Valentin
Krasnogorov
Pelicans
of the wilderness
A short play
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I am
like a pelican of the wilderness: I am like an owl of the desert.
I lie awake,
I have become like a lonely bird on a housetop.
PSALMS 102:6-7
CHARACTERS
MAN
WOMAN
DOCTOR
GUEST
A MAN IN DARK GLASSES
HIS COMPANION
OLD WOMAN
The
setting is an assembling of furniture pieces of different kinds and styles: a
table, chairs, a disordered king-size bed, refrigerator, mirror, gas oven,
telephone, wardrobe, folding screen, armchair. These items are placed on the empty
space of the scene without any order. In the depth there is a copy or picture
of the Rodin sculpture "Le printemps eternel": a nude girl in
embraces of a young man.
An
old woman is stiffen in a deep, shabby armchair; her thin, meager figure is
almost unnoticeable. There is a small table with medicines near to her.
A
woman in a motley dressing gown appears from behind the screen. She goes to the
telephone, takes it with her to the bed, sits down and dials a number.
WOMAN. Laura,
good evening. Where were you lost? I'm calling you the fourth time. Oh,
nothing's happened. Simply he will come soon. Honestly! And I
haven't yet told you the main thing: he will propose marriage me today... Oh
no, I know it quite exactly. I feel it... If you only could see how he looked
at me yesterday... Well, I must finish baking the cake and tidy myself up. I'll
call you later.
/She replaces receiver, goes to the oven, opens it,
checks the cake, covers the table with a clothe, then goes to the mirror, takes
off her dressing gown and studies attentively her reflection. Takes the
receiver again./
It's me. I don't know what dress I should put on. He's coming, and
I'm not yet dressed. What evening dress, the black one with a decollete? I
think so too... Sure I'm agitated. So many years alone, and suddenly... My head
is really swimming.
/She replaces receiver, leaves the telephone on the
bed and, remembering the cake, hurries to the oven, still without a dress.
An unshaved man in drawers, ripping aside the
blanket, climbs out of the bed and stretches his hand to the telephone./
MAN. Hello, is it the clinic? I'm calling as regard
to the doctor. My number is twenty two. Everything's OK? Nothing's changed?
Thank you.
/The man replaces the receiver, stretches his hand
to his pants which are thrown on a chair, but, after a look at his watch, again
lies down on the bed upon the blanket and looks at the ceiling apathetically.
Meanwhile, the Woman leaves the oven, gets shoes
and a black evening dress out of the wardrobe, takes a string of pearls out of
a box and dresses carefully before the mirror.
The Old Woman in the armchair wants to take a phial
with a medicine, but her hands don't obey her and she lets the phial drop on
the floor.
The Woman, having finished dressing, lays the table
beautifully. After that she goes to the mirror again and watches it
thoughtfully, then looks with a doubt at the silver and crystal of the table
covers. Takes the receiver./
WOMAN. Laura,
it's me again. Do you know, what I think? Maybe I ought not to put on this
black dress? Oh, yes, it suits me OK, but I look too official in it. The man
will come for an intimate conversation, and I've dressed myself up as for a
gala reception... All this must occur as if by chance, and he'll an impression that I prepared to it all
the day. The cake, champagne, pearls...Am I right?... Yes... Yes... Something
simple, but attractive. Thanks.
As soon as the Woman replaces the receiver, the Man
lying in the bed takes it at once.
MAN. Hello!
Is it the clinic? What about the doctor? Number twenty three. Nothing's
changed? Thank you.
/The Man puts on his pants and shirt looking now
more properly, though untidy. The Woman is slowly changing her clothes. The Old
Woman tries to stand up in order to take the dropped phial, but she can't tear
her paralyzed body from the armchair.
An elderly man, dressed properly, enters . He's
breathing heavily. Having made two or three steps , he suddenly faints and
falls on his back. The perturbed man rushes to him an tries to bring him to his
senses./
Hey!
/The elderly man is still unconscious. The Woman
changes her clothes and takes the champagne and crystal from the table. The Man
takes the visitor's pulse, then catches a syringe from the Old Woman's table
with medicines and injects him. The visitor opens his eyes./
Are you better?
VISITOR. Yes,
thank you. Sorry. It was not worth troubling you.
MAN. What's
happened?
VISITOR. It's
nothing. Asthma, radiculitis, liver.The fifth floor, not for the first time.
The elevator does not work, the heart either. Anyway, thank you very much. /Rises
up and shakes hands with the
MAN. Who are
you?
VISITOR. A
call.
MAN. /Surprised/.
So you are the doctor!
DOCTOR. I
don't look like a doctor? Your check, please.
/The Man digs in his pockets and gets out a paper./
That's OK. Peter...What is
your family name?
MAN. Peter.
They said, in the clinic, that the main thing is to pay beforehand, and as to
my name, I may call myself as I want.
DOCTOR. Well, let it be Peter. For me it really
doesn't make any difference.
/Staggering, he snatches at the edge of the table./
MAN. You feel
bad again?
DOCTOR. It's
nothing. The pulse is ninety, blood pressure two hundreds, age - seventy. I'm
all right. /Falls on the bed./
MAN /With
a pill and a glass of water/. A heart pill?
DOCTOR. With
a great pleasure. /Swallows the pill./ Merci. Let me take a breath, it's
only five to seven now.
/The
Woman, now in a simple dress, dials again./
WOMAN. You
are sick of me, aren't you? No, he's not come yet. Do I love him? I don't know.
We made our acquaintance only not long ago. But I do know one thing: I want
to love him. To be loved too, but mainly - to love. I want to live for him.
I'll surround him with such a care - I can't find words... I'll meet him on the
evenings with his slippers in my teeth. You can't imagine how much I want to
seem him now... Oh, sure he'll come. I know it exactly. /Replaces the
receiver, but at once takes it again./ Listen, I haven't said the most
important. I've changed the dress, took away the flowers and champagne, and now
everything looks out dull and everyday. He can think that I didn't wait for him
at all. And I myself don't look out... Maybe it's better to put on that
dress...you know... the white one. The white - it's always beautiful. Yes?
Thank you!
/Replaces the receiver, puts the flowers on the
table again, takes a white dress out of the wardrobe and begins to change the
clothes.
A couple enters - a man in dark glasses and a woman
-his companion./
COMPANION. Wait a little here.
MAN IN A DARK GLASSES. Please, don't go away.
COMPANION. Sit quietly, I'll come soon. /Escapes
behind the screen./
/The Man in dark glasses sits down and becomes
freezed in a strained pose./
DOCTOR. /Lying
on the bed/.
MAN. I
want... I... You know...
DOCTOR /Interrupting./ Wait, though. At first take out the
phonendoscope out of my bag. Thank you. Now, take your shirt off please. Good.
Bend forward to me. Very well. /Lying on the bed, listens to the patient's
heart./ The cursed heart... Oh, not yours. Mine. With you everything's OK.
As a matter of fact, where do you have a pain?
MAN. Nowhere.
DOCTOR /Surprised,
sits down./ How is it -
"nowhere"? Why then have you called for a doctor, and for a good
cash?
MAN. Now I'll
try to explain you...
DOCTOR. I
needn't explanations. Tell me simply, do you have a pain or not?
MAN. "Simply"...
If you knew...
DOCTOR. /Interrupting./ Yes or no?
MAN. Yes.
DOCTOR. Where
namely?
MAN. It's my
soul that bleeds..
DOCTOR. You
ought to say it before. /Stands up and closes his bag with a snap./ When
you have soul pains you must call for a psychiatrist and not a therapeutist.
Good bye. I'm in a hurry.
MAN. You're
kidding! I waited for your visit so much... You will stay with me, won't you?
DOCTOR. Not
a minute. /Decidedly goes to the door, but suddenly stops and puts his hand
on his heart/. Oh... /Sinks into
a chair./
MAN. A pill
more?
DOCTOR. I
should prefer a glass of cognac.
MAN. A
moment...
/Takes out a bottle and fills a glass in.
The Man in dark glasses makes a few restless
movements, then stands up as if he is going to go, but sits down again./
DOCTOR. /Having
drunk his cognac/. Five stars. Forty
six degrees. I'm twenty again. Merci and bye-bye.
MAN. You
still want to leave me?
DOCTOR. Sure.
MAN. /Bars
his way./ I don't let you go.
DOCTOR. It's
interesting how will you do it.
MAN. According
to the rules of your clinic, a doctor's visit must endure not less than thirty
minutes if the patient demands it. I found it out specially. If you go out now,
I'll lodge a complaint.
DOCTOR. /Sits
down with a sigh./ Well, unbosom yourself. /Looks at his watch./
MAN. /After
a while/. Is it possible to tell about everything that torments you for a
quarter of an hour?
DOCTOR. Don't
tell everything. Only the main thing.
MAN. The main
thing... Doctor, the main thing is that everything became disgusting to me.
DOCTOR. What
namely?
MAN. Everything.
Streets, shops, people, offices, my dependance and defenseless. I can't watch
TV, don't turn in radio, don't read papers...
DOCTOR. Well,
what then?
MAN. It
doesn't surprise you?
DOCTOR. No.
MAN. And
doesn't awaken your compassion?
DOCTOR. Do
you want me to prescribe you a sedative?
MAN. I know
what you mean: strain, stress, tension, neurosis and other medical gossip. But
I assure you: I'm quite healthy.
DOCTOR. Then
what do you want from me?
MAN. A
sympathy.
DOCTOR. Is
it also a part of the clinic rules?
MAN. It's a
part of the duty of any doctor.
DOCTOR. Well,
I sympathize you very much. And now
let's measure your pressure.
MAN. /Impatiently/.
What for?
DOCTOR. It's
my duty. You've studied our rules so well, that you should know that.
/Takes out the device from his bag and in spite of
the man's protests measures its blood pressure./
WOMAN. /On
the phone/. Laura, he has not come.
Something is happened, I'm sure... Yes, I'm in the white, bur it's not
important. If only he would come... /Replaces the receiver and walks
nervously along the room , machinally taking things from one place to another./
DOCTOR /Taking
out his device/. The pressure is normal. I say, an excellent pressure. I
envy you devilishly.
MAN. And I
told you it was useless to measure it.
DOCTOR. Everybody
of us makes heaps of useless things.
MAN. Now,
when all the formal procedures are done, can you hear me out at last?
DOCTOR. And
what about the laboratory or a specialist? I can assign you if you want.
/The Man makes an impatient gesture./
I tell it because I'll have
no time, when the half an hour is up..
MAN. Doctor,
can you speak to me as a human being to a human being? After all, I paid money for it!
DOCTOR. /Closes
his bag quietly/. I'm listening. /Looks
at his watch./ Well, why are you silent?.
MAN. Your
indifference is killing me.
DOCTOR. /After
a pause./ There are four minutes
more. If you have what to tell, hurry up.
MAN. /Nervously/.
I can' concentrate myself... Lost a thread...
DOCTOR. You've
finished or rather begun with that everything's disgusting for you..
MAN. Ah,
yes... That's right... It's the main thing. Everything's disgusting. False
smiles, impeccable costumes, career, money... Everything's odious.
DOCTOR. Everything?.
MAN. Everything.
DOCTOR. Nonsense.
I don't believe you..
MAN. I swear.
DOCTOR. Tell
me, the odor of a pine forest is disgusting for you?
MAN. A
forest? Of course not.
DOCTOR. The
taste of a good coffee?
MAN. No.
DOCTOR. Maybe
beautiful women are disgusting for you? Field flowers? Mozart's tunes? Aha, you
are silent. Then why on the earth have you decided that you are disappointed in
everything in the world?.
MAN. Well,
let it be not in everything. In many things. It's not the point.
DOCTOR. No,
it isn't. Do you want I'll tell you, what's the point?.
MAN. I'm
trying to get it from you for a good half an hour.
DOCTOR. /Looking
at the watch./ Which, by the way, are up. /Stands up./ I'm going..
MAN. No, you
can't go like this!
DOCTOR. Dear
Peter, your time expired. I'm so sorry. /Takes his bag./
MAN. /Bars
his way/. All the same you will have to suffer my presence a little longer.
DOCTOR. Be
prudent. The next patient is waiting for me.
MAN. But the
next patient - it's me.
DOCTOR. /Looking
at his note-book./ Time?
MAN. Seven
and thirty.
DOCTOR. Name?
MAN. Paul.
DOCTOR. Why
Paul when you're Peter? Well, it makes
no difference though. Your check please.
MAN. Here you
are. Number twenty three.
DOCTOR. /Looking
at his note-book./ Right. Where do you have a pain?
MAN. Nowhere.
I...
DOCTOR. Take
you shirt off please. I'll listen to your heart.
MAN. But
you've done it just now.
DOCTOR. Dear
Paul, that was a man number twenty two and now it's number twenty three.
MAN. But both
of them are...
DOCTOR. Breathe.
/Listens to his heart through the phonendoscope/.
WOMAN. /On
the phone./ He's not come. I can't imagine, what might happen... Maybe I've
better to run to look for him?... Yes, I know that I must do nothing. Yes, I
know that not to wait is the best. But I can't any more... Sorry, I worry you
all the time... I'll try to pull myself together. /Replaces the receiver and
continues to sit on the bed in a desperate pose./
DOCTOR. And
now let's see what's your pressure.
MAN. Doctor,
stop playing the fool. We're losing our time again.
DOCTOR. Don't
distract me please. /Measures the pressure./
The paralyzed Old Woman tries without success to
get the phial with a medicine. The Man in dark glasses moves restlessly on his
chair.
An attractive young man
enters with a bottle of a fine vine and a bouquet./
GUEST. May
I come in?
WOMAN. /She
does not believe her eyes./ You?!
GUEST. You
didn't wait for me? I promised to come... Have you forgot?
WOMAN. O
no, sure!.. I waited so much!.. That is... I didn't wait but... I mean... Come
in please! Why are you standing here?
GUEST. /Presenting
the vine and flowers./ It's for you.
WOMAN. Really?
It's so nice of you. What a marvelous bouquet!
GUEST. You
look great in this white dress. A real bride! By the way, I want to ask you...
Are you alone?
WOMAN. Yes.
GUEST. I
mean, you live alone?
WOMAN. Yes.
GUEST. Very
nice and cozy. These curtains are a real chick. You have a remarkable taste.
WOMAN. I...
I'll prepare a tea.
GUEST. Let
me help you.
/They come to the oven. The Woman fills the
tea-kettle, the Guest opens the bottle, helps to switch the gas etc./
DOCTOR. /Taking
out his device/. The pressure is normal. I say, an excellent pressure. I
envy you devilishly.
MAN. Doctor,
for God's sake, stop this. There is a human being before you and he wants to
hear human words from you. You have just promised to tell me...
DOCTOR. /Interrupting./
Yes, yes, I remember. But at first look what do you look like. Unshaved, unbrushed,
and God knows how dressed creature. And your habitation? It's like a nest of a
spider, that himself got caught in his web. A coffin is much more comfortable. /Moves
to the oven./ I'm sure, you boil your tea in a fish-pot and heat your
cutlets right on the fire, having hooked them on a rusty fork. Do you have
cutlets though? /Opens the refrigerator./ Of course, it's empty. Dear
Paul, you may not sink so low. /Goes on to examine the apartment./
WOMAN. Would
you be so kind as to take a lemon out of the refrigerator?
GUEST. /Opens
the refrigerator/. Oh, how many
delicious things are here! You're a magnificent housewife!
WOMAN. Oh,
I don't know... I simply got into the way that there must be everything
necessary at home. /She wants to take the lemon, but the Guest holds her
hand. The Woman drops her eyes./ I must slice the lemon.
GUEST. I'll
do it myself.
WOMAN. /Softly
frees her hand/. Then I'll lay the table.
/The Woman covers a part of the table with a
snow-white clothe and puts on it flowers, crystal glasses, champagne etc.
The Man, on the other end of the table, spreads a
newspaper, and puts on it the opened bottle of cognac, a piece of bread and a
sausage./
THE MAN IN DARK GLASSES. /Restlessly./ Haven't you come yet?
/Waits in vain for an answer./ You had just said you would soon come back...
Why don't you answer?
MAN. So you
consider I'm sinking down. But I'm rising up. The question is what's up and
what's down. And I too set myself your absurd and ridiculous objects, the main
of which is to be esteemed and admired. By women, by superiors, by a man in the
street. And I too had you cherished dreams - money, fame, power. And I too had
your petty pains. Now I've risen above it. Yes, I haven't been to the barber
for a long time and I wear shabby shoes, but is it so important whether Albert
Einstein shaved often and in what shoes Christ went to the
DOCTOR. And
what do you aspire now?
MAN. I try to
live in a right way. As I want and must. Not to bend down, not to squander my
gifts on trifles, not to dodge, not to give up.
DOCTOR. And
what? Does it succeed?
MAN. Up to
now I passed only half-way. I don't do mean actions, but don't do good things
neither. I abandoned what I hated, but didn't find what is dear to me. I parted
with people, which were strange to me, but didn't meet those, who could become
near to me.
DOCTOR. And
this is a reason of your melancholy. You are lonely, my friend, but don't like
the loneliness. Thus you've come to a situation, when you hire a paid
interlocutor.
/The Woman and her Guest are sitting at the table
too. The Guest opens the bottle./
MAN. I don't
keep to me: I need a friend.
DOCTOR. A
woman.
MAN. Yes, a
woman. But not anyone; the only one.
DOCTOR. You
seek an ideal?
MAN. Not at
all. Let her be with ledges and acute angles, but these ledges and hollows must
correspond with my notches. I fear however it's an unreal wish.
DOCTOR. You
suppose, there is no soul kindred to you in the world?
MAN. There
is. But how to find it amongst millions? The more intricate is a lock, the more
difficult to fit a key for it.
DOCTOR. And
what is the conclusion?
MAN. The more
complicated is our inner world, the more inevitable is the loneliness.
DOCTOR. If
you understand that your aim is hopeless, must you try to reach it?
MAN. Let's
drink.
WOMAN. /With
a glass of champagne in her hand./ What are we drinking for?
GUEST. For
our meeting.
WOMAN. /Clinking
glasses./ For our meeting.
GUEST. Let
all your desires be fulfilled.
WOMAN. What
to give you - a cake or a pie?
GUEST. A
piece of the pie. You just cooked it yourself. /Looks over the room../
And who lives in the next room?
WOMAN. Nobody.
GUEST. That's
great. I mean, you are your own mistress. Aren't you bothered sometimes?
WOMAN. Not
only bothered; sometimes it's terrifying to live here alone.
GUEST. What
can you fear?
WOMAN. Oh,
I don't know... For instance, I can get ill, to call for help, and nobody will
even hear.
GUEST. Oh,
dear, throw these thoughts out of your head. Let's better drink a glass more.
WOMAN. I'm
not accustomed to vine.
GUEST. Sometimes
we may allow something to ourselves. /Rises his glass./ For your beauty
and charm.
/They drink./
Do you dance?
WOMAN. A
little.
GUEST. Maybe
to put a disk? Something low. But first another toast. For you. No-no, don't
place your glass, bottom up! /The Woman drinks./ Well done!
/Music. The Woman and the Guest are dancing. The
paralyzed Old Woman makes another attempt to get the phial, which rolled from
her to an unattainable distance - two or three meters. She creeps down on the
floor and tries to reach the medicine. Music still sounds./
MAN. /With
the glass in his hands./ Do you know what I'm thinking about? Maybe I'm
really sinking. You say my pants aren't pressed and apartment is neglected. And
what for to clean it? And for whom to shave?
DOCTOR. For
yourself.
MAN. No, it's
not serious. Whatever you would say, but everybody of us, even the most
deep-rooted egoist lives for the others. We expect love and help from them and
ourselves want to love and help. We need people in order to arouse in them
pity, sympathy, admiration or horror. We can display our ego only among other
human beings. Even a desperate scoundrel needs people - even if for to do them
mean actions. And near to me - nobody. You understand this?
/The Old Woman continues her struggle for the
phial./
DOCTOR. I
understand. I'm lonely too.
MAN. No, you
don't understand. You have a family, a wife...
DOCTOR. A
wife is the worst kind of the loneliness.
MAN. And
children?
DOCTOR. When
you are over seventy, you begin to doubt whether your children or anybody else
in the world need you. Imagine, I'll come out here and maybe fall down
somewhere in the stairs... And, you think, anybody will notice my absence?
MAN. If so,
wouldn't it be better to stop this?
DOCTOR. What
"this"?
MAN. Well, to
walk on the stairs.
DOCTOR. And
what then? /After a pause./ No, it will be better for me to go
walking... But go on. You had paid your money not for to listen to me.
MAN. Doctor,
why wouldn't you call me once again? Some day, simply so, without a reason...
DOCTOR. I
would do it with a great pleasure. But I'm so busy. From eight to three, from
four till eight... The cursed numbers...
MAN. Yes, I
see.
DOCTOR. What
can we do with this?
MAN. I hated
the loneliness before because I wanted something for me. Care,
attention, love. I considered - don't know why - that I have right to it. Now I
have risen so that I want to be useful myself. I want to be something for
somebody. But nobody needs me. Nobody.
/The Old Woman leaves her endeavors to get the
medicine and makes now desperate but unsuccessful efforts to rise back into her
armchair. And the music still sounds./
MAN. There
must be somewhere somebody, who needs me, who would inspire a sense in my empty
life. But where's he, this "somebody", where? I'm going off my head
when I think about it. All the days long I'm sitting on the bed, reel from side
to side as a praying Turk and repeat: "Where? Where? Where?"...
THE MAN IN DARK GLASSES. /Restless./
Where am I? /Stands up./
Have you not yet come? /No answer./ Is
anybody here? /Tries to make a few steps, but runs against the table, stops
and stretches his hands pleading./
I don't see, help me. Do you understand, what does
it mean not to see? /The light on the scene dies out. The blind man's voice
sounds in a complete darkness./
I ask you - if anybody's here - do you understand
what's the darkness and uncertainty? You may ask, why I'm speaking if there is
nobody here. But for me there is always nobody and nothing around. Maybe
I'm mistaken? /After a pause./ Tell me - do you exist?
/No answer. The blind man makes his way to his
place, running against the furniture. With the first word of the Woman the
light is up again./
WOMAN. /Stops
dancing./ I feel giddy. Maybe we'll return to the table?
GUEST. /He
continues to embrace the Woman./ No. To be at the table all the time -
it's...monotonous. I like more to stay as it is, to feel you to be so close...
WOMAN. /Tries
to free herself./ Let's better to speak about something.
GUEST. We
had already a good talk. I suppose, we'll find another occupation.
WOMAN. I
fear, you've drunk too much.
GUEST. I'm
absolutely sober.
WOMAN. Please,
lets return to the table.
GUEST. /With
a short laugh./ I prefer another kind of the furniture. /Drags the
stunned woman to the bed./
WOMAN. What
are you doing? Let me go!
GUEST. /Rudely./
Stop put on airs. We've played enough the rules of propriety. Don't make of
yourself a Vestal virgin.
WOMAN. /Tears
herself away./ Oh, now I see what you arew. Go away!
GUEST. Firstly
I'll get what I've come for, and then I'll go.
WOMAN. /Desperate./
And what have you come for?
GUEST. You
know it yourself, you're not a baby. /Comes near to her./
WOMAN. Oh
no, don't. I implore you.
GUEST. Then
why did you call me? /Seizes her hand./
WOMAN. Don't
touch me! I'll cry!
GUEST. Who
will hear? /Tears her dress away./
WOMAN. Help!
Help me whoever is here!
/The Man and the Doctor are drinking
melancholically their cognac. The Old Woman is helplessly laying on the floor
at a distance of a few centimeters from the phial. The Blind Man makes a few
steps ahead. With his first word the scene drops in a darkness./
THE BLIND MAN. Why
have you done it? /Silence./ Why have you left me alone? /The sound
of his unsure, stumbling steps is heard./ Where's a way out? If there's
here anybody, help! Is it so difficult - to show the way out? Or you don't see
each other neither? But whether you are deaf? Dumb? Or you don't exist at all? /Pause./
Tell me - do you exist?
/The Blind Man falls silent. When the light is up
again, there are neither the Blind Man, nor the Doctor, nor the Guest. The Man
is sitting alone on his place at the table with a glass in his hand. The Old
Woman wallows on the floor. The Woman lies in the bed.
The
telephone call. The Woman takes the receiver. Her voice is colorless and
empty./
WOMAN. Yes.
Of course it's me. Nothing's happened. It only seems to you. No. He hasn't
come. I say: a man, whom I waited for, hasn't come. Don't know. I think never.
/While the Woman speaks the Man finishes his glass,
takes off his shirt and pants, and climbs into the bed, but does not lie down.
He is sitting, reeling from side to side mechanically and repeating the same
word./
WOMAN. You
must not console me. I'm absolutely quiet. I learned a good lesson long ago
that nobody wants and never will want me. I must face the truth. Maybe, there
is He somewhere in the world, but I'll never meet him. You don't agree?
Then answer only one simple question: where's he? Where?
MAN. /Reeling/.
Where?.. Where?.. Where?..
/And in the "Le printemps eternel" the
young man and the girl, full of life and love are forever fused in an
inseparable unity of the bodies and souls./
THE END