ACT+3+SCRIPT



ACT III

[The dining room of SORIN'S house. Doors open out of it to the right and left. A table stands in the centre of the room. Trunks and boxes encumber the floor, and preparations for departure are evident. TRIGORIN is sitting at a table eating his breakfast, and MASHA is standing beside him. ]

MASHA. I am telling you all this because you’re an author and it might be useful to you. Honestly, if his wound had been fatal, I don’t think I could have survived it. So instead, I’m being brave; I have decided to tear my love for him out of my heart by the roots.

TRIGORIN. How exactly do you plan to do that?

MASHA. By marrying Medviedenko.

TRIGORIN. The school-teacher?!

MASHA. Yes.

TRIGORIN. That’s going a bit far.

MASHA. Oh, you don’t know what it’s like to love someone so much with so little hope for years and years, just waiting forever for something that’ll never come! It won’t be a marriage based on love, but at least it’s a change; new cares to deaden the memories of the past. Shall we have another drink?

TRIGORIN. Haven't you had enough?

MASHA. F…iddlesticks! [She fills a glass] Don't look at me like that. Women drink more often than you can imagine, they just do it in secret, and not as blatantly as I do. Indeed they do, and it’s usually vodka or brandy. [They touch glasses] To your good health! You are so easy to get along with that I’ll be sad to see you go. [They drink.]

TRIGORIN. And I’ll be sad to leave.

MASHA. Ask her to stay.

TRIGORIN. Not now. Her son’s irrational. First he tried to kill himself, and now I hear he wants to challenge me to a duel; though I have no idea what’s provoked that. If he’s not sulking or sneering, he’s preaching about a new form of art. Personally, I’ve always believed there’s room for both old forms and new forms. Why push? Why shove?

MASHA. Hmmm… jealousy. Not that it’s any of my business. [A pause. JACOB walks through the room carrying a trunk; NINA comes in and stands by the window] My schoolteacher isn’t very bright, but he’s a very good man, a poor man who loves me dearly, and I feel sorry for him. Now I must say good-bye and wish you a pleasant journey. Please, think kindly of me. [She shakes hands with him] And thanks for your support. If you remember, you could always send me copies of your books, and be sure to write something in them; nothing formal, something like: "To Masha, who doesn’t knows where she comes from, or why she’s alive." Good-bye. [She goes out.]

NINA. [Holding out her closed hand to TRIGORIN] Heads or tails?

TRIGORIN. Tails.

NINA. [With a sigh] No, it is heads. I was flipping to see whether I should become an actress or not. I just wish someone would tell me what to do!

TRIGORIN. You can’t leave such important decisions up to others. [A pause.]

NINA. We’ll be parting soon, and may never see each other again. Take this to remember me by. I’ve had your initials engraved on it, and on this side is the name of one of your books: "Days and Nights."

TRIGORIN. How sweet of you! [He kisses the medallion] It’s lovely.

NINA. Think of me once and awhile.

TRIGORIN. I’ll never forget you. I’ll always remember you as I saw you that bright day last week when you wore your light dress and we talked with the white seagull lying on the bench beside us.

NINA. [Lost in thought] Oh yes, the sea gull. [A pause] We better stop. Someone’s coming. Please, I really need to see you alone for a few minutes before you go.

[She goes out to the left. At the same moment ARKADINA comes in from the right, followed by SORIN in a long coat, with a medal on his breast, and by JACOB, who is busy packing. ]

ARKADINA. You should stay here at home, you poor old dear. How could you possibly come for a visit with that rheumatism of yours? [To TRIGORIN] Who left the room just now, was it Nina?

TRIGORIN. Yes.

ARKADINA. I beg your pardon; didn’t mean to disturb you [She sits down] I think everything’s packed. I am absolutely exhausted.

TRIGORIN. [Reading the inscription on the medallion] "Days and Nights, page 121, lines 11 and 12."

JACOB. [Clearing the table] Shall I pack your fishing rods, too, sir?

TRIGORIN. Yes, I’ll need them, but my books you can give away.

JACOB. Very well, sir.

TRIGORIN. [To himself] Page 121, lines 11 and 12. [To ARKADINA] Are there copies of my books here in the house?

ARKADINA. Yes, in my brother's library, in the corner cupboard.

TRIGORIN. Page 121? [He goes out.]

SORIN. You’re leaving, and I will be so lonely without you.

ARKADINA. What would you do in town?

SORIN. Oh, nothing special, but still? [He laughs] They’ll be laying the corner stone of the new courthouse soon. I’d love to get away from here even for an hour or two! I am tired of lying here like an old cigarette butt stomped into the mud by an old boot. I have ordered the carriage for one o'clock. We can leave together.

ARKADINA. [After a pause] No, you must stay here. Don't be lonely, and don't catch cold. Keep an eye on my little boy. Take good care of him; give him some guidance. [A pause] Now that I am going, I’ll never find out why he put a gun to his head, though I have my suspicions. Hmmmm… jealousy. Yes, the sooner I take Trigorin away, the better.

SORIN. I don’t know quite how to put this…there were other reasons too, you know. He’s a brilliant young man living in middle of nowhere; he has no money, no job, no future, and nothing but time on his hands. He’s ashamed and embarrassed by all that. As much as I’m devoted to him and as much as he may be fond of me, he still feels useless here, like he’s a parasite, living on charity. He still has some pride.

ARKADINA. Oh, the anguish he causes me! [Thoughtfully] Maybe he could join the army.

SORIN. [Gives a whistle, and then speaks with hesitation] I really feel it would be great for him if you… just…gave him a little money. He should at least be allowed to dress properly. Look at him! He’s wearing the same old ill-fitting suit he’s had for three years, and he doesn't even own an overcoat! [Laughing] It wouldn't hurt the boy to have some fun; see the world; let him go travelling for a bit. It wouldn't cost that much.

ARKADINA. I know, but… Well, I might be able to manage a suit, but a trip abroad? No, I don't think I can even manage the suit now. [Decidedly] I don’t have any money right now.

[SORIN laughs.]

ARKADINA. I haven't.

SORIN. [Whistles] Very well. Forgive me, my dear; don't be angry. You are a noble, generous woman!

ARKADINA. [Weeping] I really haven't any money.

SORIN. If I had any money I’d give him some myself, but I don’t. My farm manager takes my pension puts it all into the farm or into cattle or into bees, and I never see it again. The bees die, the cows die, the crops die and they never let me have a horse.

ARKADINA. Well, of course I have some money, but as an actress my dresses alone are enough to bankrupt me.

SORIN. You are a dear, and I am very fond of you, indeed I am. But something is the matter with me again. [He staggers] I feel dizzy. [He leans against the table] I feel faint, a little ill.

ARKADINA. [Frightened] Sorin! [She tries to support him] Sorin! My dear! [She calls] Help! Help!

[TREPLIEFF and MEDVIEDENKO come in; TREPLIEFF has a bandage around his head.]

ARKADINA. He’s fainting!

SORIN. I’m all right. [He smiles and drinks some water] It’s passed.

TREPLIEFF. [To his mother] Don't be scared, Mother, it’s nothing serious; he’s just having these attacks a little more often these days, that’s all. [To his uncle] You need to lie down, Uncle.

SORIN. Yes, I think so. I’ll lie down for a few minutes. I’m still going into town with you. I’ll just lie down a bit before we go. [He goes out leaning on his cane.]

MEDVIEDENKO. [Giving him his arm] Do you know this riddle? What walks on four legs in the morning; two legs at noon; and three legs in the evening?

SORIN. [Laughing] Yes, exactly, and lies down tits up at night. Thank you, I can walk alone.

MEDVIEDENKO. Dear me, so polite! [He and SORIN go out.]

ARKADINA. He almost gave me a heart attack.

TREPLIEFF. Maybe if you had an attack of generosity you could lend him a thousand rubles and he could then spend the rest of the year in town.

ARKADINA. I have no money. I’m an actress and not a banker. [A pause.]

TREPLIEFF. Could you change my bandage for me, mom, you do it so gently.

[ARKADINA goes to the cupboard and takes out a box of bandages and a bottle of iodine.]

ARKADINA. The doctor’s late.

TREPLIEFF. He promised to be here at nine, and now it’s noon.

ARKADINA. Sit down. [She takes the bandage off his head] You look like you’re wearing a turban. There was a stranger in the kitchen yesterday, and he asked what nationality you were. The wound’s almost healed. [She kisses his head] No more bang-bang while I’m gone.

TREPLIEFF. No, mommy. It was simply a moment of desperation. I lost all control. It’ll never happen again. [He kisses her hand] You have a magic touch. I remember when you were still acting at the State Theatre, long ago, when I was still a child, there was a fight one day in the courtyard outside our place, and this poor cleaning woman was practically beaten to death. She was unconscious when they found her, and you… you nursed her till she was better, and bathed all her children in the bathtub. Do you remember that?

ARKADINA. Yes, entirely. [She puts on a new bandage.]

TREPLIEFF. There were two ballet dancers who lived in our building, and they used to come and drink coffee with you.

ARKADINA. I remember that.

TREPLIEFF. They were very proper. [A pause] These last few days, I’ve loved you completely, as tender and trusting as a child. You’re the only one I have. Why, why do you let that man control you?

ARKADINA. You need to get to know him, Konstantin. He has a wonderful and noble soul.

TREPLIEFF. Nevertheless, when I challenged him to a duel his nobility didn’t prevent him from being a coward. The coward is about to hightail it out of here.

ARKADINA. That’s nonsense! I asked him to leave myself

TREPLIEFF. Seriously, a noble soul! Here we are almost fighting over him, and he’s probably out in the garden having a laugh at our expense; or perhaps he’s chatting up Nina, trying to enlighten her and persuade her that he’s some kind of genius.

ARKADINA. I think you enjoy insulting me. Trigorin has my utmost respect and I’ll thank you not to speak badly of him in my presence.

TREPLIEFF. I don’t respect him at all. You want me to think he’s a genius but I’m not going to lie; his writing makes me sick.

ARKADINA. You’re just jealous of him. People with no talent have no other choice but to criticize the truly gifted. It must be comforting to you.

TREPLIEFF. [With irony] Those who are truly gifted, hah! [Angrily] I have more talent than all of you put together! [He tears the bandage off his head] Your imagination is locked up by your old and boring ideas. You’ve gained control and now you and your kind suppress and suffocate everyone else. I don’t accept your pretentiousness. I don’t accept his and I don’t accept yours.

ARKADINA. You’re decadent.

TREPLIEFF. Why don’t you just go back to your beloved theatre and act in those dirty dishwater plays you love so much!

ARKADINA. I never acted in a play like that in all my life. You can't write even a simple little skit, you petite bourgeois freeloader!

TREPLIEFF. Miser!

ARKADINA. You little bastard!

[TREPLIEFF sits down and begins to cry softly.]

ARKADINA. [Walking up and down in great excitement] Don't cry! Please don’t cry! [She bursts into tears] You really must stop. [She kisses his forehead, his cheeks, and his head] My baby, please forgive me. Forgive your horrid mother.

TREPLIEFF. [Embracing her] Oh, if you only knew. I’ve lost everything! She’ll never love me; I’m a failure as a writer. My hope is completely gone.

ARKADINA. Don’t. Don't despair. It’ll all be fine. You’ll see. He is going away today, and she will love you again. [She wipes away his tears] Now stop crying. We’ve made up.

TREPLIEFF. [Kissing her hand] Yes, mother.

ARKADINA. [Tenderly] And now you can make up with him, too. There’s no need for a duel. Promise you won't fight?

TREPLIEFF. I promise, just don’t make me have to see him again, mother, I couldn't stand it. [TRIGORIN comes in] Here he is; I’m leaving. [He quickly puts the medicines away in the cupboard] The doctor will look after your head.

TRIGORIN. [Looking through the pages of a book] Page 121, lines 11 and 12; here it is. [He reads] "If you should ever need my life, come and take it."

[TREPLIEFF picks up the bandage off the floor and goes out.]

ARKADINA. [Looking at her watch] The carriage will be here soon.

TRIGORIN. [To himself] "If you should ever need my life, come and take it."

ARKADINA. Are all your things packed?

TRIGORIN. [Impatiently] Yes, yes. [In deep thought] Why do I sense a hint of sadness from this pure soul that pulls at my heart? If you should ever need my life, come and take it. [To ARKADINA] Let’s stay here one more day!

[ARKADINA shakes her head.]

TRIGORIN. Come on let us stay!

ARKADINA. I know, my darling, exactly what is keeping you here, but you must be strong. Your emotions have intoxicated you, and you’re not thinking clearly.

TRIGORIN. You need to think clearly, too. Be sensible; look on all this like a true friend would. [Taking her hand] You are capable of self-sacrifice. Be a true friend and set me free!

ARKADINA. [In deep excitement] Are you that consumed by her?

TRIGORIN. I’m drawn to her. Maybe this is just what I need.

ARKADINA. What, the love of some little hick? Oh, how little you know yourself!

TRIGORIN. I’m in some kind of trance. I feel like I’m asleep, and dreaming of her even as I stand here talking to you; my mind’s completely enthralled by this sweet and wonderful dream. Release me!

ARKADINA. [Shuddering] No, no! I’m just an ordinary woman; you mustn’t talk to me like that. Don’t torture me, Boris; you’re scaring me.

TRIGORIN. If you wanted, you could be an extraordinary woman. Love is the only thing on this earth that brings happiness; love, the poetic love of youth, is enchanting; it sweeps away all the cares of the world. I never had any time for it when I was a young, struggling writer hounding the publishers. But finally, this love has appeared before me. It’s calling to me. How can I run the other way?

ARKADINA. [With anger] You’re insane!

TRIGORIN. Please, let me go.

ARKADINA. Everyone has conspired to torment me today. [She weeps.]

TRIGORIN. [Clutching his head desperately] She doesn't understand me! She won't even try to understand me!

ARKADINA Have I become so old and ugly that you can shamelessly boast to me about another woman? [She embraces and kisses him] Have you lost your senses! My magnificent, my glorious friend, my love for you all I have left. [She falls on her knees] My joy, my pride, my bliss. [She embraces his knees] I could never survive if you desert me, even for an hour; I’d go mad. Oh, my wonder, my marvel, my master!

TRIGORIN. Somebody might come in. [He helps her to rise.]

ARKADINA. So what! I’m not ashamed to show my passion for you. [She kisses his hands] My precious one! My rash boy! You want to descend into madness. But I won’t let you do it! [She laughs] You’re mine; you’re all mine! This forehead is mine, these eyes are mine, and this silky hair is mine. All of you is mine. You’re the smartest, the wisest, the greatest living writers; you are the country’s only hope. Your ideas are so fresh, so clear, and so profoundly humorous. You can bring out every feature of a man or of a landscape in a single line; your characters leap odd the page, they live and breathe. You’re afraid my words are simply flattery, and that there’s no truth to them, no substance, aren’t you? See I know what you’re going to say before you say it. Just look at me; look into my eyes. Do you see anything in my eyes but God’s honest truth? Don’t you see how much you need me? Can’t you tell that I am the only one who knows your true worth? I am the only one who doesn’t judge you, who accepts you. Oh, my sweet fragile one, you will come away with me, won’t you? Stay with me, always?

TRIGORIN. I have no power to resist you; I have no backbone, I never had. I am too easy-going, too submissive, too cut off from my emotions to have any will power at all. How can a woman fall in love with that? I am yours. I will always be yours, but always keep a close watch on me.

ARKADINA. [To herself] Now he is mine! [Carelessly, as if nothing unusual had happened] Of course you don’t have to leave this very instant if you don’t want too. I’ll go, and you can just follow in a week's time. It’s fine really, why should you have hurry away?

TRIGORIN. Let’s go together.

ARKADINA. If you like. We’ll go together then. [A pause. TRIGORIN [writes something in his notebook.] What are you writing?

TRIGORIN. A silly expression I heard this morning: "A stretch of virgin forest." It might come in handy. [He yawns] So we’re off again, and condemned once again to the monotony of railway carriages, train stations and awful restaurants. Sentenced again to a diet of Hamburger steaks and endless arguments!

[SHAMRAEFF comes in.]

SHAMRAEFF. I have the honor and the unfortunate duty to inform you that your carriage awaits. The train arrives at 2:05. So, it’s time to head out for the station, dearest lady. Please remember your promise, won't you, Madame Arkadina. You’ll find out where the actor Suzdaltzeff is living now; that is, if he’s still kicking? We used to enjoy a good …drink together... he was so believable in "The Pilfered Letter" ...Now that I think of it there was a tragedian called Izmailoff in the same company, also a fine actor. No need to rush, Madame, we still have five whole minutes. The two of them played schemers in this melodrama, now this was a long time ago and instead of saying “Now that’s what I call a crushing blow", Izmailoff yelled out "Now that’s what I call a blushing crow!" [He laughs] Blushing crow!

[While he has been talking JACOB has been busy with the trunks, and the maid has brought ARKADINA her hat, coat, parasol, and gloves. The cook looks hesitatingly through the door on the right, and finally comes into the room. PAULINA comes in. MEDVIEDENKO comes in.]

PAULINA. [Presenting ARKADINA with a little basket] I’ve brought you some ripe plums for your trip. They’re very fresh and sweet. In case you’d like something good to nibble on during your trip.

ARKADINA. You are very kind, Paulina.

PAULINA. Good-bye, my dearie. If things have not been quite as you could have wished, please forgive us. [She weeps.]

ARKADINA. It has been so delightful, delightful. You mustn't cry.

[SORIN comes in through the door on the left, dressed in a long coat with a cape, and carrying his hat and cane. He crosses the room. ]

SORIN. Come on, sis, it’s time to go, you don’t want to miss the train. I’ll meet you in the carriage. [He goes out.]

MEDVIEDENKO. I’ll walk ahead to the station and say my goodbyes there. [He goes out.]

ARKADINA. So long everyone! I’ll see you all next summer if we can survive that long. [The maid, JACOB, and the cook kiss her hand] Remember to think of me. [She gives the cook a ruble] Now here’s a ruble. It’s for all three of you.

THE COOK. Thank you, Madame. Bon voyage.

JACOB. God be with you, Madame

SHAMRAEFF. Drop us a line; it’ll cheer us up. [TO TRIGORIN] Good-bye, sir.

ARKADINA. Where’s Konstantin? Tell him I’m going. I can’t leave without saying goodbye. [To JACOB] I gave the cook a ruble …it’s for all three of you.

[All go out through the door on the right. The stage remains empty. Sounds of farewell are heard. The maid comes running back to fetch the basket of plums that have been forgotten. TRIGORIN comes back. ]

TRIGORIN. I seem to have forgotten my cane. It must be on the terrace. [He goes toward the door on the right and meets NINA, who comes in at that moment] Is that you? We’re leaving.

NINA. I had to see you again. [With emotion] I’m made a final decision, the die is cast: I am going to be an actress. I’m leaving my father; I’m giving up everything. I ‘m making a fresh start. I’m leaving… for Moscow, just like you. We can meet there.

TRIGORIN. [Glancing about him] Go to the Hotel Slavianski Bazar. Call me as soon as you get there. I’ll be at the Grosholski House in Moltchanofka Street. But I have to go now. [A pause.]

NINA. Please, just one more minute!

TRIGORIN. [In a low voice] You’re so beautiful! I’m just thrilled to think that I’m going to see you again before long. [She sinks on his breast] To see your wonderful eyes again, your perfect, indescribably gentle smile, your stunning looks so angelic, so pure! My love! [A prolonged kiss.]

The curtain falls.