|
Scene Four Outside. The soldiers are on guard again. Soldiers’ Gossip |
||
| Torasso | Forty days – ! | |
| Lombardi | Where does he get all the luck? | |
| Torasso | Forty days -! | |
| Rizzolli | The man is sick | |
| Torasso | But forty days – ! | |
| Barri | Yes, he’s sick of being stuck in the sticks. | |
| Augenti | Who isn’t? | |
| Torasso | In Milan – ! | |
| Lombardi | He’s gone Because it’s gone a little thick with the Signora. |
|
| Rizzolli | Gentlemen – | |
| Augenti | He’d better get out quick from the Signora. | |
| Rizzolli | Gentlemen – | |
| Barri | That’s not an easy trick with the Signora. | |
| Rizzolli | Gentlemen! You know what I think? |
|
| Others | What? | |
| Rizzolli | I think we need a drink! | |
| Lombardi | I’ll say. | |
| Rizzolli | I’ll say! | |
| All | I’ll say! I’ll say! I’ll say! |
|
|
Scene Five Forty Days |
||
| Clara | Giorgio, darling, Forty days’ leave so soon! Imagine that, a whole forty days – Well, forty marinees. I’ll be there to greet the train That carried you away from me Because it brings you home. |
|
| (Giorgio enters slowly. He has a blanket around him and carries a suitcase as he moves towards the train compartment where he sits) | ||
| I’m filling up the room, our secret room With every flower in bloom. I’ll have the fire lit, the table set, I’ll wear the blue chemise. And once we’re in our room, our secret room, |
||
| (She exits. The train whistle blows and, just as the train start to move, Fosca enters, carrying a small suitcase) | ||
| Giorgio | How could you? How dare you follow me? | |
| Fosca | You needn’t speak to me. You could pretend that I’m not even here. | |
| Giorgio | I am sick, don’t you understand? | |
| Fosca | I understand all too well. I could attend to you. I could help you get better. | |
| Giorgio | I don’t want you to help. You’re the reason I’m sick. | |
| Fosca | I apologize. Nothing could be further from what I wanted for you. That is why I want to follow you to Milan. To see that you are well. | |
| Giorgio | Fosca, you can’t do this. | |
| Fosca | I heard what you said, Giorgio. I’ve come to tell you that I will keep my distance. I will stay out of your path. But I can be nearby, I can be quietly watching. | |
| Giorgio | And you think that this will make me love you? | |
| Fosca | No, no. I am doing this because I love you. | |
| Giorgio | My heart feels nothing for you. How many times do you have to hear this? | |
| Fosca | This has nothing to do with your heart. This has to do with your eyes. What you see. If I were beautiful. If I were warm and soft to your touch – you would feel otherwise. | |
| Giorgio (firm) | No. Your appearance is no excuse for the way you behave. My feelings towards you are because of your relentlessness, your constant selfishness and insensitivity. | |
| Fosca | I’m sorry. No one has ever told me how to love. I know I feel too much, Giorgio. I often don’t know what to do with my feelings. You understand that, don’t you? | |
| Giorgio | (slowly, pleading) Fosca, you have to face the truth. Please. You have to give me up. | |
|
Loving You |
||
| Fosca | Loving you is not a choice, It’s who I am. Loving you is not a choice Loving you is why I do I would live, (As music continues under) |
|
| Giorgio | Die for me? What kind of love is that? | |
| Fosca | The truest love. Would Clara give her life for you? Would she? I would. Happily. In time you will come to see what is beautiful about me. Do you wish me to move to another compartment? | |
| Giorgio | We’re getting off at the next stop and I’m taking you back. And then I’ll go on to Milan. (getting up) You must be cold. Here. (He wraps his blanket around her) Take this. Can’t have you getting more ill, can I? |
|
| Fosca | (staring out the window) The moonlight makes even this landscape look lovely. Look over there. There seem to be faces in those rocks. They’re smiling back at us. |
|
|
Scene Six The Milan train station. Transition |
||
| Augenti | To feel a woman’s touch, To touch a woman’s hand, Reminded me how much I long to be with you, How long I’ve been without you near. And then to hear a woman’s voice. |
|
| (Clara and Giorgio stroll from the train station to a bench nearby; music under.)
Railway Sequence |
||
| Clara | Giorgio, I didn’t tell you in my letter Something even better, A surprise here at home: In a week my husband goes to Rome. It’s the first time he’s away, He’ll be gone at least a day, Maybe two or even three. I can visit you at night, Just think of having time Perhaps we’ll take a drive into the country, |
|
| Giorgio | Clara – | |
| Clara | What? | |
| Giorgio | Leave your husband. Let’s have a life together, not just a week or two. | |
| Clara | Giorgio, you know that’s not possible. | |
| Giorgio | Everything is possible. | |
| Clara | I would lose my child. | |
| Giorgio | And what if you were to lose me? | |
| Clara | I don’t want to lose you, Giorgio. You knew my situation. | |
| Giorgio | Let’s run away together. We could take your child – | |
| Clara | You’re not thinking clearly. You’re not yourself. | |
| Giorgio | I am myself. | |
| Clara | Where would we go? How would we live? | |
| Giorgio | We would manage. | |
| Clara | Giorgio, we are not two people who could ever just “manage”. We have to carve out a life for ourselves around our present obligations. We have no choice. | |
| Giorgio | We have a choice. | |
| Clara | Let’s not argue about what we don’t have. We have a wonderful opportunity to be together right now. The future will solve itself … | |
| Giorgio | Clara, I’m not taking my sick leave. | |
| Clara | It’s that woman, isn’t it? | |
| Giorgio | There are many reasons – | |
| Clara | No! You constantly write to me about her. You always speak of her when we’re together. Giorgio, she’s always on your mind! Do you love her? | |
| Giorgio | Don’t be ridiculous! | |
| Clara | I hate this woman and I don’t even know her. | |
| Giorgio | There are times when I hate her, too. | |
| Clara | Then why do you sacrifice yourself on her behalf? | |
| Giorgio | I’m not sure. Clara, don’t be angry with me. This woman has no friends. She has no one to talk to. I know the power I have over her, now. I didn’t ask for this power – she bestowed it upon me. And it carries responsibilities I can’t seem to shed. | |
| Clara | She needs you. | |
| Giorgio | Don’t you need me, too? | |
| Clara | Of course I do, Giorgio. But not like this woman. I’ve often wondered if you would love me as much if I were free. | |
| Giorgio | I would. You know I would. I love you. | |
| Clara | And I love you. How long will you stay? | |
| Giorgio | I’ll stay four days. | |
| Clara | You’re not coming back, are you? | |
| Giorgio | Clara, I can’t imagine my life without you. I’ll be back. | |
| Clara | And I’ll think of what you’ve asked of me. | |
|
Scene Seven Transition |
||
| Woman | How long were we apart … | |
| Man | A month, a week, a day? | |
| Woman | To feel your touch again … | |
| Both | You’ve never been away … | |
| Lights up on the courtyard where Giorgio is met by the Doctor. | ||
| Doctor | Captain Bachetti, what are you doing here? You’re supposed to be in Milan. | |
| Giorgio | I decided to forgo my sick leave. | |
| Doctor | Has Signora Fosca brought you to this? | |
| Giorgio | Not at all. This was my decision. | |
| Doctor | Don’t you see what she’s doing to you? To your mental state? That woman can be insidious. | |
| Giorgio | Then why did you bring her into my life? | |
| Doctor | I thought it would help her. I thought it would bring her some small degree of happiness … I had no intention for it to turn to this. Honestly, I didn’t. I apologize. | |
| Giorgio | Excuse me, I have things to do. (Walks away) | |
| Doctor | Captain Bachetti, you seem to forget that I am your superior. You can’t decide to forgo a sick leave just like that. Come on, my boy. Christmas is just a few days. Don’t be foolish, go to Milan. Take the time you need to be yourself again. | |
| Giorgio | I intend to spend Christmas here. Thank you. | |
| Doctor | You don’t seem to understand, Captain. I can see to it that you are transferred permanently. If I send a dispatch to headquarters, you’ll be ordered to leave. | |
| Giorgio | No! I don’t wish to be transferred! | |
| Doctor | Why are you behaving this way? | |
| Giorgio | I feel it my duty to help her. | |
| Doctor | Don’t you understand? No one can help her. Good day. | |
|
Scene Eight Christmas Carol |
||
| Torasso | La pace sulla terra È a voi tranquilità. È nato un bambino Che il mondo salverà Dal gran poter di Sàtan E da sua protestà. O novella di gran felicità! (His grand ending is met with enthusiasm) |
|
| Colonel | Thank you so much, Lieutenant. (to Fosca) That was beautiful, my dear. (to all) So, Merry Christmas, everyone. And Good Health! | |
| All | Good Health! | |
| Rizzolli | When is dinner to be served, Sergeant Lombardi? | |
| Lombardi | The pheasant will be ready shortly. | |
| Barri | We’ve been waiting for pheasant all year and we’re still waiting.
(Giorgio enters) |
|
| Colonel | Ah, look who’s arrived. Thank you so much for coming, Captain. I am so happy you decided not to take your leave.
(Augenti enters with a stack of letters, which he distributes.) |
|
| Augenti | Christmas post! | |
| Colonel | We’ve come to think of you as one of the family. | |
| Rizzolli | Something for me at last. | |
| Giorgio | I appreciate that.
(Augenti hands the Colonel a letter; he moves away, leaving Giorgio and Fosca alone) |
|
| Fosca | I hope you’re feeling better, Captain? | |
| Giorgio | Yes, thank you. | |
| Fosca | It’s so kind of you to join us. | |
| Giorgio | My pleasure. You look very charming. | |
| Fosca | Thank you. | |
| Augenti | Captain.
(He gives Giorgio a letter; there is an awkward moment between Fosca and Giorgio) |
|
| Fosca | It’s alright, Captain. It’s fine. Go ahead. Read your letter. (She retreats to the Doctor’s side) | |
| Barri | I can smell the perfume on Captain Bachetti’s letter from here. A very fragrant perfume it is, Captain. My correspondence smells like it comes from a barn. | |
| Rizzolli | It does. | |
| Lombardi | Dinner will be ready in ten minutes. I’ve just put in the truffles. | |
| Rizzolli | Truffles, indeed. I can’t remember the last time I had truffles. | |
| Torasso | I hope they’ll be recognizable after Sergeant Lombardi … | |
| Colonel | Captain Bachetti – (Giorgio realizes the Colonel is addressing him) Is it you or the gentlemen from the ministry who are responsible for this surprise? (A hush falls over the room) You have been transferred back to headquarters. You are to report immediately. |
|
| Giorgio | (taken completely by surprise) Immediately? | |
| Colonel | This is most unusual, Captain Bachetti. | |
| Giorgio | Really, sir, (turning to the Doctor) I don’t understand! | |
| Fosca | (emotional) Giorgio, my darling. Please don’t leave me. Please don’t leave me there. | |
| (She throws herself into his arms; there is an embarrassing moment as everyone in the room tries to hide his discomfort.) | ||
| Colonel | (losing his temper) No, take your hands off her. Doctor! (The Doctor leads Fosca out of the room.) Gentlemen. (a pause) I speak to you later, Captain Bachetti. (he rushes out.) |
|
| Torasso | Well, more food for the rest of us then. | |
| (Everyone except Giorgio exits. Giorgio pauses in confusion; Clara enters; music under) Farewell Letter |
||
| Clara | Giorgio … (He stares) Giorgio … Giorgio … (Suddenly he remembers Clara’s letter; he opens it and begins to read) I am writing to you, my angel, Because, in truth, as time goes on, Oh, my love, my sweet, you’ve changed, At times, these past few days together, I thought, was I naive to believe It seems to me the answer rests with you. Yes, I have obligations at home, Giorgio, but my heart is yours. When my son is older, when he goes off to school, there is the chance for us to be together. I will make the sacrifice you ask of me then. Please understand why I can’t now. Will you wait for me, Giorgio? I have to know. We both have to know. |
|
| Giorgio | Just another love story. | |
| Clara | No one is to blame. | |
| Giorgio | A temporary love story. | |
| Clara | But it needn’t end the same. | |
| Giorgio | I thought that we had more. | |
| Clara | We had more – | |
| Giorgio | We had something more – | |
| Both | – than any other love story. | |
| Clara | All that happiness – | |
| Giorgio | You think that this is love? | |
| Clara | – we had then – | |
| Giorgio | This logical and sensible Practical arrangement – |
|
| Clara | We can have that happiness – | |
| Giorgio | – this foregone conclusion – | |
| Clara | – once again! | |
| Giorgio | – You think that this is love? Love isn’t so convenient. Love isn’t something scheduled in advance, Not something guaranteed you need For fear it may pass you by. You have to take a chance, You can’t just try it out. What’s love unless it’s unconditional? Love doesn’t give a damn about tomorrow |
|
| Clara | All that happiness – | |
| Giorgio | It was fine. | |
| Clara | – in the past – | |
| Giorgio | I was yours, you were mine. | |
| Clara | That was not just happiness, Love was in that happiness That’s why it will last. |
|
| Giorgio | Love is more, I want more. | |
| Both | I thought I knew what love was – | |
| Clara | I didn’t know that Love was a complication. |
|
| Giorgio | I do know that it’s not a negotiation. |
|
| Clara | We’ll take it in our stride. | |
| Giorgio | What we had – | |
| Clara | You decide. | |
| Giorgio | – wasn’t bad. | |
| Clara | We could have everything. I want you more than anything. |
|
| Giorgio | How sad – | |
| Clara | To wait is nothing. We’re young and time is nothing. |
|
| Giorgio | – that what we have is nothing … | |
| Clara | Nothing … | |
| Both | Nothing … | |
| (She disappears as the Colonel enters, brandishing a piece of paper) | ||
| Colonel | Bachetti, I found this letter at my cousin’s bedside. This is your signature, isn’t it? | |
| Giorgio | Yes. | |
| Colonel | You have taken advantage of my cousin’s affections. | |
| Giorgio | That was not my intention, sir. Perhaps you should discuss this matter with Signora Fosca. | |
| Colonel | My Cousin is asleep. And in any event, I wouldn’t subject her to such a question. No one can make me believe that a man such as yourself would desire a woman like Signora Fosca. Would ever write her a letter like this. | |
| Giorgio | Why is that? | |
| Colonel | The reason seems obvious. | |
| Giorgio | Not to me. Forgive me, but you should not read that letter, nor should you take it from her room. | |
| Colonel | My cousin is at the end of her life! She does not deserve to be led on in such a manner! | |
| Giorgio | You don’t know your cousin. She is not a child! She is not just a sick person. Signora Fosca is as responsible for her actions as I am for mine. | |
| Colonel | You have abused my good faith, come into my house to dishonor it. Your attitude towards me is nothing short of contemptuous. I must demand a reparation from you – and mere words will not suffice. | |
| Giorgio | What? A fight? A duel? | |
| Colonel | I confided you. You know that my cousin has been taken advantage of before. (The Doctor enters and stands off to the side) We will meet tomorrow mornint at eight, behind the castle steps. |
|
| Doctor | (trying to make light of the situation) Gentlemen, please. Colonel, there is an explanation. Captain Bachetti, speak up. Say how she forced you – |
|
| Giorgio | Not at all. Nothing was forced on me. | |
| Doctor | Oh please, let’s come to our senses here. | |
| Colonel | One thing more. My cousin knows nothing of this discovery. She must know nothing of what is going to happen. I need your word on that. | |
| Giorgio | She will not hear of this matter from me. | |
| Colonel | Very well. Tomorrow. (he exits) | |
| Doctor | It’s deplorable that that woman should have brought you to this. Let’s not panic. The Colonel will calm down. There’s still time to explain – | |
| Giorgio | You will arrange for me to see Fosca. | |
| Doctor | Are you totally mad? | |
| Giorgio | Whatever the outcome of this duel, I will never see her again. You will arrange for me to see her as you did before. | |
| Doctor | Impossible. | |
|
I Was Wrong |
||
| Giorgio | Don’t you see what you’ve endured, Doctor? What that woman has endured? My rejection, my disgust My indifference, my anger My contempt and, yes, my ugliness What that woman has endured, Doctor No one has ever loved me as that woman has No one has ever known me as that woman has |
|
| Doctor | You’re taken leave of your senses | |
| Giorgio | You may have forgotten how to cure a disease, Doctor, but you induced mine. Don’t pretend you don’t know what I’m talking about. |
|
| Doctor | I hope you understand that woman can never be your lover. Her physical condition – | |
| Giorgio | You will arrange for me to see her. | |
| Doctor | No, I take no part in this madness
(The Doctor exits) |
|
| Giorgio | I was wrong, Love’s a demand, I was wrong, Love needn’t grow, Love can be sudden surrender, Not tender, not slow, And I know now that I love Fosca, No, not the way that she loves me, But, I love Fosca, And nothing will come of it, And, if I should die tomorrow, Or live and be forced to go, No one has truly loved her but me, And I want her to know… |
|
|
Scene Nine |
||
| Giorgio | Fosca. Fosca. (She lifts herself up) I’m sorry to surprise you. |
|
| Fosca | Thank you for coming. | |
| Giorgio | I wanted you to know that I had nothing to do with this transfer. | |
| Fosca | I know that now. The Doctor told me. | |
| Giorgio | That letter from Clara … | |
| Fosca | Yes? | |
| Giorgio | It’s over. Finished. | |
| Fosca | I’m so sorry. | |
| Giorgio | Sorry? I thought you’d be happy. | |
| Fosca | There was a time when I’d welcomed that. But I realise now I don’t want you to be unhappy. I don’t wish to see you sad. | |
| Giorgio | I feel so much … but I’m not really sad. | |
| Fosca | I thought you loved Clara? | |
| Giorgio | I did love Clara. I did. But … | |
| No One Has Ever Loved Me | ||
| Giorgio | No one has ever loved me As deeply as you. No one has truly shown me What love could be like until now: Not pretty or safe or easy Are you cold? |
|
| Fosca | No, I’m afraid. | |
| Giorgio | Of what? | |
| Fosca | All this happiness, Coming when there’s so little time. Too much happiness More than I can bear. I pray for the strength to enjoy it. You’ll leave tomorrow. This is the only time we have. You do love me, don’t you? |
|
| Giorgio | Yes, I love you. | |
| Fosca | Say it again. | |
| Giorgio | I love you. | |
| Fosca | Once more. | |
| Giorgio | I love you. Be calm. Be strong. I am yours. |
|
| Fosca | This isn’t a dream? | |
| Giorgio | This isn’t a dream. (She begins to lead him towards the bed but Giorgio resists) No, Fosca, we can’t. |
|
| Fosca | To die loved is to have lived. | |
| (They kiss. Fosca becomes weak, and Giorgio lifts her and carries her to the bed where he gently puts her down. He stares at her momentarily; her strength returns and she pulls him onto the bed as the music swells and the lights fade.)
An open field. |
||
| Lombardi | Gentlemen (The Colonel crosses to center; Giorgio stands numb) |
|
| Doctor | Captain. | |
| (Giorgio comes to life and makes his way to center; Lombardi presents a box with the pistols. Giorgio and the Colonel each take one and then move to their positions.) | ||
| Torasso | Ten paces, Gentlemen. One, two, three, four, five, six, seven, eight, nine, ten. | |
| (The Colonel and Giorgio mark off ten paces. They turn and fire almost simultaneously. The Colonel stands frozen for an instant, then trembles and falls to the ground; the Doctor and the other men rush to his aid, leaving Giorgio standing alone on the other side of the stage. Suddenly, Giorgio lets out a high-pitched howl – a cry that is clearly reminiscent of Fosca’s – as lights fade to black)
Lights up on Giorgio, dazed, sitting at a desk. A nurse enters and brings him a box with a letter. As Giorgio opens the letter, the Doctor enters. |
||
| Doctor | Captain Bachetti. I didn’t write to you before, because I knew your illness might prevent you from comprehending the contents of my letter. I now have heard that you’re close to recovering and that your nervous condition has improved. I don’t know what you’ve been told or what you even remember of the events that led you away. Signora Fosca died three days after the night you last saw one another. She died without knowing of what took place between you and her cousin. The Colonel’s wound was serious, but not mortal. He recovered in a few months. I wanted to speak to the Colonel about you in oder to convince him of your innocence, but in the end I was afraid that I would hurt your cause more than help it. In a box that I am sending, you will find papers that were left behind in your desk. Also, I’ve enclosed some personal belongings of Signora Fosca’s, and a letter she wrote to you just prior to her death. (As Giorgio goes through the papers in the box, he summons up his past.) |
|
| Finale | ||
| Barri, Rizzolli, Torasso | The town, it is remote, isn’t it? And provincial – Don’t you think? |
|
| Clara | I’m filling up our room, Our little room, With every flower in bloom. I’ll have the fire lit, The table set, I’ll wear the blue chemise … |
|
| Ludovic | The time has come to face the truth Signorina … |
|
| Attendants | This sterile little town These pompous little men. |
|
| Lombardi, Augenti, Soldier 1 | This military madness … | |
| Attendants | Military madness … | |
| Lombardi, Augenti, Attendants | Uniforms, uniforms … | |
| Clara | Imagining your fingers touching mine Imagining our room The bed, the secrecy The world outside Your mouth on mine … |
|
| Colonel | An unattractive woman Is easily deceived … |
|
| Doctor | What is the cost of a few words when a life hangs in the balance?
(Giorgio picks up Fosca’s letter, opens it and starts to read) |
|
| Giorgio | My dearest Giorgio. The end is near. The time has come for me to surrender life gracefully. These past two days since you have left, since we were together, have been a revelation. Now at last I see what comes from feeling loved. |
|
| Giorgio, Fosca | You see things clearly. Things I feared, like the world itself, I now love dearly. I want to live. Now I want to live, |
|
| Fosca | Just from being loved. All that pain I nursed inside For all those years – |
|
| Giorgio | All that vain and bitter self-concern – | |
| Both | All those tears and all that pride Have vanished into air … |
|
| Fosca | I don’t want to leave. | |
| Giorgio | Now that I am loved. | |
| Fosca | I don’t want to leave. | |
| Both | Everywhere I turn, you are there. | |
| Fosca | Everywhere I look things are different. | |
| Both | Everything seems right Everythings seems possible, Every moment bursts with feeling. Why is love so easy to give And so hard to receive? |
|
| Fosca | But though I want to live, I now can leave With what I never knew: I’m someone to be loved. |
|
| Giorgio | I’m someone to be loved. | |
| Fosca | And that I learned from you. | |
| All | I don’t know how I let you So far inside my mind. But there you are and there you will stay How could I ever wish you away? I see now I was blind. |
|
| Fosca | And should you die tomorrow, Another thing I see: |
|
| Giorgio | Your love will live in me … | |
| Fosca | Your love will live in me … | |
| Giorgio, Group 1 | Your love will live in me … | |
| Fosca, Group 2 | Your love will live in me … | |
| Giorgio, Group 1 | Your love will live in me … | |
| Fosca, Group 2 | Your love will live in me … | |
| Giorgio, Group 1 | Your love will live in me … | |
| Fosca, Group 2 | Your love will live in me … | |
| Giorgio | Your love will live in me … | |
| Fosca | Your love will live in me … | |
| Giorgio | Your love will live in me … | |