Gas - Complete Trilogy

8/10/2019 Gas - Complete Trilogy

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THE CORAL

(DIB KORALLE)

BY GEORG KAIS ER

Translatedfmm theGermanhy WINIFRED KATZIN


2/67

The three following plays

"The Coral," "Gas I,"

and "Gas II" constitute a trilogy insofar as each

presents a stage in the development of the main

idea that runs through all. In its action, however,

each play forms a complete a nd independent unit

"T H E CORAL," COPYEIGHT, 1918, BY UNITED PLAYS, IN C .

" GAS II ," COPYRIGHT, 1920, BY UNITBa) PLAYS, INC.

All three plays are here reproduced by special

arrangement with Gustav Kiepenheuer Verlag,

publishers of the Germ.an text

The truncations of "The Coral" and "Gas IF' were

made especially for this collection


3/67

GE OR G KAI S E R AND "E XP R E S S I ONI S M "

ORQ KAISEE, the author of The Coral, Gas I, and Gas II, was bom in Magdeburg in

the son of a me rchan t. After some years spent in business, he turned to the thea tre.

Rector Kleist, when he was twenty-five years old, and since that

himself entirely to playwriting. Up to th e present his plays number

FroTn, Morn , to Midnight (.Von Morge n bis Mitternachts), Hell, Way, E arth (Holle,

and The Fire in the Opera House {Der Brand im Opernhaus). Although a

Stem heim , and even by Shaw. As the Russian dram atist A ndreyev confessed

o as his spiritual fathers." Since Kaiser is in general

The Coral, Gas I, an d Gas / / are expressionistic, a description of

both subject-m atter and trea tm ent and is so inconsistent in its practices. Comm only

the work of various dram atists for generation s pas t. As a domin ant m ethod, however,

chief.

een years . It represe nts no organized movem ent and thu s far has crystallized into no

nite creed. Bu t certain of its general characteristics are plain enough. It starts by

Na turally , then , it is chiefly concerned not with phenomena b ut with ideas

springs of conduct. Since it pursues its idea or its passions from the rea l world

its characters. Hence it may sta rt with something resembling realism and finally

into the wildest phantasmago ria, even within the lim its of a single action. The

only one elab orate sy mb ol. Significantly, th e' action is usually pre sente d in brief

s, which are connected only by th e fact th at all present successive em otional reactions

various phases of the idea. Th e characters are mere types, and usually bear only typ e

scarcely even a typ e, hardly m ore than a personified abstra ction. The

realit y. Th e expressionist is in his techniqu e reckless, daring, uncon

and utter ly inconsistent in his practice. W heth er or no t expressionism is a

dram aturg y. It s influence has been felt in America, nota bly in the work of Eug ene

was first produced in 1917; Gas, part I, in 1918; and Gas, part II, in 1920;

at the Neue s The ater, in Frank fort, G erm any. Gas, part I, was produced in English,

epertory T heatre , at Birmingham, England, in 1923, and a t the


4/67

C H A K A C T E E S

T H E BlLLlONAIKE

T H E

SON

T H E D A U G H T E R

T H E S E C B E T A B Y

T H E Y O U N G W O M A N IN T A F F E T A

T H E

MAN IN

B L U B

T H E L AD Y IN B L A C K

T H E D A U G HT E B OF THE L A D Y IN B L A C K

T H E G E N T L E M A N IN G K A Y

FiBST

S E R V A N T

SECOND SERV NT

T H E S I N G B B

T H E D O C T O R

T H E M U S E U M D I E E C T O R

T H E C A P T A I N

FiBST

J U D G E

S E C O N D J U D G E

A

G U A R D

A

P R I E S T

The action takes place at the present day in an industrialized country

not definitely located


5/67

THE CORAL

A C T O N E

oval room, "The warm heart of ike

Pale wall-panels in which the doors

invisible, tivo rear, one left. Only two rownd

ivhite dephant-leather, centre, op

apaH.

On the outer wing of the

right a signal apparatus.

this chair sits the SECBBTAEY. An in

shy energy in the profile. Reddish

The frame, in its suit of the roughest

yet derives weight and im

from a certain ever-ready initiative,

suppressed. In the other chair the

G W O M A N I N T A F F E T A .

Wo uld you mi nd . . .

Oh, I und e r

brief. I am not the on ly

wa i t i ng to be hea rd . Th e an te - room i.s

be t te r jus t i fied . W ho can te l l? Th e

in is an extr a win dy one . . .

I s h o u ld h a v e t o k n o w w h a t y o u r

Hell , s ir . Yes,

I do no t exagg e ra te ; th a t i s no t my w ay.

f eve ry th ing . And I can ' t speak th e

u t I . . . bu y m y brea d

D o y o u w i s h t o b e a d m i t t e d i n to

W it h flowers

[Takes a notebook out of his

Y o u h a v e tw o y e a r s ' t ime

ich to consider th e foundat ions of a

Tw o . . .

Th e doors o f evsry hom e for

in Taffeta [Taking his hand

and kissing it hysterically]. I neve r so ld m y

chi ldhood fa i th . I neve r he ld God up for

sa le . No w he seeks me ou t wi th h is m es

senger . . . m y Go d's me sseng er . . . yo u

a re he . Ta ke my burn ing than ks ; I of fe r i t

on my knees . Mo re th an th a t . . . mo re

th an th a t , i t i s God h imse l f who goes amon gs t

us again . W e are a l l sav ed . . . ha lle lujah ,

a m e n

[The SECBETABT presses a button on the

signal board. Immediately two serv

ants enter left, herculean figures in

yellow livery. They raise the YOTJNG

W O M A N I N T A F F E T A an d lead her

through the door, rear]

Young Woman in Taffeta [Ecstatically]. A

hom e for the f a l lenI sha l l become an oth e r

wo ma n the r e . . . ano the r . . .

[She and the servants go. The servants

admit the MAN IN BLUE and lead him

to the chair, then go.]

Secretary.

W o u ld y o u m i n d . . .

Man in Blue [Speaking with difficulty].

M y chest . . .

Secretary. D o y o u w i s h t o b e a d m i t t e d t o

a s a n a to r i u m?

Man in Blue [Burying his face in his

hands]. T h e y ' v e t u r n e d me o u t n o w th a t I

h a v e w o r k e d my s t r e n g th a w a y f or t h e m . A m

I an o ld man ? No . I 'm in the pr im e of h fe ,

bu t I look aged, aged. M y clothes flap on m y

bonesonce I f i l led them out to the very

seams. Th e Sys tem has been the ru in of mo.

Secretary. Are yo u a labo rer?

Man in Blue. Th e Sys tem ru ins eve ryon e

wi th i t s inhuman us ing up of a l l a man ' s

capac i ty . An d a lways a c rowd wa i t ing , so

tha t one ' s go t to be used up qu ick to make

room for the next one.-

Secretary. C an you f ind no emp loym ent in

any fac tory?

Man in Blue. T h e y d o n ' t e v e n l e t me

throu gh the ga te s any more . I 've been wa lk

ing th e s t r ee ts fo r a fo r tn igh t now , and I h av e

ea ten m y la s t pe nn y away . No w . . .

Secretary. We have se t t lem ents on th e land .

Man in Blue. W e h a v e I k n o w . T h e y a r e

far off and I can ' t get there on foot.

Secretary. Th ey lie on th e t r a in l ine .

99


6/67

10(3

GEORG KAISER

Man

in

Blue. I . . .

h a v e a ' t

the

pr ice

of

a t icke t .

Secretary [Pulls

out his

notebook

and

writes.

Hands the slip of paper across]. Show th is

no te ou ts ide .

Man in Blue [Reads stands up]. T h a t

is

mo r e t h a n

the

t r a in f a re . [Stammering.]

I

h a v e

a

wife

and

ch i ld ren .

I can

t a k e t h e m

w i t h m e a n d I hadm e a n t to le a v e t h e m

[The SECEETABT presses a button on the

.signal-board.

The two

servants come.]

Man in Blue [Already hastening out, left].

My wife

. . . my

ch i ld ren [Goes.]

[The servants shut the door behind him,

then open

it

again

and

admit the LADY

IN B L A C K and her daughter. The

DAUGHTER carries a violin case.]

Lady in Black [To the servants]. T h a n k

y o u I p r e f e r

to

s t a n d . [Servants go.]

Secretary [Standing

up]. W o u l d

you

m i n d

. . .

Lady

in

Black [Calmly]. I dec ided to t a k e

th i s s t e p

for my

d a u g h t e r ' s s a k e .

I

los t

my

h u s b a n d

a few

m o n t h s

ago. He

left

me al

mo s t n o th in g . For myself I have been ab le

to find

a

s i tua t ion which wi l l keep

me, but I

k n o w t h a t

I

should neve r ea rn enough

for

my d a u g h t e r ' s mu s i c a l tr a i n in g .

I

have reason

to be l ieve tha t

he r

t a l e n t

is

grea t enou gh

to

onsure he r f u tu r e . I p u r p o s e ly b r o u g h t no

t e s t imo n ia l s

to

that effect .

The

bes t wi tness

to

her

c a p a b i l i t y

is her

p lay ing . Wil l

you

hea r he r?

Secretary.

I

be l ieve your daughte r a l so wi l l

f ind tha t more en joyable when

he r

t r a i n i n g

is

comple ted .

Lady in Black.

Am I to

a ssume f rom tha t ,

t h a t . . .

[The SECBETABT

writes.

To her

daughter]. K i s s

his

h a n d .

Secretary [Gives

the

sheet

to the LADY

I N

BLACK] . Co l l e c t t h i s mo n th l y u n t i l

t he end of

her s tud ie s .

Lady in Black [Without reading it]. T h a n k s

m u s t w e a r y you, you h e a r t h e m so of ten.

People mus t seem p i t iab le

to you, you

m a k e

s o m a n y

of

t h e m h a p p y .

As for us, we can

b u t m a r v e lat themi r a c l e t h a t t h e r ecanexist

someone who does

no t

shu t h imse l f awa y f rom

u s w h e n

we

c o me

to him

w i t h

our

t r o u b l e s .

T o h e a r

us all is an act of

grea t e r courag e

t h a n

th e

fulf i l lment

of our

r e q u e s t s

is an act

of imspeakable goodness .

[The SBOBETABY presses a button on the

'.-board.

The

servants come

and

the

L A D Y IN B L A C K

and her

daughter away. A signal buxxs.

Immediately the SBCBETAKY presses

another button.

One of the

servants

appears, left.]

Secretary.

W a i t .

[Servant goes.]

[Through therighthand door in the rear

which,

as it

opens,

is

seen

to be

heavily padded, the BILLIONAIEE

hastens

in. The

detailed description

of theSECRETARY above aimed at the

description of the

B I L L I O N A I H E ,

for

the SECRETARY is merely

his

double,

identical to a hair. Even in speech

and gesture the likeness

is

complete.]

Billionaire.

The

sailing-list

of the

' F r e e

d o m

of the

Seas . ' Rece ived a f te r dep a r tu re

y e s t e r d a yandr e p o r t e d t h i s mo r n in g byr ad io .

M y son does

not

a p p e a r a mo n g

the

passenge rs .

Secretary. O n ly

his

c o mp a n io n .

Billionaire.

The

l is t

is

i n c o m p le t e .

Secretary. T h e y

are

usua l ly pe r fec t ly

ac

cura te .

Billionaire. W h e r e

is my son if his

c o m

p a n io n is on t h a t s t e a m e r? He m u s t h a v e

b o o k e d

on her. I t was my

w i s h .

The

p a p e r s

p u b l i s h e d

the

n a m e s

of

ev ery first-class p as

senger ,

and my

s o n ' s

was th e

first.

Secretary. I d o n ' t b e li e v e t h e r e is anyerror .

Billionaire.

He

m u s t

be on

b o a r d . T h e r e

is

no

o th e r s h ip

he

could poss ib ly

be on. I

sen t express ins t ruc t ions

to his

c o mp a n io n

th a t t h e y w e r e

to

come

on her; she is th e

f a s te s t of all s t e a me r s . The r e p o r t is

w r o n g .

Get in

t o u c h w i t h

th e

s h ip p in g -

office.

Ask the

source

of the

e r r o r . W h e th e r

o n b o a r d o r

in the

d r a w i n g - u p

of the

list.

[SECRETARY hesitates]. W a i t

at the

te lephone

fo r an answer .

Secretary.

I t

will keep

me . . .

Billionaire. F r o m w h a t ?

Secretary. T o d a y is o pe n T h u r s d a y .

Billionaire [Thoughtfully]. O p e n T h m ' s d a y .

[The

SECRETARY

waits]. Go and

i n q u i r e .

I'll

s t a y h e r e me a n w h i l e . [SECRETARY gives

him

the notebook].

Say the

m a t t e r

is

exceedingly

u r g e n t andr e p o r t at once . [SECRETARY leaves

through door left. BILLIONAIRE sits down in

chair, presses button. Servants adm it

the

G E N

TLEMAN

IN

GRAY, powerful frame,

in

ample

light-gray suit, the pockets stuffed w ith news

papers

and

pamphlets, round

redhead,

shorn.

Sandals.]

Gentleman

in

Gray [Follovnng

the

servants,

who indicate the chair fanning himself with

his

cap]. T a k e

it

s low. W ai t

a

m i n u t e .


7/67

THE CORAL

1 0 1

[Servants wait]. Be t t e r k e e p

m out th e re this i s go ing to take som e

[To the

B IL L IO N A IR E ] .

I t won ' t be den ied

I sha l l ha ve you r a t te n t io n r ive ted

[To the servants].

[At a sign from the B I L

servants off.]

W ould you . , .

in Gray [Looking about him].

[With

Sweeping c i r clesig

illionaire. Say w ha t you hav e to say . . .

Impress ive ba reness-

E x t r a o r d in a r y t h e p a n e l i n g

[BILLIONAIRE nwves

ards the signal-board.

GENTLEMAN

D on ' t r ing for th e

I k n o w th i s o p en T h u r s d a y i s

for a l l wh o wa i t . Ea ch was ted m o

t a n d s o me h u m a n f a t e is d e t e r min e d .

Billionaire. I n w h a t c o ime c t i o n d o y o u

Gentleman in Gray. I . . . leaning for

w a n t t o h e lp y o u .

[BILLIONAIRE

makes

involuntary moveme nt towards the ivall].

need . I ' m sane , qu i te^ I tho ug ht th is ove r '

l o n g t ime . I ' v e s t u d i e d t h e ma te r i a l

d o ve r i t ^ a n d c o m e t o t h e r e s u l t a n d

is o f abs urd s imp l ic i ty . Th e whole

Billionaire. W h a t s t r u g g l e d o y o u me a n ?

Gentleman in Gray. T h e o n ly o n e w h ic h

Billionaire. T ha t . . .

Gentleman in Gray. I can se t t le .

Billionaire. [With a searching look that

W h a t ma d e y o u co me to me ?

Gentleman in Gray. Y o u ' r e s u r p r is e d . Bu t

aU was los t . T he se rvan ts wou ldn ' t

me t h r o u g h a se c o n d t ime . N o t r i

[Bringing out his papers

I now proceed to deve lop wha t

m ent ion ed before . Th is is mater ia l

aus t iv e a ssurances . Soc ia l is t newsp ape rs ,

gh ting pro le ta r ia t . Appea ls , e s t ima te s

of m ean s for s t ir r ing up success tarif fs ,

s ta t is t ic s , tabl es of f igures, flood of l i t era tu re .

L i t e r a tu r e n o th in g el s e. A n d b r in g s n o b o d y

a single step fur ther , the r if t gapes wider every

day . For i t i s bu i l t upon enm ity to th e kn i fe .

[Pushing it all back into his pockets]. P i ty for

the i r pa ins . Use le ss wan der in g in bh nd a l leys .

To no purpo se . Do you fo llow me?

Billionaire. I d o n ' t u n d e r s t a n d .

Gentleman in Gray. W h a t a r e y o u d o in g

h e r e ? G iv in g w i th b o t h h a n d s . W h o e v e r

a s k s ,

g e t s . M u c h o r l i t t le , w h a t e v e r t h e y

wa nt . You r b i l l ions ma ke i t poss ib le . Yo u

dec la re you r open Th urs day . Al l come and

rece ive . Wr e tche dnes s c reeps ove r th is th re sh

o ld cower ing , an d dances ou t joy . Th e mo uth s

of th e opp ressed ha il parad ise in thi s "oval

r o o m h e r e b e a t s t h e h e a r t o f t h e e a r t h

glowing , merc i fu l . N ot fo r a m om ent does i t

m i s s a b e a t b u t s p e n d s a n d s p e n d s . W h y

do you do i t?

Billionaire. M y m ill ion s . . . .

Gentleman in Gray. N o .

Billionaire. W h a t t h e n ?

Gentleman in Gray. Y o u r w e a l t h r e v o l t s y o u .

[BILLIONAIRE raises one hand]. Y o u ' r e n o t

aware of i t

yourself,

bu t fo r me the re can be

no o the r r eason I do a ssure you . I d idn ' t come

upo n i t ove rn ig h t . I 'v e run a rou nd too in al l

the wea r isome b l ind-a l leys un t i l I fo imd the

open road tha t a lone leads to the goa l .

Billionaire. W h a t g o a l?

Gentleman in Gray. T h e en d of th e fight,

th e s t ruggle be tw een r ich an d poor . A th in g

tha t no pa r ty , no pa ro le , can br ing to pass ,

tha t you can make rea l wi th a s ing le s t roke

of you r pen . An d the reb y rend e r a l l the r e s t

superf luous,^this glowing hear t of the ear th

of y o u r s , y o u r o p e n T h u r s d a y , t h e a s s e mb la g e

of mise ry in you r an te ro om . Fo r the y a re a l l

mere drops you pour in to the sea of d is t r e ss .

T a k e i t f ro m me , I k n o w . Bu t b y t h e p e n -

s t roke I r e fe r to , you can proc la im e te rna l

peace on ea r th . S ign th is dec la ra t ion .

Billionaire. [Without taking the document].

W ha t dec la ra t ion do you wa nt of me?

Gentleman in Gray. T h a t y o u r e g a r d t h e

e n r i c h me n t o f i n d iv id u a l s a s t h e mo s t mo n

strous of evils .

Billionaire. T h at I . . .

Gentleman in Gray. Y o u mu s t . I t mu s t

come f rom you , the b i l l iona i re o f b i l l iona i re s .

Coming f rom you i t wi l l have impor tance ,

weig ht. Lik e a l igh tnin g flash i t wil l i l lum inat e

the ba t t le f ie lds where the oppos ing forces now


8/67

102

GEORG KAISER

stand confronting each other armed to the

teeth . The w hite flag of peacable discussion,

that is what we will run upunderstanding.

War will then become superfluous, the cause

itself an nulled . You did not desire riches

circumstances forced you. Bu t there is a way

to alter that condition, and a solution will be

found and sought for in a spirit of brother

hood.

Billionaire.

I hard ly thin k . . .

Gentleman in Gray.

You alone, you alone

can do it. You mak e these gifts because you

have to. An inner force compels it. Bu t it

was all in little until I came to show you the

greater thing and now you will sign with joy.

[TheBILLIONAIRE stands up].

Surely you do

not mean to call your servants?

Billionaire.

I . . .

[Stands behind the chair

thinking].

Gentleman in Gray.

I knew you would.

Billionaire.

I am going to explain to you.

Gentleman in Gray.

Your signature.

Billionaire [Again repudiating].

Then you

shall say whether I am able to sign that paper

or not.

Gentleman in Gray.

You must.

Billionaire [Returning to his seat].

Since it

appears to be yoiir wish to turn the whole

order of things upside down, I must try to

construct for you my world as it appears to

me.

Do you know anyth ing of my beginnings?

Gentleman in Gray.

Yes, your own powers.

Billionaire.

M y own weaknesses.

[GENTLEMAN IN GRAY

looks at him

disconcerted.]

Billionaire.

Or let us sayfear . . . dread.

Weakness and fear, then. Bu t you will not

grasp this in the space of a word or two. M y

careeras they say^is told in every school

book. So it is a well known story which I am

about to repeat. The da ta will be the same,

only I shall lend the m a different significance.

My father was an employee in the factory

which now belongs to me. Wh ether he kept

the furnace going under a cauldron or carried

loads from place to place, I don 't know. At

any rate, he did not earn much, for we hved

in wretched circumstances. One Mo nday it

was payday he failed to come hom e. He

had been given notice to quit, for he was used

upand he had taken his last money and

gone off with it. He could never hav e provided

for us any longer. On that night my m other

took her own life. Somewhere in the house I

heard a scream . . . I didn' t run to see what

it was, I knew alreadyI was eight years old.

In that moment I knew what horror was, and

it took root in me. It stood before me like a

gray wall that I must climb over to escape the

horror th at pursued me. The horror made up

of my father's staying off with his wages and

my mother's scream set me on my way

drove me to flight. It stood at my back as I

workedI found employment in the same

factory. It nev er left me even for a second

and I fled and fled before itand fiee still, for

it stands behind me somewhere now as then.

Gentleman in Gray.

You made a bewilder-

ingly rapid rise.

Billionaire.

Tireless diligence, tireless in

dustry, tireless flight, nothing else. I mu st

keep the distance ever wider between the

horror andmyself. It drove me on. No hope

of quarter , th at much I have learned. It

goaded me forward. Th e min d becomes

ingenious against a dread that freezes up the

limbs. There stood the mach ines which had

sucked my father dry, hung my mother by

the neck from a hook on a door, they would

crush and maim m e too unless I became their

master first. The factory, with its machines

with its people set between me and the

horrorthat was the first I ever knew of rest.

Gentleman in Gray [Brushing his hand

across his forehead].

But after all . . . such

an experience occurs a hundred times a day

. . . the father disappears, the mo ther . . .

Billionaire.

It stru ck me down because I

was particu larly weakly. I mus t have been,

or I should have withstood it bette r. Instea d,

I ran away as har d as I could go. Ha ve I said

enough?

Gentleman

in Gray

[Staggered]. I protest . .

Billionaire.

Again st th e weakling before

you?

Gentleman in Gray. Then you

have no

mercy on your fellow men . . .

Billionaire.

No fugitive m ay see whom he

tramples underfoot.

Gentleman in Gra y [Joyfully and with a

searching regard].

Nevertheless'The warm

heart of the earth'.

Billionaire.

Certainly. I refuse to be

brought in touch with povertyit is too

powerful a reminder. I inst itute d the Open

Thursday, thereforeI know then when to

hide

myself.

Gentleman in Gray.

Yet you sit here and

listen to it all.

Billionaire.

Erro r. M y Secretary sits here.


9/67

THE CORAL

1 0 3

in Gray [After a pause sharply].

N ot mine^it isth ecosmic p lan .

T ha t each c la ss i s one

Al l a re fug i t ives .

A n d th e fleetest , . .

Ut te r e s t coward s . . . ye s . . ,

Tr ium ph . . .

M y s o r t .

Gray [Groaning, then with

T h e n I mu s t r e s t m y h o p e i n a h u m a n

t c o w a r d s .

Some wi l l a lway s be born more

an th e r e s t . T he cause i s o f no con

ence . I t is a leve r wh ich se ts i tse lf in

. P r o g r e s s n o t w h i th e r b u t w h e n c e

suspic ions grow. Ex ac t l y . I express

t y o u a s s u me . A n d I a m mo r e f a mi li a r

n y o u w i th t h i s li n e o f t h o u g h t . W h e r e d o

Th ey r i se ou t of th e da r k because

were in th e da rk . An d the re expe r ience

m ete ors th a t f lare . . . and fa l l .

Gray [Mocking]. A n d w h e n

fall?

[The

B I L L I O N A I R E

head, smiling]. H o w h a v e y o u

I hav e a son . [The SECEBTAEY

BILLIONAIEB

rises, goes toward

Ha s th e mi s tak e been cor rec ted?

Th e l i s t was comp le te .

W i th o u t m y s o n ?

H e i s no t on th e 'F re edo m of

B u t h i s c o mp a n io n i s .

T h e y m u s t h a v e s e p a r a t e d .

An d he wi th orde r s no t to s t i r

[The SBCEETABY is silent]. I

hav e an explana t io n . At th is mo me nt I

no t even know where m y son i s . Ge t in to

h i s c o mp a n io n b y r a d io . L e t h im

S o me th in g mu s t h a v e h a p p e n e d . I

Yo ur son i s you ng .

Te nde r cha ins th a t . . . ? W e

[SECBETAEY off

BILLIONAIEB comes hack to his

Di d my s tory a ffec t you so deep ly

in Gray [Had leapt up as the

entered. He is still staring at the

door through which he disappeared. Now he

turns to the BILLIONAIRE] . D O I see double?

I s i t you s i t t ing he re? I s i t you who jus t w en t

thro ug h tha t door? I s i t yourse lf you were

jus t speak ing to?

Billionaire. N o. I wa s arra ng ing a piece of

bus iness wi th my sec re ta ry .

Gentleman in Gray.

T h e

Secretary

are

you bro the r s? B ut even then i t wou ld be . . .

Billionaire.

B ut poss ib le , a s you obse rve .

Gentleman in Gray. [Dropping into the

chair]. Hor r ib le .

Billionaire. A c o mm o n p r a n k o f N a tu r e ' s .

You' l l f ind a repeti t ion of each of us, i f you

t ry , o f course . I ha d mine looked for and I

a d mi t t h a t f o r t u n e f a v o r e d me .

Gentleman in Gray. F o r t u n e ?

Billionaire. I t se rves m an y exce l len t pur

poses for me . I can be he re an d the re w i tho ut

eve r bes t i r r ing myself. E v e n a t t h i s O p e n

T h u r s d a y I a m p r e s e n t i n my w e l l - k n o w n

perso n and a m pe rha ps on a f ishing t r ip a t

some d is tan t r ive r .

Gentleman in Gray. D o you s t i l l kno w

which one you a re?

Billionaire.

I im agin e so.

Gentleman in Gray. Bu t eve ry bod y e lse

takes the Sec re ta ry for you?

Billionaire. E x c e p t t h e tw o s e r v a n t s w h o

guard my pe r sona l Sec re ta ry .

Gentleman in Gray. Othe rw ise you a re in

d is t inguishable?

Billionaire. Ex cep t fo r a sma l l an d un

obt rus ive s ign , a cora l which the Sec re ta ry '

wea rs on h is wa tch ch a in . Th e one of us wh o

wears the cora l i s the Sec re ta ry .

Gentleman in Gray. A n d o n ly t h e s e r v a n t s

k n o w ?

Billionaire.

T h e y a r e d e t e c t i v e s .

Gentleman in Gray. W ha t if I should be t ray

your sec re t?

Billionaire. W ho wou ld be l ieve you ? I t

would be one more legend about me .

Gentleman in Gray [Shaking his head

energetically]. Y o u ' v e n o c o r a l o n y o u r w a t c h -

c h a in , o r I d id n ' t n o t i c e , w er e y o u w e a r in g

o n e b e fo re . . .

Billionaire. N o. I 've ta lke d to you s ince

you came in in my own pe r son , and i f you

wish to hea r the r e s t

Gentleman in Gray [Laughing]. T he end of

your head-over-heels f l ight before the horror

or is there no end?

Billionaire. In m y son . I hav e a dau ghte r ,

bu t the s t ronge r bond i s wi th the son , o f


10/67

] 4

GEORGKAISER

course. Have you children? No. Then you

must allow me to know. With a son one feels

his continuationone's own continuation

in his beginning. That is a law that runs in

the blood. It is my most certain conviction

that it is so. Every father wishes that his son

shall have it better than he did.

OenUeman in Gray. And not know the

horror, as you call it.

Billionaire. Need I say any more? It is

all so obvious.

Gentleman in Gray.And have you protected

him?

Billionaire.

Ilet him live in brightness. He

has no contact with those things that scream

and wail from your pamphlets. I have led

him along a bypath from all that.

Gentleman in Gray. Where do you keep

him hidden?

Billionaire. I don't keep him hidden. The

earth has so many sunny strands.

Gentleman in Gray. Where the horror may

be dreamt away.

Billionaire. Where one can make oneself a

happier past.

Gentleman in Gray. And have rest from

flight, and blessed peacefulness.

Billionaire. In paradise.

Gentleman in Gray. You found your out

ward doublethe Secretary.

Billionaire.

Does that still excite you?

Gentleman in Gray.No, there's method in it.

Billionaire.

How do you mean?

Gentleman in Gray. And now you're form

ing an inward doubleyour son.

Billionaire.

It may be my passion to ex

change.

Gentleman in Gray. With such reasons.

Billionaire.

So fearsome.

Gentleman in Gray. So powerful.

Billionaire.

Do you still want to help me?

With your declaration that I am to sign?

Gentleman in Gray [Pushing his news

papers,

etc.,

still

deeper

into his pockets, breath

ing heavily].You've set me in a turmoil. The

air's thick here. It presses the sweat out of

one's paws.

Billionaire. Think it over at leisure.

Gentleman in Gray. It is too crazythe

'Warm Heart of the Earth' . . . 'Open

Thursday' . . . the results

Billionaire. What results?

Gentleman in Gray. Chaos opens up.

Billionaire. It has already^therefore let

whoever can, save himself on the first spot of

firm ground he can find.

Gentleman

in Gray [Almost shouting].Not

you

Billionaire. I have a son.

Gentleman in Gray. It me out of here.

Buzz for your servants. I can't find the door.

Buzz for them, I tell you. [TheBILLIONAIEE

does so. The

two

Servants come. TheGENTLE

MAN IN GBAYthreateninglyto the

BILLIONAIRE] .

You've dashed my world to piecesfrom

under the ruins I curse youI curse you.

[The Servants seize him roughly and take him

out.]

Secretary [Coming in again],

A radio from

your son.

Billionaire. From land?

Secretary.

No. From shipboard.

Billionaire. Is he on his way . . .

Secretary [Reading].'Just left . . . '

Billionaire.On the 'Freedom of the Seas',

after all. [The SBCEETABY shakes his head].

Can she have a sister-ship, then, as sumptuous?

Secretary. [Goes on reading].

'On the

Albatross.'

Billionaire.

'Albatross'? What sort of a

ship is that?

Secretary. A coaler.

Billionaire. A . . . coaler? Does he ex

plain? [SBCRBTABY hesitateshands him a

telegraph. MILLIONAIREreads it through].As

stoker . . . [Collapsing against the chair].

What does it mean^my son . . . on a

coaler . . . stoker , . . ?

ACT TWO

Under the awning on the deck of the

B I L -

LIONAIEE'S

yacht. A

section

oftherailing, rear.

Heat mist

over

the calm sea.

In white-enamelled wicker

armchairs

BIL-

LiONAiBE, the

DAUGHTER,

the

MUSEUM-DI-

EECTOE,the

DOCTOR,

the

CAPTAIN,

all in

white.

A negro sets out iced drinks. Off, theSINGER'S

voice.

Singer. [Lowering her voice on a long last

note, comes in from the rear and trains her

kodak on the group. Breaks off as she snaps].

Thanks . . . [The rest look up surprised],for

the advertisement. On the high seasaboard

the most marvellous yacht in the worldand

such an audience We must have that on the

record. Every opera-house on earth will com

pete for a contract with me. [Dropping into


11/67

THE CORAL

105

theBILLIONAIRE]. Ifyo u enjoyed

am I mistaken? Tellme the

thepicture, anyway.

[Insome.embarrassment]. No,

. . .

othersclapapplause.]

[Quickly snapping again]. Second

[Handing thenegro her

Hotlemonade.

Jus t wha t I wasgoing to suggest

Ah,doctor, you don' t know me

and

Thenyou aredepriving

of a Uvelihood.

Well, isn' t th at

the

secret

of

suc

You've good healthy

I've the

most terrible nerves.

Won ' t

you

explain t ha t

to me as a

I seeghosts.

What sortofghosts?

J ust ghosts.

That ' s more than

I

ever have.

Because youhaven ' t an excitable

Artists have that's why they

I see. Only artists, nobody else.

Let's ask round. Itmakes an en ter

at

sea. Each

in

turn now. [To

Do you see ghosts?

I'm afraid we'veno time just

o . . . [To the

CAPTAIN].

Isn't the

due to

come within range

Youcan ' t quite calculatei t with

oftha t typ e.

Please. [TheCAPTAINgoes.]

What sort of a ship is this 'Al

ss' really?

Myson discovered i t. It must

me very special points . Mo st likelya

tosome friend he met on his

We can

challenge

her to a

race.

ThrilKug W hat

a

shame

I've so

me.

The

loser

to be

rammed.

Crewandall?

Five minutes rescue time. [To

Shall I go and tell the

topreparefor therace?

Museum Director. Suppose the unknown

'Albatross 'is toomuchfor us?

Daughter. I shall stayon thebridge. I'll

give

the

orders

to the

engineroom,

and

we'll

pile on all the steam w e can make.

Doctor.Atthis temperature.

Daughter. There' ll

be air up

there.

Doctor. I was thinkingof theengineroom.

Daughter [Stamping].

The

upper deck

is

al lI know about.

Billionaire. I don' t think the 'Albatross'

is faster than weso thecharmof the fight

isn' t there.

Daughter.Whatmy brother's chosen ship?

Billionaire.W e'll leave

the

decision

to

him,

then. He knows both sides. [The CAPTAIN

coniesback]. Sighted?

Captain. Not yet.

Billionaire [To his daughter]. You see,

she's slow. [To the others].. Let's amuse our

selves meanwhile.

Singer. Withtheghost game good

Billionaire [Hastily, to the

MUSEUM

D I -

HECTOB].

IStheTinto retto reallynogood at

all?

Museum Director. On thecontrary^it is

very fine, very fine indeed.

Billionaire. But you refused it when I

offered

it to you.

Museum Director [Nods]. Christ carrying

the cross.

Singer. Youobject to the subject?

Museum Director. When I extend it to a

matter

of

principleyes.

Doctor. There'llbeprecious little placefor

old mastersinyour galleryin that case.

Singer [To the

MUSEUM DIRECTOR]. Pro

ceed with the lecture, won't you? I'll snap

your audienceasyou arriveatthe climax.

Museum

Director.

In the newmuseum I

am

to be the

director

of, my aim is to

achieve a complete break with the past,

however recent. I shall conduct my entire

propaganda with this endinview.

Doctor.And what will you have left?

Singer. Em pty walls.

Museum Director.Em pty walls andprac

tically no thing

to

cover them.

Doctor. Highly original museum.

Daughter. Indoor tennis-courts.

Museum Director. And th at very cir

cumstance willbe aspurtonew productions.

Emphatically

a

beginning. Which means

especially no more disapproving criticism

basedoncomparisons w ith w hat has gone be-


12/67

106

GEORG KAISER

fore. We are all sitting in th at shadow^in

one way or anothe r it is a source of tormen t to

us all. We mu st get into the full light of

things againand shake off these cross-car

ryings. At least th at is how I see it. It is a

burden on usa cross that we are made to

carrythis mass of the past from which we

can only free ourselves by acts of violence

or even crimes, if it should come to t ha t.

Doctor.

And do you consider it possible

thenwithout self-deceiving?

Museum,Director.

I don't know.

Doctor. I'm afraid the cross-carrying is m-

evitable.

Museum Director.

One must truly desire

the future.

Doctor. You might manage it in your gal

lery.

Museum Director. My ambition goes no

further.

Doctor. But in real life I doubt very much

whether anyone can jump beyond his shadow.

[A sailor co mes with a report for the

CAPTAIN, an d

goes.]

Captain [Standing up. To the

BILLION

A I R E ] . The 'Alb atro ss' is close by on the

starboard side.

Billionaire. [Excited]. Send the launch

over. [CAPTAIN

goes.]

Doctor. Now we shall know all about the

mystery-ship.

Singer. And the matador.

Museum Director. My curiosity is at snap-

ping-point.

Daughter. I'm going up to flash the chal

lenge across,

Billionaire [Holding her back. To the

others]. Please go ahead; we'll come in a mo

m en t. [SiNGEB, MusETOi DiBBCTOB, and

DOCTOR

go],

I want to talk to you a second

first.

Daughter. Now?

Billionaire. It 's only a question.

Daughter. What is it?

Billionaire. Could you considermarry

ing the Museum Director?

Daughter. II don' t know.

Billionaire. I wan t to urge you to decide,

because . . .

- Daughter. I hardly know him.

Billionaire. No r I . . .

Daughter. Then how can you persuade

me so?

Billionaire. I sat listening to him just now,

and he impressed me as no other person ever

did.

Daughter. Because he rejected your gift?

Billionaire.

I hke his ideas. Th at inner

independencehis philosophy which admits

only the future and annihilates the past . . .

Daughter. I wasn't Mstening to him.

Billionaire. You would give me great joy . .

Daughter. Then it's superfluous to ask me

to think it over.

Billionaire [Shakes her

hands].

Now let us

go and meet your brother. [Theygo.]

[Sound ofbells and sirens. Sailors open

the railing rear and let down the com

panion. Everybody comes hack and,

leansover the railing. Handk erchiefs

wave.Helloes.]

Doctor

[Coming

under the awning]. It 's a

clumsy old tub.

Museum Director. [Following him]. Does

credit to the name of 'Albatross'.

Doctor.

Could you see any other passengers

aboard?

Museum

Director.

That may have been the

charm of the voyage.

Doctor. Thanks, not for me

Singer [Joins them, holding camera b ehind

her back]. Discretion^family reunion

[The

SON,

in a gray suit, com es up the

stairway, and the

daughter

falls upon

him with a storm of welcome. The

CAPTAINstands by at thesaluie.]

Son.

Ha ve you been lying in wa it for me?

Daughter. Up and down this spot for three

days. Glorious bore.

Billionaire. 1planned a surprise for you.

Son.

Well, you 've succeeded brillian tly.

Your guests?

Billionaire. A few intimates, tha t's all.

[TheSONgoesfrom one to theotherand

shakes hands in silence. Then he

stands beside a chair, still without a

word.

Th eawkward .silence continues.]

Daughter

[Flinging

herself into a chair]. Bit

too solemn for me.

Billionaire [Indicating the

chairs].

Please.

[Everybody sits down, theSON last and hesitat

ingly. The

CAPTAIN

comes back and sits down

too.]

Son [To Mm,

astonished].

Aren't we going

on?

Billionaire. I thought we migh t stay at sea

another three or four days.

Son. Certa inly, if you wished . . .

Billionaire. On your account.


13/67

THE CORAL

1 0 7

W hat for?

After your travels . . .

I say, I quite forgot to look at the

oss ' in all the excitement. Is she very

How many knots? [The

MUSEUM D I

and the

DOCTOR

laugh.]

W hat's the ma tter with the 'Al

We wanted to challenge her.

have ha d a good opponent?

You 're laughing at her. No, sister,

lbatross ' isn' t an opponent at all in the

Then why didn' t

[Uneasily, trying to change the

Well, what about your impressions

Did you visit the opera everywhere?

We may as well define the 'Albatross's'

s a coaler. You m ust know all the

I 'm afraid the 'Albatross' had

ed m e.

Why? [TheCAPTAIN smiles. To the

W hy should it have? Do n't other

They are not arranged for pas

No, not for passengers. Bu t wh at

Ar en't stokers people?

irector [After a pau^e]. You

W hat pleasure?

It is the antithesis be

Or else to

[Breaking off, and turning

BILLIONAIRE].

Did you have a repor t

I did not speak to him.

But he must have got back two days

I've been lying out here for

Are you displeased with him? I take

e. He did all he could to prevent i t.

[Avoiding the

subject].

Won' t

Th at's a city suit you have on.

It 's a bett er protection against the

ing abo ut. And besides it was

Billionaire. Do so thengo and get into

white from head to foot like us.

Son. Please let me enjoy myself my own

way.

Singer [Busy with the

camera].

Most in

teresting pictorial effect.

Son.

Is th at the only way it strikes you?

Doctor. In this extreme heat white clothing

is a matter of health.

Billionaire. The re spoke our careful doctor

obey him.

Son [With

repressedsharpness].

Would you

expect your professional advice to be followed

in the engineroom too?

Doctor. Scarcely.

Son. Because you do n't enforce it ther e.

Because of the black coal they work with.

Doctor. Exactly.

Son. Therefore he alt h do\^Ti the re m us t

suffer, while up here it must be taken care of?

Museum Director. You seem to have seen

more things on your tour than you . . .

Son.

When it is the first trip , one keeps

one's eyes wide open.

Daughter. Did you meet any princes?

Singer.

Tell us all about it .

Son.

Every day.

Daughter. H ave you made any friends? Is

anyone coming to visit you soon?

Son.

I could introduce fiveten^to you

off my coaler. Come with me next tim e.

Museum Director. Is this another . . .

Son.

Refinement of pleasure?

[A sailor comes with a report to the

CAPTAIN.

Th e

CAPTAIN goes

to the

DOCTOR and whispers to him. They

go-]

Son. Ar en't we going on now?

Billionaire. I have given no orders.

Son. W hat did the doctor go off with the

captain for?

Singer. One of the crew's had an accident,

I expect.

Son. Wo uldn't you like to take a snapshot

of it?

Daughter.We might as well star t m ov in g -

it would be one way of getting some air. This

heat is really becoming unbearable.

Son. And we're on deck.

Singer. Is it cooler anywhere else?

Son. Nohotter.

Singer. Not possible

Son. Go below into the stoke-hole.

Billionaire. Let's start going.


14/67

108

GEORG KAISER

Museum Director [ironically]. Mind the

stokers.

Son.

Do you know what

i t

means to be by

those furnaces?

Museum

Director.I

have never sought the

opportunity to try it.

Son.

Andadescription would hardly inter

est you.

Museum Director. Oh, graphicaUy done by

an expert

. . .

Son. I

am an expert

Billionaire [totheDAUGHTBK]. Please

go

and tell the captain

. . .

Daughter. Full steam ahead

Singer. The ladies take over the command.

Daughter. Here's where

we

make

a new

record. We'll radio

it to

the papers tonight

and tom orrow th e whole world will burst w ith

envy.

[Goes off.]

Son.

W on't you stop th at wickedness?

Billionaire. The yach t has never shown her

full capacity yet.

Son.

Then

I

must ask you to drop me first.

Museum Director.The coaler

has

unac

customed you to speed.

Son.

No , to frivohty, perhaps.

Billionaire. You used to enjoy that sort of

sport.

Son. I

am ashamed to have come to

a

right

mind so late.

Billionaire. W hat does th at mean?

Son.

T h a t

I . . .

[Reflecting.]

If I 'm to

take part in this record-maldng,

I

can only do

it before the boilers.

Billionaire [to the MUSEUM DIRBCTOH] .

Don't keep the ladies waiting on the bridge.

[The MUSEUM DIRECTOR goes. To his SON,

slowly.] Did you really travel on th at ship as

a stoker?

Son.

1 couldn't hold out under it, so

I

had

to become

a

passenger again.

Billionaire.

Did it

specially attract

you

to . . .

Son.

Oh, the steamer is the least important

part of it.

Billionaire. You saw much to wonder at in

your travels.

Son. It

was

as

though scales fell from my

eyes. Th e wi-ongs we are comm itting stood

up clearly before me.

We

rich hereand

there the others, strangling in wantand

misery^but people

hke

ourselves. The re's

no tasparkofright in itwhy do we do it?

I ask you why? Give me an answer tha t ab

solves us both, you andI.

Billionaire [Staringathim.] You ask me?

Son.

Yes,

and I

shall never stop asking

you. Ihave never been so grateful to youas

now, never in my life. You gave me tha t trip ,

and but for it I should have stayed bhndto

the end of my days.

Billionaire. You will forget.

Son.

Forget wha t

is in

me now,

and

fills

me through andthrough? Th at will only

disappear when

I

disappear too.

Billionaire. W hat is in you?

Son.

The horror

of

th at hfe wliich

I

have

seen, with its toil and oppression.

Billionaire. Trav el experiences

are not

enough to . . .

Son. N ot enough?

Billionaire. You exaggerate superficial im

pressions.

Son.

They burn

in my

blood. And

the

vividest pictureofall is the 'Freedo m of the

Seas '

as she lay in:her

wharf.

Flags, music,

passengers

in

light clothes strolling

up and

down the decks, chattering, gay. And

a

few

yards unde rneath their feet, hell. Men feed

ing fire-belching holes, quivering bodies burn

ing

to

deat h. So th at we ma y make speed,

speed.

I

had started

to

sail

on

that ship,

1

had set my foot on her deckbut

I

had

to

turn backand only on that 'Albatross'

I

b e

gan to feel my conscience lighter.

Billionaire. And have

you

conquered

all

that now?

Son.

Now

I

feel

it

more tha n ever. Here

on this wonderful private yacht ofyours. I

feel the blood beating in my he art w ith shame.

Look at us lying back in these chairs in indo

lence, waOing about the heat the sim pours

down on us. We sip iced wa ter for ease, and

notagrain of du st irrita tes oiu- thro ats.And

underneath the soft soles of your white shoes

here, there are men with boiling fever in their

veins. Tea r away this wall

of

wooden

plankssee how thinit is, but yet how fear

fully

it

divides and look down, look dow n,

al lofyou. And th e words will stick in your

mouths before any of you will brag before one

of them down there. [The

DOCTOR

strollsin.]

Son. [Springing(awardhim.] W hat was it,

doctor?

Doctor.A yellow stoker collapsed.

Son.

Dead?

Doctor [Shaking his

head].

'HesLirstidke.

Son.

Where have you pu t him?

Doctor.I had him laidin front of aventi

lator shaft.


15/67

THE CORAL

109

Notbroughtuphere?

No.

n [briefly]. Wait here. [Hegoes.]

[Drops

intoachair. Tothe

NEGRO].

[To theBILLIONAIRE]. I find this

at sea

extraordinarily quieting

nerves. I'dliketoprescribeitforyou

[BILLIONAIRE

no tmove.] Ipromise myself success with

I've put youon .

[BILLIONAIRE

Ofcourse we can't offer youthekeen

ofmeeting your son

but your daughter willbeableto in

of a

more moderate kind

for

I'lltalk to her about it . [Voices and

approach. The

DOCTOR

puts

down

his

Arethey playing deck games? [SAIL

the half-naked

yellowstoher^

This way.

up].W hat does this

Set twochairs together. Take hold,

a

life and death ma tter.

[To

the

Lay him down. [To the

N EG R O ] .

[To theDOCTOR].

Come over here,

you

understand this be tter than

I.

his

chest. [To the

BILLIONAIRE].

Will

to

lend

a

[To the

DOCTOR]. Isit

dangerous?

[Coming

inlow,to BILLIONAIRE].

[The BILLIONAIRE shakeshishead de

cidedly. The DAUGHTER and the

SINGER

come

in.]

n

[To the

DAUGHTER].

W on't you help

us

A

man may

be

dying. [The

goes nearer]. Wet your handsin

ice waterand laythem on his hotchest.

only calling youtoyour simple dut y.

DAUGHTER does so. To theDOCTOR,be

Doctor, save him you'vegot

I

am

a

murderer

at

the group his

at

last he

mutters].

Thehorror

her

kodak to the M U

DIKBCTOR]. I've never had pictures

[She snaps.]

A C T T H R E E

of

glass the

workroom. Right andleft on

the floor

to

theceiling, huge

offactories. Broad

swivel-chair; another chaira ttheside.

Smokestacks outside, closeandstraight like

pillars of

dead lava holding

up cloud-mountains

of smoke.

Billionaire [At the

desk].

Howman y dead?

Secretary [Standing by the

desk]. The

exact

number

of

victims could not

be

ascertained,

for the men who were saved

and

brought into

the light, rushed away and had not reported

yesterday.

Billionaire. W h a t didtheydo that for?

Secretary. They must have experienced

un

told horror thethree d ays they were shutup

under

the

ground.

Billionaire.

And now

the y flee from

it,

farther andfarther?

Secretary. They came up distracted as if

from their graves, screamingandshuddering.

Billionaire. Whoever

is

absent from

his

place

by the day

after tomorrow will

notbe

taken back again.

Secretary [Makinga

nate].

By the day after

tomorrow.

Billionaire. Howdid themee ting go?

Was

I contradicted? WasIallowedtospeak w ith

out interruption?

Secretary.

No.

Billionaire. W asmylifeindanger?

Secretary.

I t

was indeed.

Billionaire. Howdid

I

protect myself?

Secretary.

I

had requisitioned troops. They

were linedupbeforemereadyto shoot.

Billionaire. Didanything happen?

Secretary.

Only

one man

kept yellingin

terruptions.

Billionaire. W h a tdid hesay?

Secretary. Murderer.

Billionaire. W ashe not to befound?

Secretary.Thecrowd covered him.

Billionaire. L et him be found. Thre atento

take steps

if he is

not delivered. [TheSEC

RETARY

makesa note.]

Is

everything quiet

now?

Secretary.Theshaft isbeing worked again

today.

Billionaire. What meansdidI use?

Secretary.

I

announced the shutting down

of

the

entire w orks.

Billionaire. Thanks. [Agreen lamp lights

on the

desk.

BILLIONAIRE

takes

upthereceiver.

Surprised]. Who?

. . .

My daughter?

. . .

Here?

. . .

Yes,

I

willsee her. [T o the

SECRETARY].

Replace

me in

Factory

24.

Therehasbeen

an

explosion t here I said

I

would

be

down during the afternoon. [The


16/67

o

GEORG KAISER

SBCRBTABY

makes

a

note.]

T h a n k s .

[The

SECRETABY leaves, left, through an invisible

door. The BILLIONAIRE stands up, makes a

few rapid steps toward the wall right, changes

his

mind,

returns to his chair and plunges into

his work. One of the servants opens a padded

invisible door. The DAUGHTER enters. S E R V

AN T

goes.

The

BILLIONAIRE

looks round.]

Your f irst visi t

to

your f a the r ' s bus iness house .

Daughter [Looking about].

Y e s I

am

see

in g

it for the

f irst t im e.

Billionaire.

A n o th e r w o r ld

. . . Is the

m a t t e r

so

u r g e n t t h a t

you

c o u ld n ' t k e e p

it

unt i l th i s evening be fore

th e

fire?

Daughter. I can

on ly expla in

it to you

here .

Billionaire. Am I to

prepa re myse l f

for the

most jojr ful news?

Daughter.

W h a t

is

t h a t ?

Billionaire. I

a s k e d s o me th in g

of you

t h a t

d a y

we

w e r e w a i t i n g

for

y o u r b r o t h e r

. . .

O n

the

y a c h t .

Daughter [Shaking her head]. I

h a v e n e v e r

g iv e n t h a t a n o th e r t h o u g h t .

Billionaire [Suppressing his uneasiness.

Oaily].

Re a l l y n o t ?

Daughter. I t was on th e

y a c h t t h a t

I

first

s aw

my

w a j^

Billionaire. To

y o u r b r i g h t e s t h a p p in e s s ?

Daughter. To my

i n e \d t a b l e d u ty .

Billionaire [Lifts his hand high in protest].

N o t t h a t

Daughter [Calmly].

W h e n

I

t o o k

my

h a n d s

from

the

s e e th in g b r e a s t

of

t h a t y e l lo w s to k e r

t h e y w e r e m a r k e d .

The

sca r sank i n to

my

blood , in to

my

d e e p e s t h e a r t .

I

h a v e

no

choice .

I

feel

the

ca l l .

And

s u b m i t

to it

will ingly.

You

wi l l show

me the

p lace wh ere

I sha l l bes t obey

it.

Billionaire.

W h a t

do you

w a n t

to do?

Daughter.

S e n d

me

w h e r e

th e

suffering

is

w o r s t ,

to the

i n ju r e d

in

your f ac tor ie s .

I

will

n u r s e t h e m.

Billionaire. You

d o n ' t k n o w w h a t

you are

say ing .

Daughter. I do. You can at

lea s t r e spec t

my a c t i o n

by

be l iev ing

it. I

w a n t

to go to the

sha f t where

the

c a t a s t r o p h e h a p p e n e d .

Billionaire.

W h a t c a t a s tr o p h e ?

Daughter. You put

d o w n

the

a g i t a t i o n

yourself.

Billionaire. Who

ca r r ie s

you

the se ta le s?

Daughter.

R e p o r t s

in the

p a p e r s

are

for

b id d e n .

Yes, I

k n o w

you are

power fu l .

Billionaire [Stares at her. A pause]. Let it

be ,

[Hegets up and goesto her.] I

shall

not

a sk

you

w i th w o r d s .

You

h a v e

a

h u n d r e d

to

e v e r y

one of

m i n e .

I t is an

unequa l f igh t

be

tw e e n f a th e r

and

d a u g h t e r .

Th e end is a

foregone conc lus ion .

[He takes her hands,

looks intently at her.] No . . . no.

Such

l i t t l e h a n d s

. . .

s u c h w e a k h a n d s .

[He

anticipates hercontradiction unth ashake ofthe

head.]

Y e s ,

yes . . .

s t r o n g

and

h a r d .

And

o n l y

I

k n o w w h a t f o r to s t o r m f o r t r e s s e s ,

to

h e a p

-up

r u in s ,

and the

v i c t ims u n d e r t h e m .

Sha l l

I

te l l

you who th e

v i c t im

is?

Daughter. Now I

d o n ' t u n d e r s t a n d

you.

Billionaire. Do you

w a n t

to

m a k e

me

y o u r

v i c t im?

[DAUGHTER looksat him wonderingly.]

T h e n t u r n b a c k .

You

will f ind yo ur t as k l ies

n e a r e r h o m e . D o e s

it

seem

a

p a l t r y

one to

y o u ?

I t

s e e m s i m p o r t a n t

to me

b e c a u s e

it

conce rns yo ur f a th e r .

Daughter [Drawing herhands away]. I

h a v e

no r igh t , whi le o the r s

. . .

Billionaire.

F a t h e r

and

D a u g h t e r

. . .

n o t

by

q u a r r e l l i n g O n ly

b y

a s k in g

and

y ie ld

ing .

Daughter. 1

t h a n k

you

t o d a y

for the

lovely

y e a r s

of

y o u t h

. . .

Billionaire. And as

love ly

a

fu ture .

Daughter [Strongly].

W h ic h w i l l

be a

s h in

i n g m e m o r y t h r o u g h

my new

life

of

d u t y .

[She stands up and puts out her hand]. My

dec is ion was made

so

eas i ly . W ould

you

m a k e

i t ha rd

for me by

h a v i n g

me

c h a n g e

it?

Billionaire [Without taking

her

hand].

W h e r e

are you

go ing n ow?

,

Daughter. To my

s i s te r s

and

b r o th e r s .

BiJMonaire

[In a

dead voice].

So

t h a t ' s

where you ' r e go ing

. . .

Daughter.

W i l l

you

s t i l l know

me

a m o n g

th e p o o r e s t

of the

poor?

Billionaire [Supporting himself against the

desk].

Y o u ' r e g o in g t h e r e

. . .

[The

DAUGHTER

hesitates

. . .

turns

to the

door.

The S E R V A N T opens. D A U G H T E R goes. The

BILLIONAIRE falters . . . makes a timid

gesture.]

T h e r e

. . .

t h e r e

. . .

t h e r e

.

. . [Then pulls himself together and rings.

Th e SECRETARY enters.]

S h u t d o w n

the

shaf t .

[The

SBCSETASY

makes a note.] No [Clutch

ing

his

brow].

I t ' s

h e r e

or

t h e r e

. . . it

c a n ' t

be

b l o w n a w a y

. . . no

o n e

has

p o w e r

t o

do

t h a t

[Firmly

to the SECRETARY]. My

daughtei* wishes

to

ded ica te he r se l f

to

S a m a r

i t a n w o r k .

You

wil l mee t

he r at the

sha f t

and

whereve r acc iden ts occur

in my

factor ies.

R e p u d i a t e

her . . . I

k n o w

my

d a u g h t e r

no longer .


17/67

THE CORAL

111

D o e s y o u r d a u g h t e r k n o w a b o u t

illionaire.

No;

b e s i d e s

the two

s e rv a n t s ,

[Btisiness-like again].

We

. . .

ecretary [Beads from

his

notebook].

In th e

I r e p re s e n tyou at F a c t o r y24.

Billionaire. T o m o r r o w at n o o n I sha l l at

the first halfof theM i s s i o n s m e e t i n gmy

I am to be

a p p o i n t e d h o n o ra ry p r e s i d e n t .

in the car at

t w o . U n d e r

the

p r e t e x t

of

I sha l l l eave the ha l l .

in myp l a c ea ndr e a dmy c o n t r i b u

to t h e m . I'll g i v eyou thep a p e r s .

[He

for it in a

drawer

of the

desk.

The

green

Secretary. Te l e p h o n e . [Tfie BILLIONAIKB

stares at thelamp]. I'llc o m e b a c k

to . . .

S t a y h e r e

. . .

now. Yes . . . later . [The S E C R E

goes.

The BILLIONAIRE

takes

the

receiver

Who . . . [Helets it fall from

the desk. His mouth

My son . . . [The S E R V A N T ad-

the

S O N

and

goes.

The BILLIONAIRE

ly erect goes towards him.] I h a v enot seen

u th el a s t fewd a y s .

Son. S ince

. . .

Billionaire.

I am not

a s k i n g w h e re

you

Th et i m e isp a s tfor me to k e e p w a t c h

and go ings . You m u s t

to yourself now. You are

up.

Son. Youm a k e it e a s y for me . . .

Billionaire. P e r h a p s

it was

i m p o r t a n t

to

yout h i s . Is t h a t w h a t you came fo r?

Son. Th er e a s o n . . .

Billionaire. I wi l l no t p ro b e i n t o you to

out. Sit

d o w n .

In

th i s s t e rn work -a-

. . .

Son. W hich yovi ha ve a lwa ys j ea lous ly kep t

out of . . .

Billionaire. Is it y o u r a m b i t i o nto seey o u r

in my

p lace?

Son. Not in

y o u r s .

Billionaire.

I'll not

offer

it to

y o u .

I' m not

yet. The

s t r i n g s

ar e

s t i l l t a u t

in my

ers. I sha ll, andc a n ,go onw o rk i n g . The

tooe a r l y . Yousha l lnot de

me t o d a y , nort o m o r ro w e i t h e r .

Son. T h a t was not my i n t e n t i o n .

Billionaire. I t w o u l d h e l p you to p r e p a r e

Son. Youn a r ro w the field.

Billionaire.

I t is y o u r o n l y c h a n c e . The

w o r kis my share .

Son. I k n o whow youm e a n to go on.

Billionaire.

You see, the

g a t e s

ar e

well

b a r r e d .

Son. I s t and compel led , and there fo re I

must pac i fy my conscience?

Billionaire. A compuls ion l ieson you too.

Son {After a pause]. Wi l l youanswe r cer

t a i n q u e s t i o n s t h a t b u rn

in me

like fire?

Billionaire.

If our

b o u n d a r i e s

are

s h a rp l y

d r a w n

an d

u n d e r s t o o d y e s .

Son.

Such deep con t ra d ic t ions sp l i t

all

y o u r

dea l ings .

Billionaire.

Do you conce rn yourself w ith

me?

Son. I canconcern myse lf w i th no th in g e l se .

Billionaire. W h a t has m a d e me so u n e x

pec ted ly in te res t ing?

Son.

Th i s m o n s t ro u s w e a l t h t h a t

you

h a v e

a s s e m b l e d

. . .

Billionaire.

I

h a v e a l r e a d y m e n t i o n e d

my

work ing -powers .

Son. 'Tha tis notw o rk i n g -po w e r ,it is . . .

Billionaire. W here in l ies the r idd le?

Son. H e r e th eru th l es s p ro f i t s . . . and

t h e r eth eh m i t l e s s c h a r i t y t h a tyoug ive . The

' W a r m H e a r t

of the

E a r t h '

. . . and th e

s t o n e t h a t

you

m u s t b e a r

in

you r inmo s t sou l .

Billionaire.

I

d o n ' t w a n t

to

so lve th a t r idd le

for you.

Son. B e c a u s e s h a m e of confess ing i t ho lds

you back .

Billionaire.

I t

s h a l l r e m a i n

my

secre t .

Son. I t e a r at the vei l you h ide b eh in d .

Y o u k n o w y o u r w e a l t h

is a

m o r t a l

sin, an d

s ti fl e k n o w l e d g e w i t h y o u r " O p e n Th m -s d a y . "

Billionaire. Th e e x p l a n a t io n w o u l d not

suffice.

Son. No , these g ifts of y o u r s are a b s u rd ,

r id icu lous .

You

c a n ' t

p ay

t h a t

way for th e

b lood . . .

Billionaire. I shed?

Son. No, t h o s e are acc iden t s . But you

t h r e a t e n w i t h b l o o d s h e d w h e n t h e y d a r e to

c ry

out.

Billionaire. Di d you see t h a t ?

Son. Now I mus t con fess what it n e a r l y

d r o v e

me to

y e s t e rd a y .

Billionaire.

W hy

y e s t e rd a y ?

Son, I was at the

shaft while

you

w e re

speak ing . You had to appear there yourse l f

t oputd o w n t h a t u p r i s i n g . I wasdown be low

i n t h a t h a g g a rd c ro w d a n d saw yous t a n d i n g

t h e r e b e h i n d

the

mona


18/67

112 GEORG KA ISER

far away. Your words cracked down upon

the gathe ring like bits of ice. No one dared

to lift his voice again. Un til you said the

works would be shut down, and thousands

children and womendelivered up to hunger.

That tore one mouth open.

Billionaire. So it was you . . .

Son. Cried out murder And tha t was

not the last.

Billionaire. It was the last I heard.

Son.

Could I have but forgotten that it was

my father standing up there [He

reaches

into

his pocket, then lays a revolver on the table].

I do not wish to be tempted twice.

BU lionaire [Shoves the gun aside]. Yovi

wouldn't have hit me.'

Son.

I meant to try it.

Billionaire [Shaking his

head

and smiling].

No, no t me . So this need not stand as a

shadow between us two. [He puts out his

hand]. Don't let it bother you.

So n [Staringa t

him].

Do you puff it away

like a grain of dust on your coat?

Billionaire. N ot my coat.

Son. Forg et and forgive?

Billionaire. So ther e was nothing to forgive.

Son. No , not for 5'ou. No one else can do

th at . No t th at. One allots one's own atone

men t. And I will make mine so heavy t ha t

maybe on my dying day I shall dare to raise

my eyes again.

Billionaire. To me?

Son. No, you've taken me back today.

You've got no time to waste.

Billionaire. Then whom

do

you set over you

as judge?

Son.

The least of your workmen.

Billionaire. W hat does tha t mean?

Son.

Un til anoth er's despair drives him to

theisame, I shall stand down there with them.

Billionaire. In the uprising?

Son.

In the peace th at will be spread around

if I become one with them all, and no more

than the least of them.

Billionaire [Pushes the revolver towards

him.] The time is now. [He turns his face

away.]

Son [Jumps up and runs to him]. Oh, teU

me why all this should be^tell me why.

Billionaire.

Come.

[He leads him to the

photographs]. See there? Grey factories.

Narrow yards. [Crossing to the great window

rear.] Do you see tha t? Wliere is the ea rth

heregrass bladesbushes? From such

as this I came. , . Do you know my hfe?

I have kept it hidden from you. Bu t it is read

in all the schools. I had anoth er life for you

to hve, and I have let you live it. Yours, no t

mine. . . I came up out of nothin g, so

the books say. . . I swung myself up out

of that very poverty hereI tell you this

now. And I have never forgotten it. No t for

a single hour have I allowed myself to drowse.

I set these pictures about meI made this

wall of glass so that none of that might be

hidden^it was to goad me into wakefulness

should I ever fall weary and seek to rest. It

was for warning and admonition in my

bloodonly not down againnot down again

to that.

So n {Withdrawingfrom him]. You . . .

BilUonoire. I can warn you, you'll beUevo

me. It swallowed up my father and my

mother. Its arm was already grasping after

mebut I escaped.

Son. You know . . .

Billionaire. A single mom ent upset you. I

have shuddered before it for a lifetime. So

terrible is life. . . . Do you wish to go down

there?

Son. You tear the very last thing out of my

hands. . . .

Billionaire. What is that?

Son. My only excuse for you that never

having known, you could not grasp t he suffer

ing of others.

Billionaire. I bear the cry within my breast.

Son.

Are you a tiger? Worse, for the tiger

knows not wha t he does. You know the to r

ture of your victim s . . . and [He

grasps the gun, but lays it down

again.]

Billionaire. I or ano ther , ,. .

Son. Everyone is. . .

Billionaire. Be thankful to me.

Son.

For this?

Billionaire.

That you need never be who I

am.

Son [Calmly]. Your blood is mine . . .

Billionaire. Do you feel it too?

Son. It makes the task wo rth while.

Billionaire. Of saving me from the pursu

ing horror?

Son. Of stiifhng these terrib le desires, and

holding steadfast by the side of the humblest

of your employees.

[BILLIONAIUB

stands

stiffly.] You can't prevent it. I shall tak e

work wherever I can find it.

Billionaire. [Collapsing-athisJeet]. Mercy

. . . mercy

Son [Coldly]. Upon whom?


19/67

THE CORAL

3

Billionaire.

M e r c y . . .

Son. And

t h a t

may be my cry to you on

day youd e n y m eand myc om ra d e s b r e a d .

theSEEVANTS have thedoor fvlly open,

gone, right.]

Billionaire [Bounding

up at

last.

He

looks

the

revolver

and

thrusts

it

irdo

his

pocket].

. . . in the h e a r t of the woods .

for the

g lazing eyes ,

a bit of

he av en flu ttering do wn, t inkl e of l i t t l e

[Glancing sideways at the walls].

Cut off? . . . F a i l e d in the

. . O v e r t a k e n ? . . .

[Swinging

Le t me go . . . D o n ' t

. . . W i t h a ch i ld ' s t e r ro r I fear

all of you [Heruns around the line of

A way

o u t .

. . . A

w a y o u t .

. .

A way out [SBCBETABY

enters

t. Looks questioningly. BILLIONAIEB

at him].

Secretary [Embarrassed],

Y o u ' r e p a p e r s ?

BILLIONAIEB is

silent.]

Youwisht o g ive

Billionaire [Staggering

to the

desk

and

col

in achair].

D a u g h t e r

and son . , .

. . . d o w n . My ch i ld ren havede

[ S E C E B T A E Y silent. B I L L I O N A I E B

up at him.] Do youu n d e r s t a n d w h a t

toh a v e w o r k e d for your ch i ld renall

to h a v e t h e m c o m e

you, the i r fa ther , and k n o c k th e who le

out of y o u r h a n d s ?

Secretary.

Yo ur son?

Billionaire [Crying

out]. Who wil l help

w

to

p u l l d o w n m o u n t a i n s t o c o v e r t h i s ?

SECBETABT

looks

at him

inquiringly.]

no one

h e l p

me now out of th e

d a rk n e s s

my p a s t ?

Secretary.

Y o u r a c h i e v e m e n t s are so gi

no embelMshment .

Billionaire. No . . .?

Secretary. Y o u r w o r k s t a n d sout theg r e a t e r

r it.

Billionaire. I g ive i t u p I ' l l pay w i t h all

y r i chesI ' l l g ive my life in exchange for

[Full

of

deep feeling.]

Who ' l l

me a l i fe tha t was b r i g h t f r o m it s first

on? In my son I can f ind tha t no

. . W h e r e is the exchange I

e lo n g e d

for

a n d w o o e d

in

the fever

of

w o rk

d

the

r a g e

for

possess ionon

th e

he igh t s

my

m o u n t a i n o u s r i c h es ?

. . . In

w h o m

n I nows ink myself an dlose th is fear, th is

t u rm o i l t h a t d e s t ro y m e ? W h o s e l i f e s m o o t h

and good hfe^for mine?

Secretary [Looking down at him with grow

ing emotion]. Y o u r son has c h o s e n a n o t h e r

w a y . Nod i s a p p o i n t m e n t isb i t t e r e r . Bu t as

i t repeats i tself so m a n y t h o u s a n d fo l d , it is

a s

if it

w e re

a law.

F a t h e r

and son

s t r ive

a w a y fro m e a c h o t h e r .

I t is

a l w a y s

a

s t rugg le

of life and d e a t h .

[Pause.]

1 o p p o s e d my

fa ther too ,

an d

a l t h o u g h

I

fel t

the

h u r t

it was

t o him, ye t I wasfo rced to h u r t hi m. . . .

[After another pause.] I

d o n ' t k n o w

ye t

w h a t

i t wast h a t d r o v e me to it . Thedes i reto tr y

ou t l i fe myse l fperhaps

it was

t h a t .

The

n e e d to s t a n d a l o n e is s t r o n g e r t h a n e v e ry

th ing e l se .

[With heightened animation.]

T h e r e are few h o m e s hke m i n e . I h a v e a

w o n d e r fu l y o u t h to lo o k b a c k u p o n . I was

a n o n l y s o n . M o t h e r andf a t h e r l a v i s h e d an

in f in i t e t reasu re of lo v e u p o n m e . And in the

s h e l t e r

of

the i r ca re

I saw and

h e a rd n o t h i n g

of the w re t c h e d n e s s and i r r i t a t i o n s of e v e ry

d a y . S u n l i g h t lay on all our qu ie t ro oms .

Ev e n d e a t h p a s s e d us by. My p a r e n t s e v e n

today , they s t i l l l ive on ly for me. T h e n I

passed in to thel i t t l e un ive rs i ty , and the u rge

fo r i n d e p e n d e n c e b e g a n

to

possess

me. I

b r o k e a w a y an dw e n t i n t o thew o r l d . . . ,

I h a v e b e e n t h ro u g h m a n y

a

d a rk h o u r .

Buffe ted here and t h e r e b u t d e e p d o w n

n o t h i n g c o u l d s h a k e

me, for I

possessed

the

grea tes t r i ches of all, end les s and i n e x h a u s t

i b l e t h e l i v i n g m e m o ry

of a

h a p p y c h i l d

h o o d . W h a t e v e r m i g h t c o m e l a t e r co u l d be

on ly waves upon

the

su r face

of a

l ake whose

c learness mi r ro red the b l u e of h e a v e n . So

u n t ro u b l e d , so c a l m , w i t h i n me l i es tha t per

fec t pas t .

[The

BILLIONAIEB has

raised

his

face

toward

him. He

listens with deepest

intentness. The SBCEBTAET gazes

into space.]

Billionaire. [Looking about thetable]. The

p a p e r s . [SECEBTAEY

gives them

to him. He

speaks with a great effort.] Go. [The SHCEE-

TARY

takes

the

papers, turns

to the

door.

The

BILLIONAIRE pulls therevolverout of his pocket

and presses

the

trigger.

His

SECRETARY,

shot

through the back, falls. The

BILLIONAIEE

stands immobile.]

Mylife^for a no th er 's . . .

t h a t

was

b r i g h t

. . .

from

the

first

day

o n . . . . [Goes

slowly forward

to

the body

and

bends down . . . slips thecoraloffthe watch-

chain.

Holds

it

before

him on his

open palm.]

T h i sis the life I t h i r s t for . . . e v e i yday


20/67

114

GEORG KAISER

of th is l ife. . . . I covet and long for .

[Flings backhishead.] Those bright day s shall

make me happy. . . .

[He

slips thecoralon

his watch-chain. Then

wrenches

open the door

and shoots again into the air. The two

SERV

ANTS

rush in. One remains in the doorway

standing theother bends overthe

SBCRETABY.]

First Servant [In the doorway]. The coral?

Second Servant [Kiteeling iipright, shaking

his head]. Arrest the Secretary.

ACT FOUR

Room of examining

magistrates

blue square

with m any erdrances by iron-barred doors be

hind which narrow passag es lose themselves.

A hanging lamp of dear glass lights the place

brightly. One small iron tab le at which the

clerkwith eye-shadeisseated.

Th e FiBST JUDGE is standing in a n atti

tude of reflection. The two

SERVANTS,

left.

GUARD

comes in, right.

First Judge.

Put the hght out.

[GUARD

strides toswitchboard, the lamp

goes out. Frosted lamps glow in the

corners.]

First Judge

[Goes

to the

table

and takes up

the receiver.]

Relief,

please. [To the

SERV

ANTS.] Y ou m ay now . . . [on second

thoughts.] Or wait another minute or two.

[He has the clerk give him the dossier, reads,

shakes hishead. To the

SERVANTS.)

Did the

secre tary ever allow th e coral to . . .

[Quickly.]

It is possible that the coral had

been exchanged for once, to . . . [The

SEC

OND JUDGEcomes in , rear.]

Second Judge. No result.

First Judge [Giveshim the papers]. Noth

ing more tha n th at I now have certain doubts.

Second Judge. There's something like gen

ius in the consistency with which he persists

in m asking his person.

First Judge. His silence is certainly con

sistent enough.

Second Judge. He does not respond to the

most obvious inquiries as to his earlier life-

after all the foundation of every exam ination.

But he receives them all as though he him

self did not know. We have had to ga ther

the data all ourselves.

First Judge. Yes, it seems as iinknown to

him as though he heard of his own life today

for the &st time.

Second Judge. Is he simply leading us

on . . .

First Judge. What do you mean by that?

Second Judge. Are we to preach his past to

him?

First Judge.

To what end?

Second Judge. To wear us out.

First Judge. He's almost done that to me

already.

Second Judge [Reads

lets the sheet fall].

He does not argue the point about the coral

having been found on him.

First Judge. But he refuses to admit he's

the secretaiy.

Second Judge. Then how does he explain the

coral on his watch-chain. [Reading.] "Th is

repeated question the prisoner consistently

refuses to answer."

First Judge [To

SERVANTS].

Was there

never a plan to confuse you in the same con

nection for certain purposes?

First Servant. No . Our task would have

been impossible if there had been.

Second Servant. The murdered man set

great store by the personal watch he set over

his person.

Second Judge. It 's perfectly transparent to

me. Of course, it's a m at ter of the fellow's

neck. Th at's a thing one rath er jibs at. But

we have the son's affidavit. In th e conver

sation that had taken place just before be

tween father and son, the son renounced his

father's riches. The daughter renounced it

too.

The secretary had heard the excited talk

next door and could not withstan d the te mp ta

tion to make himself their successor. So he

made no bones abo ut it and went ahead. Only

the coral he hadn't time to exchange, though

he would have liked to. [To the

SERVANTS.]

The shot brought you there at once.

Second Servant. I got him as he was trying

to make it out of the door.

SecondJudge. Did he try to get away?

FirstServant.We didn't open the door^he

did.

First Judge. Wh y should he run away when

he gives liimself out for the one who was

attacked?

Second Judge [Puts the dossier down].

Th at very atte m pt at flight proves it. The

report made more noise than he had reckoned

with. He wag bewildered and expected to get

away, but the plan was knocked to pieces by

the servants' watchfulness. Now he has to

recall the part he &st meant to play.


21/67

THE CORAL

115

But the resemblance is ex

I'venever experienced

acaseofdoubles.

Yes, if it

weren't

for the

we

should

be

groping

in the

dark

and

a way out.

[Seizingthe papers.]

how

does

he

account

for the

attack

is alleged to have been madeby the

Hesays nothing.

Judge.

Because there never was such

irst Judge.

But you said he wished

to put

in

the murdered m an's place.

econd Judge [Wavers].So that would

be

it?

econd Judge. To promp t him

to

kill.

First Judge. So

he

acted und er stress.

Second Judge [Excited].

But he is the

First Judge [RubKnghis eyes].

I

am really

out. The

sharp light the passiveness

man who

hardly bothers

to

defend

Second Judge. I am thinking of disposing

to make him more active.

thecoral h asnoeffect . . .

picksitup from

the

Documents

Gas - Complete Trilogy