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ERDGEIST

LULU
BY FRANK WEDEKIND
ERDGEIST (EARTH-SPIRIT) $1.00
PANDORA'S BOX (In Preparation)

LULU
BY FRANK WEDEKIND ERDGEIST (EARTH-SPIRIT) $1.00
PANDORA'S BOX (In Preparation)

ERDGEIST

(Earth-Spirit)

(Earth-Spirit)

A Tragedy in Four Acts
BY
FRANK WEDEKIND

A Tragedy in Four Acts
BY
Frank Wedekind

Translated by Samuel A. Eliot, Jr.

NEW YORK
ALBERT AND CHARLES BONI
1914

"I was created out of ranker stuff
By Nature, and to the earth by Lust am drawn.
Unto the spirit of evil, not of good,
The earth belongs. What deities send to us
From heaven are only universal goods;
Their light gives gladness, but makes no man rich;
And in their state possession not obtains.
Therefore, the stone of price, all-treasured gold,
Must from the powers of falsehood be enticed,
The evil race that dwells beneath the day.
Not without sacrifice their favor is gained,
And no man liveth who from serving them
Hath extricated undefiled his soul."

"I was made from the worst of stuff
By Nature, and I'm drawn to the earth by Desire.
To the spirit of evil, not of good,
The earth belongs. What gods send to us
From heaven are just universal blessings;
Their light brings happiness but doesn't make anyone wealthy;
And in their state, possession isn't achieved.
So, the precious stone, all-valued gold,
Must be lured from the powers of deceit,
The evil beings that live in daylight.
Their favor isn't gained without sacrifice,
And no one lives who has managed to free
His soul completely from serving them."

CHARACTERS

DR. SCHÖN, newspaper owner and editor.
ALVA, his son, a writer.
DR. GOLL, M.D.
SCHWARZ, an artist.
PRINCE ESCERNY, an African explorer.
ESCHERICH, a reporter.
SCHIGOLCH, a beggar.
RODRIGO, an acrobat.
HUGENBERG, a schoolboy (played by a girl.)
FERDINAND, a coachman.
LULU.
COUNTESS GESCHWITZ.
HENRIETTE, a servant.

Dr. Schön, newspaper owner and editor.
ALVA, his son, a writer.
Dr. Goll, Doctor of Medicine
SCHWARZ, an artist.
PRINCE ESCERNY, an African explorer.
ESCHERICH, a reporter.
SCHIGOLCH, a beggar.
RODRIGO, an acrobat.
HUGENBERG, a schoolboy (played by a girl.)
FERDINAND, a coachman.
Lulu.
COUNTESS GESCHWITZ.
HENRIETTE, a servant.

PROLOGUE

(At rise, is seen the entrance to a tent, out of which steps an animal-tamer, with long, black curls, dressed in a white cravat, a vermilion dress-coat, white trowsers and white top-boots. He carries in his left hand a dog-whip and in his right a loaded revolver, and enters to the sound of cymbals and kettle-drums.)

(As the scene opens, the entrance to a tent is visible, and an animal tamer steps out. He has long, black curls and is dressed in a white cravat, a bright red dress coat, white trousers, and white high boots. He carries a dog whip in his left hand and a loaded revolver in his right, entering to the music of cymbals and kettle drums.)

Walk in! Walk in to the menagery,
Proud gentlemen and ladies lively and merry!
With avid lust or cold disgust, the very
Beast without Soul bound and made secondary
To human genius, to stay and see!
Walk in, the show'll begin!—As customary,
One child to each two persons comes in free.

Walk in! Walk into the menagerie,
Proud gentlemen and ladies, lively and cheerful!
With eager interest or chilly disdain, the very
Beast without a Soul, bound and made secondary
To human brilliance, to stay and watch!
Walk in, the show will start!—As usual,
One child for every two adults gets in free.

Here battle man and brute in narrow cages
Where one in haught disdain his long whip lashes
And one, with growls as when the thunder rages,
Against the man's throat murderously dashes,—
Where now the crafty conquers, now the strong,
Now man, now beast, lies cowed the floor along;
The animal rears,—the human on all fours!
One ice-cold look of dominance—
The beast submissive bows before that glance,
And the proud heel upon his neck adores.

Here, humans battle beasts in small cages
Where one, with haughty disdain, cracks his whip
And one, growling like thunder,
Attacks the man's throat with deadly intent,—
Where now the clever wins, now the strong,
Now man, now beast, lies crumpled on the ground;
The animal rears up,—the human on all fours!
One ice-cold look of dominance—
The beast bows submissively before that gaze,
And admires the proud heel pressing down on his neck.

Bad are the times! Ladies and gentlemen
Who once before my cage in thronging crescents
Crowded, now honor operas, and then
Ibsen, with their so highly valued presence.
[Page 8] My boarders here are so in want of fodder
That they reciprocally devour each other.
How well off at the theater is a player,
Sure of the meat upon his ribs, albeit
His frightful hunger may tear him and he it
And colleagues' inner cupboards be quite bare!—
Greatness in art we struggle to inherit,
Although the salary never match the merit.

Times are tough! Ladies and gentlemen
Who once gathered around my cage in droves
Now fill opera halls, and then
Spend time with Ibsen, valuing their presence.
[Page 8]My tenants here are so desperate for food
That they end up eating each other.
How lucky a theater actor is,
Guaranteed a meal on his plate, even if
His terrible hunger might consume him and he it
And his colleagues' resources are completely empty!—
We strive to inherit greatness in art,
But the pay never reflects the talent.

What see you, whether in light or sombre plays?
House-animals, whose morals all must praise,
Who wreak pale spites in vegetarian ways,
And revel in an easy cry or fret,
Just like those others—down in the parquet.
This hero has a head by one dram swirled;
That is in doubt whether his love be right;
A third you hear despairing of the world,—
Full five acts long you hear him wail his plight,
And no man ends him with a merciful sleight!
But the real beast, the beautiful, wild beast,
Your eyes on that, I, ladies, only feast!

What do you see, whether in light or dark plays?
House pets, whose virtues we all commend,
Who show off bitterness in vegetarian ways,
And delight in an easy whine or pout,
Just like those others—down in the front row.
This hero has a head that's a little bit off;
That one wonders if his love is genuine;
A third one you hear lamenting about life,—
For five long acts you hear him moan his fate,
And no one helps him with a kind end!
But the real beast, the beautiful, wild beast,
Your gaze on that, I, ladies, only indulge!

You see the Tiger, that habitually
Devours whatever falls before his bound;
The Bear, so ravenous originally,
Who at a late night-meal sinks dead to ground;
You see the Monkey, little and amusing,
From sheer ennui his petty powers abusing,—
He has some talent, of all greatness scant,
So, impudently, coquettes with his own want!
Upon my soul, within my tent's a mammal,
See, right behind the curtain, here,—a Camel!
And all my creatures fawn about my feet
[Page 9] When my revolver cracks—

You see the Tiger, which always Devours whatever comes its way; The Bear, originally very hungry, Who after a late-night meal collapses to the ground; You see the Monkey, small and entertaining, Who out of sheer boredom misuses his little skills— He has some ability, though very limited, So, boldly, he flirts with his own needs! Upon my word, there’s a creature in my tent, Look, right behind the curtain, there’s a Camel! And all my animals crowd around my feet [Page 9]When my gun fires—

(He shoots into the audience.)

He shoots into the crowd.

Behold!
Brutes tremble all around me. I am cold:
The man stays cold,—you, with respect, to greet.

Check this out!
Beasts are afraid all around me. I'm feeling cold:
The man remains cold,—you, with reverence, to acknowledge.

Walk in!—You hardly trust yourselves in here?—
Then very well, judge for yourselves! Each sphere
Has sent its crawling creatures to your telling:
Chameleons and serpents, crocodiles,
Dragons, and salamanders chasm-dwelling,—
I know, of course, you're full of quiet smiles
And don't believe a syllable I say.—

Walk in!—You barely trust yourselves in here?—
Then fine, see for yourselves! Each sphere
Has sent its creeping creatures to your storytelling:
Chameleons and snakes, crocodiles,
Dragons and salamanders that dwell in the abyss,—
I know, of course, you’re filled with quiet smiles
And don’t believe a word I say.—

(He lifts the entrance-flap and calls into the tent.)

(He lifts the entrance flap and calls into the tent.)

Hi, Charlie!—bring our Serpent just this way!

Hi, Charlie!—bring our Serpent over here!

(A stage-hand with a big paunch carries out the actress of Lulu in her Pierrot costume, and sets her down before the animal-tamer.)

(A stage-hand with a big gut brings out the actress of Lulu in her Pierrot costume and sets her down in front of the animal-tamer.)

She was created to incite to sin,
To lure, seduce, poison—yea, murder, in
A manner no man knows.—My pretty beast,

She was made to tempt into sin,
To entice, seduce, corrupt—yes, even kill, in
A way no man understands.—My lovely creature,

(Tickling Lulu's chin.)

Only be unaffected, and not pieced
Out with distorted, artificial folly,
Even if the critics praise thee for 't less wholly.
Thou hast no right to spoil the shape most fitting,
Most true, of woman, with meows and spitting!
And mind, all foolery and making faces
The childish simpleness of Vice disgraces.
Thou shouldst—to-day I speak emphatically—
Speak naturally and not unnaturally,
[Page 10] For the first principle in every art,
Since earliest times, was True and Plain, not Smart!

Just be unaffected and not forced
With twisted, fake nonsense,
Even if critics praise you for it less fully.
You have no right to ruin the true shape
Of woman, with hissing and spitting!
And remember, all foolishness and making faces
Disgraces the childish simplicity of Vice.
You should—today I say it clearly—
Speak naturally and not unnaturally,
[Page 10]Because the first principle in every art,
Since ancient times, has been True and Plain, not Smart!

(To the public.)

(To the public.)

There's nothing special now to see in her,
But wait and watch what later will occur!
Her strength about the Tiger she coils stricter:
He roars and groans!—Who'll be the final victor?—
Hop, Charlie, march! Carry her to her place,

There's nothing remarkable to see in her now,
But just wait and see what will happen later!
She tightens her grip around the Tiger:
He roars and groans!—Who will be the ultimate winner?—
Come on, Charlie, march! Take her to her spot,

(The stage-hand carries Lulu in his arms; the animal-tamer pats her on the hips.)

(The stagehand carries Lulu in his arms; the animal tamer gives her a gentle pat on the hips.)

Sweet innocence—my dearest treasure-case!

Sweet innocence—my greatest treasure!

(The stage-hand carries Lulu back into the tent.)

(The stagehand brings Lulu back into the tent.)

And now I'll tell the best thing in the day:
My poll between the teeth of a beast of prey!
Walk in! Tho to be sure the show's not new,
Yet everyone takes pleasure in its view!
Wrench open this wild animal's jaws I dare,
And he to bite dares not! My pate's so fair,
So wild, so gaily decked, it wins respect!
I offer it him with confidence unchecked.
One joke, and my two temples crack!—but, lo,
The lightning of my eyes I will forego,
Staking my life against a joke! and throw
My whip, my weapons, down. I am in my skin!
I yield me to this beast!—His name do ye know?
—The honored public! that has just walked in!

And now I'll share the best part of the day:
My poll between the teeth of a wild beast!
Come on in! Though the show isn’t new,
Everyone still enjoys watching it too!
I dare to pry open this wild animal’s jaws,
And he won’t bite! My head is so fine,
So wild, so festively adorned, it earns respect!
I offer it to him with complete confidence.
One joke, and my temples might crack!—but look,
I’ll hold back the lightning in my eyes,
Wagering my life on a joke! and toss
My whip and my weapons aside. I'm just being myself!
I surrender to this beast!—Do you know his name?
—The esteemed public! who has just walked in!

(The animal-tamer steps back into the tent, accompanied by cymbals and kettledrums.)

(The animal tamer steps back into the tent, accompanied by cymbals and kettledrums.)

[Page 11]

ACT I

A roomy studio. Entrance door at the rear, left. Another door at lower left to the bed-room. At centre, a platform for the model, with a Spanish screen behind it and a Smyrna rug in front. Two easels at lower right. On the upper one is the picture of a young girl's head and shoulders. Against the other leans a reversed canvas. Below these, toward centre, an ottoman, with a tiger-skin on it. Two chairs along the left wall. In the back-ground, right, a step-ladder.

A spacious studio. The entrance door is at the back on the left. Another door on the lower left leads to the bedroom. In the center, there’s a platform for the model, with a Spanish screen behind it and a Smyrna rug in front. Two easels are positioned in the lower right. On the upper easel is a painting of a young girl's head and shoulders. The other easel has a canvas leaning against it, facing backward. In the center, there’s an ottoman with a tiger-skin draped over it. Two chairs are against the left wall. In the background on the right, there’s a step-ladder.

Schön sits on the foot of the ottoman, inspecting critically the picture on the further easel. Schwarz stands behind the ottoman, his palette and brushes in his hands.

Schön sits at the foot of the ottoman, examining the painting on the other easel. Schwarz stands behind the ottoman, holding his palette and brushes.

SCHÖN. Do you know, I'm getting acquainted with a brand new side of the lady.

Nice. You know, I'm discovering a whole new side of her.

SCHWARZ. I have never painted anyone whose expression changed so continuously. I could hardly keep a single feature the same two days running.

BLACK. I've never painted anyone whose expression changes so constantly. I could barely keep a single feature the same for two days in a row.

SCHÖN. (Pointing to the picture and observing him.) Do you find that in it?

Nice. (Pointing to the picture and watching him.) Do you see that in it?

SCHWARZ. I have done everything imaginable to call forth some sort of quiet in her mood by my conversation during the sittings.

BLACK. I have tried everything I can think of to bring some calm to her mood through our conversations during the meetings.

SCHÖN. Then I understand the difference. (Schwarz dips his brush in the oil and draws it over the features of the face.) Do you think that makes it look more like her?

Beautiful. Now I get the difference. (Schwarz dips his brush in the oil and applies it to the features of the face.) Do you think that makes it resemble her more?

SCHWARZ. We can only work with art as scientifically as possible.

BLACK. We can only approach art in the most scientific way possible.

SCHÖN. Tell me—

NICE. Tell me—

[Page 12] SCHWARZ. (Stepping back.) The color had sunk in pretty well, too.

[Page 12]SCHWARZ. (Stepping back.) The color had really settled in well, too.

SCHÖN. (Looking at him.) Have you ever loved a woman in your life?

Cool. (Looking at him.) Have you ever loved a woman?

SCHWARZ. (Goes to the easel, puts a color on it, and steps back on the other side.) The dress isn't made to stand out enough yet. We don't see the living body under it.

SCHWARZ. (Goes to the easel, puts a color on it, and steps back on the other side.) The dress isn’t poppin’ enough yet. We can’t see the living body underneath it.

SCHÖN. I make no doubt that the workmanship is good.

Beautiful. I have no doubt that the craftsmanship is solid.

SCHWARZ. If you'll step this way....

SCHWARZ. If you could follow me....

SCHÖN. (Rising.) You must have told her regular ghost-stories.

Beautiful. (Rising.) You must have shared ordinary ghost stories with her.

SCHWARZ. As far back as you can.

BLACK. As far back as you remember.

SCHÖN. (Stepping back, knocks down the canvas that was leaning against the lower easel.) Excuse me—

Pretty. (Stepping back, knocks down the canvas that was leaning against the lower easel.) Sorry about that—

SCHWARZ. (Picking it up.) That's all right.

BLACK. (Picking it up.) It's all good.

SCHÖN. (Surprised.) What is that?

NICE. (Surprised.) What’s that?

SCHWARZ. Do you know her?

SCHÖN. No. (Schwarz sets the picture on the easel. It is of a lady dressed as Pierrot with a long shepherd's crook in her hand.)

Gorgeous. No. (Schwarz places the painting on the easel. It features a woman dressed as Pierrot, holding a long shepherd's crook.)

SCHWARZ. A costume-picture.

SCHWARZ. A costume movie.

SCHÖN. But, really, you've succeeded with her.

NICE. But, really, you've succeeded with her.

SCHWARZ. You know her?

Do you know SCHWARZ?

SCHÖN. No. And in that costume—?

GORGEOUS. No. And in that outfit—?

SCHWARZ. It isn't nearly finished yet. (Schön nods.) What would you have? While she is posing for me I have the pleasure of entertaining her husband.

BLACK. It's not even close to being finished. (Schön nods.) What do you want? While she's posing for me, I get to keep her husband entertained.

SCHÖN. What?

NICE. What?

SCHWARZ. We talk about art, of course,—to complete my good fortune!

SCHWARZ. We talk about art, obviously—to add to my good luck!

[Page 13] SCHÖN. But how did you make such a charming acquaintance?

[Page 13]Gorgeous. But how did you meet someone so delightful?

SCHWARZ. As they're generally made. An ancient, tottering little man drops in on me here to know if I can paint his wife. Why, of course, were she as wrinkled as Mother Earth! Next day at ten prompt the doors fly open, and the fat-belly drives this little beauty in before him. I can feel even now how my knees shook. Then comes a sap-green lackey, stiff as a ramrod, with a package under his arm. Where is the dressing-room? Imagine my plight. I open the door there (pointing left). Just luck that everything was in order. The sweet thing vanishes into it, and the old fellow posts himself outside as a bastion. Two minutes later out she steps in this Pierrot. (Shaking his head.) I never saw anything like it. (He goes left and stares in at the bedroom.)

SCHWARZ. Just like they usually are. An old, shaky little man shows up to ask if I can paint his wife. Of course, I can, even if she looks like a dried-up old tree! The next day at exactly ten, the doors swing open, and the heavyset guy pushes this lovely woman in front of him. I still remember how my knees were trembling. Then a stiff, green-clad servant walks in, holding a package under his arm. Where’s the dressing room? You can imagine my panic. I open the door over there (pointing left). Luckily, everything was in place. The pretty lady goes in, and the old man positions himself outside like a guard. Two minutes later, she comes out dressed as a Pierrot. (Shaking his head.) I've never seen anything like it. (He goes left and stares in at the bedroom.)

SCHÖN. (Who has followed him with his eyes.) And the fat-belly stands guard?

Beautiful. (Who has been watching him.) And the big guy is standing watch?

SCHWARZ. (Turning round.) The whole body in harmony with that impossible costume as if it had come into the world in it! Her way of burying her elbows in her pockets, of lifting her little feet from the rug,—the blood often shoots to my head....

SCHWARZ. (Turning around.) Her entire body fits perfectly with that outrageous outfit as if she was born wearing it! The way she shoves her elbows into her pockets and lifts her little feet off the rug—sometimes it makes my head spin....

SCHÖN. One can see that in the picture.

Nice. You can see that in the picture.

SCHWARZ. (Shaking his head.) People like us, you know—

SCHÖN. Here the model is mistress of the conversation.

Nice. Here, the model is in charge of the conversation.

SCHWARZ. She has never yet opened her mouth.

BLACK. She hasn’t said a word yet.

SCHÖN. Is it possible?

BEAUTIFUL. Is it possible?

SCHWARZ. Allow me to show the costume to you. (Goes out left.)

SCHWARZ. Let me show you the costume. (Exits left.)

SCHÖN. (Before the Pierrot.) A devilish beauty. (Before the other picture.) There's more depth here. [Page 14] (Coming down stage.) He is still rather young for his age. (Schwarz comes back with a white satin costume.)

Gorgeous. (Before the Pierrot.) A wicked kind of beauty. (Before the other picture.) There’s more going on here. [Page 14](Coming down stage.) He still seems pretty young for his age. (Schwarz comes back with a white satin costume.)

SCHWARZ. What sort of material is that?

SCHWARZ. What kind of material is that?

SCHÖN. (Feeling it.) Satin.

NICE. (Feeling it.) Satin.

SCHWARZ. And all in one piece.

SCHWARZ. And all together.

SCHÖN. How does one get into it then?

Beautiful. So, how does someone get involved in it then?

SCHWARZ. That I can't tell you.

SCHWARZ. I can't tell you that.

SCHÖN. (Taking the costume by the legs.) What enormous trowser-legs!

Cool. (Grabbing the costume by the legs.) What huge pant legs!

SCHWARZ. The left one she pulls up.

SCHWARZ. She raises the left eyebrow.

SCHÖN. (Looking at the picture.) Above the knee!

Beautiful. (Looking at the picture.) Above the knee!

SCHWARZ. She does that entrancingly!

SCHWARZ. She does that captivatingly!

SCHÖN. And transparent stockings?

NICE. And sheer stockings?

SCHWARZ. Those have got to be painted, specially.

BLACK. Those need to be painted, specifically.

SCHÖN. Oh, you can do that.

NICE. Oh, you can do that.

SCHWARZ. And with it all a coquetry!

BLACK. And along with it all, a playful flirtation!

SCHÖN. What brought you to that horrible suspicion?

Beautiful. What made you think something so terrible?

SCHWARZ. There are things that our school-philosophy lets itself never dream of. (He takes the costume back into his bedroom.)

BLACK. There are things that our school's philosophy would never even think about. (He takes the costume back into his bedroom.)

SCHÖN. (Alone.) When we sleep....

NICE. (By myself.) When we sleep....

SCHWARZ. (Comes back; looks at his watch.) If you wish to make her acquaintance too—

BLACK. (Comes back; checks his watch.) If you want to meet her too—

SCHÖN. No.

NICE. No.

SCHWARZ. They must be here in a moment.

BLACK. They should be here any minute now.

SCHÖN. How much longer will the lady have to sit?

Gorgeous. How much longer does the lady need to sit?

SCHWARZ. I shall probably have to bear the pains of Tantalus three months longer.

BLACK. I’ll probably have to endure the pains of Tantalus for three more months.

SCHÖN. I mean the other one.

NICE. I mean the other one.

SCHWARZ. I beg your pardon. Three times more at most. (Going to the door with him.) If the lady will just leave me the upper part of the dress then....

SCHWARZ. I'm sorry. At most three times more. (Walking to the door with him.) If the lady could just leave me the top part of the dress then....

SCHÖN. With pleasure. Let us see you at my house [Page 15] again soon. For Heaven's sake! (As he collides in the door-way with Dr. Goll and Lulu.)

Awesome. I'd love to. Let's catch up at my place [Page 15]again soon. For goodness' sake! (As he bumps into Dr. Goll and Lulu in the doorway.)

SCHWARZ. May I introduce ...

SCHWARZ. Can I introduce...

DR. GOLL. (To Schön.) What are you doing here?

Dr. Goll. (To Schön.) What are you doing here?

LULU. (As Schön kisses her hand in greeting.) You're not going already?

Lulu. (As Schön kisses her hand in greeting.) Are you leaving already?

DR. GOLL. But what wind blows you here?

Dr. Goll. But what brings you here?

SCHÖN. I've been looking at the picture of my bride.

Beautiful. I've been staring at the photo of my fiancée.

LULU. (Coming forward.) Your bride is here?

Lulu. (Stepping forward.) Is your bride here?

DR. GOLL. So you're having work done here, too?

Dr. Goll. So you're getting some work done here as well?

LULU. (Before the upper picture.) Look at it! Enchanting! Entrancing!

LULU. (Before the upper picture.) Look at that! Absolutely captivating!

DR. GOLL. (Looking round him.) Have you got her hidden somewhere round here?

Dr. Goll. (Looking around.) Do you have her hidden somewhere around here?

LULU. So that is the sweet young prodigy who's made a new person out of you....

Lulu. So that’s the talented young person who transformed you into someone new....

SCHÖN. She sits in the afternoon mostly.

Beautiful. She mostly sits in the afternoon.

DR. GOLL. And you don't tell anyone about it?

Dr. Goll. So you’re not going to tell anyone about this?

LULU. (Turning round.) Is she really so solemn?

Lulu. (Turning around.) Is she really that serious?

SCHÖN. Probably the after-effects of the seminary still, dear lady.

Beautiful. Probably the lingering effects of the seminary still, dear lady.

DR. GOLL. (Before the picture.) One can see that you have been transformed profoundly.

DR. GOLL. (Before the picture.) It's clear that you've undergone a significant transformation.

LULU. But now you mustn't let her wait any longer.

Lulu. But now you can't make her wait any longer.

SCHÖN. In a fortnight I think the engagement will come out.

Nice. In two weeks, I think the engagement will be announced.

DR. GOLL. (To Lulu.) Let's lose no time. Hop!

Dr. Goll. (To Lulu.) Let's not waste any time. Hop to it!

LULU. (To Schön.) Just think, we came at a trot over the new bridge. I was driving, myself.

Lulu. (To Schön.) Can you believe it? We just trotted over the new bridge. I was driving, by the way.

DR. GOLL. (As Schön prepares to leave.) No, no. We two will talk some more later. Get along, Nellie. Hop!

Dr. Goll. (As Schön gets ready to leave.) No, no. We’ll chat more later. Go on, Nellie. Off you go!

LULU. Now you're going to talk about me!

Lulu. So now you're going to chat about me!

[Page 16] DR. GOLL. Our Apelles is already wiping his brushes.

[Page 16]Dr. Goll. Our artist is already cleaning his brushes.

LULU. I had imagined it would be much more amusing.

Lulu. I thought it would be a lot more fun.

SCHÖN. But you have always the satisfaction of preparing for us the greatest and rarest pleasure.

Beautiful. But you always have the satisfaction of giving us the greatest and rarest pleasure.

LULU. (Going left.) Oh, just wait!

LULU. (Going left.) Oh, just a sec!

SCHWARZ. (Before the bedroom door.) If madame will be so kind.... (Shuts the door after her and stands in front of it.)

BLACK. (Before the bedroom door.) If you would be so kind, madame.... (Closes the door behind her and stands in front of it.)

DR. GOLL. I christened her Nellie, you know, in our marriage-contract.

Dr. Goll. I named her Nellie, you know, in our marriage contract.

SCHÖN. Did you?—Yes.

NICE. Did you?—Yeah.

DR. GOLL. What do you think of it?

Dr. Goll. What do you think about it?

SCHÖN. Why not call her rather Mignon?

Beautiful. Why not just call her Mignon?

DR. GOLL. That would have been good, too. I didn't think of that.

Dr. Goll. That would have been great, too. I didn't think of that.

SCHÖN. Do you consider the name so important?

Beautiful. Do you think the name is that important?

DR. GOLL. Hm.... You know, I have no children.

Dr. Goll. Hm.... You know, I don’t have any kids.

SCHÖN. But you've only been married a couple of months.

Beautiful. But you've only been married for a few months.

DR. GOLL. Thanks, I don't want any.

Dr. Goll. No thanks, I don't want any.

SCHÖN. (Having taken out his cigarette-case.) Have a cigarette?

NICE. (Pulling out his cigarette case.) Want a cigarette?

DR. GOLL. (Helps himself.) I've plenty to do with this one. (To Schwarz.) Say, what's your little danseuse doing now?

DR. GOLL. (Helps himself.) I have a lot to handle with this one. (To Schwarz.) So, what’s your little dancer up to now?

SCHÖN. (Turning round on Schwarz.) You and a danseuse?

Beautiful. (Turning around to Schwarz.) You and a dancer?

SCHWARZ. The lady was sitting for me at that time only as a favor. I made her acquaintance on a flying trip of the Cecilia Society.

BLACK. The lady was sitting for me at that time just as a favor. I met her during a quick visit from the Cecilia Society.

DR. GOLL. (To Schön.) Hm.... I think we're getting a change of weather.

Dr. Goll. (To Schön.) Hm... I think the weather is about to change.

[Page 17] SCHÖN. The toilet isn't going so quickly, is it?

[Page 17]Beautiful. The bathroom break isn't taking too long, is it?

DR. GOLL. It's going like lightning! Woman has got to be a virtuoso in her job. So must we all, each in his job, if life isn't to turn to beggary. (Calls.) Hop, Nellie!

Dr. Goll. It's happening fast! A woman has to be an expert in her work. So do we all, each in our own roles, if we want to avoid a life of poverty. (Calls.) Come on, Nellie!

LULU. (Inside.) Just a second!

LULU. (Inside.) Hold on a sec!

DR. GOLL. (To Schön.) I can't get onto these blockheads. (Referring to Schwarz.)

Dr. Goll. (To Schön.) I can't deal with these idiots. (Referring to Schwarz.)

SCHÖN. I can't help envying them. These blockheads know nothing holier than an altar-cloth, and feel richer than you and me with 30,000-mark incomes. Besides, you can't be judge of a man who from childhood has lived from palette to mouth. Try to get at his finances: it's an arithmetic example! I haven't the moral courage, and one can easily burn one's fingers at it, too.

Beautiful. I can’t help but envy them. These fools know nothing more sacred than an altar cloth and feel wealthier than you and me with their 30,000-mark salaries. Plus, you can’t really judge someone who has lived hand to mouth since childhood. Try to figure out their finances: it’s a math problem! I don’t have the moral strength for it, and it’s easy to get burned, too.

LULU. (As Pierrot, steps out of the bed-room.) Here I am!

Lulu. (As Pierrot, steps out of the bedroom.) Here I am!

SCHÖN. (Turns; after a pause.) Superb!

SCHÖN. (Turns; after a pause.) Awesome!

LULU. (Nearer.) Well?

LULU. (Closer.) So?

SCHÖN. You put shame on the boldest fancy.

Beautiful. You bring shame to the bravest imagination.

LULU. How do you like me?

LULU. What do you think of me?

SCHÖN. A picture before which art must despair.

Gorgeous. A picture that leaves art feeling hopeless.

DR. GOLL. Don't you think so, too?

DR. GOLL. Don't you think so?

SCHÖN. (To Lulu.) Have you any notion what you do?

Beautiful. (To Lulu.) Do you have any idea what you're doing?

LULU. I'm perfectly possessed of myself!

LULU. I'm completely in control!

SCHÖN. Then you might be a little more discreet.

Nice. Then you should be a bit more careful.

LULU. But I'm only doing what's my duty.

Lulu. But I’m just doing my duty.

SCHÖN. You are powdered?

SCHÖN. Are you wearing powder?

LULU. What do you take me for!

Lulu. What do you think I am!

DR. GOLL. I've never seen such a white skin as she's got. I've told our Raphael here, too, to do just as little [Page 18] with the flesh tints as possible. For once, I can't get enthusiastic about the modern art-nonsense.

Dr. Goll. I've never seen such a pale skin as hers. I've also told our Raphael here to do as little as possible with the flesh tones. For once, I can't get excited about this modern art nonsense. [Page 18]

SCHWARZ. (By the easels, preparing his paints.) At any rate, it's thanks to impressionism that present-day art can stand up beside the old masters without blushing.

BLACK. (By the easels, preparing his paints.) Anyway, it's because of impressionism that modern art can hold its own next to the old masters without feeling embarrassed.

DR. GOLL. Oh, it can do quite well for a bit of butcher's work.

Dr. Goll. Oh, it can manage pretty well for some basic butchering tasks.

SCHÖN. For Heaven's sake don't get excited! (Lulu falls on Goll's neck and kisses him.)

Beautiful. For goodness' sake, don't get worked up! (Lulu throws her arms around Goll and kisses him.)

DR. GOLL. They can see your undershirt. You must pull it lower.

Dr. Goll. They can see your undershirt. You need to pull it down.

LULU. I would soonest have left it off. It only bothers me.

Lulu. I would have preferred to get rid of it. It just annoys me.

DR. GOLL. He should be able to paint it out.

Dr. Goll. He should be able to get it painted over.

LULU. (Taking the shepherd's crook that leans against the Spanish screen, and mounting the platform, to Schön.) What would you say now, if you had to stand at attention for two hours?

Lulu. (Grabbing the shepherd's crook that leans against the Spanish screen and stepping up onto the platform, she addresses Schön.) What would you think if you had to stand at attention for two hours?

SCHÖN. I'd sell my soul to the devil for the chance to exchange with you.

Beautiful. I'd sell my soul to the devil for a chance to switch places with you.

DR. GOLL. (Sitting, left.) Come over here. Here is my post of observation.

Dr. Goll. (Sitting, left.) Come here. This is my observation station.

LULU. (Plucking her left trowser-leg up to the knee, to Schwarz.) So?

Lulu. (Pulling her left pant leg up to the knee, to Schwarz.) So?

SCHWARZ. Yes....

SCHWARZ. Yeah....

LULU. (Plucking it a thought higher.) So?

Lulu. (Thinking about it a bit more.) So?

SCHWARZ. Yes, yes....

SCHWARZ. Yeah, yeah....

DR. GOLL. (To Schön who has seated himself on the chair next him, with a gesture.) From this place I find her still more attractive.

Dr. Goll. (To Schön, who has sat down in the chair next to him, with a gesture.) From here, I find her even more appealing.

LULU. (Without stirring.) I beg pardon! I am equally attractive on all sides.

Lulu. (Without moving.) Excuse me! I'm just as appealing from every angle.

[Page 19] SCHWARZ. (To Lulu.) The right knee further forward, please.

[Page 19]BLACK. (To Lulu.) Can you move your right knee a bit more forward, please?

SCHÖN. (With a gesture.) The body does show finer lines perhaps.

Cool. (With a gesture.) The body does show more delicate lines, maybe.

SCHWARZ. The light to-day can be borne at least half way.

BLACK. The light today can be handled at least halfway.

DR. GOLL. Oh, you must throw on lots of it! Hold your brush a bit longer.

Dr. Goll. Oh, you need to put on a lot of it! Keep your brush in there a bit longer.

SCHWARZ. Certainly, Dr. Goll.

SCHWARZ. Of course, Dr. Goll.

DR. GOLL. Treat her as a piece of still-life.

Dr. Goll. Treat her like a piece of still life.

SCHWARZ. Certainly, Doctor. (To Lulu.) You used to hold your head a wee mite higher, Mrs. Goll.

BLACK. Sure, Doctor. (To Lulu.) You used to hold your head a little higher, Mrs. Goll.

LULU. (Raising her head.) Paint my lips a little open.

Lulu. (Looking up.) Put a bit of lipstick on my lips.

SCHÖN. Paint snow on ice. If you get warm doing that, then instantly your art gets inartistic!

Nice. Paint snow on ice. If you feel warm doing that, then immediately your art loses its artistic quality!

SCHWARZ. Certainly, Doctor.

SCHWARZ. Sure thing, Doctor.

DR. GOLL. Art, you know, must so reproduce nature that one can find at least some spiritual enjoyment in it!

Dr. Goll. Art, you know, has to reflect nature in a way that allows people to experience some spiritual enjoyment from it!

LULU. (Opening her mouth a little, to Schwarz.) So—look. I'll hold it half opened, so.

Lulu. (Opening her mouth a little, to Schwarz.) So—check it out. I'll keep it half open, like this.

SCHWARZ. As soon as the sun comes, the wall opposite throws warm reflections in here.

BLACK. As soon as the sun rises, the wall across from us casts warm reflections in here.

DR. GOLL. (To Lulu.) You must keep your position just as if our Velasquez here didn't exist at all.

Dr. Goll. (To Lulu.) You need to act like our Velasquez here isn’t even a factor.

LULU. Well, a painter isn't a man at all, anyway.

Lulu. Well, a painter isn't a man at all, anyway.

SCHÖN. I don't think you ought to judge the whole profession by just one famous exception.

Nice. I don't think you should judge the entire profession based on just one well-known exception.

SCHWARZ. (Stepping back from the easel.) I should have liked to have had to hire a different studio last fall.

SCHWARZ. (Stepping back from the easel.) I wish I had hired a different studio last fall.

SCHÖN. (To Goll.) What I wanted to ask you—have [Page 20] you seen the little Murphy girl yet as a Peruvian pearl-fisher?

Beautiful. (To Goll.) What I wanted to ask you—have [Page 20]you seen the little Murphy girl yet dressed as a Peruvian pearl diver?

DR. GOLL. I see her to-morrow for the fourth time. Prince Polossov took me. His hair has already got dark yellow again with delight.

Dr. Goll. I'm seeing her tomorrow for the fourth time. Prince Polossov brought me. His hair has already turned dark yellow again from excitement.

SCHÖN. So you find her quite fabulous too.

Beautiful. So you think she's pretty amazing too.

DR. GOLL. Who ever wants to judge of that beforehand?

Dr. Goll. Who can ever judge that ahead of time?

LULU. I think someone knocked.

LULU. I think someone’s at the door.

SCHWARZ. Pardon me a moment. (Goes and opens the door.)

SCHWARZ. Excuse me for a second. (Goes and opens the door.)

DR. GOLL. (To Lulu.) You can safely smile at him with less bashfulness!

DR. GOLL. (To Lulu.) You can comfortably smile at him without feeling so shy!

SCHÖN. He makes nothing of it.

SCHÖN. He doesn't care about it.

DR. GOLL. And if he did!—What are we two sitting here for?

Dr. Goll. And if he did!—Why are we both sitting here?

ALVA SCHÖN. (Entering, still behind the Spanish screen.) May one come in?

ALVA SCHÖN. (Entering, still behind the Spanish screen.) Is it okay if I come in?

SCHÖN. My son!

NICE. My son!

LULU. Oh! It's Mr. Alva!

DR. GOLL. Don't mind. Just come along in.

Dr. Goll. No worries. Just come on in.

ALVA. (Stepping forward, shakes hands with Schön and Goll.) Glad to see you. (Turning toward Lulu.) Do I see a-right? Oh, if only I could engage you for my title part!

ALVA. (Stepping forward, shakes hands with Schön and Goll.) Great to see you. (Turning toward Lulu.) Am I seeing this correctly? Oh, if only I could get you for my title role!

LULU. I don't think I could dance nearly well enough for your show!

Lulu. I don't think I could dance nearly well enough for your performance!

ALVA. But you do have a dancing-master such as cannot be found on any stage in Europe.

ALVA. But you have a dance instructor unlike anyone you'll find on any stage in Europe.

SCHÖN. But what brings you here?

NICE. But what brought you here?

DR. GOLL. Maybe you're having somebody or other painted here, too, in secret!

Dr. Goll. Maybe you're having someone painted here in secret, too!

[Page 21] ALVA. (To Schön.) I wanted to take you to the dress rehearsal.

[Page 21]ALVA. (To Schön.) I wanted to bring you to the dress rehearsal.

DR. GOLL. (As Schön rises.) Do you have 'em dance to-day in full costume?

Dr. Goll. (As Schön stands up.) Are they performing today in full costume?

ALVA. Of course. Come along, too. In five minutes I must be on the stage. (To Lulu.) Unhappy!

ALVA. Sure. Come with me, too. I have to be on stage in five minutes. (To Lulu.) Poor thing!

DR. GOLL. I've forgotten—what's the name of your ballet?

Dr. Goll. I can’t remember—what’s the name of your ballet?

ALVA. Dalailama.

ALVA. Dalai Lama.

DR. GOLL. I thought he was in a madhouse.

DR. GOLL. I thought he was in a mental hospital.

SCHÖN. You're thinking of Nietzsche, Doctor.

NICE. You're thinking of Nietzsche, Doc.

DR. GOLL. You're right; I got 'em mixed up.

Dr. Goll. You're right; I mixed them up.

ALVA. I have helped Buddhism to its legs.

ALVA. I’ve helped Buddhism get on its feet.

DR. GOLL. By his legs is the stage-poet known.

Dr. Goll. The stage poet is recognized by his legs.

ALVA. Corticelli dances the youthful Buddha as tho she had seen the light of the world by the Ganges.

ALVA. Corticelli dances the young Buddha as if she had witnessed the world's illumination by the Ganges.

SCHÖN. So long as her mother lived, she danced with her legs.

Nice. As long as her mother was alive, she danced with her legs.

ALVA. Then when she got free she danced with her intelligence.

ALVA. Then when she was free, she danced with her intellect.

DR. GOLL. Now she dances with her heart.

Dr. Goll. Now she's dancing with all her heart.

ALVA. If you'd like to see her—?

ALVA. Do you want to see her—?

DR. GOLL. Thank you.

DR. GOLL. Thanks.

ALVA. Come along with us!

ALVA. Come join us!

DR. GOLL. Impossible.

DR. GOLL. No way.

SCHÖN. Anyway, we have no time to lose.

Beautiful. Anyway, we don’t have time to waste.

ALVA. Come with us, doctor. In the third act you see Dalailama in his cloister, with his monks—

ALVA. Come with us, doc. In the third act, you’ll see Dalailama in his monastery with his monks—

DR. GOLL. The only thing I care about is the young Buddha.

Dr. Goll. The only thing I care about is the young Buddha.

ALVA. Well, what's hindering you?

ALVA. So, what's holding you back?

DR. GOLL. I can't. I can't do it.

Dr. Goll. I can't. I just can't.

[Page 22] ALVA. We're going to Peter's, after it. There you can express your admiration.

[Page 22]ALVA. We're heading to Peter's after this. There you can show your appreciation.

DR. GOLL. Don't press it on me, please.

Dr. Goll Please don’t push me on this.

ALVA. You'll see the tame monkey, the two Brahmans, the little girls....

ALVA. You'll see the pet monkey, the two Brahmins, the little girls....

DR. GOLL. For heaven's sake, just keep away from me with your little girls!

Dr. Goll. For goodness' sake, just stay away from me with your little girls!

LULU. Reserve one of the proscenium boxes for us on Monday, Mr. Alva.

Lulu. Please hold one of the proscenium boxes for us on Monday, Mr. Alva.

ALVA. How could you doubt that I would, dear lady!

ALVA. How could you even question that I would, dear lady!

DR. GOLL. When I come back the whole picture will be spoilt on me.

DR. GOLL. When I return, the entire scene will be ruined for me.

ALVA. Well, it could be painted over.

ALVA. It could use a repaint.

DR. GOLL. If I don't explain to this Caravacci every stroke of his brush—

Dr. Goll. If I don't explain to this Caravacci every stroke of his brush—

SCHÖN. Your fears are unfounded, I think....

Beautiful. I believe your fears are unfounded....

DR. GOLL. Next time, gentlemen!

DR. GOLL. Next time, guys!

ALVA. The Brahmans are getting impatient. The daughters of Nirvana are shivering in their tights.

ALVA. The Brahmans are becoming restless. The daughters of Nirvana are trembling in their leggings.

DR. GOLL. Damned enchantment!

DR. GOLL. Cursed magic!

SCHÖN. They'll quarrel with us, if we don't bring you with us.

Beautiful. They'll argue with us if we don't bring you along.

DR. GOLL. In five minutes I'll be back. (Stands down right, behind Schwarz and compares the picture with Lulu.)

Dr. Goll. I'll be back in five minutes. (Stands down right, behind Schwarz and compares the picture with Lulu.)

ALVA. (To Lulu.) Duty calls me, gracious lady!

ALVA. (To Lulu.) I have to go now, kind lady!

DR. GOLL. (To Schwarz.) You must model it a bit more here. The hair is bad. You aren't paying enough attention to your business!

Dr. Goll. (To Schwarz.) You need to shape it a little more here. The hair looks off. You're not focusing enough on your work!

ALVA. Come on.

ALVA. Let's go.

DR. GOLL. Now, just hop it! Ten horses will not drag me to Peter's.

Dr. Goll. Now, just get lost! No amount of horses will convince me to go to Peter's.

[Page 23] SCHÖN. (Following Alva and Goll.) We'll take my carriage. It's waiting downstairs. (Exeunt.)

[Page 23]Nice. (Following Alva and Goll.) We'll take my car. It's parked downstairs. (Exeunt.)

SCHWARZ. (Leans over to the right, and spits.) Pack! If only that were life's end! The bread-basket!—paunch and mug! Now rears my artist's pride. (After a look at Lulu.) This company!— (Gets up, goes up left, observes Lulu from all sides, and sits again at his easel.) The choice would be a hard one to make. If I may request Mrs. Goll to raise the right hand a little higher.

BLACK. (Leans over to the right and spits.) Pack! If only that was the end of life! The breadwinner!—belly and mug! Now my artist's pride stands tall. (After a look at Lulu.) This crowd!— (Gets up, moves to the left, studies Lulu from all angles, and sits back at his easel.) It would be a tough choice to make. If I could ask Mrs. Goll to raise her right hand just a bit higher.

LULU. (Grasps the crook as high as she can reach; to herself.) Who would have thought that was possible!

Lulu. (Grabs the crook as high as she can reach; to herself.) Who would have thought that could happen!

SCHWARZ. I am quite ridiculous, you think?

BLACK. You think I'm pretty ridiculous, huh?

LULU. He's coming right back.

LULU. He'll be right back.

SCHWARZ. I can do nothing but paint.

SCHWARZ. I can only create art.

LULU. There he is!

SCHWARZ. (Rising.) Well?

SCHWARZ. (Rising.) So?

LULU. Don't you hear?

LULU. Don’t you hear it?

SCHWARZ. Someone is coming....

SCHWARZ. Someone's coming....

LULU. I knew it.

SCHWARZ. It's the janitor. He's sweeping the stairs.

BLACK. It's the janitor. He’s cleaning the stairs.

LULU. Thank heaven!

LULU. Thank goodness!

SCHWARZ. Do you perhaps accompany the doctor to his patients?

BLACK. Do you maybe go with the doctor to see his patients?

LULU. Everything but that.

LULU. Anything but that.

SCHWARZ. Because, you are not accustomed to being alone.

SCHWARZ. Because you’re not used to being alone.

LULU. We have a housekeeper at home.

Lulu. We have a cleaner at home.

SCHWARZ. She keeps you company?

SCHWARZ. Is she keeping you company?

LULU. She has a lot of taste.

LULU. She has amazing style.

SCHWARZ. What for?

SCHWARZ. For what?

LULU. She dresses me.

LULU. She styles me.

SCHWARZ. Do you go much to balls?

BLACK. Do you go to a lot of parties?

[Page 24] LULU. Never.

LULU. Never.

SCHWARZ. Then what do you need the dresses for?

BLACK. So, what do you need the dresses for?

LULU. For dancing.

SCHWARZ. You really dance?

SCHWARZ. Do you actually dance?

LULU. Czardas ... Samaqueca ... Skirt-dance.

LULU. Czardas ... Samaqueca ... Skirt dance.

SCHWARZ. Doesn't—that—disgust you, then?

SCHWARZ. Doesn't that gross you out?

LULU. You find me ugly?

LULU. Do you think I'm ugly?

SCHWARZ. You don't understand me. But who gives you lessons then?

BLACK. You don't get me. But who's teaching you?

LULU. Him.

SCHWARZ. Who?

SCHWARZ. Who's that?

LULU. Him.

SCHWARZ. He?

SCHWARZ. Him?

LULU. He plays the violin—

SCHWARZ. Every day one learns something new of the world!

BLACK. Every day you learn something new about the world!

LULU. I learned in Paris. I took lessons from Eugenie Fougère. She let me copy her costumes, too.

Lulu. I learned in Paris. I took lessons from Eugenie Fougère. She also let me copy her costumes.

SCHWARZ. What are they like?

SCHWARZ. What are they like?

LULU. A little green lace skirt to the knee, all in ruffles, low-necked, of course, very low-necked and awfully tight-laced. Bright green petticoat, then brighter and brighter. Snow-white underclothes with a hand's-breadth of lace....

Lulu. A short green lace skirt that goes to the knee, all ruffled, of course, very low-cut and super tight-laced. Bright green petticoat, then even brighter. Snow-white underwear with a bit of lace...

SCHWARZ. I can no longer—

SCHWARZ. I can’t anymore—

LULU. Then paint!

LULU. Then start painting!

SCHWARZ. (Scraping the canvas.) Aren't you cold at all?

LULU. God forbid! No. What made you ask? Are you so cold?

Lulu. Oh no! Why would you think that? Are you really that unfeeling?

SCHWARZ. Not to-day. No.

SCHWARZ. Not today. No.

LULU. Praise God, one can breathe!

LULU. Thank God, one can breathe!

SCHWARZ. How so?... (Lulu takes a deep breath.) [Page 25] Don't do that, please! (Springs up, throws away his palette and brushes, walks up and down.) The boot-black only attends to her feet! His color doesn't eat into his money, either. If I go without supper to-morrow, no little society lady will ask me if I know anything about oyster-patties!

SCHWARZ. How come?... (Lulu takes a deep breath.) [Page 25]Don't do that, please! (He springs up, throws away his palette and brushes, and paces back and forth.) The shoe shiner only takes care of her shoes! His work doesn’t cut into his earnings, either. If I skip dinner tomorrow, no fancy socialite is going to ask me if I know anything about oyster patties!

LULU. Is he going out of his head?

LULU. Is he going crazy?

SCHWARZ. (Takes up his work again.) What ever drove the fellow to this test!

BLACK. (Resumes his work.) What on earth made this guy take this test!

LULU. I'd like it better, too, if he had stayed here.

Lulu. I would have preferred it if he had stayed here.

SCHWARZ. We are truly the martyrs of our calling!

BLACK. We are truly the victims of our profession!

LULU. I didn't wish to cause you pain.

Lulu. I didn't mean to hurt you.

SCHWARZ. (Hesitating, to Lulu.) If you—the left trowser-leg—a little higher—

BLACK. (Hesitating, to Lulu.) If you—the left pant leg—a little higher—

LULU. Here?

LULU. You here?

SCHWARZ. (Steps to the platform.) Permit me....

BLACK. (Steps to the platform.) Allow me....

LULU. What do you want?

LULU. What do you need?

SCHWARZ. I'll show you.

SCHWARZ. Let me show you.

LULU. You mustn't.

LULU. You can't.

SCHWARZ. You are nervous ... (Tries to seize her hand.)

BLACK. You’re anxious ... (Tries to grab her hand.)

LULU. (Throws the crook in his face.) Let me alone! (Hurries to the entrance door.) You don't get me for a long time yet.

Lulu. (Throws the crook in his face.) Leave me alone! (Hurries to the entrance door.) You won't get me for a long time.

SCHWARZ. You can't understand a joke.

SCHWARZ. You don't get the joke.

LULU. Oh, yes I can. I understand everything. Just you leave me be. You'll get nothing at all from me by force. Go to your work. You have no right to molest me. (Flees behind the ottoman.) Sit down behind your easel!

Lulu. Oh, yes I can. I get everything. Just leave me alone. You won't get anything from me by force. Get back to your work. You have no right to bother me. (Runs behind the ottoman.) Sit down behind your easel!

SCHWARZ. (Trying to get around the ottoman.) As soon as I've punished you—you wayward, capricious—

BLACK. (Trying to get around the ottoman.) As soon as I've dealt with you—you unpredictable, whimsical—

LULU. But you must have me, first! Go away. You [Page 26] can't catch me. In long clothes I'd have fallen into your clutches long ago—but in the Pierrot!

Lulu. But you have to have me first! Go away. You [Page 26]can't catch me. If I were in long clothes, I'd have fallen into your hands a long time ago—but in the Pierrot!

SCHWARZ. (Throwing himself across the ottoman.) I've got you!

BLACK. (Throwing himself across the ottoman.) I've got you!

LULU. (Hurls the tiger-skin over his head.) Good-night! (Jumps over the platform and climbs up the step-ladder.) I can see away over all the cities of the earth.

Lulu. (Throws the tiger skin over his head.) Good night! (Leaps over the platform and climbs the step ladder.) I can see across all the cities in the world.

SCHWARZ. (Unrolling himself from the rug.) This old skin!!

BLACK. (Unrolling himself from the rug.) This old skin!!

LULU. I reach up into heaven, and stick the stars in my hair.

Lulu. I reach up to the sky and put the stars in my hair.

SCHWARZ. (Clambering after her.) I'll shake it till you fall off!

BLACK. (Climbing after her.) I'll shake it until you fall off!

LULU. If you don't stop, I'll throw the ladder down. (Climbing higher.) Will you let go of my legs? God save the Poles! (Makes the ladder fall over, jumps onto the platform, and as Schwarz picks himself up from the floor, throws the Spanish screen down on his head. Hastening down-stage, by the easels.) I told you that you weren't going to get me.

Lulu. If you don't stop, I'll throw the ladder down. (Climbing higher.) Will you let go of my legs? God save the Poles! (Knocks the ladder over, jumps onto the platform, and as Schwarz picks himself up from the floor, throws the Spanish screen down on his head. Quickly moving down-stage, near the easels.) I told you that you weren't going to get me.

SCHWARZ. (Coming forward.) Let us make peace. (Tries to embrace her.)

BLACK. (Steps forward.) Let’s make peace. (Attempts to hug her.)

LULU. Keep away from me, or— (She throws the easel with the finished picture at him, so that both fall crashing to the floor.)

Lulu. Stay away from me, or— (She throws the easel with the completed painting at him, causing both to crash to the floor.)

SCHWARZ. (Screams.) Merciful Heaven!

SCHWARZ. (Screams.) Oh my God!

LULU. (Upstage, right.) You knocked the hole in it yourself!

Lulu. (Upstage, right.) You made that hole yourself!

SCHWARZ. I am ruined! Ten weeks' work, my journey, my exhibition! Now there is nothing more to lose! (Plunges after her.)

SCHWARZ. I'm done for! Ten weeks of work, my trip, my exhibition! Now I've got nothing left to lose! (Chases after her.)

LULU. (Springs over the ottoman, over the fallen step-ladder, and over the platform, down-stage.) A grave! [Page 27] Don't fall into it! (She stamps thru the picture on the floor.) She made a new man out of him! (Falls forward.)

Lulu. (Jumps over the ottoman, the fallen step-ladder, and the platform, down-stage.) A grave! [Page 27]Don't fall in! (She stomps through the scene on the floor.) She transformed him into a new man! (Falls forward.)

SCHWARZ. (Stumbling over the Spanish screen.) I am merciless now!

BLACK. (Tripping over the Spanish screen.) I’m ruthless now!

LULU. (Up-stage.) Leave me in peace now. I'm getting dizzy. O Gott! O Gott!... (Comes forward and sinks down on the ottoman. Schwarz locks the door; then seats himself next her, grasps her hand, and covers it with kisses—then pauses, struggling with himself. Lulu opens her eyes wide.)

Lulu. (Up-stage.) Just leave me alone for now. I'm feeling lightheaded. Oh God! Oh God!... (Steps forward and collapses onto the ottoman. Schwarz locks the door, then sits down next to her, takes her hand, and kisses it—then hesitates, battling with himself. Lulu opens her eyes wide.)

LULU. He may come back.

LULU. He might return.

SCHWARZ. How d' you feel?

SCHWARZ. How do you feel?

LULU. As if I had fallen into the water....

Lulu. It feels like I’ve fallen into the water....

SCHWARZ. I love you.

LULU. One time, I loved a student.

Lulu. Once, I fell in love with a student.

SCHWARZ. Nellie—

LULU. With four-and-twenty scars—

LULU. With twenty-four scars—

SCHWARZ. I love you, Nellie.

LULU. My name isn't Nellie. (Schwarz kisses her.) It's Lulu.

SCHWARZ. I would call you Eve.

SCHWARZ. I’d call you Eve.

LULU. Do you know what time it is?

Lulu. Do you have any idea what time it is?

SCHWARZ. (Looking at his watch.) Half past ten. (Lulu takes the watch and opens the case.) You don't love me.

BLACK. (Checking his watch.) It's 10:30. (Lulu takes the watch and opens the case.) You don't love me.

LULU. Yes I do.... It's five minutes after half past ten.

Lulu. Yes, I do... It's five minutes past 10:30.

SCHWARZ. Give me a kiss, Eve!

LULU. (Takes him by the chin and kisses him. Throws the watch in the air and catches it.) You smell of tobacco.

Lulu. (Grabs him by the chin and kisses him. Throws the watch in the air and catches it.) You smell like tobacco.

SCHWARZ. Why so distant?

SCHWARZ. Why so far away?

[Page 28] LULU. It would be uncomfortable to—

LULU. It would be weird to—

SCHWARZ. You're just making believe!

SCHWARZ. You're just pretending!

LULU. You're making believe yourself, it seems to me. I make believe? What makes you think that? I never needed to do that.

Lulu. It seems like you're just pretending. MeI never needed to do that.

SCHWARZ. (Rises, disconcerted, passing his hand over his forehead.) God in Heaven! The world is strange to me—!

BLACK. (Stands up, confused, rubbing his forehead.) God in Heaven! The world is so strange to me—!

LULU. (Screams.) Only don't kill me!

LULU. (Screams.) Just don't kill me!

SCHWARZ. (Instantly whirling round.) Thou hast never yet loved!

BLACK. (Instantly turning around.) You have never loved!

LULU. (Half raising herself.) You have never yet loved ...!

Lulu. (Half raising herself.) You’ve never loved before...!

DR. GOLL. (Outside.) Open the door!

DR. GOLL. (Outside.) Let me in!

LULU. (Already sprung to her feet.) Hide me! O God, hide me!

Lulu. (Already up on her feet.) Help me hide! Oh God, please hide me!

DR. GOLL. (Pounding on the door.) Open the door!

Dr. Goll. (Pounding on the door.) Let me in!

LULU. (Holding back Schwarz as he goes toward the door.) He will strike me dead!

Lulu. (Stopping Schwarz as he moves towards the door.) He'll kill me!

DR. GOLL. (Hammering.) Open the door!

DR. GOLL. (Knocking.) Open up!

LULU. (Sunk down before Schwarz, gripping his knees.) He'll beat me to death! He'll beat me to death!

Lulu. (Collapsed in front of Schwarz, holding his knees tightly.) He's going to kill me! He's going to kill me!

SCHWARZ. Stand up.... (The door falls crashing into the studio. Dr. Goll with blood-shot eyes rushes upon Schwarz and Lulu, brandishing his stick.)

BLACK. Stand up.... (The door crashes into the studio. Dr. Goll, with bloodshot eyes, rushes at Schwarz and Lulu, waving his stick.)

DR. GOLL. You dogs! You ...! (Pants, struggles for breath a few seconds, and falls headlong to the ground. Schwarz's knees tremble. Lulu has fled to the door. Pause.)

Dr. Goll. You bastards! You ...! (He gasps for air for a few seconds and then collapses to the ground. Schwarz's knees shake. Lulu has run to the door. Pause.)

SCHWARZ. Mister—Doctor—Doc—Doctor Goll—

SCHWARZ. Mr.—Dr.—Doc—Dr. Goll—

LULU. (In the door.) Please, though, first put the studio in order.

Lulu. (In the door.) Please, first make sure the studio is organized.

SCHWARZ. Dr. Goll! (Leans over.) Doc— (Steps [Page 29] back.) He's cut his forehead. Help me to lay him on the ottoman.

BLACK. Dr. Goll! (Leans over.) Doc— (Steps back.) He's got a cut on his forehead. Help me get him on the ottoman.

LULU. (Shudders backward in terror.) No. No...

LULU. (Reacts in fear.) No. No...

SCHWARZ. (Trying to turn him over.) Dr. Goll.

BLACK. (Trying to turn him over.) Dr. Goll.

LULU. He doesn't hear.

LULU. He can't hear.

SCHWARZ. But you, help me, please.

SCHWARZ. But please, help me.

LULU. The two of us together couldn't lift him.

Lulu. Neither of us could lift him together.

SCHWARZ. (Straightening up.) We must send for a doctor.

SCHWARZ. (Straightening up.) We need to call a doctor.

LULU. He is fearfully heavy.

LULU. He is really heavy.

SCHWARZ. (Getting his hat.) Please, though, be so good as to put the place a little to rights while I'm away. (He goes out.)

SCHWARZ. (Getting his hat.) Please, could you tidy up the place a bit while I'm gone? (He goes out.)

LULU. He'll spring up all at once. (Intensely.) Bussi! He just won't notice anything. (Comes down-stage in a wide circle.) He sees my feet, and watches every step I take. He has his eye on me everywhere. (Touches him with her toe.) Bussi! (Flinching, backward.) It's serious with him. The dance is over. He'll send me to prison. What shall I do? (Leans over, to the floor.) A strange, wild face! (Getting up.) And no one to do him the last services—isn't that sad! (Schwarz returns.)

Lulu. He'll jump up all of a sudden. (Intensely.) Oh no! He just won't notice anything. (Comes down-stage in a wide circle.) He sees my feet and focuses on every step I take. He's watching me everywhere. (Touches him with her toe.) Oh no! (Flinching, backward.) This is serious for him. The dance is over. He'll send me to jail. What am I going to do? (Leans over, to the floor.) What a strange, wild face! (Getting up.) And no one to give him the last rites—isn't that sad! (Schwarz returns.)

SCHWARZ. Still not come to himself?

SCHWARZ. Still not feeling yourself?

LULU. (Down right.) What shall I do?

Lulu. (Down right.) What should I do?

SCHWARZ. (Bending over Goll.) Doctor Goll.

SCHWARZ. (Bending over Goll.) Dr. Goll.

LULU. I almost think it's serious.

LULU. I kind of think it's serious.

SCHWARZ. Talk decently!

SCHWARZ. Speak properly!

LULU. He wouldn't say that to me. He makes me dance for him when he doesn't feel well.

Lulu. He wouldn't say that to me. He has me dance for him when he's not feeling well.

SCHWARZ. The doctor will be here in a moment.

BLACK. The doctor will be here soon.

LULU. Doctoring won't help him.

[Page 30] SCHWARZ. But people do what they can, in such cases!

[Page 30]BLACK. But people do what they can in situations like this!

LULU. He doesn't think so.

LULU. He disagrees.

SCHWARZ. Then won't you at least—get dressed?

SCHWARZ. So, can you at least—put on some clothes?

LULU. Yes,—right off.

LULU. Yes—right away.

SCHWARZ. What are you waiting for?

What are you waiting for?

LULU. Please ...

SCHWARZ. What is it?

SCHWARZ. What's that?

LULU. Shut his eyes.

LULU. Shut his eyes.

SCHWARZ. You make me shiver.

SCHWARZ. You give me chills.

LULU. Not nearly so much as you make me!

Lulu. Not anywhere close to how much you make me!

SCHWARZ. I?

SCHWARZ. Me?

LULU. You're a born criminal.

LULU. You're a natural-born criminal.

SCHWARZ. Doesn't this moment touch you at all, then?

SCHWARZ. Doesn't this moment mean anything to you?

LULU. It hits me, too, some.

LULU. It affects me, too, somewhat.

SCHWARZ. Please, just you keep still now!

BLACK. Just be quiet for a moment!

LULU. It hits you some, too.

LULU. It resonates with you, too.

SCHWARZ. You really didn't need to say that to a man, in such a moment.

BLACK. You really didn't have to say that to a guy, in a moment like this.

LULU. Please ...!

LULU. Seriously ...!

SCHWARZ. Do what you think necessary. I don't know how.

BLACK. Do what you think is needed. I have no idea how.

LULU. (Left of Goll.) He's looking at me.

Lulu. (Left of Goll.) He's staring at me.

SCHWARZ. (Right of Goll.) And at me, too.

BLACK. (Right of Goll.) And at me as well.

LULU. You're a coward!

LULU. You're such a coward!

SCHWARZ. (Shuts Goll's eyes with his handkerchief.) It's the first time in my life that anyone has called me that.

BLACK. (Closes Goll's eyes with his handkerchief.) It's the first time in my life that anyone has ever called me that.

LULU. Didn't you do it to your mother?

Lulu. Didn't you do that to your mom?

SCHWARZ. (Nervously.) No.

SCHWARZ. (Nervously.) Nope.

LULU. You were away, perhaps.

LULU. You might have been away.

SCHWARZ. No!

SCHWARZ. No way!

[Page 31] LULU. Or else you were afraid?

LULU. Were you just scared?

SCHWARZ. (Violently.) No!

SCHWARZ. (Aggressively.) No!

LULU. (Shivering, backward.) I didn't mean to insult you.

Lulu. (Shivering, stepping back.) I didn't mean to offend you.

SCHWARZ. She's still alive.

SCHWARZ. She's still kicking.

LULU. Then you still have somebody.

LULU. Then you still have someone.

SCHWARZ. She's as poor as a beggar.

She's broke.

LULU. I know what that is.

SCHWARZ. Don't laugh at me!

SCHWARZ. Don't make fun of me!

LULU. Now I am rich—

LULU. Now I’m wealthy—

SCHWARZ. It gives me cold shudders— (Goes right.) She can't help it!

BLACK. It gives me the chills— (Moves to the right.) She can't help it!

LULU. (To herself.) What'll I do?

LULU. (To herself.) What should I do?

SCHWARZ. (To himself.) Absolutely depraved! (They look at each other mistrustfully. Schwarz goes over to her and grips her hand.) Look me in the eyes!

BLACK. (To himself.) Completely corrupt! (They look at each other with suspicion. Schwarz moves closer to her and takes her hand.) Look me in the eyes!

LULU. (Apprehensively.) What do you want?

LULU. (Nervously.) What do you want?

SCHWARZ. (Takes her to the ottoman and makes her sit next to him.) Look me in the eyes.

SCHWARZ. (Leads her to the ottoman and has her sit next to him.) Look me in the eyes.

LULU. I see myself in them as Pierrot.

Lulu. I see myself in them as Pierrot.

SCHWARZ. (Shoves her from him.) Confounded dancer-ing!

SCHWARZ. (Pushing her away.) Dumb dancing!

LULU. I must change my clothes—

LULU. I need to change clothes—

SCHWARZ. (Holds her back.) One question—

SCHWARZ. (Holds her back.) One question—

LULU. I can't answer it.

LULU. I can't take that.

SCHWARZ. Can you speak the truth?

SCHWARZ. Can you be honest?

LULU. I don't know.

LULU. I have no idea.

SCHWARZ. Do you believe in a Creator?

Black. Do you believe in a Creator?

LULU. I don't know.

LULU. I don’t know.

SCHWARZ. Can you swear on anything?

SCHWARZ. Can you put anything on it?

LULU. I don't know. Leave me alone. You're mad.

Lulu. I don't know. Just leave me alone. You're crazy.

SCHWARZ. What do you believe in, then?

BLACK. So, what do you actually believe in?

LULU. I don't know.

LULU. I have no idea.

[Page 32] SCHWARZ. Have you no soul, then?

[Page 32]SCHWARZ. Do you really have no soul?

LULU. I don't know.

LULU. I have no idea.

SCHWARZ. Have you ever once loved—?

SCHWARZ. Have you ever loved—?

LULU. I don't know.

SCHWARZ. (Gets up, goes right, to himself.) She doesn't know!

BLACK. (Gets up, goes to the right, talking to himself.) She has no idea!

LULU. (Without moving.) I don't know.

I don't know.

SCHWARZ. (Glancing at Goll.) He knows.

SCHWARZ. (Looking at Goll.) He knows.

LULU. (Nearer him.) What do you want to know?

Lulu. (Closer to him.) What do you want to find out?

SCHWARZ. (Angrily.) Go, get dressed! (Lulu goes into the bed-room. To Goll.) Would I could change with you, you dead man! I give her back to you. I give my youth to you, too. I lack the courage and the faith. I've had to wait patiently too long. It's too late for me. I haven't grown up big enough for happiness. I have a hellish fear of it. Wake up! I didn't touch her. He opens his mouth. Mouth open and eyes shut, like the children. With me it's the other way round. Wake up, wake up! (Kneels down and binds his handkerchief round the dead man's head.) Here I beseech Heaven to make me able to be happy—to give me the strength and the freedom of soul to be just a weeny mite happy! For her sake, only for her sake. (Lulu comes out of the bed-room, completely dressed, her hat on, and her right hand under her left arm.)

BLACK. (Angrily.) Go, get dressed! (Lulu goes into the bedroom. To Goll.) I wish I could swap places with you, you dead man! I give her back to you. I give my youth to you, too. I don’t have the courage or the hope. I've waited patiently for too long. It’s too late for me. I haven’t grown big enough for happiness. I have a terrible fear of it. Wake up! I didn’t touch her. He opens his mouth. Mouth open and eyes closed, like children. With me, it’s the opposite. Wake up, wake up! (Kneels down and ties his handkerchief around the dead man's head.) Here, I ask Heaven to make me able to be happy—to give me the strength and the freedom of soul to be just a tiny bit happy! For her sake, only for her sake. (Lulu comes out of the bedroom, completely dressed, her hat on, and her right hand under her left arm.)

LULU. (Raising her left arm, to Schwarz.) Would you hook me up here? My hand trembles.

Lulu. (Raising her left arm, towards Schwarz.) Can you help me out here? My hand is shaking.

CURTAIN

[Page 33]

ACT II

A very ornamental parlor. Entrance-door rear, left. Curtained entrances right and left, steps leading up to the right one. On the back wall over the fire-place, Lulu's picture as Pierrot in a magnificent frame. Right, a tall mirror; a couch in front of it. Left, an ebony writing-table. Centre, a few chairs around a little Chinese table.

A beautifully decorated living room. Entrance door at the back left. There are curtained entrances on both the right and left, with steps leading up to the right one. On the back wall above the fireplace hangs Lulu's picture as Pierrot in an elegant frame. To the right is a tall mirror, with a couch positioned in front of it. On the left is a sleek black writing desk. In the center are a few chairs arranged around a small Chinese table.

Lulu stands motionless before the mirror, in a green silk morning-dress. She frowns, passes a hand over her forehead, feels her cheeks, and draws back from the mirror with a discouraged, almost angry, look. Frequently turning round, she goes left, opens a casket on the writing-table, lights herself a cigarette, looks for a book among those that are lying on the table, takes one, and lies down on the couch opposite the mirror. After reading a moment, she lets the book sink, and nods seriously to herself in the glass; then resumes reading. Schwarz enters, left, palette and brushes in hand, and bends over Lulu, kisses her on the forehead, and goes up the steps, right.

Lulu stands still in front of the mirror, wearing a green silk morning dress. She frowns, runs a hand across her forehead, touches her cheeks, and steps back from the mirror with a discouraged, almost angry expression. Frequently turning around, she goes to the left, opens a box on the writing table, lights a cigarette, searches for a book among those lying on the table, picks one up, and lies down on the couch opposite the mirror. After reading for a moment, she lets the book drop and nods seriously at her reflection; then she goes back to reading. Schwarz enters from the left, holding a palette and brushes, leans down to kiss Lulu on the forehead, and walks up the steps to the right.

SCHWARZ. (Turning in the door-way.) Eve!

SCHWARZ. (Entering through the doorway.) Eve!

LULU. (Smiling.) At your orders?

LULU. (Smiling.) At your service?

SCHWARZ. Seems to me you look extra charming to-day.

SCHWARZ. You look really charming today.

LULU. (With a glance at the mirror.) Depends on what you expect.

Lulu. (Looking at the mirror.) It depends on what you're expecting.

SCHWARZ. Your hair breathes out a morning freshness....

BLACK. Your hair exudes a fresh morning vibe....

LULU. I've just come out of the water.

Lulu. I just got out of the water.

SCHWARZ. (Approaching her.) I've an awful lot to do to-day.

BLACK. (Walking over to her.) I have a ton to get done today.

[Page 34] LULU. That's what you say to yourself.

LULU. That's what you tell yourself.

SCHWARZ. (Lays his palette and brushes down on the carpet, and sits on the edge of the couch.) What are you reading?

SCHWARZ. (Puts his palette and brushes down on the carpet and sits on the edge of the couch.) What are you reading?

LULU. (Reads.) "Suddenly she heard an anchor of refuge come nodding up the stairs."

Lulu. (Reads.) "Suddenly, she heard a lifeline coming up the stairs."

SCHWARZ. Who under the sun writes so absorbingly?

BLACK. Who writes so engagingly these days?

LULU. (Reading.) "It was the postman with a money-order." (Henriette, the servant, comes in, upper left, with a hat-box on her arm and a little tray of letters which she puts on the table.)

Lulu. (Reading.) "It was the postman with a money order." (Henriette, the servant, enters from the upper left, carrying a hat box on her arm and a small tray of letters that she places on the table.)

HENRIETTE. The mail. I'm going to take your hat to the milliner, madam. Anything else?

HENRIETTE. The mail's here. I'm going to take your hat to the hat shop, ma'am. Anything else?

LULU. No. (Schwarz signs to her to go out, which she does, slyly smiling.)

Lulu. No. (Schwarz gestures for her to leave, and she does so, giving a sly smile.)

SCHWARZ. What was it you dreamt all last night?

BLACK. What did you dream about all night?

LULU. You've asked me that twice already, to-day.

Lulu. You've asked me that twice already today.

SCHWARZ. (Rises, takes up the letters.) I tremble for news. Every day I fear the world may go to pieces. (Giving Lulu a letter.) For you.

SCHWARZ. (Stands up, picks up the letters.) I’m anxious for any news. Every day I worry that everything might fall apart. (Handing Lulu a letter.) This is for you.

LULU. (Sniffs at the paper.) Madame Corticelli. (Hides it in her bosom.)

Lulu. (Sniffs the paper.) Madame Corticelli. (Hides it in her chest.)

SCHWARZ. (Skimming a letter.) My Samaqueca-dancer sold—for fifty thousand marks!

BLACK. (Skimming a letter.) My Samaqueca dancer sold—for fifty thousand marks!

LULU. Who says that?

LULU. Who's saying that?

SCHWARZ. Sedelmeier in Paris. That's the third picture since our marriage. I hardly know how to save myself from my luck!

BLACK. Sedelmeier in Paris. That's the third picture since we got married. I can barely figure out how to handle my good fortune!

LULU. (Pointing to the letters.) There are more there.

Lulu. (Pointing to the letters.) There are more over there.

SCHWARZ. (Opening an engagement announcement.) See. (Gives it to Lulu.)

BLACK. (Opening an engagement announcement.) Look. (Gives it to Lulu.)

LULU. (Reads.) Sir Henry von Zarnikow has the [Page 35] honor to announce the engagement of his daughter, Charlotte Marie Adelaide, to Doctor Ludwig Schön.

Lulu. (Reads.) Sir Henry von Zarnikow has the [Page 35]pleasure of announcing the engagement of his daughter, Charlotte Marie Adelaide, to Doctor Ludwig Schön.

SCHWARZ. (As he opens another letter.) At last! He's been an eternal while evading a public engagement. I can't understand it—a man of his standing and influence. What can be in the way of his marriage?

BLACK. (As he opens another letter.) Finally! He's been avoiding a public engagement for ages. I just don’t get it—a guy like him, with his status and influence. What could be holding him back from getting married?

LULU. What is that that you're reading?

LULU. What are you reading?

SCHWARZ. An invitation to take part in the international exhibition at St. Petersburg. I have no idea what to paint for it.

BLACK. An invitation to join the international exhibition in St. Petersburg. I have no clue what to paint for it.

LULU. Some entrancing girl or other, of course.

Lulu. Some captivating girl or another, of course.

SCHWARZ. Will you be willing to pose for it?

BLACK. Would you be willing to pose for it?

LULU. God knows there are other pretty girls enough in existence!

LULU. Honestly, there are plenty of other pretty girls out there!

SCHWARZ. But with any other model—tho she be as racy as hell—I can't get such a full display of my powers.

BLACK. But with any other model—even if she's really exciting—I can't show off my skills as much.

LULU. Then I must, I suppose. Wouldn't it go as well lying down?

Lulu. Then I guess I have to. Wouldn't it be just as effective if I lay down?

SCHWARZ. Really, I'd liefest have your taste arrange it for me. (Folding up the letters.) Don't let's forget to congratulate Schön to-day, anyway. (Goes left and shuts the letters in the writing-table.)

BLACK. Honestly, I’d prefer if you took care of the arrangement for me. (Folding up the letters.) Let's make sure to congratulate Schön today, regardless. (Goes left and shuts the letters in the writing-table.)

LULU. But we did that a long time ago.

Lulu. But we did that a long time ago.

SCHWARZ. For his bride's sake.

SCHWARZ. For his wife's sake.

LULU. You can write to him again if you want.

Lulu. You can message him again if you want.

SCHWARZ. And now to work! (Takes up his brushes and palette, kisses Lulu, goes up the steps, right, and turns around in the door-way.) Eve!

SCHWARZ. And now it's time to get to work! (Picks up his brushes and palette, kisses Lulu, goes up the steps on the right, and turns around in the doorway.) Eve!

LULU. (Lets her book sink, smiling.) Your pleasure?

Lulu. (Lets her book drop, smiling.) What about your enjoyment?

SCHWARZ. (Approaching her.) I feel every day as if I were seeing you for the very first time.

SCHWARZ. (Walking up to her.) I feel like I'm seeing you for the first time every single day.

LULU. You're a terror.

LULU. You're a menace.

[Page 36] SCHWARZ. The fault is yours. (He sinks on his knees by the couch and caresses her hand.)

[Page 36]BLACK. It's your fault. (He kneels by the couch and gently holds her hand.)

LULU. (Stroking his hair.) You're wasting me.

LULU. (Stroking his hair.) You're draining me.

SCHWARZ. You are mine. But you are never more ensnaring than when you ought for God's sake to be, just once, real ugly for a couple of hours! Since I've had you, I have had nothing more. I'm entirely lost to myself.

BLACK. You belong to me. But you're never more captivating than when you should, for heaven's sake, just once, be genuinely unpleasant for a couple of hours! Ever since I've had you, I haven't had anything else. I'm completely lost to myself.

LULU. Not so excited! (Bell rings in the corridor.)

LULU. Not that excited! (Bell rings in the hallway.)

SCHWARZ. (Pulling himself together.) Confound it!

SCHWARZ. (Gathering his composure.) Dang it!

LULU. No one at home!

LULU. Nobody's home!

SCHWARZ. Perhaps it's the art-dealer—

SCHWARZ. Maybe it's the art dealer—

LULU. And if it's the Chinese Emperor!

Lulu. What if it's the Chinese Emperor!

SCHWARZ. One moment. (Exit.)

SCHWARZ. Hold on. (Exit.)

LULU. (Visionary.) Thou? Thou? (Closes her eyes.)

Lulu. (Visionary.) You? You? (Closes her eyes.)

SCHWARZ. (Coming back.) A beggar, who says he was in the war. I have no small change on me. (Taking up his palette and brushes.) It's high time, too, that I should finally go to work. (Goes out, right.) (Lulu touches herself up before the glass, strokes back her hair, and goes out, returning leading in Schigolch.)

SCHWARZ. (Coming back.) A homeless guy, who claims he was in the war. I don't have any change on me. (Picking up his palette and brushes.) It’s about time I finally get to work. (Exits to the right.) (Lulu fixes herself up in front of the mirror, smooths her hair, and comes back in with Schigolch.)

SCHIGOLCH. I'd thought he was more of a swell—a little more glory to him. He's sort of embarrassed. He quaked a little in the knees when he saw me in front of him.

SCHIGOLCH. I expected him to have more of an impressive vibe—just a bit more prestige. He seems a bit awkward. He looked a little shaky when he saw me standing in front of him.

LULU. (Shoving a chair round for him.) How can you beg from him, too?

Lulu. (Moving a chair for him.) How can you ask him for help, too?

SCHIGOLCH. That's why I've dragged my seventy-seven summers just here. You told me he kept at his painting in the mornings.

SCHIGOLCH. That's why I've brought my seventy-seven years of life right here. You said he worked on his painting in the mornings.

LULU. He hadn't got quite awake yet. How much do you need?

Lulu. He wasn't fully awake yet. How much do you need?

[Page 37] SCHIGOLCH. Two hundred, if you have that much handy. Personally, I'd like three hundred. Some of my clients have evaporated.

[Page 37]SCHIGOLCH. Two hundred, if you have that much available. Personally, I’d prefer three hundred. Some of my clients have disappeared.

LULU. (Goes to the writing-table and rummages in the drawer.) Whew, I'm tired!

Lulu. (Walks over to the desk and searches through the drawer.) Whew, I’m exhausted!

SCHIGOLCH. (Looking round him.) That's just what brought me, too. I've been wanting a long time to see how things were looking now with you.

SCHIGOLCH. (Looking around.) That's exactly why I came, too. I've been wanting to see how things are going with you for a while now.

LULU. Well?

LULU. What's up?

SCHIGOLCH. It just sweeps over you. (Looking up.) Like with me fifty years ago. Instead of the loafing chairs we still had rusty old sabres then. Devil, but you've brought it pretty far! (Scuffing.) Carpets....

SCHIGOLCH. It just washes over you. (Looking up.) Just like it did for me fifty years ago. Back then, instead of these lounge chairs, we had old, rusty sabers. Man, but you've come a long way! (Scuffing.) Carpets....

LULU. (Giving him two bills.) I like best to walk on them bare-footed.

Lulu. (Handing him two bills.) I prefer to walk on them without shoes.

SCHIGOLCH. (Scanning Lulu's portrait.) Is that you?

SCHIGOLCH. (Looking at Lulu's portrait.) Is that really you?

LULU. (Winking.) Pretty fine?

LULU. (Winking.) Looking good?

SCHIGOLCH. If all that's genuine.

SCHIGOLCH. If everything's authentic.

LULU. Have something sweet?

LULU. Got something sweet?

SCHIGOLCH. What?

SCHIGOLCH. Huh?

LULU. (Getting up.) Elixir de Spaa.

LULU. (Getting up.) Spa Elixir.

SCHIGOLCH. That doesn't help me—Does he drink?

LULU. (Taking a decanter and glasses from a cupboard near the fireplace.) Not yet. (Coming down stage.) The cordial has such various effects!

Lulu. (Grabbing a decanter and glasses from a cupboard near the fireplace.) Not yet. (Moving to center stage.) The cordial has so many different effects!

SCHIGOLCH. He comes to blows?

SCHIGOLCH. He's throwing punches?

LULU. He goes to sleep. (She fills the two glasses.)

Lulu. He falls asleep. (She pours the two glasses.)

SCHIGOLCH. When he's drunk, you can see right into his insides.

SCHIGOLCH. When he’s drunk, you can see straight through him.

LULU. I'd rather not. (Sits opposite Schigolch.) Tell me about it.

Lulu. I’d prefer not. (Sits across from Schigolch.) Tell me about it.

SCHIGOLCH. The streets keep on getting longer, and my legs shorter.

SCHIGOLCH. The streets just keep getting longer, and my legs keep getting shorter.

[Page 38] LULU. And your harmonica?

LULU. And your harmonica?

SCHIGOLCH. Has bad air, like me with my asthma. I just keep a-thinking it isn't worth the trouble to make it better. (They clink glasses.)

SCHIGOLCH. It has bad air, just like I do with my asthma. I can't help but think it's not worth the hassle to try to improve it. (They clink glasses.)

LULU. (Emptying her glass.) I thought you'd come to an end a long time ago—

Lulu. (Finishing her drink.) I thought you'd be done a long time ago—

SCHIGOLCH. To an end—already up and away? I thought so, too. But no matter how early the sun goes down, still we aren't let lie quiet. I'm hoping for winter. Perhaps then my (coughing) —my—my asthma will invent some opportunity to carry me off.

SCHIGOLCH. To an end—already up and gone? I thought so, too. But no matter how early the sun sets, we still can’t get any peace. I’m hoping for winter. Maybe then my (coughing) —my—my asthma will create some chance to take me away.

LULU. (Filling the glasses.) Do you think they could have forgotten you on the other side?

Lulu. (Filling the glasses.) Do you think they might have forgotten about you over there?

SCHIGOLCH. Would be possible, for it certainly isn't going like it usually does. (Stroking her knee.) Now you tell—not seen you a long time—my little Lulu.

SCHIGOLCH. It might be possible, since it definitely isn't going as it usually does. (Stroking her knee.) Now you tell me—haven't seen you in such a long time—my little Lulu.

LULU. (Jerking back, smiling.) Life is beyond me!

Lulu. (Pulling back, smiling.) Life is too much for me!

SCHIGOLCH. What do you know about it? You're still so young!

LULU. That you call me Lulu.

You call me Lulu.

SCHIGOLCH. Lulu, isn't it? Have I ever called you anything else?

SCHIGOLCH. Lulu, right? Have I ever called you anything other than that?

LULU. In the memory of man my name has no longer been Lulu.

Lulu. In people's memory, my name has not been Lulu anymore.

SCHIGOLCH. Another way of naming?

SCHIGOLCH. Another name for it?

LULU. Lulu sounds to me quite ante-diluvian.

Lulu. Lulu feels really outdated to me.

SCHIGOLCH. Children! Children!

SCHIGOLCH. Kids! Kids!

LULU. My name now is—

LULU. My name is now—

SCHIGOLCH. As if the principle wasn't always the same!

SCHIGOLCH. Like the principle isn’t always the same!

LULU. You mean—?

SCHIGOLCH. What is it now?

SCHIGOLCH. What's happening now?

LULU. Eve.

[Page 39] SCHIGOLCH. Lept, hopped, skipped, jumped....

Leapt, hopped, skipped, jumped...

LULU. I'm listening.

LULU. I'm all ears.

SCHIGOLCH. (Gazing round.) This is the way I dreamt of it for you. You've aimed straight for it. (Seeing Lulu sprinkling herself with perfume.) What's that?

SCHIGOLCH. (Looking around.) This is how I imagined it for you. You've gone straight for it. (Noticing Lulu putting on perfume.) What’s that?

LULU. Heliotrope.

SCHIGOLCH. Does that smell better than you?

SCHIGOLCH. Does that smell better to you?

LULU. (Sprinkling him.) That needn't bother you any more.

Lulu. (Sprinkling him.) You don't need to worry about that anymore.

SCHIGOLCH. Who would have dreamt of this royal luxury before!

SCHIGOLCH. Who would have imagined this royal luxury before!

LULU. When I think back—Ugh!

SCHIGOLCH. (Stroking her knee.) How's it going with you, then? You still keep at the French?

SCHIGOLCH. (Stroking her knee.) How's it going with you? Are you still working on your French?

LULU. I lie and sleep.

LULU. I'm lying down and sleeping.

SCHIGOLCH. That's genteel. That always looks like something. And afterwards?

SCHIGOLCH. That's classy. That always seems impressive. And then what?

LULU. I stretch—till it cracks.

LULU. I stretch—until it cracks.

SCHIGOLCH. And when it has cracked?

SCHIGOLCH. And what if it cracks?

LULU. What do you mind about that?

Lulu. What do you care about that?

SCHIGOLCH. What do I mind about that? What do I mind? I'd rather live till the last trump and renounce all heavenly joys than leave my Lulu deprived of anything down here behind me. What do I mind about that? It's my sympathy. To be sure, my better self is already transfigured—but I still have some sense for this world.

SCHIGOLCH. What do I care about that? What do I care? I'd rather live until the end and give up all heavenly pleasures than leave my Lulu without anything down here after I'm gone. What do I care about that? It's my compassion. Of course, my better self is already transformed—but I still have some awareness of this world.

LULU. I haven't.

LULU. I haven't done that.

SCHIGOLCH. You're too well off.

SCHIGOLCH. You’re too privileged.

LULU. (Shuddering.) Idiot....

LULU. (Trembling.) Fool....

SCHIGOLCH. Better than with the old dancing-bear?

SCHIGOLCH. Is this better than the old dancing bear?

LULU. (Sadly.) I don't dance any more.

LULU. (Sadly.) I don't dance anymore.

SCHIGOLCH. For him it was time, too.

SCHIGOLCH. It was time for him as well.

[Page 40] LULU. Now I am— (Stops.)

LULU. I'm— (Stops.)

SCHIGOLCH. Speak how it is with you, child! I believed in you when there was no more to be seen in you than your two big eyes. What are you now?

SCHIGOLCH. Tell me how it is with you, kid! I believed in you when all I could see were your two big eyes. What are you now?

LULU. A beast....

LULU. A beast...

SCHIGOLCH. That you—! And what kind of a beast? A fine beast! An elegant beast! A glorified beast! Then I'll let them bury me. We're through with prejudices—even with the one against the corpse-washer.

SCHIGOLCH. You—! And what kind of creature are you? A magnificent creature! An elegant creature! An elevated creature! Then I’ll let them bury me. We’re done with prejudices—even the one against the corpse-washer.

LULU. You needn't be afraid that you will be washed once more.

Lulu. You don't need to worry about being washed again.

SCHIGOLCH. Doesn't matter, either. One gets dirty again.

SCHIGOLCH. It doesn't really matter. You get dirty again anyway.

LULU. (Sprinkling him.) It would call you back to life again!

Lulu. (Sprinkling him.) It would bring you back to life again!

SCHIGOLCH. We are mud.

SCHIGOLCH. We're dirt.

LULU. I beg your pardon! I rub grease into myself every day and then powder on top of it.

Lululemon. Excuse me! I put grease on myself every day and then dust powder over it.

SCHIGOLCH. Probably worth while, too, on the dressed-up mucker's account.

SCHIGOLCH. It’s probably worth it for the fancy guy's sake.

LULU. It makes the skin like satin.

Lulu. It makes the skin feel like satin.

SCHIGOLCH. As if it weren't just dirt all the same!

SCHIGOLCH. Like it's not just dirt anyway!

LULU. Thank you. I wish to be worth biting at!

Lulu. Thank you. I want to be worth the trouble!

SCHIGOLCH. We are. Give a big dinner down below there pretty soon. Keep open house.

SCHIGOLCH. We are. We're having a big dinner down there pretty soon. Keeping the doors open for everyone.

LULU. Your guests will hardly over-eat themselves at it.

Lulu. Your guests definitely won't overeat at it.

SCHIGOLCH. Patience, girl! Your worshippers won't put you in alcohol, either. It's "schöne Melusine" as long as it keeps buoyant. Afterwards? They don't take it at the zoölogical garden. (Rising.) The gentle beasties might get stomach-cramps.

SCHIGOLCH. Hold on, girl! Your fans aren't going to drown you in booze, either. It's "beautiful Melusine" as long as you stay lively. After that? They won't take you to the zoo. (Rising.) The gentle animals might get stomach aches.

LULU. (Getting up.) Have you enough?

LULU. (Getting up.) Do you have enough?

[Page 41] SCHIGOLCH. There's still enough left over to plant a juniper on my grave. I'll find my own way out. (Exit. Lulu follows him, and presently returns with Dr. Schön.)

[Page 41]SCHIGOLCH. There’s still enough to plant a juniper on my grave. I’ll figure out my own way out. (Exit. Lulu follows him, and soon returns with Dr. Schön.)

SCHÖN. What's your father doing here?

SCHÖN. What’s your dad doing here?

LULU. What's the matter?

LULU. What's wrong?

SCHÖN. If I were your husband that man would never come over my threshold.

Beautiful. If I were your husband, that guy would never set foot in my house.

LULU. You can speak intimately. He's not here. (Referring to Schwarz.)

Lulu. You can talk freely. He isn't around. (Referring to Schwarz.)

SCHÖN. Thank you, I'd rather not.

NICE. Thanks, I'd prefer not to.

LULU. I don't understand.

LULU. I don’t get it.

SCHÖN. I know that. (Offering her a seat.) I should like to speak with you just on that subject.

Nice. I know that. (Offering her a seat.) I’d like to talk to you about that topic.

LULU. (Sitting down uncertainly.) Why didn't you tell me so yesterday, then?

Lulu. (Sitting down uncertainly.) Why didn't you tell me that yesterday?

SCHÖN. Please, nothing now about yesterday. I did tell you two years ago.

Beautiful. Please, let’s not talk about yesterday right now. I told you two years ago.

LULU. (Nervously.) Oh, yes,—Hm!

LULU. (Nervously.) Oh, yeah,—Hm!

SCHÖN. Please be kind enough to cease your visits to my house.

Beautiful. Please kindly stop coming to my house.

LULU. May I offer you an elixir—

Lulu. Can I offer you a drink—

SCHÖN. Thanks. No elixir. Have you understood me? (Lulu shakes her head.) Good. You have the choice. You force me to the most extreme measures:—either act in accordance with your station—

Beautiful. Thanks. No potion. Do you understand me? (Lulu shakes her head.) Good. You have a choice. You're pushing me to the limit:—either act according to your position—

LULU. Or?

LULU. Or what?

SCHÖN. Or—you compel me—I should have to turn to that person who is responsible for your behavior.

Nice. Or—you’re forcing me—I would have to address the person who is accountable for your actions.

LULU. What makes you imagine that?

LULU. What makes you think that?

SCHÖN. I shall request your husband, himself to watch over your ways. (Lulu rises, goes up the steps, right.) Where are you going?

Beautiful. I'll ask your husband to keep an eye on you. (Lulu gets up, walks up the steps, to the right.) Where are you headed?

LULU. (Calls thru the curtains.) Walter!

LULU. (Calls through the curtains.) Walter!

[Page 42] SCHÖN. (Springing up.) Are you mad?

[Page 42] SCHÖN. (Jumping up.) Are you out of your mind?

LULU. (Turning round.) Aha!

LULU. (Turning around.) Aha!

SCHÖN. I have made the most superhuman efforts to raise you in society. You can be ten times as proud of your name as of your intimacy with me.

Beautiful. I have gone to great lengths to help you move up in society. You should take way more pride in your name than in our friendship.

LULU. (Comes down the steps and puts her arm around Schön's neck.) Why are you still afraid, now that you're at the zenith of your hopes?

Lulu. (Comes down the steps and puts her arm around Schön's neck.) Why are you still scared, now that you've reached the peak of your dreams?

SCHÖN. No comedy! The zenith of my hopes? I am at last engaged: I have now the hope of bringing my bride into a clean house.

Beautiful. No jokes! The peak of my dreams? I’m finally engaged: I now have the hope of bringing my bride into a tidy home.

LULU. (Sitting.) She has developed delightfully in the two years!

Lulu. (Sitting.) She has grown wonderfully in the last two years!

SCHÖN. She no longer looks thru one so earnestly.

Beautiful. She doesn't look through one so earnestly anymore.

LULU. She is now, for the first time, a woman. We can meet each other wherever it seems suitable to you.

Lulu. She is now, for the first time, a woman. We can meet up wherever you think is best.

SCHÖN. We shall meet each other nowhere but in the presence of your husband!

Beautiful. We will only meet in front of your husband!

LULU. You don't believe yourself what you say.

Lulu. You don’t even believe what you’re saying.

SCHÖN. Then he must believe it. Go on and call him! Thru his marriage to you, thru all that I've done for him, he has become my friend.

Beautiful. Then he must believe it. Go ahead and call him! Through his marriage to you, through everything I've done for him, he has become my friend.

LULU. (Rising.) Mine, too.

LULU. (Rising.) Same here.

SCHÖN. Then I'll cut down the sword over my head.

Beautiful. Then I'll bring the sword down over my head.

LULU. You have, indeed, chained me up. But I owe my happiness to you. You will get friends by the crowd as soon as you have a pretty young wife again.

Lulu. You've truly locked me up. But I have to thank you for my happiness. You’ll gain friends by the dozens as soon as you have a beautiful young wife again.

SCHÖN. You judge women by yourself! He's got the sense of a child or he would have tracked out your doublings and windings long ago.

Beautiful. You judge women based on your own standards! He's not very bright, or he would have figured out your twists and turns a long time ago.

LULU. I only wish he would! Then, at last he'd get out of his swaddling-clothes. He puts his trust in the marriage contract he has in his pocket. Trouble is past [Page 43] and gone. One can now give oneself and let oneself go as if one were at home. That isn't the sense of a child! It's banal! He has no education; he sees nothing; he sees neither me nor himself; he is blind, blind, blind....

Lulu. I just wish he would! Then he'd finally break free from his childish ways. He thinks the marriage contract in his pocket protects him. All the problems are behind us. Now we can relax and be ourselves like we’re at home. That’s not the mindset of a child! It’s just so basic! He hasn’t learned anything; he doesn’t notice anything; he’s completely unaware of both me and himself; he’s blind, blind, blind....

SCHÖN. (Half to himself.) When his eyes open!!

NICE. (Half to himself.) When his eyes open!!

LULU. Open his eyes for him! I'm going to ruin. I'm neglecting myself. He doesn't know me at all. What am I to him? He calls me darling and little devil. He would say the same to any piano-teacher. He makes no pretensions. Everything is alright, to him. That comes from his never in his life having felt the need of intercourse with women.

Lulu. Open his eyes for him! I'm going to mess everything up. I'm ignoring myself. He doesn’t know me at all. What am I to him? He calls me sweetheart and little devil. He’d say the same to any piano teacher. He doesn’t pretend. Everything is fine for him. That’s because he has never felt the need for intimacy with women in his life.

SCHÖN. If that's true!

NICE. If that's true!

LULU. He admits it perfectly openly.

LULU. He admits it openly.

SCHÖN. A man who has painted them, rags and tags and velvet gowns, since he was fourteen.

Nice. A man who has painted them, scraps and labels and velvet dresses, since he was fourteen.

LULU. Women make him anxious. He trembles for his health and comfort. But he isn't afraid of me!

Lulu. Women make him nervous. He worries about his health and well-being. But he’s not scared of me!

SCHÖN. How many girls would deem themselves God knows how blessed in your situation.

Beautiful. How many girls would consider themselves incredibly lucky to be in your situation?

LULU. (Softly pleading.) Seduce him. Corrupt him. You know how. Take him into bad company—you know the people. I am nothing to him but a woman, just woman. He makes me feel so ridiculous. He will be prouder of me. He doesn't know any differences. I'm thinking my head off, day and night, how to shake him up. In my despair I dance the can-can. He yawns; and drivels something about obscenity.

Lulu. (Softly pleading.) Make him want you. Lead him astray. You know how to do that. Introduce him to the wrong crowd—you know the people. To him, I’m just a woman, just a woman. He makes me feel so foolish. He'll be more impressed by me. He doesn't see any distinctions. I've been thinking nonstop, day and night, about how to get through to him. In my frustration, I dance the can-can. He just yawns and mumbles something about obscenity.

SCHÖN. Nonsense. He is an artist, though.

Nice. That's ridiculous. He is an artist, after all.

LULU. At least he believes he is.

Lulu. At least he thinks he is.

SCHÖN. That's the chief thing!

NICE. That's the main thing!

[Page 44] LULU. When I pose for him.... He believes, too, that he's a famous man.

[Page 44]Lulu. When I model for him.... He thinks, too, that he’s a big deal.

SCHÖN. We have made him one.

NICE. We created one for him.

LULU. He believes everything. He's as mistrustful as a thief, and lets himself be lied to, till one loses all respect! When we first knew each other I informed him I had never yet loved— (Schön falls into an easy-chair.) Otherwise he would really have taken me for a fallen woman!

Lulu. He believes everything. He's as suspicious as a thief and allows himself to be lied to, until you lose all respect! When we first met, I told him I had never loved anyone— (Schön collapses into an easy chair.) Otherwise, he would have genuinely thought I was a fallen woman!

SCHÖN. You make God knows what exorbitant demands on legitimate relations!

Lovely. You have no idea what unreasonable demands you place on legitimate relationships!

LULU. I make no exorbitant demands. Often I even dream still of Goll.

Lulu. I don't ask for much. Sometimes I still dream about Goll.

SCHÖN. He was, at any rate, not banal!

AMAZING. He was definitely not ordinary!

LULU. He is there, as if he had never been away. Only he walks as tho in his socks. He isn't angry with me; he's awfully sad. And then he is fearful, as tho he were there without the permission of the police. Otherwise, he feels at ease with us. Only he can't quite get over my having thrown away so much money since—

Lulu. He’s there, like he never left. But he walks as if he’s in his socks. He’s not mad at me; he’s really sad. And then he looks worried, as if he’s there without the police's approval. Other than that, he feels comfortable with us. It’s just that he can’t quite shake off the fact that I’ve wasted so much money since—

SCHÖN. You yearn for the whip once more?

Beautiful. Do you long for the whip again?

LULU. Maybe. I don't dance any more.

LULU. Maybe. I don’t dance now.

SCHÖN. Teach him to do it.

SCHÖN. Show him how to do it.

LULU. A waste of trouble.

LULU. A total hassle.

SCHÖN. Out of a hundred women, ninety educate their husbands to suit themselves.

Nice. Out of a hundred women, ninety train their husbands to meet their own needs.

LULU. He loves me.

SCHÖN. That's fatal, of course.

NICE. That's deadly, of course.

LULU. He loves me—

SCHÖN. That is an unbridgeable abyss.

SCHÖN. That is an insurmountable gap.

LULU. He doesn't know me, but he loves me! If he [Page 45] had anything like a correct idea of me, he'd tie a stone around my neck and sink me in the sea where it's deepest.

Lulu. He doesn’t know me, but he loves me! If he [Page 45]had any accurate understanding of who I am, he’d tie a stone around my neck and sink me in the deepest part of the ocean.

SCHÖN. Let's finish this? (He gets up.)

Cool. Should we wrap this up? (He stands up.)

LULU. As you say.

LULU. As you say it.

SCHÖN. I've married you off. Twice I have married you off. You live in luxury. I've created a position for your husband. If that doesn't satisfy you, and he laughs in his sleeve at it, I don't pretend to meet ideal claims; but—leave me out of the game, out of it!

Beautiful. I've arranged two marriages for you. You’re living in comfort. I’ve secured a good position for your husband. If that’s not enough for you, and he secretly mocks it, I won’t pretend to meet unrealistic expectations; but—just keep me out of it!

LULU. (Resolutely.) If I belong to any person on this earth, I belong to you. Without you I'd be—I won't say where. You took me by the hand, gave me food to eat, had me dressed,—when I was going to steal your watch. Do you think that can be forgotten? Anybody else would have called the police. You sent me to school, and had me learn manners. Who but you in the whole world has ever thought anything of me? I've danced and posed, and was glad to be able to earn my living that way. But love at command, I can't!

Lulu. (Determined.) If I belong to anyone on this planet, it's you. Without you, I'd be—I won't say where. You took my hand, gave me food, and helped me get dressed when I was about to steal your watch. Do you think that's something I can forget? Anyone else would have called the cops. You sent me to school and taught me manners. Who else in the world has ever cared about me? I've danced and posed and was happy to make a living that way. But love on command, I just can't do it!

SCHÖN. (Raising his voice.) Leave me out! Do what you will. I'm not coming to make scandal; I'm coming to shake the scandal from my neck. My engagement is costing me sacrifices enough! I had imagined that with a healthy young man, than whom a woman of your years can wish herself no better, you would, at last, have been contented. If you are under obligations to me, don't throw yourself a third time in my way! Am I to wait yet longer before putting my pile in security? Am I to risk the whole success of my patents falling into the water again after two years? What good is it to me to be your married-man, when you can be seen going in and out of my house at every hour of the day? Why the devil didn't Dr. Goll stay alive just one year more! [Page 46] With him you were in safe keeping. Then I'd have had my wife long since under my roof!

Cool. (Raising his voice.) Leave me out! Do what you want. I'm not here to create a scene; I'm here to get this mess off my back. My engagement has already cost me enough! I thought that with a healthy young man, better than any woman your age could wish for, you would finally be satisfied. If you owe me anything, don’t get in my way for the third time! Am I supposed to wait even longer before securing my investment? Am I supposed to risk all the success of my patents going down the drain again after two years? What good is it for me to be your married man when you can just walk in and out of my house whenever you want? Why on earth didn’t Dr. Goll live just one more year! With him, you were safe. Then I would have had my wife under my roof long ago! [Page 46]

LULU. And what would you have had then? The kid gets on your nerves. The child is too uncorrupted for you. She's been much too carefully brought up. What should I have against your marriage? But you are deceived about yourself if you think that on account of your impending marriage you may express your contempt to me.

Lulu. And what do you expect then? The kid is driving you crazy. She's too innocent for you. She's been raised too well. What do I have against your marriage? But you're mistaken if you think that just because you're getting married, you can show me your disdain.

SCHÖN. Contempt? I shall soon give the child the right idea. If anything is contemptible, it's your intrigues!

Nice. Contempt? I'll soon make sure the kid understands things properly. If there's anything contemptible, it's your schemes!

LULU. (Laughing.) Am I jealous of the child? That never once entered my head.

Lulu. (Laughing.) Am I jealous of the kid? That never even crossed my mind.

SCHÖN. Then why talk about the child? The child is not even a whole year younger than you are. Leave me my freedom to live what life I still have. No matter how the child's been brought up, she's got her five senses just like you.... (Schwarz appears, right, brush in hand.)

Beautiful. So why bring up the kid? The kid is barely a year younger than you. Let me have my freedom to live whatever life I have left. No matter how the kid was raised, she has her five senses just like you do.... (Schwarz appears, right, brush in hand.)

SCHWARZ. What's the matter here?

SCHWARZ. What's going on here?

LULU. (To Schön.) Well? Go on. Talk.

LULU. (To Schön.) So? What are you waiting for? Speak up.

SCHWARZ. What's the matter with you two?

BLACK. What's going on with you two?

LULU. Nothing that touches you—

LULU. Nothing that affects you—

SCHÖN. (Sharply.) Quiet!

NICE. (Sharply.) Quiet!

LULU. He's had enough of me. (Schwarz leads her off, to the right.)

Lulu. He's done with me. (Schwarz takes her away, to the right.)

SCHÖN. (Turning over the leaves in one of the books on the table.) It had to come out—I must have my hands free at last!

Nice. (Flipping through the pages of one of the books on the table.) It had to be said—I need to have my hands free at last!

SCHWARZ. (Coming back.) Is that a way to jest?

SCHWARZ. (Coming back.) Is that how you joke around?

SCHÖN. (Pointing to a chair.) Please.

NICE. (Pointing to a chair.) Please.

SCHWARZ. What is it?

SCHWARZ. What’s up?

SCHÖN. Please.

NICE. Please.

[Page 47] SCHWARZ. (Seating himself.) Well?

[Page 47] SCHWARZ. (Sits down.) So?

SCHÖN. (Seating himself.) You have married half a million....

Beautiful. (Sitting down.) You’ve married half a million....

SCHWARZ. Is it gone?

SCHÖN. Not a penny.

NICE. Not a dime.

SCHWARZ. Explain to me the peculiar scene....

BLACK. Tell me about the strange scene....

SCHÖN. You have married half a million—

SCHÖN. You’ve married half a million—

SCHWARZ. No one can make a crime of that.

SCHWARZ. No one can call that a crime.

SCHÖN. You have created a name for yourself. You can work unmolested. You need to deny yourself no wish—

Nice. You've built a reputation. You can work without interference. You don't have to deny yourself any desire—

SCHWARZ. What have you two got against me?

BLACK. What do you two have against me?

SCHÖN. For six months you've been revelling in all the heavens. You have a wife whom the world envies you, and she deserves a man whom she can respect—

Beautiful. For six months you've been enjoying all the luxuries. You have a wife that everyone else envies, and she deserves a man she can respect—

SCHWARZ. Doesn't she respect me?

SCHWARZ. Does she not respect me?

SCHÖN. No.

NICE. Nope.

SCHWARZ. (Depressed.) I come from the dark depths of society. She is above me. I cherish no more ardent wish than to become her equal. (Offers Schön his hand.) Thank you.

SCHWARZ. (Depressed.) I come from the dark depths of society. She is above me. I have no greater desire than to become her equal. (Offers Schön his hand.) Thank you.

SCHÖN. (Pressing it, half embarrassed.) Don't mention it.

Beautiful. (Pressing it, slightly embarrassed.) No problem.

SCHWARZ. (With determination.) Speak!

SCHWARZ. (With determination.) Go ahead!

SCHÖN. Keep a little more watch on her.

Pretty. Keep a closer eye on her.

SCHWARZ. I—on her?

SCHÖN. We are not children! We don't trifle! She demands that she be taken seriously. Her value gives her a perfect right to be.

Nice. We’re not kids! We don’t mess around! She expects to be taken seriously. Her worth gives her every right to be.

SCHWARZ. What does she do, then?

SCHWARZ. So, what does she do?

SCHÖN. You have married half a million!

Beautiful. You've married half a million people!

SCHWARZ. (Rises; beside himself.) She—?

SCHWARZ. (Stands up; frantic.) She—?

SCHÖN. (Takes him by the shoulder.) No, that's not [Page 48] the way! (Forces him to sit.) We must speak with each other very seriously here.

Pretty. (Grabs him by the shoulder.) No, that's not how it is! (Pushes him to sit down.) We need to have a serious conversation here.

SCHWARZ. What does she do?

SCHWARZ. What’s her job?

SCHÖN. First count on your fingers what you have to thank her for, and then—

Beautiful. First, count on your fingers what you’re grateful to her for, and then—

SCHWARZ. What does she do—man!!

SCHWARZ. What does she do—man!

SCHÖN. And then make yourself responsible for your faults, and no one else.

Nice. Take responsibility for your mistakes, and no one else.

SCHWARZ. With whom? With whom?

SCHWARZ. Who with? Who with?

SCHÖN. If we should shoot each other—

Beautiful. If we were to shoot each other—

SCHWARZ. Since when, then?

SCHWARZ. Since when?

SCHÖN. (Evasive.) —I don't come here to make scandal, I come to save you from the scandal.

Beautiful. (Evasive.) —I’m not here to cause a scene, I’m here to protect you from one.

SCHWARZ. You have misunderstood her.

SCHWARZ. You’ve misunderstood her.

SCHÖN. (Embarrassed.) That will not do for me. I can't see you go on living in blindness. The girl deserves to be a respectable woman. Since I have known her she has improved as she developed.

Beautiful. (Embarrassed.) That doesn't work for me. I can't stand to see you live in ignorance. The girl deserves to be a respected woman. Since I've known her, she's really grown and matured.

SCHWARZ. Since you have known her? Since when have you known her then?

BLACK. How long have you known her?

SCHÖN. Since about her twelfth year.

PRETTY. Since around her twelfth year.

SCHWARZ. (Bewildered.) She told me nothing about that.

BLACK. (Confused.) She didn't tell me anything about that.

SCHÖN. She sold flowers in front of the Alhambra Café. Every evening between twelve and two she pressed in among the guests, bare-footed.

Beautiful. She sold flowers in front of the Alhambra Café. Every evening between twelve and two, she squeezed in among the guests, barefoot.

SCHWARZ. She told me nothing of that.

SCHWARZ. She didn't tell me anything about that.

SCHÖN. She did right there. I'm telling you, so you may see that you have not to do with moral degeneracy. The girl is, on the contrary, of extraordinarily good disposition.

Pretty. She did right there. I'm telling you, so you can see that you’re not dealing with moral decay. The girl is, on the contrary, incredibly good-natured.

SCHWARZ. She said she had grown up with an aunt.

BLACK. She said she had been raised by her aunt.

SCHÖN. That was the woman I gave her to. She [Page 49] was her best pupil. The mothers used to make her an example to their children. She has the feeling for duty. It is simply and solely your mistake if you have till now neglected to take her on her best sides.

Beautiful. That was the woman I entrusted her to. She [Page 49]was her top student. The mothers would use her as a role model for their kids. She has a strong sense of responsibility. It’s entirely your fault if you’ve overlooked her best qualities until now.

SCHWARZ. (Sobbing.) O God!—

SCHWARZ. (Weeping.) Oh God!—

SCHÖN. (With emphasis.) No O God!! Nothing of the happiness you have cost can be changed. Done is done. You over-rate yourself against your better knowledge if you persuade yourself you will lose. You stand to gain. But with "O God" nothing is gained. A greater friendliness I have not yet shown you: I speak plainly and offer you my help. Don't show yourself unworthy of it!

Gorgeous. (With emphasis.) Oh God!! Nothing about the happiness you've caused can be changed. What's done is done. You overestimate your understanding if you convince yourself that you'll lose. You actually have a lot to gain. But with "Oh God," nothing is gained. I haven't shown you more friendship than this: I'm being straightforward and offering you my help. Don't make yourself unworthy of it!

SCHWARZ. (From now on more and more broken up.) When I first knew her, she told me she had never loved.

BLACK. (From now on more and more broken up.) When I first met her, she said she had never loved.

SCHÖN. When a widow says that—! It does her credit that she chose you for a husband. Make the same claims on yourself and your happiness is without a blot.

Cool. When a widow says that—! It speaks well of her that she picked you as a husband. Believe the same about yourself, and your happiness will be flawless.

SCHWARZ. She says he made her wear short dresses.

SCHÖN. But he married her! That was her master-stroke. How she brought the man to it is beyond me. You really must know it now: you are enjoying the fruits of her diplomacy.

Beautiful. But he married her! That was her big move. How she convinced him to do it is beyond me. You really need to realize this now: you’re reaping the benefits of her cunning.

SCHWARZ. How did she get to know Dr. Goll then?

BLACK. How did she come to know Dr. Goll then?

SCHÖN. Through me! It was after my wife's death, when I was making the first advances to my present fiancée. She stuck herself in between. She had fixed her mind on becoming my wife.

Beautiful. Through me! It was after my wife's death, when I was starting to get to know my current fiancée. She stepped in. She was determined to become my wife.

SCHWARZ. (As if seized with a horrible suspicion.) And then when her husband died?

BLACK. (Looking like he's struck by a terrible thought.) And what about when her husband passed away?

SCHÖN. You married half a million!!

SCHÖN. You got married for half a million!!

SCHWARZ. (Wailing.) O, to have stayed where I was! To have died of hunger!

BLACK. (Wailing.) Oh, if only I had stayed where I was! If only I had died from starvation!

[Page 50] SCHÖN. (Superior.) Do you think, then, that I make no compromises? Who is there that does not compromise? You have married half a million. You are to-day one of the foremost artists. That can't be done without money. You are not the man to sit in judgment on her. You can't possibly treat an origin like Mignon's according to the notions of bourgeois society.

[Page 50]Nice. (Superior.) So, do you really think that I never make compromises? Who doesn't compromise? You've married into wealth. Today, you're one of the top artists. That doesn't happen without money. You’re not in a position to judge her. You can’t possibly evaluate someone like Mignon based on the standards of middle-class society.

SCHWARZ. (Quite distraught.) Who are you speaking of?

SCHWARZ. (Very upset.) Who are you talking about?

SCHÖN. Of her father! You're an artist, I say: your ideals are on a different plane from those of a wage-worker.

Nice. About her father! You're an artist, I say: your ideals are on a different level from those of someone who works for a paycheck.

SCHWARZ. I don't understand a word of all that.

BLACK. I don’t get any of that.

SCHÖN. I am speaking of the inhuman conditions out of which, thanks to her good management, the girl has developed into what she is!

Beautiful. I'm talking about the brutal conditions that the girl has come through, and it's all thanks to her excellent management that she has turned into who she is today!

SCHWARZ. Who?

SCHWARZ. Who's that?

SCHÖN. Who? Your wife.

CUTE. Who? Your wife.

SCHWARZ. Eve?

SCHÖN. I called her Mignon.

GREAT. I called her Mignon.

SCHWARZ. I thought her name was Nellie?

BLACK. I thought her name was Nellie?

SCHÖN. Dr. Goll called her so.

Gorgeous. Dr. Goll called her that.

SCHWARZ. I called her Eve—

SCHÖN. What her real name is I don't know.

Awesome. I have no idea what her real name is.

SCHWARZ. (Absently.) Perhaps she knows.

SCHWARZ. (Absently.) Maybe she knows.

SCHÖN. With a father like hers, she is, with all her faults, a miracle. I don't understand you—

Beautiful. With a dad like hers, she's a miracle despite all her flaws. I don't get you—

SCHWARZ. He died in a madhouse—?

SCHWARZ. He died in a asylum—?

SCHÖN. He was here just now!

NICE. He was just here!

SCHWARZ. Who was here?

SCHWARZ. Who's here?

SCHÖN. Her father.

NICE. Her dad.

SCHWARZ. Here—in my house?

SCHWARZ. Here—in my place?

[Page 51] SCHÖN. He squeezed by me as I came in. And there are the two glasses still.

[Page 51]Beautiful. He brushed past me as I walked in. And there are the two glasses still.

SCHWARZ. She says he died in the madhouse.

BLACK. She says he died in the mental hospital.

SCHÖN. Let her feel she's in authority—! She craves nothing but the compulsion to unconditional obedience. With Dr. Goll she was in heaven, and with him there was no joking.

Beautiful. Let her feel like she’s in charge—! All she wants is the power to demand absolute obedience. With Dr. Goll, she was in bliss, and there was no joking around with him.

SCHWARZ. (Shaking his head.) She said she had never loved—

SCHÖN. But you, make a beginning with yourself. Pull yourself together!

Check it out. But you, start with yourself. Get it together!

SCHWARZ. She has sworn—!

SCHÖN. You can't demand a sense of duty in her before you know your own task.

Nice. You can't expect her to have a sense of duty until you understand your own responsibility.

SCHWARZ. By her mother's grave!

SCHWARZ. At her mother's grave!

SCHÖN. She never knew her mother, let alone the grave. Her mother hasn't got a grave.

Beautiful. She never met her mother, much less knows where she's buried. Her mother doesn't have a grave.

SCHWARZ. I don't fit in society. (He is in desperation.)

BLACK. I don't belong in this society. (He is in desperation.)

SCHÖN. What's the matter?

SCHÖN. What's wrong?

SCHWARZ. Pain—horrible pain!

SCHWARZ. Pain—terrible pain!

SCHÖN. (Gets up, steps back; after a pause.) Guard her for yourself: she's yours. The moment is decisive. To-morrow she may be lost to you.

Gorgeous. (Gets up, steps back; after a pause.) Protect her for yourself: she's yours. This moment is crucial. Tomorrow, she might be gone from you.

SCHWARZ. (Pointing to his breast.) Here, here.

BLACK. (Pointing to his chest.) Right here, right here.

SCHÖN. You have married half— (Reflecting.) She is lost to you if you let this moment slip!

Gorgeous. You've only married half— (Thinking.) She's gone for good if you let this moment pass!

SCHWARZ. If I could weep! Oh, if I could cry out!

BLACK. If only I could cry! Oh, if only I could shout!

SCHÖN. (With a hand on his shoulder.) You're suffering—

Beautiful. (Puts a hand on his shoulder.) You're in pain—

SCHWARZ. (Getting up, apparently quiet.) You are right, quite right.

BLACK. (Getting up, seemingly calm.) You’re right, absolutely right.

SCHÖN. (Gripping his hand.) Where are you going?

Beautiful. (Holding his hand tightly.) Where are you headed?

[Page 52] SCHWARZ. To speak with her.

To talk with her.

SCHÖN. Right! (Accompanies him to the door, left. Coming back.) That was tough work. (After a pause, looking right.) He had taken her into the studio before though? (A fearful groan, left. He hurries to the door and finds it locked.) Open! Open the door!

Nice. Right! (Walks him to the door on the left. Returns.) That was hard work. (After a moment, looking to the right.) He had brought her into the studio before, right? (A scared groan from the left. He rushes to the door and discovers it’s locked.) Open! Open the door!

LULU. (Stepping thru the hangings, right.) What's—

Lulu. (Walking through the curtains, to the right.) What's—

SCHÖN. Open it!

NICE. Open it!

LULU. (Comes down the steps.) That is horrible.

Lulu. (Comes down the steps.) That's terrible.

SCHÖN. Have you an ax in the kitchen?

Beautiful. Do you have an axe in the kitchen?

LULU. He'll open it right off—

LULU. He'll open it immediately—

SCHÖN. I can't kick it down.

NICE. I can't knock it down.

LULU. When he's had his cry out.

LULU. After he stops crying.

SCHÖN. (Kicking the door.) Open! (To Lulu.) Bring me an ax.

Beautiful. (Kicking the door.) Open up! (To Lulu.) Get me an axe.

LULU. Send for the doctor—

LULU. Call the doctor—

SCHÖN. You are not yourself.

SCHÖN. You’re not yourself.

LULU. It serves you right. (Bell rings in the corridor. Schön and Lulu stare at each other. Then Schön slips up-stage and stands in the doorway.)

LULU. You brought this on yourself. (The bell rings in the hallway. Schön and Lulu look at each other. Then Schön moves upstage and stands in the doorway.)

SCHÖN. I mustn't let myself be seen here.

Beautiful. I can't let anyone see me here.

LULU. Perhaps it's the art-dealer. (The bell rings again.)

Lulu. Maybe it’s the art dealer. (The bell rings again.)

SCHÖN. But if we don't answer it—

Beautiful. But if we don't respond to it—

LULU. (Steals toward the door; but Schön holds her.) —

Lulu. (Moves toward the door, but Schön stops her.) —

SCHÖN. Stop. It sometimes happens that one is not just at hand— (He goes out on tip-toes. Lulu turns back to the locked door and listens. Schön returns with Alva.) Please be quiet.

Beautiful. Stop. Sometimes it happens that someone isn't right there— (He walks out quietly on tip-toes. Lulu looks back at the locked door and listens. Schön comes back with Alva.) Please be quiet.

ALVA. (Very excited.) A revolution has broken out in Paris!

ALVA. (Very excited.) A revolution has started in Paris!

SCHÖN. Be quiet.

SCHÖN. Shh.

[Page 53] ALVA. (To Lulu.) You're as pale as death.

[Page 53]ALVA. (To Lulu.) You look as pale as a ghost.

SCHÖN. (Rattling at the door.) Walter! Walter! (A death-rattle heard behind the door.)

Cool. (Knocking on the door.) Walter! Walter! (A faint, dying sound heard from behind the door.)

LULU. God pity you.

LULU. May God have mercy on you.

SCHÖN. Haven't you brought an ax?

SCHÖN. Didn't you bring an ax?

LULU. If there's one there— (Goes slowly out, upper left.)

Lulu. If there's one up there— (Walks slowly out, upper left.)

ALVA. He's just keeping us in suspense.

ALVA. He's just keeping us on edge.

SCHÖN. A revolution has broken out in Paris?

Beautiful. There's a revolution happening in Paris?

ALVA. In the editors' room they're beating their heads against the wall. No one knows what he ought to write. (The bell rings in the corridor.)

ALVA. In the editors' room, they're banging their heads against the wall. No one knows what they should write. (The bell rings in the corridor.)

SCHÖN. (Kicking against the door.) Walter!

NICE. (Kicking the door.) Walter!

ALVA. Shall I force it in?

ALVA. Should I push it in?

SCHÖN. I can do that. Who is it coming now? (Standing up.) To enjoy life and let others be responsible for it—

Great. I can handle that. Who's coming now? (Getting up.) To enjoy life and let others take the responsibility for it—

LULU. (Coming back with a kitchen ax.) Henriette has come home.

Lulu. (Returning with a kitchen axe.) Henriette has come back home.

SCHÖN. Shut the door behind you.

SCHÖN. Close the door behind you.

ALVA. Give it here. (Takes the ax and pounds with it between the jamb and the lock.)

ALVA. Hand it over. (Takes the axe and pounds it between the door frame and the lock.)

SCHÖN. You must hold it nearer the end.

Beautiful. You need to hold it closer to the end.

ALVA. It's cracking— (The lock gives; Alva lets the ax fall and staggers back.) (Pause.)

ALVA. It's breaking— (The lock opens; Alva drops the ax and stumbles back.) (Pause.)

LULU. (To Schön, pointing to the door.) After you. (Schön flinches, drops back.) Are you getting—dizzy? (Schön wipes the sweat from his forehead and goes in.)

Lulu. (To Schön, pointing to the door.) After you. (Schön flinches, steps back.) Are you feeling—dizzy? (Schön wipes the sweat from his forehead and goes in.)

ALVA. (From the couch.) Ghastly!

ALVA. (From the couch.) Gross!

LULU. (Stopping in the door-way, finger on lips, cries out sharply.) Oh! Oh! (Hurries to Alva.) I can't stay here.

Lulu. (Stopping in the doorway, finger on lips, cries out sharply.) Oh! Oh! (Hurries to Alva.) I can't be here.

[Page 54] ALVA. Horrible!

[Page 54] ALVA. Terrible!

LULU. (Taking his hand.) Come.

LULU. (Taking his hand.) Come on.

ALVA. Where to?

ALVA. Where to now?

LULU. I can't be alone. (Goes out with Alva, right.)

Lulu. I can’t be by myself. (Exits with Alva, correct.)

(Schön comes back, a bunch of keys in his hand, which shows blood. He pulls the door to, behind him, goes to the writing-table, opens it, and writes two notes.)

(Schön returns with a bunch of keys in his hand, stained with blood. He shuts the door behind him, heads to the writing desk, opens it, and writes two notes.)

ALVA. (Coming back, right.) She's changing her clothes.

ALVA. (Coming back, for sure.) She's getting changed.

SCHÖN. She has gone?

SCHÖN. Has she left?

ALVA. To her room. She's changing her clothes. (Schön rings. Henriette comes in.)

SCHÖN. You know where Dr. Bernstein lives?

Beautiful. Do you know where Dr. Bernstein lives?

HENRIETTE. Of course, Doctor. Right next door.

SCHÖN. (Giving her one note.) Take that over to him, please.

Beautiful. (Handing her one note.) Can you take this to him, please?

HENRIETTE. In case the doctor is not at home?

HENRIETTE. What if the doctor isn't home?

SCHÖN. He is at home. (Giving her the other note.) And take this to police headquarters. Take a cab. (Henriette goes out.) I am judged!

Beautiful. He is at home. (Handing her the other note.) And take this to the police station. Get a cab. (Henriette goes out.) I am being judged!

ALVA. My blood is cold.

ALVA. I'm feeling cold inside.

SCHÖN. (Toward the left.) The fool!

NICE. (Toward the left.) The fool!

ALVA. He waked up to something, perhaps?

ALVA. Did he wake up to something, maybe?

SCHÖN. He has been too absorbed with himself. (Lulu appears on the steps, right, in dust-coat and hat.)

Gorgeous. He has been too focused on himself. (Lulu appears on the steps, right, wearing a dust coat and hat.)

ALVA. Where are you going now?

ALVA. Where are you headed now?

LULU. Out. I see it on all the walls.

Lulu. Out. I see it on all the walls.

SCHÖN. Where are his papers?

SCHÖN. Where are his documents?

LULU. In the desk.

LULU. On the desk.

SCHÖN. (At the desk.) Where?

NICE. (At the desk.) Where?

LULU. Lower right-hand drawer. (She kneels and opens the drawer, emptying the papers on the floor.) Here. There is nothing to fear. He had no secrets.

Lulu. Lower right-hand drawer. (She kneels and opens the drawer, spilling the papers on the floor.) Here. There’s nothing to worry about. He had no secrets.

[Page 55] SCHÖN. Now I can just withdraw from the world.

[Page 55]Gorgeous. Now I can simply step back from the world.

LULU. (Still kneeling.) Write a pamphlet about him. Call him Michelangelo.

Lulu. (Still kneeling.) Create a pamphlet about him. Name it Michelangelo.

SCHÖN. What good'll that do? (Pointing left.) There lies my engagement.

Beautiful. What good will that do? (Pointing left.) That's where my engagement is.

ALVA. That's the curse of your game!

ALVA. That's the problem with your game!

SCHÖN. Shout it thru the streets!!

SCHÖN. Shout it through the streets!!

ALVA. (Pointing to Lulu.) If you had treated that girl fairly and justly when my mother died—

ALVA. (Pointing to Lulu.) If you had treated that girl fairly and justly when my mom passed away—

SCHÖN. My engagement is bleeding to death there!

SCHÖN. My engagement is falling apart!

LULU. (Getting up.) I sha'n't stay here any longer.

Lulu. (Getting up.) I won't stay here any longer.

SCHÖN. In an hour they'll be selling extras. I dare not go across the street!

NICE. In an hour, they'll be selling extras. I can't risk going across the street!

LULU. Why, what can you do to help it?

Lulu. What can you do to fix it?

SCHÖN. That's just it! They'll stone me for it!

Nice. That's the problem! They'll throw stones at me for it!

ALVA. You must get away—travel.

ALVA. You need to get away—travel.

SCHÖN. To leave the scandal a free field!

Cool. Let’s give the scandal some space!

LULU. (By the couch.) Ten minutes ago he was lying here.

Lulu. (By the couch.) Ten minutes ago, he was here lying down.

SCHÖN. This is the reward for all I've done for him! In one second he wrecks my whole life for me!

Beautiful. This is the payoff for everything I've done for him! In just one second, he destroys my entire life!

ALVA. Control yourself, please!

ALVA. Please control yourself!

LULU. (On the couch.) There's no one but ourselves here.

LULU. (On the couch.) It's just us here.

ALVA. But our position?

ALVA. But what about our position?

SCHÖN. (To Lulu.) What will you say to the police?

Beautiful. (To Lulu.) What are you going to tell the police?

LULU. Nothing.

LULU. N/A.

ALVA. He didn't want to remain a debtor to his destiny.

ALVA. He didn't want to be in debt to his fate.

LULU. He always thought of death immediately.

Lulu. He always thought about death right away.

SCHÖN. He thought what a human being can only dream of.

Beautiful. He contemplated what only a person can dream of.

[Page 56] LULU. He has paid dearly for it.

[Page 56]Lulu. He has paid a high price for it.

ALVA. He had what we don't have!

ALVA. He had what we lack!

SCHÖN. (Suddenly violent.) I know your reasons! I have no cause to consider you! If you try every means to prevent having any brothers and sisters, that's all the more reason why I should get more children.

Beautiful. (Suddenly angry.) I know why you’re doing this! I don’t have to think about you! If you’re doing everything you can to avoid having any siblings, then that just gives me even more reason to have more kids.

ALVA. You've a poor knowledge of men.

ALVA. You don't understand men very well.

LULU. You get out an extra yourself!

LULU. You are amazing!

SCHÖN. (With passionate indignation.) He had no moral sense! (Suddenly controlling himself again.) Paris in revolution—?

Beautiful. (With intense anger.) He had no sense of right and wrong! (Suddenly regaining his composure.) Paris in revolution—?

ALVA. Our editors act as though they'd been struck. Everything has stopped dead.

ALVA. Our editors are acting like they've been hit hard. Everything has come to a complete halt.

SCHÖN. That's got to help me over this! Now if only the police would come. The minutes are worth more than gold. (The bell rings in the corridor.)

Beautiful. This has to help me get through this! Now if only the police would show up. Every minute feels more valuable than gold. (The bell rings in the corridor.)

ALVA. There they are— (Schön starts to the door. Lulu jumps up.)

ALVA. There they are— (Schön heads for the door. Lulu gets up.)

LULU. Wait, you've got blood—

LULU. Wait, you have blood—

SCHÖN. Where?

NICE. Where?

LULU. Wait, I'll wipe it. (Sprinkles her handkerchief with heliotrope and wipes the blood from Schön's hand.)

Lulu. Hold on, I'll clean it up. (She sprinkles her handkerchief with heliotrope and wipes the blood off Schön's hand.)

SCHÖN. It's your husband's blood.

LULU. It leaves no trace.

LULU. It leaves no evidence.

SCHÖN. Monster!

GREAT. Monster!

LULU. You will marry me, though. (The bell rings in the corridor.) Only have patience, children. (Schön goes out and returns with Escherich, a reporter.)

Lulu. You will marry me, right? (The bell rings in the corridor.) Just be patient, kids. (Schön goes out and comes back with Escherich, a reporter.)

ESCHERICH. (Breathless.) Allow me to—to introduce myself—

ESCHERICH. (Breathless.) I’d like to introduce myself—

SCHÖN. You've run?

SCHÖN. Did you go for a run?

ESCHERICH. (Giving him his card.) From police headquarters. A suicide, I understand.

ESCHERICH. (Handing him his card.) I'm from the police department. I hear there’s been a suicide.

[Page 57] SCHÖN. (Reads.) Fritz Escherich, correspondent of the "News and Novelties." Come along.

[Page 57]Beautiful. (Reads.) Fritz Escherich, reporter for the "News and Novelties." Let's go.

ESCHERICH. One moment. (Takes out his note-book and pencil, looks around the parlor, writes a few words, bows to Lulu, writes, turns to the broken door, writes.) A kitchen-ax. (Starts to lift it.)

ESCHERICH. One moment. (Takes out his notebook and pencil, looks around the parlor, writes a few words, bows to Lulu, writes, turns to the broken door, writes.) A kitchen axe. (Starts to lift it.)

SCHÖN. (Holding him back.) Excuse me.

NICE. (Holding him back.) Excuse me.

ESCHERICH. (Writing.) Door broken open with a kitchen-ax. (Examines the lock.)

ESCHERICH. (Writing.) Door smashed open with a kitchen axe. (Examines the lock.)

SCHÖN. (His hand on the door.) Look before you, my dear sir.

Nice. (His hand on the door.) Take a look ahead, my good man.

ESCHERICH. Now if you will have the kindness to open the door— (Schön opens it. Escherich lets book and pencil fall, clutches at his hair.) Merciful Heaven! God!!

ESCHERICH. If you could please open the door— (Schön opens it. Escherich drops his book and pencil, grabbing at his hair.) Oh my God! No way!!

SCHÖN. Look it all over carefully.

NICE. Check it thoroughly.

ESCHERICH. I can't look at it!

ESCHERICH. I can't bear to see it!

SCHÖN. (Snorting scornfully.) Then what did you come here for?

Lovely. (Snorting with disdain.) So, what did you come here for?

ESCHERICH. To—to cut up—to cut up his throat with a razor!

ESCHERICH. To— to slit his throat with a razor!

SCHÖN. Have you seen it all?

SCHÖN. Have you seen everything?

ESCHERICH. That must feel—

ESCHERICH. That must be a vibe—

SCHÖN. (Draws the door to, steps to the writing-table.) Sit down. Here is paper and pen. Write.

Cool. (Closes the door and walks to the desk.) Have a seat. Here’s some paper and a pen. Go ahead and write.

ESCHERICH. (Mechanically taking his seat.) I can't write—

ESCHERICH. (Sitting down mechanically.) I can't write—

SCHÖN. (Behind his chair.) Write! Persecution—mania....

NICE. (Behind his chair.) Write! Persecution—mania....

ESCHERICH. (Writes.) Per-secu-tion—mania. (The bell rings in the corridor.)

ESCHERICH. (Writes.) Persecution—mania. (The bell rings in the hallway.)

CURTAIN

[Page 58]

ACT III

A theatrical dressing-room, hung with red. Door upper right. Across upper left corner, a Spanish screen. Centre, a table set endwise, on which dance costumes lie. Chair on each side of this table. Lower right, a smaller table with a chair. Lower left, a high, very wide, old-fashioned arm-chair. Above it, a tall mirror, with a make-up stand before it holding puff, rouge, etc., etc.

A theater dressing room decorated in red. There's a door in the upper right. In the upper left corner, there's a Spanish screen. In the center, there's a table set lengthwise with dance costumes laid out. There's a chair on each side of this table. In the lower right, there's a smaller table with a chair. In the lower left, there's a tall, very wide, old-fashioned armchair. Above it, there's a tall mirror with a makeup stand in front of it holding powder, blush, and so on.

Alva is at lower right, filling two glasses with red wine and champagne.

Alva is at the bottom right, pouring two glasses of red wine and champagne.

ALVA. Never since I began to work for the stage have I seen a public so uncontrolled in enthusiasm.

ALVA. Never since I started working in theater have I seen an audience so wildly enthusiastic.

LULU. (Voice from behind the screen.) Don't give me too much red wine. Will he see me to-day?

LULU. (Voice from behind the screen.) Don't give me too much red wine. Is he going to see me today?

ALVA. Father?

ALVA. Dad?

LULU. Yes.

LULU. Yep.

ALVA. I don't know if he's in the theater.

ALVA. I’m not sure if he’s in the theater.

LULU. Doesn't he want to see me at all?

Lulu. Does he not want to see me at all?

ALVA. He has so little time.

ALVA. He has barely any time.

LULU. His bride occupies him.

LULU. His partner occupies him.

ALVA. Speculations. He gives himself no rest. (Schön enters.) You? We're just speaking of you.

ALVA. Speculations. He doesn’t give himself a break. (Schön enters.) You? We were just talking about you.

LULU. Is he there?

LULU. Is he around?

SCHÖN. You're changing?

NICE. You're switching things up?

LULU. (Peeping over the Spanish screen, to Schön.) You write in all the papers that I'm the most gifted danseuse who ever trod the stage, a second Taglioni and I don't know what else—and you haven't once found me gifted enough to convince yourself of the fact.

Lulu. (Peeping over the Spanish screen, to Schön.) You write in all the newspapers that I'm the most talented dancer to ever set foot on stage, a second Taglioni and a lot more—and you haven't once been convinced yourself of that.

SCHÖN. I have so much to write. You see, I was [Page 59] right: there were hardly any seats left. You must keep rather more in the proscenium.

Stylish. I have a lot to write about. You see, I was [Page 59]right: there were barely any seats left. You really need to keep a bit more in the proscenium.

LULU. I must first accustom myself to the light.

Lulu. I need to get used to the light first.

ALVA. She has kept herself strictly to her part.

ALVA. She has stuck strictly to her role.

SCHÖN. (To Alva.) You must get more out of your performers! You don't know enough yet about the technique. (To Lulu.) What do you come as now?

Beautiful. (To Alva.) You need to get more from your performers! You still don't understand the technique well enough. (To Lulu.) What are you dressed as now?

LULU. As a flower-girl.

LULU. As a flower girl.

SCHÖN. (To Alva.) In tights?

NICE. (To Alva.) In leggings?

ALVA. No. In a skirt to the ankles.

No. In a maxi skirt.

SCHÖN. It would have been better if you hadn't ventured on symbolism.

Beautiful. It would have been better if you hadn't gone with symbolism.

ALVA. I look at a dancer's feet.

ALVA. I watch a dancer's moves.

SCHÖN. The point is, what the public looks at. An apparition like her has no need, thank heaven, of your symbolic mummery.

Nice. The point is, what the public pays attention to. A presence like her doesn’t need, thankfully, your symbolic nonsense.

ALVA. The public doesn't look as if it was bored!

ALVA. The audience doesn't seem bored at all!

SCHÖN. Of course not; because I have been working for her success in the press for six months. Has the prince been here?

Beautiful. Of course not; I've been working for her success in the press for six months. Has the prince been here?

ALVA. Nobody's been here.

ALVA. No one's been here.

SCHÖN. Who lets a dancer come on thru two acts in raincoats?

Beautiful. Who lets a dancer come on through two acts in raincoats?

ALVA. Who is the prince?

ALVA. Who’s the prince?

SCHÖN. Shall we see each other afterwards?

SCHÖN. Are we hanging out later?

ALVA. Are you alone?

Are you by yourself?

SCHÖN. With acquaintances. At Peter's?

NICE. With friends. At Peter's?

ALVA. At twelve?

ALVA. At 12?

SCHÖN. At twelve. (Exit.)

BEAUTIFUL. At twelve. (Exit.)

LULU. I'd given up hoping he'd ever come.

Lulu. I had stopped hoping that he would ever show up.

ALVA. Don't let yourself be misled by his grumpy growls. If you'll only be careful not to spend your strength before the last number begins— (Lulu steps [Page 60] out in a classical, sleeveless dress, white with a red border, a bright wreath in her hair and a basket of flowers in her hands.)

ALVA. Don’t let his grumpy grumbles fool you. Just be sure not to wear yourself out before the final act starts— (Lulu steps [Page 60]out in a classic, sleeveless dress, white with a red border, a bright wreath in her hair and a basket of flowers in her hands.)

LULU. He doesn't seem to have noticed at all how cleverly you have used your performers.

Lulu. He doesn't seem to have noticed at all how smartly you've utilized your performers.

ALVA. I won't blow in sun, moon and stars in the first act!

ALVA. I won’t mess with the sun, moon, and stars in the first act!

LULU. (Sipping.) You disclose me by degrees.

Lulu. (Sipping.) You're revealing more about me bit by bit.

ALVA. I knew, though, that you knew all about changing costumes.

ALVA. I knew that you were fully aware of changing costumes.

LULU. If I'd wanted to sell my flowers this way before the Alhambra café, they'd have had me behind lock and key right off the very first night.

Lulu. If I had wanted to sell my flowers like this in front of the Alhambra café, they would have locked me up from the very first night.

ALVA. Why? You were a child!

ALVA. Why? You were just a kid!

LULU. Do you remember me when I entered your room the first time?

Lulu. Do you remember when I first walked into your room?

ALVA. You wore a dark blue dress with black velvet.

LULU. They had to stick me somewhere and didn't know where.

Lulu. They had to put me somewhere and didn't know where to place me.

ALVA. My mother had been lying sick two years then.

ALVA. My mom had been sick for two years at that point.

LULU. You were playing theater, and asked me if I wanted to play too.

LULU. You were pretending to be in a play and asked me if I wanted to join in.

ALVA. To be sure! We played theater!

ALVA. Absolutely! We put on a play!

LULU. I see you still—the way you shoved the figures back and forth.

Lulu. I still see you—the way you pushed the numbers around.

ALVA. For a long time my most terrible memory was when all at once I saw clearly into your relations—

ALVA. For a long time, my worst memory was when I suddenly saw clearly into your relationships—

LULU. You got icy curt towards me then.

LULU. You got really cold towards me then.

ALVA. Oh, God—I saw in you something so infinitely far above me. I had perhaps a higher devotion to you than to my mother. Think—when my mother died—I was seventeen—I went and stood before my father and [Page 61] demanded that he make you his wife on the spot or we'd have to fight a duel.

ALVA. Oh, God—I saw in you something so much greater than myself. I might have had a deeper devotion to you than to my mother. Just think—when my mother passed away—I was seventeen—I went and stood in front of my father and [Page 61] demanded that he marry you right then or we would have to duel.

LULU. He told me that at the time.

Lulu. He told me that back then.

ALVA. Since I've grown older, I can only pity him. He will never comprehend me. There he is making up a story for himself about a little diplomatic game that puts me in the rôle of laboring against his marriage with the Countess.

ALVA. Now that I’m older, I can only feel sorry for him. He’ll never understand me. There he is, creating a story for himself about some little diplomatic game that casts me as trying to undermine his marriage to the Countess.

LULU. Does she still look as innocently as ever at the world?

Lulu. Does she still gaze at the world with the same innocence?

ALVA. She loves him. I'm convinced of that. Her family has tried everything to make her turn back. I don't think any sacrifice in the world would be too great for her for his sake.

ALVA. She loves him. I’m sure of it. Her family has done everything they can to make her change her mind. I don’t believe there’s any sacrifice in the world she wouldn’t make for him.

LULU. (Holds out her glass to him.) A little more, please.

Lulu. (Holds out her glass to him.) A bit more, please.

ALVA. (Giving it to her.) You're drinking too much.

ALVA. (Handing it to her.) You're drinking too much.

LULU. He shall learn to believe in my success! He doesn't believe in any art. He believes only in papers.

Lulu. He will learn to trust in my success! He has no faith in any art. He only believes in paperwork.

ALVA. He believes in nothing.

ALVA. He doesn't believe in anything.

LULU. He brought me into the theater in order that someone might eventually be found rich enough to marry me.

Lulu. He brought me to the theater so that someone might eventually be found who is wealthy enough to marry me.

ALVA. Well, alright. Why need that trouble us?

ALVA. Alright, so why should that bother us?

LULU. I am to be glad if I can dance myself into a millionaire's heart.

Lulu. I’ll be happy if I can dance my way into a millionaire’s heart.

ALVA. God defend that anyone should take you from us!

ALVA. God forbid that anyone should take you away from us!

LULU. You've composed the music for it, though.

Lulu. You've written the music for it, though.

ALVA. You know that it was always my wish to write a piece for you.

ALVA. You know it’s always been my dream to write something for you.

LULU. I am not at all made for the stage, however.

Lulu. I'm really not cut out for the stage, though.

ALVA. You came into the world a dancer!

ALVA. You were born to be a dancer!

[Page 62] LULU. Why don't you write your things at least as interesting as life is?

[Page 62]Lulu. Why don't you make your writing as interesting as real life?

ALVA. Because if we did no man would believe us.

ALVA. Because if we did, no one would believe us.

LULU. If I didn't know more about acting than the people on the stage do, what might not have happened to me?

Lulu. If I didn't know more about acting than the people on stage, what could have happened to me?

ALVA. I've provided your part with all the impossibilities imaginable, though.

ALVA. I've given your role all the possible impossibilities I could think of, though.

LULU. With hocus-pocus like that no dog is lured from the stove in the real world.

Lulu. With tricks like that, no dog would leave the stove in the real world.

ALVA. It's enough for me that the public finds itself most tremendously stirred up.

ALVA. It's enough for me that the public is really stirred up.

LULU. But I'd like to find myself most tremendously stirred up. (Drinks.)

Lulu. But I'd really like to feel incredibly excited. (Drinks.)

ALVA. You don't seem to be in need of much more for that.

ALVA. You don’t really seem to need anything else for that.

LULU. No one of them realizes anything about the others. Each thinks that he alone is the unhappy victim.

Lulu. None of them realizes anything about the others. Each one believes that they are the only unhappy victim.

ALVA. But how can you feel that?

ALVA. But how can you think that?

LULU. There runs up one's body such an icy shudder.

Lulu. A cold shiver runs up your body.

ALVA. You are incredible. (An electric bell rings over the door.)

ALVA. You’re amazing. (An electric bell rings over the door.)

LULU. My cape.... I shall keep in the proscenium!

LULU. My cape.... I’ll keep it in the proscenium!

ALVA. (Putting a wide shawl round her shoulders.) Here is your cape.

ALVA. (Wrapping a wide shawl around her shoulders.) Here’s your cape.

LULU. He shall have nothing more to fear for his shameless boosting.

Lulu. He won’t have to worry anymore about his outrageous bragging.

ALVA. Keep yourself under control!

ALVA. Stay in control!

LULU. God grant that I dance the last sparks of intelligence out of their heads. (Exit.)

Lulu. I hope I can dance the last remnants of intelligence out of their heads. (Exit.)

ALVA. Yes, a more interesting piece could be written about her. (Sits, right, and takes out his note-book. Writes. Looks up.) First act: Dr. Goll. Rotten already! [Page 63] I can call up Dr. Goll from purgatory or wherever else he's doing penance for his orgies, but I'll be made responsible for his sins. (Long-continued but much deadened applause and bravos outside.) They rage there as in a menagery when the meat appears at the cage. Second act: Walter Schwarz. Still more impossible! How our souls do strip off their last coverings in the light of such lightning-strokes! Third act? Is it really to go on this way? (The attendant opens the door from outside and lets Escerny enter. He acts as though he were at home, and without greeting Alva takes the chair near the mirror. Alva continues, not heeding him.) It can not go on this way in the third act!

ALVA. Yeah, a more interesting story could be written about her. (Sits down on the right and pulls out his notebook. Writes. Looks up.) First act: Dr. Goll. Already falling apart! [Page 63]I could summon Dr. Goll from purgatory or wherever he's serving his time for his wild parties, but I'll end up being held accountable for his mistakes. (Long, drawn-out but much muted applause and cheers from outside.) It's chaotic out there like a zoo when the food shows up at the cages. Second act: Walter Schwarz. Even more ridiculous! How our souls strip away their final defenses in the face of such shocking truths! Third act? Are we really going to keep this up? (The attendant opens the door and lets Escerny in. He acts like he owns the place, and without acknowledging Alva, he takes the chair near the mirror. Alva continues, ignoring him.) This can't continue like this in the third act!

ESCERNY. Up to the middle of the third act it didn't seem to go so well to-day as usual.

ESCERNY. Up until the middle of the third act, it didn’t seem to be going as smoothly today as it usually does.

ALVA. I was not on the stage.

ALVA. I wasn't performing.

ESCERNY. Now she's in full career again.

ESCERNY. Now she's back in full swing again.

ALVA. She's lengthening each number.

ALVA. She’s extending each number.

ESCERNY. I once had the pleasure of meeting the artiste at Schön's.

ESCERNY. I once had the pleasure of meeting the artist at Schön's.

ALVA. My father has brought her before the public by some critiques in his paper.

ALVA. My dad has brought her into the public eye with some reviews in his newspaper.

ESCERNY. (Bowing slightly.) I was conferring with Dr. Schön about the publication of my discoveries at Lake Tanganika.

ESCERNY. (Bowing slightly.) I was discussing with Dr. Schön about publishing my findings at Lake Tanganika.

ALVA. (Bowing slightly.) His remarks leave no doubt that he takes the liveliest interest in your work.

ALVA. (Bowing slightly.) His comments show that he has a strong interest in your work.

ESCERNY. It's a very good thing in the artiste that the public does not exist for her at all.

ESCERNY. It's really great for the artist that the public doesn't exist for her at all.

ALVA. As a child she learned the quick changing of clothes; but I was surprised to discover such an expressive dancer in her.

ALVA. As a child, she picked up the skill of changing clothes quickly, but I was amazed to find such an expressive dancer in her.

ESCERNY. When she dances her solo she is intoxicated [Page 64] with her own beauty, with which she herself seems to be mortally in love.

ESCERNY. When she dances her solo, she is captivated by her own beauty, with which she seems to be deeply in love. [Page 64]

ALVA. Here she comes. (Gets up and opens the door. Enter Lulu.)

LULU. (Without wreath or basket, to Alva.) You're called for. I was three times before the curtain. (To Escerny.) Dr. Schön is not in your box?

Lulu. (Without a wreath or basket, to Alva.) They're looking for you. I was out there three times before the curtain. (To Escerny.) Dr. Schön isn't in your box?

ESCERNY. Not in mine.

ESCERNY. Not in my possession.

ALVA. (To Lulu.) Didn't you see him?

LULU. He is probably away again.

LULU. He’s probably gone again.

ESCERNY. He has the last parquet-box on the left.

ESCERNY. He has the last parquet box on the left.

LULU. It seems he is ashamed of me!

Lulu. It looks like he's embarrassed by me!

ALVA. There wasn't a good seat left for him.

ALVA. There wasn't a good seat available for him.

LULU. (To Alva.) Ask him, though, if he likes me better now.

Lulu. (To Alva.) Ask him if he likes me more now.

ALVA. I'll send him up.

ALVA. I'll send him over.

ESCERNY. He applauded.

ESCERNY. He clapped.

LULU. Did he really?

LULU. Did he actually?

ALVA. Give yourself some rest. (Exit.)

ALVA. Take a break. (Exit.)

LULU. I've got to change again now.

LULU. I need to change again now.

ESCERNY. But your maid isn't here?

ESCERNY. But your maid isn't around?

LULU. I can do it quicker alone. Where did you say Dr. Schön was sitting?

Lulu. I can do it faster by myself. Where did you say Dr. Schön was sitting?

ESCERNY. I saw him in the left parquet-box farthest back.

ESCERNY. I spotted him in the back of the left box seat.

LULU. I've still five costumes before me now; dancing-girl, ballerina, queen of the night, Ariel, and Lascaris.... (She goes behind the Spanish screen.)

Lulu. I still have five costumes to choose from: dancing girl, ballerina, queen of the night, Ariel, and Lascaris.... (She goes behind the Spanish screen.)

ESCERNY. Would you think it possible that at our first meeting I expected nothing more than to make the acquaintance of a young lady of the literary world?... (He sits at the left of the centre table, and remains there to the end of the scene.) Have I perhaps erred in my [Page 65] judgment of your nature, or did I rightly interpret the smile which the thundering storms of applause called forth on your lips? That you are secretly pained at the necessity of profaning your art before people of doubtful disinterestedness? (Lulu makes no answer.) That you would gladly exchange at any moment the shimmer of publicity for a quiet, sunny happiness in distinguished seclusion? (Lulu makes no answer.) That you feel in yourself enough dignity and high rank to fetter a man to your feet—in order to enjoy his utter helplessness?... (Lulu makes no answer.) That in a comfortable, richly furnished villa you would feel in a more fitting place than here,—with unlimited means, to live completely as your own mistress? (Lulu steps forth in a short, bright, pleated petticoat and white satin bodice, black shoes and stockings, and spurs with bells at her heels.)

ESCERNY. Would you believe that when we first met, I was only hoping to get to know a young woman from the literary scene?... (He sits at the left of the center table and stays there for the rest of the scene.) Have I maybe made a mistake in judging your character, or did I correctly understand the smile that the loud applause brought to your face? Are you secretly troubled by the need to showcase your art to people with questionable intentions? (Lulu remains silent.) Would you gladly trade the spotlight for a peaceful, happy life in quiet comfort? (Lulu remains silent.) Do you feel you possess enough dignity and status to keep a man at your feet—to enjoy his complete helplessness? ... (Lulu remains silent.) Would you feel more at home in a cozy, beautifully furnished villa than here—with limitless resources to live completely as your own mistress? (Lulu steps forward in a short, bright, pleated petticoat and white satin bodice, black shoes and stockings, and spurs with bells on her heels.)

LULU. (Busy with the lacing of her bodice.) If there's just one evening I don't go on, I dream the whole night that I'm dancing and feel the next day as if I'd been racked.

Lulu. (Busy with the lacing of her bodice.) If I miss just one night of dancing, I spend the whole night dreaming I'm dancing and feel like I've been through the wringer the next day.

ESCERNY. But what difference could it make to you to see before you instead of this mob one spectator, specially elect?

ESCERNY. But what difference would it make to you to see in front of you instead of this crowd one spectator, specially chosen?

LULU. That would make no difference. I don't see anybody anyway.

Lulu. That wouldn't change anything. I don't see anyone, anyway.

ESCERNY. A lighted summer-house—the splashing of the water near at hand.... I am forced in my exploring-trips to the practise of a quite inhuman tyranny—

ESCERNY. A lit summer house—the sound of water splashing nearby.... During my explorations, I find myself resorting to a completely harsh form of control—

LULU. (Putting on a pearl necklace before the mirror.) A good school!

Lulu. (Putting on a pearl necklace before the mirror.) What a great school!

ESCERNY. And if I now long to deliver myself unreservedly into the power of a woman, that is a natural need for relaxation.... Can you imagine a greater life-happiness [Page 66] for a woman than to have a man entirely in her power?

ESCERNY. And if I now want to completely give myself over to a woman, that’s just a normal need to unwind.... Can you think of a greater source of happiness for a woman than having a man totally at her command? [Page 66]

LULU. (Jingling her heels.) Oh yes!

LULU. (Jingling her heels.) Oh, definitely!

ESCERNY. (Disconcerted.) Among cultured men you will find not one who doesn't lose his head over you.

ESCERNY. (Disconcerted.) Among educated men, you won't find even one who doesn't become infatuated with you.

LULU. Your wishes, however, no one will fulfill without deceiving you.

Lulu. No one will make your wishes come true without tricking you.

ESCERNY. To be deceived by a girl like you must be ten times more enrapturing than to be uprightly loved by anybody else.

ESCERNY. Being tricked by a girl like you must be ten times more captivating than being genuinely loved by anyone else.

LULU. You have never in your life been uprightly loved by a girl! (Turning her back to him and pointing.) Would you undo this knot for me? I've laced myself too tight. I am always so excited getting dressed.

Lulu. You’ve never been truly loved by a girl in your life! (Turning her back to him and pointing.) Could you help me with this knot? I’ve tied myself up too tight. I always get really excited when I’m getting dressed.

ESCERNY. (After repeated efforts.) I'm sorry; I can't.

ESCERNY. (After trying many times.) I'm sorry; I can't.

LULU. Then leave it. Perhaps I can. (Goes left.)

Lulu. Then forget it. Maybe I can. (Moves left.)

ESCERNY. I confess that I am lacking in deftness. Maybe I was not docile enough with women.

ESCERNY. I admit that I don't have much skill. Maybe I wasn't accommodating enough with women.

LULU. And probably you don't have much opportunity to be so in Africa, either?

Lulu. And you probably don’t get many chances to be that way in Africa, do you?

ESCERNY. (Seriously.) Let me openly admit to you that my loneliness in the world embitters many hours.

ESCERNY. (Seriously.) Let me be honest with you that my loneliness in this world makes many hours bitter.

LULU. The knot is almost done....

LULU. The knot's almost done....

ESCERNY. What draws me to you is not your dancing. It's your physical and mental refinement, as it is revealed in every one of your movements. Anyone who is so much interested in art as I am could not be deceived in that. For ten evenings I've been studying your spiritual life in your dance, until to-day when you entered as the flower-girl I became perfectly clear. Yours is a grand nature—unselfish; you can see no one suffer; you embody the joy of life. As a wife you will make a man happy above all [Page 67] things.... You are all open-heartedness. You would be a poor actor. (The bell rings again.)

ESCERNY. What draws me to you isn’t your dancing. It’s your grace and poise, both physically and mentally, expressed in every movement. Anyone who loves art as much as I do wouldn’t be fooled by anything else. For ten evenings, I’ve been observing your spirit through your dance, and today, when you came in as the flower girl, everything became clear. You have a magnificent nature—selfless; you can’t bear to see anyone in pain; you embody the joy of life. As a wife, you’d make a man happier than anything else. You are pure-hearted. You would be a terrible actor. (The bell rings again.)

LULU. (Having somewhat loosened her laces, takes a deep breath and jingles her spurs.) Now I can breathe again. The curtain is going up. (She takes from the centre table a skirt-dance costume—of bright yellow silk, without a waist, closed at the neck, reaching to the ankles, with wide, loose sleeves—and throws it over her.) I must dance.

Lulu. (Loosening her laces a bit, she takes a deep breath and jingles her spurs.) Now I can breathe again. The curtain is about to go up. (She grabs a bright yellow silk skirt-dance costume from the center table—no waist, closed at the neck, reaching to her ankles, with wide, loose sleeves—and throws it on.) I have to dance.

ESCERNY. (Rises and kisses her hand.) Allow me to remain here a little while longer.

ESCERNY. (Stands up and kisses her hand.) Please let me stay here a bit longer.

LULU. Please, stay.

LULU. Please, don't go.

ESCERNY. I need some solitude. (Lulu goes out.) What is to be aristocratic? To be eccentric, like me? Or to be perfect in body and mind, like this girl? (Applause and bravos outside.) He who gives me back my faith in men, gives me back my life. Should not the children of this woman be more princely, body and soul, than the children whose mother has no more vitality in her than I have felt in me until to-day? (Sitting, right; ecstatically.) The dance has ennobled her body.... (Alva enters.)

ESCERNY. I need some alone time. (Lulu goes out.) What does it mean to be aristocratic? Is it being different, like me? Or is it about being perfect in body and mind, like this girl? (Applause and cheers outside.) Whoever restores my faith in people, restores my life. Shouldn't the children of this woman be more noble, in body and spirit, than the children whose mother lacks the vitality I’ve felt until today? (Sitting, right; ecstatically.) The dance has elevated her body.... (Alva enters.)

ALVA. One is never sure a moment that some miserable chance may not throw the whole performance out for good. (He throws himself into the big chair, left, so that the two men are in exactly reversed positions from their former ones. Both converse somewhat boredly and apathetically.)

ALVA. You can never be certain that some unfortunate accident won't ruin the entire performance for good. (He drops into the big chair on the left, putting the two men in exactly the opposite positions from before. Both talk somewhat wearily and indifferently.)

ESCERNY. But the public has never yet shown itself so grateful.

ESCERNY. But the public has never really shown its gratitude.

ALVA. She's finished the skirt-dance.

ALVA. She's done with the skirt dance.

ESCERNY. I hear her coming....

ESCERNY. I hear her approaching....

[Page 68] ALVA. She isn't coming. She has no time. She changes her costume in the wings.

[Page 68]ALVA. She's not coming. She doesn’t have time. She’s changing her outfit backstage.

ESCERNY. She has two ballet-costumes, if I'm not mistaken?

ESCERNY. She has two ballet costumes, if I'm not wrong?

ALVA. I find the white one more becoming to her than the rose.

ALVA. I think the white one looks better on her than the pink.

ESCERNY. Do you?

ALVA. Don't you?

ALVA. Don't you think?

ESCERNY. I find she looks too body-less in the white tulle.

ESCERNY. I think she looks too shapeless in the white tulle.

ALVA. I find she looks too animal in the rose-tulle.

ALVA. I think she looks too much like an animal in the rose tulle.

ESCERNY. I don't find that.

ESCERNY. I can't find that.

ALVA. The white tulle expresses more the child-like in her nature.

ALVA. The white tulle reflects more of the child-like aspect of her personality.

ESCERNY. The rose tulle expresses more the female in her nature. (The electric bell rings over the door. Alva jumps up.)

ESCERNY. The rose tulle highlights femininity in its essence. (The electric bell rings at the door. Alva jumps up.)

ALVA. For heaven's sake, what is wrong?

ALVA. For goodness' sake, what’s going on?

ESCERNY. (Getting up too.) What's the matter? (The electric bell goes on ringing to the close of the dialogue.)

ESCERNY. (Getting up too.) What's wrong? (The electric bell keeps ringing until the end of the dialogue.)

ALVA. Something's gone wrong there—

ALVA. Something's not right there—

ESCERNY. How can you get so suddenly frightened?

ESCERNY. How can you be so scared all of a sudden?

ALVA. That must be a hellish confusion! (He runs out. Escerny follows him. The door remains open. Faint dance-music heard. Pause. Lulu enters in a long cloak, and shuts the door to behind her. She wears a rose-colored ballet costume with flower garlands. She walks across the stage and sits down in the big arm-chair near the mirror. After a pause Alva returns.)

ALVA. That must be a crazy mess! (He runs out. Escerny follows him. The door stays open. Faint dance music plays. Pause. Lulu enters in a long cloak and closes the door behind her. She wears a pink ballet costume with flower garlands. She walks across the stage and sits down in the big armchair by the mirror. After a pause, Alva comes back.)

ALVA. You had a faint?

ALVA. Did you faint?

LULU. Please lock the door.

ALVA. At least come down to the stage.

[Page 69] LULU. Did you see him?

ALVA. See whom?

ALVA. See who?

LULU. With his bride?

LULU. With his wife?

ALVA. With his— (To Schön, who enters.) You might have spared yourself that jest!

ALVA. With his— (To Schön, who enters.) You could have done without that joke!

SCHÖN. What's the matter with her? (To Lulu.) How can you play the scene straight at me!

Beautiful. What's wrong with her? (To Lulu.) How can you play the scene directly at me!

LULU. I feel as if I'd been whipped.

Lulu. I feel like I've been beaten.

SCHÖN. (After bolting the door.) You will dance—as sure as I've taken the responsibility for you!

Nice. (After locking the door.) You are going to dance—just like I've taken responsibility for you!

LULU. Before your bride?

LULU. Before your girlfriend?

SCHÖN. Have you a right to trouble yourself before whom? You've been engaged here. You receive your salary ...

Beautiful. Do you have the right to worry about anyone else? You've got your own responsibilities here. You're getting paid...

LULU. Is that your affair?

LULU. Is that your business?

SCHÖN. You dance for anyone who buys a ticket. Whom I sit with in my box has nothing to do with your business!

Cute. You perform for anyone who buys a ticket. Who I sit with in my box is none of your concern!

ALVA. I wish you'd stayed sitting in your box! (To Lulu.) Tell me, please, what I am to do. (A knock at the door.) There is the manager. (Calls.) Yes, in a moment! (To Lulu.) You won't compel us to break off the performance?

ALVA. I wish you had just stayed in your seat! (To Lulu.) Can you please tell me what I should do? (A knock at the door.) That's the manager. (Calls.) Yes, just a moment! (To Lulu.) You aren't going to make us stop the show, are you?

SCHÖN. (To Lulu.) Onto the stage with you!

Awesome. (To Lulu.) Get on the stage!

LULU. Let me have just a moment! I can't now. I'm utterly miserable.

Lulu. Just give me a moment! I can't right now. I'm completely miserable.

ALVA. The devil take the whole theater crowd!

ALVA. To hell with the entire theater crowd!

LULU. Put in the next number. No one will notice if I dance now or in five minutes. There's no strength in my feet.

Lulu. Play the next song. No one will care if I dance now or in five minutes. I can hardly stand on my feet.

ALVA. But you will dance then?

ALVA. So, you're going to dance?

LULU. As well as I can.

LULU. As best as I can.

[Page 70] ALVA. As badly as you like. (A knock at the door again.) I'm coming.

[Page 70]ALVA. As much as you want. (A knock at the door again.) I’m coming.

LULU. (When Alva is gone.) You are right to show me where my place is. You couldn't do it better than by letting me dance the skirt-dance before your fiancée.... You do me the greatest service when you point out where I belong.

Lulu. (When Alva is gone.) You’re right to show me my place. You couldn't do it better than by letting me perform the skirt-dance in front of your fiancée.... You're doing me a huge favor by showing me where I fit in.

SCHÖN. (Sardonically.) For you with your origin it's incomparable luck to still have the chance of entering before respectable people!

Cool. (Sardonically.) Given where you come from, it's a huge stroke of luck for you to even have the chance to be among respectable people!

LULU. Even when my shamelessness makes them not know where to look.

Lulu. Even when my boldness makes them unsure of where to look.

SCHÖN. Nonsense!—Shamelessness?—Don't make a necessity of virtue! Your shamelessness is balanced with gold for you at every step. One cries "bravo," another "fie"—it's all the same to you! Can you wish for a more brilliant triumph than when a respectable girl can hardly be kept in the box? Has your life any other aim? As long as you still have a spark of self-respect, you are no perfect dancer. The more terribly you make people shudder, the higher you stand in your profession!

Gorgeous. What nonsense!—Shamelessness?—Don’t turn virtue into a necessity! Your shamelessness is rewarded with gold at every turn. Some cheer "bravo," others shout "fie"—it’s all the same to you! Can you hope for a greater triumph than when a respectable girl can barely be kept in the audience? Does your life have any other purpose? As long as you still have a shred of self-respect, you aren’t a perfect dancer. The more you horrify people, the higher you rise in your career!

LULU. But it is absolutely indifferent to me what they think of me. I don't, in the least, want to be any better than I am. I'm content with myself.

Lulu. But I honestly don’t care what they think of me. I don’t want to be any better than I am. I'm happy with who I am.

SCHÖN. (In moral indignation.) That is your true nature. I call that straightforward! A corruption!!

Beautiful. (In moral indignation.) That’s your real nature. I’d say that’s honest! A corruption!!

LULU. I wouldn't have known that I had a spark of self-respect—

Lulu. I wouldn't have realized that I had any self-respect—

SCHÖN. (Suddenly distrustful.) No harlequinading—

SCHÖN. (Suddenly distrustful.) No clowning around—

LULU. O Lord—I know very well what I'd have become if you hadn't saved me from it.

Lulu. Oh God—I know exactly what I would have become if you hadn't rescued me from it.

SCHÖN. Are you then, perhaps, something different to-day?

Beautiful. So, are you something different today?

[Page 71] LULU. God be thanked, no!

[Page 71] LULU. Thank God, no!

SCHÖN. That is right!

NICE. That's right!

LULU. (Laughs.) And how awfully glad I am about it.

Lulu. (Laughs.) And I’m really happy about it.

SCHÖN. (Spits.) Will you dance now?

SCHÖN. (Spits.) Are you going to dance now?

LULU. In anything, before anyone!

LULU. In everything, before anyone!

SCHÖN. Then down to the stage!

NICE. Then head to the stage!

LULU. (Begging like a child.) Just a minute more! Please! I can't stand up straight yet. They'll ring.

Lulu. (Begging like a child.) Just one more minute! Please! I can't stand up straight yet. They'll ring.

SCHÖN. You have become what you are in spite of everything I sacrificed for your education and your welfare.

Beautiful. You have become who you are despite everything I sacrificed for your education and well-being.

LULU. Had you overrated your ennobling influence?

Lulu. Did you overestimate your uplifting influence?

SCHÖN. Spare me your witticisms.

SCHÖN. Save your jokes for later.

LULU. The prince was here.

LULU. The prince is here.

SCHÖN. Well?

NICE. Well?

LULU. He takes me with him to Africa.

Lulu. He’s taking me with him to Africa.

SCHÖN. Africa?

NICE. Africa?

LULU. Why not? Didn't you make me a dancer just so that someone might come and take me away with him?

Lulu. Why not? Didn’t you make me a dancer just so someone could come and take me away?

SCHÖN. But not to Africa, though!

NICE. But not to Africa, though!

LULU. Then why didn't you let me fall quietly in a faint, and silently thank heaven for it?

Lulu. Then why didn’t you just let me pass out quietly and silently be grateful for it?

SCHÖN. Because, more's the pity, I had no reason for believing in your faint!

Nice. Because, unfortunately, I had no reason to believe in your faint!

LULU. (Making fun of him.) You couldn't bear it any longer out there?

Lulu. (Teasing him.) You couldn't handle it out there anymore?

SCHÖN. Because I had to bring home to you what you are and to whom you are not to look up.

Beautiful. Because I needed to make you understand who you are and who you shouldn't admire.

LULU. You were afraid, though, that my legs might have been seriously injured?

Lulu. You were worried that my legs could have been seriously hurt?

SCHÖN. I know too well you are indestructible.

Beautiful. I know all too well that you can't be destroyed.

LULU. So you know that?

LULU. So, do you know that?

[Page 72] SCHÖN. (Bursting out.) Don't look at me so impudently!

[Page 72]Beautiful. (Bursting out.) Don’t stare at me like that!

LULU. No one is keeping you here.

Lulu. Nobody is forcing you to stay here.

SCHÖN. I'm going as soon as the bell rings.

Beautiful. I'm leaving as soon as the bell rings.

LULU. As soon as you have the energy! Where is your energy? You have been engaged three years. Why don't you marry? You recognize no obstacles. Why do you want to put the blame on me? You ordered me to marry Dr. Goll: I forced Dr. Goll to marry me. You ordered me to marry the painter: I made the best of a bad bargain. Artists are your creatures, princes your protegés. Why don't you marry?

Lulu. As soon as you have the energy! Where's your energy? You've been engaged for three years. Why don't you just get married? You see no obstacles. Why are you putting the blame on me? You told me to marry Dr. Goll: I made Dr. Goll marry me. You told me to marry the painter: I tried to make the best of a bad situation. Artists are your creations, princes your protégés. So why don’t you just get married?

SCHÖN. (Raging.) Do you imagine you stand in the way?

Beautiful. (Raging.) Do you really think you are the obstacle?

LULU. (From here to the end of the act triumphant.) If you knew how happy your rage is making me! How proud I am that you should humble me by every means in your power! You debase me as deep—as deep as a woman can be debased, for you hope you can then jump over me easier. But you have suffered unspeakably yourself from everything you just said to me. I see it in you. Already you are near the end of your self-command. Go! For your innocent fiancée's sake, leave me alone! One minute more, your mood will change around and you'll make a scene with me of another kind, that you can't answer for now.

Lulu. (From here to the end of the act triumphant.) If you only knew how happy your anger makes me! How proud I am that you should bring me down by every means possible! You’re putting me down as far as a woman can be put down because you think you can step over me more easily. But you’ve suffered immensely from everything you just said to me. I can see it in you. You're already close to losing your self-control. Go! For the sake of your innocent fiancée, leave me alone! One more minute, and your mood will shift, and you’ll end up having a different kind of scene with me, one that you won’t be able to control right now.

SCHÖN. I fear you no longer.

SCHÖN. I'm not afraid of you anymore.

LULU. Me? Fear yourself! I do not need you. I beg you to go! Don't give me the blame. You know I don't need to faint to destroy your future. You have unlimited confidence in my honorableness. You believe not only that I'm an ensnaring daughter of Eve; you believe, too, that I'm a very good-natured creature. I am [Page 73] neither the one nor the other. Your misfortune is only that you think I am.

Lulu. Me? Fear yourself! I don’t need you. I’m asking you to leave! Don’t put the blame on me. You know I don't need to faint to ruin your future. You have complete faith in my integrity. You not only think I’m a tempting daughter of Eve; you also believe that I’m a very kind person. I am [Page 73]neither of those things. Your problem is just that you think I am.

SCHÖN. (Desperate.) Leave my thoughts alone! You have two men under the sod. Take the prince, dance him into the earth! I am thru with you. I know when the angel in you stops off and the devil begins. If I take the world as it's made, the Creator must be responsible, not I! To me life is not an amusement!

Beautiful. (Desperate.) Leave my thoughts alone! You have two men buried. Take the prince, and bury him too! I'm done with you. I can tell when your angel disappears and the devil takes over. If I accept the world as it is, then the Creator has to take the blame, not me! To me, life is not a game!

LULU. And, therefore, you make claims on life greater than anyone can make. Tell me, who of us two is more full of claims and demands, you or I?

Lulu. So, you’re saying that you have expectations from life that are bigger than anyone else's. Tell me, who among us is more demanding, you or me?

SCHÖN. Be silent! I don't know how or what I think. When I hear you, I don't think any more. In a week I'll be married. I conjure you, by the angel that is in you, during that time come no more to my sight!

Beautiful. Be quiet! I don’t know how or what I feel. When I hear you, I stop thinking. In a week, I’m getting married. I urge you, by the angel within you, during this time don’t come before me again!

LULU. I will lock my doors.

LULU. I'll lock my doors.

SCHÖN. Go on and boast! God knows since I've been wrestling with the world and with life I have cursed no one like you!

Beautiful. Go ahead and brag! Honestly, since I’ve been dealing with the world and life, I haven’t cursed anyone as much as I have you!

LULU. That comes from my lowly origin.

Lulu. That comes from my humble beginnings.

SCHÖN. From your depravity!

NICE. From your bad behavior!

LULU. With a thousand pleasures I take the blame on myself! You must feel clean now; you must think yourself a model of austerity now, a paragon of unflinching principle! Otherwise you could never marry the child in her boundless inexperience—

Lulu. I gladly accept the blame, full of joys! You must feel purified now; you must see yourself as a model of self-discipline, a perfect example of unwavering morals! Otherwise, you could never marry the child with her vast naivety—

SCHÖN. Do you want me to grab you and—

Beautiful. Do you want me to take hold of you and—

LULU. Yes! What must I say to make you? Not for the world would I change with the innocent kid now! Tho the girl loves you as no woman has ever loved you yet!

Lulu. Yes! What do I need to say to convince you? I wouldn't trade places with that innocent kid for anything! Even though the girl loves you like no woman ever has!

SCHÖN. Silence, beast! Silence!

SCHÖN. Quiet, beast! Quiet!

[Page 74] LULU. Marry her—and then she'll dance in her childish wretchedness before my eyes, instead of I before hers!

[Page 74]Lulu. Marry her—and then she'll dance in her childish misery before my eyes, instead of me dancing before hers!

SCHÖN. (Raising his fists.) God forgive me—

Beautiful. (Raising his fists.) God forgive me—

LULU. Strike me! Where is your riding-whip? Strike me on the legs—

Lulu. Hit me! Where's your riding whip? Hit me on the legs—

SCHÖN. (Grasping his temples.) Away, away! (Rushes to the door, recollects himself, turns around.) Can I go before the girl now, this way? Home!

Pretty. (Grabbing his temples.) Get away, get away! (Rushes to the door, catches himself, turns back.) Can I face the girl like this? Home!

LULU. Be a man! Look yourself in the face once:—you have no trace of a conscience; you are frightened at no wickedness; in the most cold-blooded way you mean to make the girl that loves you unhappy; you conquer half the world; you do what you please;—and you know as well as I that—

Lulu. Be a man! Take a good look at yourself: you have no sense of right and wrong; nothing scares you when it comes to being immoral; you plan to make the girl who loves you miserable in the most heartless way; you dominate half the world; you do whatever you want;—and you know just as well as I do that—

SCHÖN. (Sunk in the chair, right centre, utterly exhausted.) Stop!

Gorgeous. (Sunk in the chair, right center, completely worn out.) Stop!

LULU. That you are too weak—to tear yourself away from me.

Lulu. You're too weak to break away from me.

SCHÖN. (Groaning.) Oh! Oh! You make me weep.

Nice. (Groaning.) Oh! Oh! You make me cry.

LULU. This moment makes me I cannot tell you how glad.

Lulu. This moment makes me so happy, I can’t even express it.

SCHÖN. My age! My position!

SCHÖN. My age! My status!

LULU. He cries like a child—the terrible man of might! Now go so to your bride and tell her what kind of a girl I am at heart—not a bit jealous!

Lulu. He cries like a kid—the powerful man! Now go to your bride and tell her what I’m really like at heart—not jealous at all!

SCHÖN. (Sobbing.) The child! The innocent child!

Gorgeous. (Sobbing.) The child! The innocent child!

LULU. How can the incarnate devil get so weak all of a sudden! But now go, please. You are nothing more now to me.

Lulu. How can the devil in human form become so weak all of a sudden! But now go, please. You mean nothing to me anymore.

SCHÖN. I cannot go to her.

SCHÖN. I can't go to her.

LULU. Out with you. Come back to me when you have regained your strength again.

Lulu. Go away. Come back to me when you're strong again.

[Page 75] SCHÖN. Tell me in God's name what I must do.

[Page 75]Nice. Tell me, for God's sake, what I need to do.

LULU. (Gets up; her cloak remains on the chair. Shoving aside the costumes on the centre table.) Here is writing-paper—

Lulu. (Stands up; her cloak stays on the chair. Pushing aside the costumes on the center table.) Here is writing paper—

SCHÖN. I can't write....

SLEEK. I can't write....

LULU. (Upright behind him, her arm on the back of his chair.) Write! "My dear young lady...."

LULU. (Standing straight behind him, her arm resting on the back of his chair.) Write! "My dear young lady...."

SCHÖN. (Hesitating.) I call her Adelheid ...

NICE. (Hesitant.) I call her Adelheid...

LULU. (With emphasis.) "My dear young lady ..."

Lulu. (With emphasis.) "My dear young lady..."

SCHÖN. My sentence of death! (He writes.)

BEAUTIFUL. My death sentence! (He types.)

LULU. "Take back your promise. I cannot reconcile it with my conscience—" (Schön drops the pen and glances up at her entreatingly.) Write conscience!—"to fasten you to my unhappy lot...."

Lulu. "Revoke your promise. I can't justify it to my conscience—" (Schön drops the pen and looks up at her pleadingly.) Write conscience!—"to tie you to my miserable fate...."

SCHÖN. (Writing.) You are right. You are right.

NICE. (Writing.) You’re right. You’re right.

LULU. "I give you my word that I am unworthy of your love—" (Schön turns round again.) Write love! "These lines are the proof of it. For three years I have tried to tear myself loose; I have not the strength. I am writing you by the side of the woman that commands me. Forget me. Dr. Ludwig Schön."

Lulu. "I promise you that I don’t deserve your love—" (Schön turns around again.) Write love! "These words are proof of it. For three years, I've tried to break free; I just don’t have the strength. I'm writing to you next to the woman who controls me. Forget about me. Dr. Ludwig Schön."

SCHÖN. (Groaning.) O God!

BEAUTIFUL. (Groaning.) Oh God!

LULU. (Half startled.) No, no O God! (With emphasis.) "Dr. Ludwig Schön." Postscript: "Do not attempt to save me."

Lulu. (Half startled.) No, no, oh God! (With emphasis.) "Dr. Ludwig Schön." P.S.: "Don’t try to save me."

SCHÖN. (Having written to the end, quite collapses.) Now—comes the—execution.

Pretty. (Having finished writing, just collapses.) Now—comes the—execution.

CURTAIN

[Page 76]

ACT IV

A splendid hall in German Renaissance style, with a thick floor of oak-blocks. The lower half of the walls of dark carved wood; the upper half on both sides hung with faded Gobelins. At rear, a curtained gallery from which a monumental stair-case leads, right, half-way down the stage. At centre, under the gallery, the entrance-door, with twisted posts and pediment. At left, a high and spacious fire-place with a Chinese folding screen before it. Further down, left, a French window onto a balcony, with heavy curtains, closed. Down right, door hung with Genoese velvet. Near it, a broad ottoman, with a chair on its left. Behind, near the foot of the stairs, Lulu's Pierrot-picture on a decorative stand and in a gold frame made to look antique. In the centre of the hall, a heavy square table, with three high-backed upholstered chairs round it and a vase of white flowers on it.

A stunning hall designed in German Renaissance style, featuring a solid oak-block floor. The lower half of the walls is made of dark carved wood, while the upper half on both sides is adorned with faded tapestries. At the back, there's a curtained gallery leading to a grand staircase that goes down to the stage on the right. In the center, under the gallery, is the entrance door with twisted posts and a pediment. To the left, there's a tall, spacious fireplace with a Chinese folding screen in front of it. Further down on the left, a French window leads to a closed balcony with heavy curtains. On the right side, there's a door draped in Genoese velvet. Next to it, a wide ottoman sits with a chair on its left. Behind that, near the foot of the stairs, is Lulu's Pierrot picture displayed on a decorative stand in an antique-styled gold frame. In the center of the hall, there's a large square table surrounded by three high-backed upholstered chairs, topped with a vase of white flowers.

Countess Geschwitz sits on the ottoman, in a soldier-like, fur-trimmed waist, high, upright collar, enormous cuff-links, a veil over her face and her hands clasped convulsively in her muff. Schön stands down right. Lulu, in a big-flowered morning-dress, her hair in a simple knot in a golden circlet, sits in the arm-chair left of the ottoman.

Countess Geschwitz sits on the ottoman, wearing a military-style fur-trimmed waistcoat, a high, stiff collar, oversized cuff-links, a veil over her face, and her hands tightly clasped in her muff. Schön stands to the lower right. Lulu, dressed in a large floral morning dress with her hair in a simple knot held by a golden circlet, sits in the armchair to the left of the ottoman.

GESCHWITZ. You can't think how glad I shall be to see you at our artists' ball. (To Lulu.)

GESCHWITZ. You can't imagine how happy I will be to see you at our artists' ball. (To Lulu.)

SCHÖN. Is there no sort of possibility of a person like me smuggling in?

Beautiful. Is there any chance that someone like me could sneak in?

GESCHWITZ. It would be high treason if any of us lent herself to such an intrigue.

GESCHWITZ. It would be a serious betrayal if any of us got involved in such a scheme.

[Page 77] SCHÖN. (Crossing to the centre table, behind the ottoman.) The glorious flowers!

[Page 77]Gorgeous. (Walking to the center table, behind the ottoman.) The stunning flowers!

LULU. Fräulein von Geschwitz brought me those.

Lulu. Miss von Geschwitz brought me those.

GESCHWITZ. Don't mention it. Oh, you'll be in man's costume, won't you?

GESCHWITZ. No problem at all. Oh, you'll be dressed as a man, right?

LULU. Do you think that becomes me?

Lulu. Do you think that looks good on me?

GESCHWITZ. You're a dream here. (Signifying the picture.)

GESCHWITZ. You're a vision here. (Pointing to the picture.)

LULU. My husband doesn't like it.

LULU. My husband isn't a fan.

GESCHWITZ. Is it by a local man?

GESCHWITZ. Is it by someone from around here?

LULU. You will hardly have known him.

LULU. You probably hardly knew him.

GESCHWITZ. No longer living?

GESCHWITZ. Not alive anymore?

SCHÖN. (Down left, with a deep voice.) He had enough.

Stylish. (Down left, with a deep voice.) He was done.

LULU. You're in bad temper. (Schön controls himself.)

Lulu. You're in a bad mood. (Schön manages to keep his cool.)

GESCHWITZ. (Getting up.) I must go, Mrs. Schön. I can't stay any longer. This evening we have life-class, and I have still so much to get ready for the ball. Good-bye, Dr. Schön. (Exit, up-stage. Lulu accompanies her. Schön looks around him.)

GESCHWITZ. (Getting up.) I have to go, Mrs. Schön. I can't stay any longer. We have a life drawing class tonight, and I still have so much to prepare for the ball. Goodbye, Dr. Schön. (Exit, up-stage. Lulu accompanies her. Schön looks around him.)

SCHÖN. Pure Augean stable. That, the end of my life. They ought to show me a corner that's still clean. The pest in the house. The poorest day-laborer has his tidy nest. Thirty years' work, and this my family circle, the circle of my people— (Glancing round.) God knows who is overhearing me again now! (Draws a revolver from his breast pocket.) Man is, indeed, uncertain of his life! (The cocked revolver in his right hand, he goes left and speaks at the closed window curtains.) That, my family circle! The fellow still has courage! Shall I not rather shoot myself in the head? Against deadly enemies one fights, but the— (Throws up the curtains, [Page 78] but finds no one hidden behind them.) The dirt—the dirt.... (Shakes his head and crosses right.) Insanity has already conquered my reason, or else—exceptions prove the rule! (Hearing Lulu coming he puts the revolver back in his pocket. Lulu comes down right.)

Beautiful. Pure chaos. This is the end of my life. They should show me a corner that's still clean. The pest in the house. Even the poorest worker has their tidy space. Thirty years of effort, and this is my family circle, the circle of my people— (Glancing around.) God knows who's listening to me again now! (Pulls out a revolver from his breast pocket.) Life is truly unpredictable! (With the cocked revolver in his right hand, he moves to the left and speaks to the closed window curtains.) That, my family circle! That person still has guts! Should I not just shoot myself in the head? You fight against deadly enemies, but the— (Throws open the curtains, [Page 78] only to find no one hidden behind them.) The dirt—the dirt... (Shakes his head and crosses to the right.) Insanity has already overtaken my reason, or maybe—exceptions prove the rule! (Hearing Lulu approach, he puts the revolver back in his pocket. Lulu comes down from the right.)

LULU. Couldn't you get away for this afternoon?

Lulu. Couldn't you take some time off this afternoon?

SCHÖN. Just what did that Countess want?

SCHÖN. What did the Countess want?

LULU. I don't know. She wants to paint me.

Lulu. I have no idea. She wants to paint me.

SCHÖN. Misfortune in human guise, that waits upon one.

Beautiful. Bad luck in human form that hovers around you.

LULU. Couldn't you get away, then? I would so like to drive thru the grounds with you.

Lulu. Couldn't you escape, then? I would really love to drive through the grounds with you.

SCHÖN. Just the day when I must be at the exchange. You know that I'm not free to-day. All my property is drifting on the waves.

Cool. It's the day when I have to be at the exchange. You know I’m not available today. All my assets are lost at sea.

LULU. I'd sooner be dead and buried than let my life be embittered so by my property.

Lulu. I’d rather be dead and gone than let my life be ruined by my possessions.

SCHÖN. Who takes life lightly does not take death hard.

Beautiful. Those who approach life casually don’t take death too seriously.

LULU. As a child I always had the most horrible fear of death.

Lulu. As a kid, I always had the worst fear of dying.

SCHÖN. That is just why I married you.

Beautiful. That’s exactly why I married you.

LULU. (With her arms round his neck.) You're in bad humor. You give yourself too much work. For weeks and months I've seen nothing of you.

Lulu. (With her arms around his neck.) You're in a bad mood. You take on too much. For weeks and months, I haven't seen much of you.

SCHÖN. (Stroking her hair.) Your light-heartedness should cheer up my old days.

Cool. (Gently running her fingers through her hair.) Your carefree attitude should brighten my later years.

LULU. Indeed, you didn't marry me at all.

Lulu. Actually, you didn't marry me at all.

SCHÖN. Who else did I marry then?

Cool. So, who else did I marry?

LULU. I married you!

LULU. I said yes!

SCHÖN. How does that alter anything?

NICE. How does that change anything?

LULU. I was always afraid it would alter a great deal.

Lulu. I was always worried it would change a lot.

SCHÖN. It has, indeed, crushed a great deal underfoot.

Cool. It has definitely trampled a lot.

[Page 79] LULU. But not one thing, praise God!

[Page 79]Lulu. But not a single thing, thank God!

SCHÖN. Of that I should be covetous.

NICE. I definitely want that.

LULU. Your love for me. (Schön's face twitches, he signs to her to go out in front of him. Both exeunt lower right. Countess Geschwitz cautiously opens the rear door, ventures forth, and listens. Hearing voices approaching in the gallery above her, she starts suddenly.)

Lulu. Your love for me. (Schön's face twitches, he gestures for her to go ahead of him. They both exit to the lower right. Countess Geschwitz carefully opens the back door, steps out, and listens. Hearing voices coming from above in the hallway, she jumps in surprise.)

GESCHWITZ. Oh dear, there's somebody— (Hides behind the fire-screen.)

GESCHWITZ. Oh no, there's someone— (Hides behind the fire-screen.)

SCHIGOLCH. (Steps out from the curtains onto the stairs, turns back.) Has the youngster left his heart behind him in the "Nightlight" café?

SCHIGOLCH. (Steps out from the curtains onto the stairs, turns back.) Has the kid left his heart at the "Nightlight" café?

RODRIGO. (Between the curtains.) He is still too small for the great world, and can't walk so far on foot yet. (He disappears.)

RODRIGO. (Between the curtains.) He’s still too young for the big world and can’t walk that far yet. (He disappears.)

SCHIGOLCH. (Coming down the stairs.) God be thanked we're home again at last! What damned skunk has waxed the stairs again? If I have to have my joints set in plaster again before being called home, she can just present me between the palms here to her relations as the Venus de' Medici. Nothing but steep rocks and stumbling blocks!

SCHIGOLCH. (Coming down the stairs.) Thank God we’re finally home! Which idiot waxed the stairs again? If I have to get my joints put in plaster again before going home, she can just show me off to her family here like the Venus de' Medici. It’s nothing but steep steps and trip hazards!

RODRIGO. (Comes down the stairs, carrying Hugenberg in his arms.) This thing has a royal police-captain for a father and not as much courage in his body as the raggedest hobo!

RODRIGO. (Comes down the stairs, carrying Hugenberg in his arms.) This guy has a police captain for a dad and not even half as much courage as the most tattered homeless person!

HUGENBERG. If there was nothing more to it than life and death, then you'd soon learn to know me!

Hugenberg. If it was just about life and death, then you'd quickly get to know me!

RODRIGO. Even with his lover's woe, little brother don't weigh more than sixty kilos. I'll let myself be hung on that statement any time.

RODRIGO. Even with his lover's troubles, little brother doesn't weigh more than sixty kilos. I’ll stand by that statement any day.

SCHIGOLCH. Throw him up to the ceiling and catch [Page 80] him by the feet. That'll whip his young blood into the proper rhythm right from the start.

SCHIGOLCH. Toss him up to the ceiling and catch him by the feet. That’ll get his young energy in sync from the very beginning. [Page 80]

HUGENBERG. (Kicking his legs.) Hooray, hooray, I shall be expelled from school!

HUGENBERG. (Kicking his legs.) Hooray, hooray, I'm going to get kicked out of school!

RODRIGO. (Setting him down at the foot of the stairs.) You've never been to any sensible school at all yet.

RODRIGO. (Setting him down at the foot of the stairs.) You've never been to a proper school at all yet.

SCHIGOLCH. Here many a man has already won his spurs. Only, no timidity! First, I'll set before you a drop of what can't be had anywhere for money. (Opens a cupboard under the stairs.)

SCHIGOLCH. Many a man has already earned his credentials here. But no hesitation! First, I'll show you a taste of something you can't buy with money. (Opens a cupboard under the stairs.)

HUGENBERG. Now if she doesn't come dancing in on the instant, I'll wallop you two so you'll still rub your tails in the hereafter.

HUGENBERG. If she doesn't show up dancing right away, I'll give you two such a beating that you'll be feeling it in the afterlife.

RODRIGO. (Seated left of the table.) The strongest man in the world little brother will wallop! Let mamma put long trowsers on you first. (Hugenberg sits opposite him.)

RODRIGO. (Seated left of the table.) The strongest guy in the world, little brother, will take you down! Let mom put your pants on first. (Hugenberg sits opposite him.)

HUGENBERG. I'd rather you lent me your mustache.

HUGENBERG. I’d prefer if you could lend me your mustache.

RODRIGO. Maybe you want her to throw you out of the door straight off?

RODRIGO. Maybe you want her to kick you out the door right away?

HUGENBERG. If I only knew now what the devil I was going to say to her!

HUGENBERG. If only I knew what the heck I was going to say to her!

RODRIGO. That she knows best herself.

RODRIGO. She knows herself best.

SCHIGOLCH. (Putting two bottles and three glasses on the table.) I started in on one of them yesterday. (Fills the glasses.)

SCHIGOLCH. (Setting two bottles and three glasses on the table.) I began on one of them yesterday. (Pours the glasses.)

RODRIGO. (Guarding Hugenberg's.) Don't give him too much, or we'll both have to pay for it.

RODRIGO. (Guarding Hugenberg's.) Don't give him too much, or we'll both end up paying for it.

SCHIGOLCH. (Supporting himself with both hands on the table-top.) Will the gentlemen smoke?

SCHIGOLCH. (Leaning on the table with both hands.) Would you like to smoke?

HUGENBERG. (Opening his cigarette case.) Havana-imported!

HUGENBERG. (Opening his cigarette case.) Cuban!

[Page 81] RODRIGO. (Helping himself.) From papa police-captain?

[Page 81]RODRIGO. (Pouring himself a drink.) From Dad, the cop?

SCHIGOLCH. (Sitting.) Everything in the house is mine. You only need to ask.

SCHIGOLCH. (Sitting.) Everything in this house belongs to me. Just ask anytime.

HUGENBERG. I made a poem to her yesterday.

Hugenberg. I wrote a poem for her yesterday.

RODRIGO. What did you make to her?

RODRIGO. What did you say to her?

SCHIGOLCH. What did he make to her?

SCHIGOLCH. What did he do to her?

HUGENBERG. A poem.

RODRIGO. (To Schigolch.) A poem.

A poem.

SCHIGOLCH. He's promised me a dollar if I can spy out where he can meet her alone.

SCHIGOLCH. He’s promised me a dollar if I can find out where he can meet her by himself.

HUGENBERG. Just who does live here?

HUGENBERG. Who lives here, anyway?

RODRIGO. Here we live!

RODRIGO. Here we are!

SCHIGOLCH. Jour fix—every stock-market day! Our health. (They clink.)

SCHIGOLCH. Fixed day—every stock market day! Cheers to our health. (They clink.)

HUGENBERG. Should I read it to her first, maybe?

SCHIGOLCH. (To Rodrigo.) What's he mean?

SCHIGOLCH. (To Rodrigo.) What does he mean?

RODRIGO. His poem. He'd like to stretch her out and torture her a little first.

RODRIGO. His poem. He wants to take his time with her and tease her a bit first.

SCHIGOLCH. (Staring at Hugenberg.) His eyes! His eyes!

SCHIGOLCH. (Staring at Hugenberg.) Those eyes! Those eyes!

RODRIGO. His eyes, yes. They've robbed her of sleep for a week.

RODRIGO. His eyes, definitely. They've kept her up for a week.

SCHIGOLCH. (To Rodrigo.) You can have yourself pickled.

SCHIGOLCH. (To Rodrigo.) You can get yourself pickled.

RODRIGO. We can both have ourselves pickled! Our health, gossip Death!

RODRIGO. We can both get ourselves pickled! Our health, to hell with Death!

SCHIGOLCH. (Clinking with him.) Health, jack-in-the-box! If it's still better later on, I'm ready for departure at any moment; but—but— (Lulu enters right, in an elegant Parisian ball-dress, much décolleté, with flowers in breast and hair.)

SCHIGOLCH. (Clinking with him.) Cheers, jack-in-the-box! If things get even better later, I’m ready to head out at any moment; but—but— (Lulu enters right, in a stylish Parisian ball gown, quite low-cut, with flowers in her dress and hair.)

LULU. But children, children, I expect company!

LULU. But kids, kids, I'm expecting guests!

[Page 82] SCHIGOLCH. But I can tell you what, those things must cost something over there! (Hugenberg has risen. Lulu sits on the arm of his chair.)

[Page 82]SCHIGOLCH. But I can tell you, those things must cost a lot over there! (Hugenberg has stood up. Lulu is sitting on the arm of his chair.)

LULU. You've fallen into pretty company! I expect visitors, children!

Lulu. You've ended up in good company! I'm expecting guests, kids!

SCHIGOLCH. I guess I've got to stick something in there, too. (He searches among the flowers on the table.)

SCHIGOLCH. I guess I should add something in there, too. (He searches among the flowers on the table.)

LULU. Do I look well?

LULU. Do I look good?

SCHIGOLCH. What are those you've got there?

SCHIGOLCH. What's that you have?

LULU. Orchids. (Bending over Hugenberg.) Smell.

LULU. Orchids. (Bending over Hugenberg.) Scent.

RODRIGO. Do you expect Prince Escerny?

RODRIGO. Are you expecting Prince Escerny?

LULU. (Shaking her head.) God forbid!

LULU. (Shaking her head.) No way!

RODRIGO. So somebody else again—!

RODRIGO. So someone else again—!

LULU. The prince has gone traveling.

LULU. The prince is traveling.

RODRIGO. To put his kingdom up for auction?

RODRIGO. To sell his kingdom?

LULU. He's spying out a fresh tribe in the neighborhood of Africa. (Rises, hurries up the stairs, and steps into the gallery.)

Lulu. He's checking out a new group of people in the area of Africa. (Stands up, rushes up the stairs, and goes into the gallery.)

RODRIGO. (To Schigolch.) He wanted to marry her originally.

RODRIGO. (To Schigolch.) He was planning to marry her at first.

SCHIGOLCH. (Sticking a lily in his button-hole.) I, too, wanted to marry her originally.

SCHIGOLCH. (Sticking a lily in his button-hole.) I also wanted to marry her at first.

RODRIGO. You wanted to marry her originally?

RODRIGO. You actually wanted to marry her at first?

SCHIGOLCH. Didn't you, too, want to marry her originally?

SCHIGOLCH. Didn't you also want to marry her at first?

RODRIGO. You bet I wanted to marry her originally!

RODRIGO. You know I really wanted to marry her at first!

SCHIGOLCH. Who has not wanted to marry her originally!!

SCHIGOLCH. Who hasn’t wanted to marry her in the first place!!

RODRIGO. I would never have got a better!

RODRIGO. I could never have gotten a better one!

SCHIGOLCH. She has let no one regret that he didn't marry her.

SCHIGOLCH. She hasn't made anyone wish they married her.

RODRIGO. Then she's not your child?

Then she's not your kid?

SCHIGOLCH. Never occurs to her.

SCHIGOLCH. Doesn't even cross her mind.

[Page 83] HUGENBERG. What is her father's name then?

So, what’s her dad’s name?

SCHIGOLCH. She has boasted of me!

SCHIGOLCH. She has bragged about me!

HUGENBERG. What is her father's name then?

HUGENBERG. So, what's her father’s name?

SCHIGOLCH. What's he say?

SCHIGOLCH. What does he say?

RODRIGO. What her father's name is.

What her father's name is.

SCHIGOLCH. She never had one.

SCHIGOLCH. She never owned one.

LULU. (Comes down from the gallery and sits again on Hugenberg's chair-arm.) What have I never had?

Lulu. (Comes down from the gallery and sits again on Hugenberg's chair-arm.) What have I never had?

ALL THREE. A father.

ALL THREE. A dad.

LULU. Yes, sure—I'm a wonder-child. (To Hugenberg.) How are you getting along with your father?

Lulu. Yeah, for sure—I'm a miracle kid. (To Hugenberg.) How's it going with your dad?

RODRIGO. He smokes a respectable cigar, anyway, the police-captain.

RODRIGO. He’s smoking a decent cigar, anyway, the police captain.

SCHIGOLCH. Have you locked up upstairs?

SCHIGOLCH. Did you secure upstairs?

LULU. There is the key.

LULU. That's the key.

SCHIGOLCH. Better have left it in the lock.

SCHIGOLCH. It would have been better to leave it locked up.

LULU. Why?

LULU. Why not?

SCHIGOLCH. So no one can unlock it from outside.

SCHIGOLCH. So nobody can unlock it from outside.

RODRIGO. Isn't he at the stock-exchange?

Isn't he at the stock market?

LULU. Oh, yes, but he suffers from persecution-mania.

Lulu. Oh, yes, but he has paranoia about being persecuted.

RODRIGO. I take him by the feet, and yup!—there he stays sticking to the roof.

RODRIGO. I grab him by the feet, and sure enough!—there he is, stuck to the ceiling.

LULU. He hunts you into a mouse-hole with the corner of his eye.

Lulu. He chases you into a tiny corner with just a glance.

RODRIGO. What does he hunt? Who does he hunt? (Baring his arm.) Just look at this biceps!

RODRIGO. What does he go after? Who does he go after? (Showing off his arm.) Just check out these biceps!

LULU. Show me. (Goes left.)

LULU. Show me. (Walks left.)

RODRIGO. (Hitting himself on the muscle.) Granite. Wrought-iron!

RODRIGO. (Hitting himself on the muscle.) Solid as a rock. Tough as steel!

LULU. (Feeling by turns Rodrigo's arm and her own.) If you only didn't have such long ears—

Lulu. (Feeling by turns Rodrigo's arm and her own.) If only you didn't have such long ears—

FERDINAND. (Entering, rear-centre.) Doctor Schön!

FERDINAND. (Entering from the back center.) Dr. Schön!

RODRIGO. The rogue! (Jumps up, starts behind the [Page 84] fire-screen, recoils.) God preserve me! (Hides, lower left, behind the curtains.)

RODRIGO. What a scoundrel! (Jumps up, hides behind the [Page 84]fire screen, pulls back.) Oh my God! (Hides, lower left, behind the curtains.)

SCHIGOLCH. Give me the key! (Takes it and drags himself up the stairs.)

LULU. (Hugenberg having slid under the table.) Show him in!

Lulu. (Hugenberg having slipped under the table.) Let him in!

HUGENBERG. (Under the front edge of the table-cloth, listening; to himself.) If he doesn't stay—we'll be alone.

Hugenberg. (Under the front edge of the tablecloth, listening; to himself.) If he doesn't stay—we'll be on our own.

LULU. (Poking him with her toe.) Sh! (Hugenberg disappears. Alva is shown in by Ferdinand.)

Lulu. (Poking him with her toe.) Sh! (Hugenberg exits. Alva enters with Ferdinand.)

ALVA. (In evening dress.) Methinks the matinee will take place with burning lamps. I've— (Notices Schigolch painfully climbing the stairs.) What the —— is that?

ALVA. (In evening dress.) I think the matinee will be held with the lights on. I've— (Notices Schigolch painfully climbing the stairs.) What the heck is that?

LULU. An old friend of your father's.

Lulu. A long-time friend of your dad's.

ALVA. Wholly unknown to me.

ALVA. Completely unfamiliar to me.

LULU. They were in the campaign together. He's awfully badly—

Lulu. They were in the campaign together. He's really in a bad way—

ALVA. Is my father here then?

ALVA. Is my dad here then?

LULU. He drank a glass with him. He had to go to the stock market. We'll have lunch before we go, won't we?

Lulu. He shared a drink with him. He needed to head to the stock market. We'll grab lunch before we go, right?

ALVA. When does it begin?

ALVA. When does it start?

LULU. After two. (Alva still follows Schigolch with his eyes.) How do you like me? (Schigolch disappears thru the gallery.)

Lulu. After two. (Alva still watches Schigolch as he leaves.) What do you think of me? (Schigolch exits through the gallery.)

ALVA. Had I not better be silent to you on that point?

ALVA. Shouldn't I just stay quiet about that?

LULU. I only mean my appearance.

LULU. I only mean how I look.

ALVA. Your dressmaker manifestly knows you better than I may permit myself to know you.

ALVA. Your dressmaker clearly knows you better than I can allow myself to know you.

LULU. When I saw myself in the glass I could have wished to be a man—my man!—

Lulu. When I looked at myself in the mirror, I almost wished I could be a man—my man!—

ALVA. You seem to envy your man the joy you offer [Page 85] to him. (Lulu is at the right, Alva at the left, of the centre table. He regards her with shy satisfaction. Ferdinand enters, rear, covers the table and lays two plates, etc., a bottle of Pommery, and hors d' oeuvres.) Have you a toothache?

ALVA. You look like you’re jealous of the happiness you’re giving him. [Page 85] (Lulu is on the right, Alva is on the left, at the center table. He looks at her with shy satisfaction. Ferdinand enters from the back, sets the table, and puts down two plates, etc., a bottle of Pommery, and appetizers.) Do you have a toothache?

LULU. (Across to Alva.) Don't.

LULU. (Across to Alva.) Stop.

FERDINAND. Doctor Schön ...?

Doctor Schön...?

ALVA. He seems so puckered-up and tearful to-day.

ALVA. He seems really upset and emotional today.

FERDINAND. (Thru his teeth.) One is only a man after all. (Exit.)

FERDINAND. (Through his teeth.) In the end, I'm just a man. (Exit.)

LULU. (When both are seated.) What I always think most highly of in you is your firmness of character. You're so perfectly sure of yourself. Even when you must have been afraid of quarreling with your father about it, you always stood up for me like a brother just the same.

Lulu. (When both are seated.) What I admire most about you is your strong character. You're so confident in yourself. Even when you must have been worried about arguing with your father over it, you still stood up for me like a brother.

ALVA. Let's drop that. It's just my fate— (Moves to lift up the table-cloth in front.)

ALVA. Let’s forget about that. It’s just my destiny— (Moves to lift up the tablecloth in front.)

LULU. (Quickly.) That was me.

LULU. (Fast.) That was me.

ALVA. Impossible! It's just my fate, with the most frivolous ideas always to seize on the best.

ALVA. No way! It's just my luck that the most ridiculous thoughts always latch onto the best ideas.

LULU. You deceive yourself if you make yourself out worse than you are.

LULU. You're fooling yourself if you think you're worse than you really are.

ALVA. Why do you flatter me so? It is true that perhaps there is no man living, so bad as I—who has brought about so much good.

ALVA. Why are you flattering me? It's true that maybe no one alive is as bad as I am—yet I've done so much good.

LULU. In any case you're the only man in the world who's protected me without lowering me in my own eyes!

LULU. Either way, you're the only guy in the world who's had my back without making me feel less than myself!

ALVA. Do you think that so easy? (Schön appears in the gallery cautiously parting the hangings between the middle pillars. He starts, and whispers, "My own son!") With gifts from God like yours, one turns those around one to criminals without ever dreaming of it. I, too, am [Page 86] only flesh and blood, and if we hadn't grown up with each other like brother and sister—

ALVA. Do you really think it’s that easy? (Schön appears in the gallery, carefully parting the drapes between the middle pillars. He startles and whispers, "My own son!") With gifts from God like yours, you can turn those around you into criminals without even realizing it. I’m just flesh and blood too, and if we hadn't grown up together like siblings—

LULU. That's why, too, I give myself to you alone quite without reserve. From you I have nothing to fear.

LULU. That's why I fully dedicate myself to you without holding back. I have nothing to worry about when it comes to you.

ALVA. I assure you there are moments when one expects to see one's whole inner self cave in. The more self-restraint a man loads onto himself, the easier he breaks down. Nothing will save him from that except— (Stops to look under the table.)

ALVA. I promise you, there are times when you feel like your entire inner self is about to collapse. The more self-control a person puts on themselves, the easier it is for them to crack. Nothing can save them from that except— (Stops to look under the table.)

LULU. (Quickly.) What are you looking for?

Lulu. (Quickly.) What are you searching for?

ALVA. I conjure you, let me keep my confession of faith to myself! As an inviolable sanctity you were more to me than with all your gifts you could be to anyone else in your life!

ALVA. I urge you, please let me keep my beliefs to myself! You meant more to me as a sacred person than all your gifts could mean to anyone else in your life!

LULU. How do you come to think on that so entirely differently from your father? (Ferdinand enters, rear, changes the plates and serves broiled chicken with salad.)

Lulu. How do you come to see that so completely differently than your dad? (Ferdinand enters from the back, changes the plates, and serves grilled chicken with salad.)

ALVA. (To him.) Are you sick?

ALVA. (To him.) Are you unwell?

LULU. (To Alva.) Let him be!

LULU. (To Alva.) Leave him be!

ALVA. He's trembling as if he had fever.

ALVA. He's shaking like he has a fever.

FERDINAND. I am not yet so used to waiting ...

FERDINAND. I'm not used to waiting yet...

ALVA. You must have something prescribed for you.

ALVA. You need to have something prescribed for you.

FERDINAND. (Thru his teeth.) I'm a coachman usually— (Exit.)

FERDINAND. (Through his teeth.) I'm usually a driver— (Exit.)

SCHÖN. (Whispering from the gallery.) So, he too. (Seats himself behind the rail, able to cover himself with the hangings.)

Beautiful. (Whispering from the gallery.) So, he's here too. (Sits down behind the rail, able to hide behind the curtains.)

LULU. What sort of moments are those of which you spoke, where one expects to see his whole inner self tumble in?

Lulu. What kind of moments are those you mentioned, when you expect to see your entire inner self come crashing in?

ALVA. I didn't want to speak of them. I should not like to lose, in joking over a glass of champagne, what has been my highest happiness for ten years.

ALVA. I didn't want to talk about them. I wouldn’t want to ruin, while joking over a glass of champagne, what has been my greatest happiness for the last ten years.

[Page 87] LULU. I have hurt you. I won't begin on that again.

[Page 87]Lulu. I've hurt you. I won't go over that again.

ALVA. Do you promise me that for always?

ALVA. Do you promise me that forever?

LULU. My hand on it. (Gives him her hand across the table. Alva takes it hesitatingly, grips it in his, and presses it long and ardently to his lips.) What are you doing. (Rodrigo sticks his head out from the curtains, left. Lulu darts an angry look at him across Alva, and he draws back.)

Lulu. My hand on it. (She reaches out and gives him her hand across the table. Alva takes it hesitantly, holds it in his, and kisses it passionately.) What are you doing? (Rodrigo peeks out from behind the curtains on the left. Lulu shoots him an angry glance over Alva, and he pulls back.)

SCHÖN. (Whispering from the gallery.) And there is still another!

Beautiful. (Whispering from the gallery.) And there's one more!

ALVA. (Holding the hand.) A soul—that in the hereafter rubs the sleep out of its eyes.... Oh, this hand....

ALVA. (Holding the hand.) A soul—that in the afterlife wipes the sleep from its eyes.... Oh, this hand....

LULU. (Innocently.) What do you find in it?...

Lulu. (Innocently.) What do you see in it?...

ALVA. An arm....

LULU. What do you find in it?...

Lulu. What do you see in it?...

ALVA. A body.....

A body.....

LULU. (Guilelessly.) What do you find in it?...

Lulu. (Naively.) What do you see in it?...

ALVA. (Stirred up.) Mignon!

Mignon!

LULU. (Wholly ingenuously.) What do you find in it?...

Lulu. (Completely honestly.) What do you see in it?...

ALVA. (Passionately.) Mignon! Mignon!

LULU. (Throws herself on the ottoman.) Don't look at me so—for God's sake! Let us go before it is too late. You're an infamous wretch!

Lulu. (Throws herself on the ottoman.) Don't look at me like that—for heaven's sake! Let's get out of here before it's too late. You're a terrible person!

ALVA. I told you, didn't I, I was the basest villain.

ALVA. I told you, didn't I? I was the worst kind of villain.

LULU. I see that!

LULU. Got it!

ALVA. I have no sense of honor, no pride....

LULU. You think I am your equal!

Lulu. You really believe I'm your equal!

ALVA. You?—you are as heavenly high above me as—as the sun is over the abyss! (Kneeling.) Destroy me! I beg you, put an end to me! Put an end to me!

ALVA. You?—you are as incredibly high above me as—as the sun is over the void! (Kneeling.) Please! I’m begging you, end my suffering! End my suffering!

LULU. Do you love me then?

LULU. Do you love me now?

[Page 88] ALVA. I will pay you with everything that was mine!

[Page 88]ALVA. I'll give you everything I have!

LULU. Do you love me?

ALVA. Do you love me—Mignon?

ALVA. Do you love me, Mignon?

LULU. I? Not a soul.

LULU. Me? Not a soul.

ALVA. I love you. (Hides his face in her lap.)

LULU. (Both hands in his hair.) I poisoned your mother— (Rodrigo sticks his head out from the curtains, left, sees Schön sitting in the gallery and signs to him to watch Lulu and Alva. Schön points his revolver at Rodrigo; Rodrigo signs to him to point it at Alva. Schön cocks the revolver and takes aim. Rodrigo draws back behind the curtains. Lulu sees him draw back, sees Schön sitting in the gallery, and gets up.) His father! (Schön rises, lets the hangings fall before him. Alva remains motionless on his knees. Pause.)

Lulu. (Both hands in his hair.) I poisoned your mom— (Rodrigo pokes his head out from the curtains on the left, notices Schön sitting in the gallery, and gestures for him to keep an eye on Lulu and Alva. Schön aims his revolver at Rodrigo; Rodrigo gestures for him to aim it at Alva instead. Schön cocks the revolver and takes aim. Rodrigo ducks back behind the curtains. Lulu sees him pull back, notices Schön in the gallery, and stands up.) His dad! (Schön stands, letting the curtains fall in front of him. Alva stays frozen on his knees. Pause.)

SCHÖN. (Holding a paper in his hand, takes Alva by the shoulder.) Alva! (Alva gets up as though drunk with sleep.) A revolution has broken out in Paris.

Beautiful. (Holding a paper in his hand, takes Alva by the shoulder.) Alva! (Alva gets up as if he's groggy from sleep.) There's been a revolution in Paris.

ALVA. To Paris ... let me go to Paris—

SCHÖN. In the editors' room they're beating their heads against the wall. No one knows what he ought to write. (He unfolds the paper and accompanies Alva out, rear. Rodrigo rushes out from the curtains toward the stairs.)

Beautiful. In the editor's room, they're banging their heads against the wall. No one knows what they should write. (He opens the paper and walks Alva out the back. Rodrigo rushes out from behind the curtains towards the stairs.)

LULU. (Barring his way.) You can't get out here.

Lulu. (Blocking his path.) You can't leave this way.

RODRIGO. Let me through!

RODRIGO. Let me pass!

LULU. You'll run into his arms.

LULU. You'll run into his hug.

RODRIGO. He'll shoot me thru the head!

RODRIGO. He's going to shoot me in the head!

LULU. He's coming.

LULU. He's on his way.

RODRIGO. (Stumbling back.) Devil, death and demons! (Lifts the table-cloth.)

RODRIGO. (Stumbling back.) Damn, death, and evil spirits! (Lifts the table-cloth.)

HUGENBERG. No room!

HUGENBERG. No space!

RODRIGO. Damned and done for! (Looks around and hides in the door-way, right.)

RODRIGO. I'm doomed and finished! (Glances around and hides in the doorway, to the right.)

[Page 89] SCHÖN. (Comes in, centre; locks the door; and goes, revolver in hand, to the window down left, of which he throws up the curtains.) Where is he gone?

[Page 89]Beautiful. (Enters, centers himself; locks the door; and walks, with a revolver in hand, to the window on the left, where he pulls up the curtains.) Where did he go?

LULU. (On the lowest step.) Out.

LULU. (On the lowest step.) Exit.

SCHÖN. Down over the balcony?

SCHÖN. Going down over the balcony?

LULU. He's an acrobat.

LULU. He's a performer.

SCHÖN. That could not be foreseen. (Turning against Lulu.) You who drag me thru the muck of the streets to a tortured death!

Gorgeous. That was unexpected. (Turning against Lulu.) You who pull me through the dirt of the streets to a painful end!

LULU. Why did you not bring me up better?

Lulu. Why didn't you raise me better?

SCHÖN. You destroying angel! You inexorable fate! To be a murderer without drowning in filth; to take me on board like a released convict, or hang me up over the morass! You joy of my old age! You hangman's noose!

Beautiful. You destroying angel! You relentless fate! To be a killer without getting lost in disgrace; to take me on board like a freed convict, or hang me over the swamp! You joy of my old age! You hangman's noose!

LULU. (In cold blood.) Oh, shut up, and kill me!

Lulu. (In cold blood.) Oh, just be quiet and end it!

SCHÖN. Everything I possess I have made over to you, and asked nothing but the respect that every servant pays to my house. Your credit is exhausted!

Beauty. Everything I own, I have handed over to you, and I’ve only asked for the respect that every servant gives to my home. Your trust is gone!

LULU. I can answer for my reckoning still for years. (Coming forward from the stairs.) How do you like my new gown?

Lulu. I can still account for my actions after all these years. (Coming forward from the stairs.) What do you think of my new dress?

SCHÖN. Away with you, or my brains will give way to-morrow and my son swim in his own blood! You infect me like an incurable pest in which I shall groan away the rest of my life. I will cure myself! Do you understand? (Pressing the revolver on her.) This is your physic. Don't break down; don't kneel! You yourself shall apply it. You or I—which is the weaker? (Lulu, her strength threatening to desert her, has sunk down on the couch. Turning the revolver this way and that.)

Beautiful. Get out of here, or I'll lose my mind tomorrow and my son will drown in his own blood! You infect me like a disease I can't shake off, and I'll suffer through the rest of my life because of it. I will heal myself! Do you understand? (Pressing the revolver against her.) This is your cure. Don't break down; don’t kneel! You will administer it yourself. You or I—which one of us is weaker? (Lulu, her strength about to abandon her, has slumped down on the couch, turning the revolver this way and that.)

LULU. It doesn't go off.

LULU. It doesn't turn off.

[Page 90] SCHÖN. Do you still remember how I tore you out of the clutches of the police?

[Page 90]Beautiful. Do you still remember when I rescued you from the police?

LULU. You have much confidence—

LULU. You're really confident—

SCHÖN. Because I'm not afraid of a street-girl? Shall I guide your hand for you? Have you no mercy towards yourself? (Lulu points the revolver at him.) No false alarms! (Lulu fires a shot into the ceiling. Rodrigo springs out of the portières, up the stairs and away thru the gallery.) What was that?

Beautiful. Am I not scared of a street girl? Do you want me to guide your hand? Have you no compassion for yourself? (Lulu points the gun at him.) No fake scares! (Lulu fires a shot into the ceiling. Rodrigo jumps out from behind the curtains, up the stairs, and disappears through the gallery.) What was that?

LULU. (Innocently.) Nothing.

LULU. (Innocently.) Zero.

SCHÖN. (Lifting the portières.) What flew out of here?

Beautiful. (Opening the curtains.) What just came out of here?

LULU. You're suffering from persecution-mania.

LULU. You're dealing with persecution complex.

SCHÖN. Have you got still more men hidden here? (Tearing the revolver from her.) Is yet another man calling on you? (Going left.) I'll regale your men! (Throws up the window curtains, flings the fire-screen back, grabs Countess Geschwitz by the collar and drags her forward.) Did you come down the chimney?

Cute. Do you have more guys hidden here? (Taking the revolver from her.) Is there another guy visiting you? (Going left.) I'll entertain your men! (Pulls up the window curtains, pushes the fire-screen aside, grabs Countess Geschwitz by the collar and pulls her forward.) Did you come down the chimney?

GESCHWITZ. (In deadly terror, to Lulu.) Save me from him!

GESCHWITZ. (In absolute fear, to Lulu.) Help me get away from him!

SCHÖN. (Shaking her.) Or are you, too, an acrobat?

Pretty. (Shaking her.) Or are you, too, a performer?

GESCHWITZ. (Whimpering.) You hurt me.

SCHÖN. (Shaking her.) Now you will have to stay to dinner. (Drags her right, shoves her into the next room and locks the door after her.) We want no town-criers. (Sits next Lulu and makes her take the revolver again.) There's still enough for you in it. Look at me! I cannot assist the coachman in my house to decorate my forehead for me. Look at me! I pay my coachman. Look at me! Am I doing the coachman a favor when I can't stand the stable-stench?

Beautiful. (Shaking her.) Now you have to stay for dinner. (Drags her right, pushes her into the next room and locks the door behind her.) We don’t want any nosy people around. (Sits next to Lulu and makes her take the revolver again.) There’s still enough left for you in it. Look at me! I can’t have the coachman in my house if he doesn’t help me make myself presentable. Look at me! I pay my coachman. Look at me! Am I doing the coachman a favor if I can't stand the smell of the stable?

[Page 91] LULU. Have the carriage got ready! Please! We're going to the opera.

[Page 91]Lulu. Get the carriage ready, please! We’re heading to the opera.

SCHÖN. We're going to the devil! Now I am coachman. (Turning the revolver in her hand from himself to Lulu's breast.) Think you we let ourselves be mistreated as you mistreat me, and hesitate between a galley-slave's shame at the end of life and the merit of freeing the world of you? (Holds her down by the arm.) Come, get through. It will be the gladdest remembrance of my life. Pull the trigger!

Beautiful. We're doomed! Now I'm the one driving this. (Turning the revolver in her hand from himself to Lulu's chest.) Do you really think we'll put up with the way you treat me, and hesitate between the shame of a life as a galley slave and the honor of freeing the world from you? (Holds her down by the arm.) Come on, get it over with. It’ll be the happiest memory of my life. Pull the trigger!

LULU. You can get a divorce.

LULU. You can get divorced.

SCHÖN. Only that was left! In order that to-morrow the next man may find his pastime where I have shuddered from cleft to chasm, suicide upon me and thou before me! You dare suggest that? That part of my life I have poured into you I am to see thrown before wild beasts? Do you see your bed with the sacrifice—the victim—on it? The boy is homesick for you. Did you let yourself be divorced? You trod him under your feet, knocked out his brains, caught up his blood in gold-pieces. I let myself be divorced? Can one be divorced when two people have grown into each other and half the man must go, too? (Reaching for the revolver.) Give it here!

Gorgeous. That's all that's left! So that tomorrow the next guy can find his fun where I have cringed from gap to gorge, suicide on my mind and you in front of me! You really think that's okay? The part of my life that I've put into you, am I supposed to watch it be tossed to wild animals? Do you see your bed with the sacrifice—the victim—on it? The boy misses you. Did you let yourself get divorced? You walked all over him, smashed his hopes, scooped up his blood like it was coins. I let myself get divorced? Can anyone really get divorced when two people have merged and now one half has to go too? (Reaching for the gun.) Hand it over!

LULU. Don't!

LULU. Stop!

SCHÖN. I'll spare you the trouble.

NICE. I'll save you the hassle.

LULU. (Tears herself loose, holding the revolver down; in a determined, self-possessed tone.) If men have killed themselves for my sake, that doesn't lower my value. You know as well why you made me your wife as I knew why I took you for husband. You had deceived your best friends with me; you could not well go on deceiving yourself with me. If you bring me the close of your life as a sacrifice, still you have had my whole youth for it. You [Page 92] understand ten times better than I do which is the more valuable. I have never in the world wished to seem to be anything different from what I am taken for, and I have never in the world been taken for anything different from what I am. You want to force me to fire a bullet into my heart. I'm not sixteen any more, but to fire a bullet in my heart I am still much too young!

Lulu. (Tears herself free, holding the revolver down; in a determined, self-assured tone.) If men have taken their lives because of me, that doesn't diminish my worth. You know just as well why you made me your wife as I knew why I chose you as my husband. You deceived your closest friends with me; you couldn't keep deceiving yourself about me. If you offer your life as a sacrifice now, you've still had all my youth for it. You [Page 92]understand far better than I do which is more valuable. I've never wished to appear to be anything other than what I'm seen as, and I've never been viewed as anything different from who I really am. You want to force me to pull the trigger on myself. I'm not a naïve teenager anymore, but I'm still way too young to end my life!

SCHÖN. (Pursuing her.) Down, murderess! Down with you! To your knees, murderess! (Crowding her to the foot of the stairs.) Down, and never dare to stand again! (Raising his hand. Lulu has sunk to her knees.) Pray to God, murderess, that he give you strength. Sue to heaven that strength for it may be lent you! (Hugenberg jumps up from under the table, knocking a chair aside, and screams "Help!" Schön whirls toward him, turning his back to Lulu who instantly fires five shots into him and continues to pull the trigger. Schön, tottering over, is caught by Hugenberg and let down in the chair.)

Beautiful. (Pursuing her.) Get down, killer! Kneel before me, killer! (Crowding her to the foot of the stairs.) Get down, and don’t you dare stand up again! (Raising his hand. Lulu has sunk to her knees.) Pray to God, killer, that He gives you strength. Plead with heaven for that strength, because you’ll need it! (Hugenberg jumps up from under the table, knocking a chair aside, and screams "Help!" Schön whirls toward him, turning his back to Lulu, who instantly fires five shots into him and continues to pull the trigger. Schön, tottering over, is caught by Hugenberg and let down in the chair.)

SCHÖN. And—there—is—one—more—

NICE. And—there—is—one—more—

LULU. (Rushing to Schön.) All merciful—!

LULU. (Rushing to Schön.) Oh my goodness—!

SCHÖN. Out of my sight! Alva!

GORGEOUS. Get out of my way! Alva!

LULU. (Kneeling.) The one man I loved!

Lulu. (Kneeling.) The only man I ever loved!

SCHÖN. Harlot! Murderess! Alva! Alva! Water!

GORGEOUS. Harlot! Killer! Alva! Alva! Water!

LULU. Water; he's thirsty. (Fills a glass with champagne and sets it to Schön's lips. Alva comes thru the gallery, down the stairs.)

Lulu. Water; he's thirsty. (Fills a glass with champagne and puts it to Schön's lips. Alva comes through the gallery, down the stairs.)

ALVA. Father! O God, my father!

Father! Oh God, my father!

LULU. I shot him.

HUGENBERG. She is innocent!

HUGENBERG. She's innocent!

SCHÖN. (To Alva.) You! It miscarried.

You! It failed.

ALVA. (Tries to lift him.) You must go to bed; come.

ALVA. (Tries to lift him.) You need to go to bed; come on.

SCHÖN. Don't take me so! I'm drying up. (Lulu [Page 93] comes with the champagne-cup; to her.) You are still like yourself. (After drinking.) Don't let her escape. (To Alva.) You are the next.

Nice. Don't take me so seriously! I'm feeling drained. (Lulu [Page 93]comes in with the champagne cup; to her.) You’re still the same as always. (After drinking.) Don't let her slip away. (To Alva.) You're next.

ALVA. (To Hugenberg.) Help me carry him to bed.

ALVA. (To Hugenberg.) Help me take him to bed.

SCHÖN. No, no, please, no. Wine, murderess—

Gorgeous. No, no, please, no. Wine, killer—

ALVA. (To Hugenberg.) Take him up that side. (Pointing right.) Into the bed-room. (They lift Schön upright and lead him right. Lulu stays near the table, the glass in her hand.)

ALVA. (To Hugenberg.) Take him that way. (Pointing right.) Into the bedroom. (They lift Schön upright and lead him right. Lulu stays by the table, holding the glass.)

SCHÖN. (Groaning.) O God! O God! O God! (Alva finds the door locked, turns the key and opens it. Countess Geschwitz steps out. Schön at the sight of her straighten up, stiffly.) The Devil. (He falls backward onto the carpet. Lulu throws herself down, takes his head in her lap, and kisses him.)

CUTE. (Groaning.) Oh God! Oh God! Oh God! (Alva finds the door locked, turns the key, and opens it. Countess Geschwitz steps out. Schön, upon seeing her, straightens up, stiffly.) The Devil. (He falls backward onto the carpet. Lulu throws herself down, takes his head in her lap, and kisses him.)

LULU. He has got over it. (Gets up and starts toward the stairs.)

Lulu. He’s moved on. (Gets up and starts toward the stairs.)

ALVA. Don't stir!

ALVA. Stay still!

GESCHWITZ. I thought it was you.

GESCHWITZ. I knew it was you.

LULU. (Throwing herself before Alva.) You can't give me up to the law! It is my head that is struck off. I shot him because he was about to shoot me. I have loved nobody in the world but him! Alva, demand what you will, only don't let me fall into the hands of justice. Take pity on me. I am still young. I will be true to you as long as I live. I will belong only to you. Look at me, Alva. Man, look at me! Look at me!! (Knocking on the door outside.)

Lulu. (Throwing herself in front of Alva.) You can't hand me over to the law! It's my life that's on the line. I shot him because he was about to shoot me. I've never loved anyone in the world but him! Alva, ask for whatever you want, just don’t let me fall into the hands of justice. Have mercy on me. I'm still young. I will be true to you as long as I live. I will be yours alone. Look at me, Alva. Man, look at me! Look at me!! (Knocking on the door outside.)

ALVA. The police. (Goes to open it.)

ALVA. The police. (Walks over to open the door.)

HUGENBERG. I shall be expelled from school.

HUGENBERG. I'm going to get kicked out of school.

CURTAIN

Transcriber's Note:

The following is a list of corrections made to the original.The first line is the original, and the second is the corrected version.

Page 28:
(He rises, feeling uneasy, and runs his hand over his forehead.)
(Rises, disconcerted, passing his hand over his forehead.)
Page 37:
SCHIGOLCH. That doesn't help me— Does he drink? SCHIGOLCH. That doesn't help me—Does he drink?
Page 38:
Maybe then my (coughing)—my—my asthma will create some chance to take me away.
Perhaps then my (coughing) —my—my asthma will invent some opportunity to carry me off.
Page 52:
LULU. (Quietly moves to the door; but Schön stops her.)—
Lulu. (Steals toward the door; but Schön holds her.) —
Page 60:
Oh, God—I saw something in you that was so infinitely beyond me.
Oh, God—I saw in you something so infinitely far above me.
Page 68:
(Waking up too). What's wrong?
(Getting up too. What's the matter?
Page 75:
Write! "My dear young lady..."
Write! "My dear young ladyPlease provide the text you would like me to modernize."

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