followed by the notary and the witnesses. Gone,
• 48:31
  Speaker 1: Strafarel coming downstage.
• 48:34
  Speaker 6: Why can't I straighten all this out?
• 48:37
  Speaker 2: This is too much?
• 48:39
  Speaker 1: She goes out, followed by Pasquina Staffarel.
• 48:43
  Speaker 6: My son if you want your natty pistoles, you must
• 48:47
  Speaker 6: patch up this marriage.
• 48:49
  Speaker 1: He goes out. The three fiddlers, left alone, continue their
• 48:53
  Speaker 1: minuet as the curtain falls. Curtain and Act too, Act
• 49:01
  Speaker 1: three scene. The scene is the same, except that the
• 49:06
  Speaker 1: wall is being rebuilt. Bricks and sacks of plaster lie about.
• 49:11
  Speaker 1: As the curtain rises. The mason is seen at work
• 49:14
  Speaker 1: with his trowel. His back is turned to the audience.
• 49:18
  Speaker 1: Bergama and Pasquinow, each on his own side of the wall,
• 49:22
  Speaker 1: watch the progress of the work. The mason singing at
• 49:27
  Speaker 1: his work.
• 49:28
  Speaker 4: Taha law, these masons are so slow. Good how he slaughs.
• 49:35
  Speaker 4: The waters break.
• 49:39
  Speaker 1: The mason sings a number of trills.
• 49:42
  Speaker 6: Ta la la la la law, taw la law. Paula
• 49:47
  Speaker 6: la law.
• 49:49
  Speaker 5: Sings well, but the works very slowly. By tomorrow, so
• 49:52
  Speaker 5: we'll be at least two feet high.
• 49:55
  Speaker 4: I'm impatient to see it higher.
• 49:57
  Speaker 5: Which is there? You same as you I was.
• 50:00
  Speaker 4: I'm not addressing you.
• 50:01
  Speaker 3: A pause?
• 50:04
  Speaker 4: What do you do evenings after dinner?
• 50:08
  Speaker 5: Nothing?
• 50:09
  Speaker 4: And you nothing?
• 50:11
  Speaker 1: Another pause? They bow and walk about again. Pasquy now
• 50:17
  Speaker 1: stopping any.
• 50:19
  Speaker 5: News from your son.
• 50:21
  Speaker 4: No, he is still away.
• 50:24
  Speaker 5: He will it turns soon. Here his money will surely
• 50:27
  Speaker 5: keep out.
• 50:28
  Speaker 4: Thank you.
• 50:29
  Speaker 1: They bow again and walk.
• 50:32
  Speaker 5: Now city while it is being built again, monsieur I
• 50:35
  Speaker 5: or should he be glad to see you from time
• 50:37
  Speaker 5: to time?
• 50:38
  Speaker 4: Thank you? Perhaps I shall come?
• 50:42
  Speaker 1: They bow, Hey, tell me?
• 50:44
  Speaker 5: Will you play piquet?
• 50:46
  Speaker 4: I beg your pardon. I don't know how invite you
• 50:51
  Speaker 4: to tell the truth. I prefer Basique didn't commit.
• 50:55
  Speaker 1: Once Bergaman following pasquinow who goes out?
• 51:00
  Speaker 4: You owe me can sue for the last time, turning round,
• 51:05
  Speaker 4: work hard mason, La la la la, la beautiful voice.
• 51:11
  Speaker 1: They disappear when they are gone. The mason turns round
• 51:16
  Speaker 1: and takes off his hat. He is stafarrel.
• 51:20
  Speaker 6: Now for the work of reconstruction.
• 51:22
  Speaker 1: He sits down on the row or two of bricks.
• 51:26
  Speaker 6: The young man is still off on his quest for
• 51:29
  Speaker 6: adventure and romance. Life must be given him a splendid
• 51:33
  Speaker 6: bath of disillusion. I can see him as he returns
• 51:37
  Speaker 6: his tail between his legs. Now, I am working on Silvette.
• 51:42
  Speaker 6: She too will soon be cured.
• 51:45
  Speaker 1: He takes a letter from his pocket and puts it
• 51:47
  Speaker 1: in the hollow of a tree trunk. Silvette appears at
• 51:51
  Speaker 1: the back.
• 51:52
  Speaker 4: It's she.
• 51:53
  Speaker 6: Now to work.
• 51:55
  Speaker 1: Silvett, looking anxiously about not a soul. She lays her
• 52:01
  Speaker 1: muslin scarf on the bench to the left.
• 52:04
  Speaker 2: Will the letter be there to day? As usual?
• 52:08
  Speaker 1: She goes toward the tree.
• 52:10
  Speaker 2: Every day some gallant has left one for me.
• 52:13
  Speaker 1: She thrusts her hand into the hollow.
• 52:16
  Speaker 2: Ah, here is my mail.
• 52:19
  Speaker 1: She takes the letter, opens it, and reads.
• 52:22
  Speaker 2: Silvette, heart of marble, this is the last letter you
• 52:27
  Speaker 2: will find in this tree. Why have you not answered me? Ah?
• 52:31
  Speaker 2: What style the love that gnaws at my vitals? Monsieur
• 52:36
  Speaker 2: personet has gone forth into the great world, and he
• 52:39
  Speaker 2: is right. I shall do as he has done. How
• 52:43
  Speaker 2: can I possibly stay here and die? Ofvonui? Now let
• 52:48
  Speaker 2: him come? I am ready to fly with him. I
• 52:51
  Speaker 2: almost love him.
• 52:52
  Speaker 1: Already Stratherel rising from his work, and in a voice
• 52:57
  Speaker 1: of thunder, here Ama, sil that, screaming help personee man,
• 53:06
  Speaker 1: not another step straferel gallantly?
• 53:10
  Speaker 6: Why this hostile attitude? I am the man whose letter
• 53:15
  Speaker 6: you love. I am he whose words have had the
• 53:19
  Speaker 6: honor of pleasing you, and upon whose love you just called.
• 53:24
  Speaker 1: Come fly with me, sil that, not knowing what to do?
• 53:30
  Speaker 6: Mayhahonna, you think I am a mason charming. Know then
• 53:35
  Speaker 6: that I am the Marquis dos the fior Keasita. My
• 53:40
  Speaker 6: heart is languishing for you. I seek to color my
• 53:44
  Speaker 6: drab existence with a few pigments from your own. I
• 53:48
  Speaker 6: mist travel but with you. That is why I have
• 53:52
  Speaker 6: penetrated into your garden. Disguised is a mason.
• 53:57
  Speaker 1: He throws off his workmen's clothes and and appears in
• 54:01
  Speaker 1: a dazzling costume. His wig is powdered, and his mustache bristles.
• 54:07
  Speaker 6: Monsieur, I learned your story from a man named Strafarel.
• 54:12
  Speaker 6: I felt at once and had unreasoning love for the
• 54:15
  Speaker 6: victim of that unfortunate affair. Marquis, don't be afraid of me.
• 54:22
  Speaker 6: That fellow who played the trick on you, I killed him,
• 54:27
  Speaker 6: killed him with a single blow.
• 54:30
  Speaker 2: Monsieur.
• 54:32
  Speaker 6: I understand you, you who have never been misunderstood. You
• 54:37
  Speaker 6: want romance? Do you not romance at tinney price? But Marquis, Tonight,
• 54:44
  Speaker 6: we elope, Monsieur, we shall go away, never to return. Monsieur,
• 54:51
  Speaker 6: my dream is realized. You consent tonight. If your father
• 54:56
  Speaker 6: objects so much, the worse for him, Monsieur, eh let
• 55:00
  Speaker 6: them follow us. I know how to deal with pursuers
• 55:04
  Speaker 6: in some far land. At last we shall live happily
• 55:07
  Speaker 6: in a little cottage. But I, for I am poor,
• 55:11
  Speaker 6: I have nothing. We shall live on bread soaked in
• 55:15
  Speaker 6: sweet tears. But I tell you we shall thrive on misfortune.
• 55:20
  Speaker 6: With you. I shan't care for anything else. A tent,
• 55:24
  Speaker 6: perhaps a tent of nothing at all, just the stars.
• 55:29
  Speaker 6: Oh I why you're trembling? Possibly you don't want to
• 55:35
  Speaker 6: go so far away? And then we shall hide somewhere.
• 55:38
  Speaker 2: But monsieur, you are mistaken.
• 55:41
  Speaker 6: Let people say what they will. Good Heavens, I shall
• 55:45
  Speaker 6: spend every moment of my time telling you how I
• 55:50
  Speaker 6: love you, Monsieur. Ours shall be a long life of poetry,
• 55:55
  Speaker 6: and I shall be furiously jealous. Monsieur, are you afraid now?
• 56:01
  Speaker 2: Heavens, what a lesson for me?
• 56:04
  Speaker 6: Ah? Now you look like a little boarding school miss
• 56:07
  Speaker 6: Tell me? Shall we fly together? Or shall I go alone? Monsieur,
• 56:12
  Speaker 6: I understand. I see you are strong. We shall go together.
• 56:19
  Speaker 6: I shall throw you across my saddle. No sedancair. They
• 56:23
  Speaker 6: are used only in make believe abductions.
• 56:26
  Speaker 1: I return soon, he goes upstage.
• 56:30
  Speaker 2: Monsieur.
• 56:30
  Speaker 6: Let me tell you, I must get my horse in
• 56:33
  Speaker 6: my mantle.
• 56:34
  Speaker 1: S that deeply distressed Monsieur straferel with a sweeping gesture.
• 56:41
  Speaker 6: We shall travel from land to land my dream. At
• 56:45
  Speaker 6: last I shall return and take you away, never to return.
• 56:51
  Speaker 9: So that, gasping, never to return, you shall live by
• 56:56
  Speaker 9: the side of your doored one, by the side of
• 56:59
  Speaker 9: him who loved you before he set eyes on you.
• 57:02
  Speaker 1: As he is about to leave, she falls onto the
• 57:05
  Speaker 1: bench and he says.
• 57:07
  Speaker 6: Aside, is now time for you, persone.
• 57:10
  Speaker 1: He goes out, Silvette opening her eyes after a moment.
• 57:15
  Speaker 2: Monsieur le marquis, No, not across the saddle. Please I
• 57:20
  Speaker 2: couldn't do that. Please please let me stay home. I
• 57:24
  Speaker 2: am a little boarding school. Miss Why he's gone, Marquis, heavens,
• 57:31
  Speaker 2: what an awful dream?
• 57:33
  Speaker 1: Another pause, then she rises romance.
• 57:38
  Speaker 2: Was it not romance that you craved? Not so long ago?
• 57:42
  Speaker 2: It has come? And are you afraid?
• 57:45
  Speaker 1: Love?
• 57:46
  Speaker 2: Stars a cottage? Yes? I did want it, but only
• 57:51
  Speaker 2: a little, like seasoning in a stew. This is too much.
• 57:56
  Speaker 2: I couldn't stand it.
• 57:59
  Speaker 1: The sun is Silvette takes up her scarf, which she
• 58:03
  Speaker 1: had left on the bench, and puts it over her head.
• 58:06
  Speaker 1: Who knows whether personet appears He is in rags and
• 58:11
  Speaker 1: his arm is in a sling. He looks ill and
• 58:15
  Speaker 1: can scarcely walk. Personet, not seeing Silvette.
• 58:20
  Speaker 3: I have had nothing to eat since yesterday. I can
• 58:23
  Speaker 3: hardly walk. I'm not proud now I want no more adventures.
• 58:27
  Speaker 1: He sits down on the wall. His hat falls from
• 58:31
  Speaker 1: his eyes and reveals his identity. Silvette sees him you.
• 58:37
  Speaker 1: He rises and stands, looking at her.
• 58:40
  Speaker 2: What has happened to you? Can it be?
• 58:43
  Speaker 1: Personet? Piteously?
• 58:45
  Speaker 3: It can?
• 58:46
  Speaker 1: Silvette, wringing her hands.
• 58:49
  Speaker 3: Heavens, I resemble somewhat the prodigal sun, do I not?
• 58:53
  Speaker 1: He totters, you can't stand up. I'm so tired, Silvette,
• 59:00
  Speaker 1: looking at his arm with a cry.
• 59:02
  Speaker 2: Wounded?
• 59:03
  Speaker 3: Can you pity the ungrateful?
• 59:06
  Speaker 1: Silvett severely?
• 59:08
  Speaker 2: Only fathers kill fat at calves. Still that wounded arm.
• 59:13
  Speaker 3: Oh, I assure you it's not serious.
• 59:15
  Speaker 2: But what have you been doing, monsieur vagabond? All this while?
• 59:20
  Speaker 3: Nothing very creditable? Silvette?
• 59:27
  Speaker 1: He coughs, you are coughing.
• 59:30
  Speaker 3: Walking the damp roads at night?
• 59:32
  Speaker 2: What strange clothes you have?
• 59:34
  Speaker 3: Mine were stolen and the thieves left.
• 59:36
  Speaker 1: Me these, Silvett ironically.
• 59:39
  Speaker 2: How many fortunes did you find silvette?
• 59:43
  Speaker 3: Please say nothing about that.
• 59:45
  Speaker 2: You must have scaled many a balcony.
• 59:47
  Speaker 1: Persone aside, and nearly broke my neck once guitar in hand.
• 59:54
  Speaker 2: And what nocturns and serenades you must have sung?
• 59:57
  Speaker 3: Would you earned from me more than one bucket of water?
• 1:00:00
  Speaker 2: But I see you have been wounded in a real duel.
• 1:00:03
  Speaker 3: It came near being mortal, and now you returned to
• 1:00:06
  Speaker 3: us thoroughly worn out.
• 1:00:09
  Speaker 2: Yes, but have you at least found romance and poetry?
• 1:00:13
  Speaker 3: No Ah, I was seeking afar? What was here all
• 1:00:16
  Speaker 3: the time? It don't make fun of me.
• 1:00:19
  Speaker 2: I adore you, even after our disillusion.
• 1:00:23
  Speaker 3: What difference does that make?
• 1:00:25
  Speaker 2: But our fathers played an abominable trick on us.
• 1:00:29
  Speaker 3: What of it? What I feel in my heart is real.
• 1:00:32
  Speaker 2: They pretended to hate each other?
• 1:00:35
  Speaker 3: Did we pretend that we loved?
• 1:00:37
  Speaker 2: The wall was a punch and Judy theater? You said
• 1:00:40
  Speaker 2: so yourself.
• 1:00:41
  Speaker 3: I did still that, but it was blasphemy. Ah, Well,
• 1:00:45
  Speaker 3: you gave us a divine setting with moonlight and stars,
• 1:00:49
  Speaker 3: flowers and vines, the four winds for music and Shakespeare
• 1:00:52
  Speaker 3: for prompter. Yes, our fathers made us go through themotions,
• 1:00:56
  Speaker 3: but it was love. That made us speak.
• 1:00:58
  Speaker 1: It pulled the strings, Silvette sighing.
• 1:01:02
  Speaker 2: That's true. But we loved because we believed it was wicked,
• 1:01:06
  Speaker 2: and it.
• 1:01:07
  Speaker 3: Was only the intention counts. I'm thinking we were guilty.
• 1:01:10
  Speaker 3: We were really, really, my dear, we were infamous. It
• 1:01:13
  Speaker 3: was wrong of us to love.
• 1:01:15
  Speaker 1: Silvett seating herself beside him, very wrong. She changes her
• 1:01:21
  Speaker 1: tone as she rises and goes away.
• 1:01:24
  Speaker 2: Still, I wish the danger had been a little more real.
• 1:01:28
  Speaker 3: It was real because we believed it. So.
• 1:01:30
  Speaker 2: No, my abduction, like your duel, was false.
• 1:01:35
  Speaker 3: Was your fear false? If you were afraid, then it
• 1:01:38
  Speaker 3: was as if you were really being abducted.
• 1:01:40
  Speaker 2: No, the dear, remembrance is gone, all those masks and torches,
• 1:01:45
  Speaker 2: the soft music, the duel. It is too cruel to
• 1:01:49
  Speaker 2: think that Straferel prepared at all.
• 1:01:52
  Speaker 3: But who prepared the spring night? Was that Straferel? Did
• 1:01:56
  Speaker 3: he also sprinkle the sky with stars? Did he plant roses?
• 1:02:00
  Speaker 3: Did he create the gray of evening in the blue
• 1:02:01
  Speaker 3: mists of night? Did he have anything to do with
• 1:02:04
  Speaker 3: the rising of that huge pink star. No, of course,
• 1:02:07
  Speaker 3: was it his doing that we were two children of
• 1:02:09
  Speaker 3: twenty on a spring night, and that we loved each other.
• 1:02:12
  Speaker 3: We loved That was the charm, all the.
• 1:02:15
  Speaker 2: Charm, all the that's true.
• 1:02:18
  Speaker 3: Yet a tear am I then forgiven?
• 1:02:22
  Speaker 2: I have always loved you, my poor dear.
• 1:02:25
  Speaker 3: At last I have you again.
• 1:02:27
  Speaker 1: He takes Silvett's scarf and plays with it.
• 1:02:31
  Speaker 3: What beautiful shades and lights in this gorgeous satin?
• 1:02:33
  Speaker 2: What satin?
• 1:02:35
  Speaker 3: Oh?
• 1:02:35
  Speaker 2: Nothing, nothing, But it's only muslin.
• 1:02:38
  Speaker 1: Personet kneeling and kissing her hand. No, it is everything,
• 1:02:44
  Speaker 1: Silvett falling into his arms.
• 1:02:47
  Speaker 2: See, I know now that poetry and romance are in
• 1:02:50
  Speaker 2: the hearts of lovers. They have nothing to do with
• 1:02:53
  Speaker 2: other things.
• 1:02:55
  Speaker 3: And that is true, Silvette. I have seen what ought
• 1:02:57
  Speaker 3: to be poetry and romance, but it wasn't to me.
• 1:03:00
  Speaker 2: And what was prepared for and arranged beforehand was real,
• 1:03:05
  Speaker 2: though it was contrived for us by others.
• 1:03:08
  Speaker 3: We can weave realities on a false frame.
• 1:03:10
  Speaker 2: How foolish we were to seek elsewhere for romance when
• 1:03:14
  Speaker 2: it was our own hearts.
• 1:03:16
  Speaker 1: Straferell appears, followed by the two fathers and shows them
• 1:03:21
  Speaker 1: Silvette and Personee in each other's arms.
• 1:03:24
  Speaker 4: Ah, my son.
• 1:03:27
  Speaker 1: He embraces Personet.
• 1:03:29
  Speaker 6: Now do I get my money?
• 1:03:32
  Speaker 1: Pasquina to his daughter, Do you love him? Yes, Strafarel
• 1:03:38
  Speaker 1: to Bergaman.
• 1:03:40
  Speaker 6: Shall I have my money?
• 1:03:42
  Speaker 1: You shall, Silvette trembling as she hears Strafarell's voice and
• 1:03:47
  Speaker 1: recognizes it.
• 1:03:49
  Speaker 2: But that voice the Marquis dosta fior.
• 1:03:53
  Speaker 1: Strafarel, bowing Cracita.
• 1:03:57
  Speaker 6: Yes, my dear Mademoiselle Strafarel, pardon my excessive zeal. I
• 1:04:03
  Speaker 6: have at least taught you how tiresome and hollow and
• 1:04:07
  Speaker 6: useless real adventures are. You might, like this young man,
• 1:04:11
  Speaker 6: have had your share, but I allowed you to see
• 1:04:14
  Speaker 6: them in prospect through the magic lantern of my imagination.
• 1:04:18
  Speaker 1: What is this, Silvett? Quickly?
• 1:04:21
  Speaker 2: Nothing?
• 1:04:22
  Speaker 1: Nothing, I love you, Bergamin, pointing to the wall.
• 1:04:26
  Speaker 4: And tomorrow we shall knock down these few rows of bricks.
• 1:04:30
  Speaker 5: Yes, we with it.
• 1:04:32
  Speaker 6: No, let us finish it.
• 1:04:34
  Speaker 1: It is indispensable, Silvett, gathering them all about her.
• 1:04:40
  Speaker 2: Let us say no more about it.
• 1:04:44
  Speaker 1: Curtain And of Act three and of the Romancers by
• 1:04:49
  Speaker 1: Edmund Rostain, translated by Barrett Clark,