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Exquisite Corpse
Issue 8A Journal of Letters and Life

ISSUE 8 HOME || BROKEN NEWS || CRITIQUES || CYBER BAG || EC CHAIR || FICCIONES || THE FOREIGN DESK
GALLERY || LETTERS || POESY || REVIEWS || SERIALS || STAGE & SCREEN
Splendid's Hotel, a two-act play
by Jean Genet, translation by Mark Spitzer
Author's Links

Jean Genet wrote Splendid's in 1948, then later destroyed all copies of the manuscript he could get a hold of. His publisher in Lyons, however, kept one copy, which was eventually published posthumously in 1993. This translation was the first English translation of that play. It was under contract to be published by a bumbling European publisher who didn't know how to obtain the rights--but that didn't matter anyway since the high and mighty Estate of Genet only deals with the old boys club of Faber & Faber. In Hence, an inferior translation by Neil Bartlett was published in the UK in 1995. In my last interaction with the Estate of Genet, I was informed that if I had any respect for the playwright at all, I would desist from translating Genet and never contact them again. There are plenty other Genet translations which the Estate is also keeping from the English-reading public as well. To see another verboten Genet play (The Pope) click here.

      -Mark Spitzer


Characters

 
Jean (called Johnny), about 30
The Policeman, about 25
Scott, about 50
Bob, about 25
Gunfire, about 25
Bravo, about 25
Pierrot, about 20
Riton, about 30

They wear dress coats and four-day beards. They have messy hair. They never put their machine-guns down, even for dancing. They never touch each other.
When the curtain rises, the radio has already begun the prologue.

  Setting

A hallway, on the seventh floor of a grand hotel. To the right and to the left, doors. In the back, connected by a balcony, windows. Chandeliers. Carpets. Luxury.

 
 
ACT 1

 
 
VOICE OF THE RADIO
...for there's little chance that such an event can continue. If I break the adventure down, each of its elements will connect in the end. Long before this latest kidnapping took place, the "Gunfire" gang distinguished itself thorough multiple misdeeds. Tonight, the police remain in check. They are trying to make the densely growing crowd evacuate. Armored cars surround the luxury hotel. Several people have already fainted and the Red Cross ambulances have taken them away...
(on a gesture from Jean, Scott turns off the radio)

 
SCOTT
Good work. We're killing them from a distance.
 
THE POLICEMAN
(retreating into the doorway and threatening Jean with his machine-gun)
No. I won't.
 
JEAN
Did you disarm a man, or just pick that gun up?
 
THE POLICEMAN
I know how to use it, that's what matters. I've been trained.
 
JEAN
In the police. By shooting down guys like us.
 
THE POLICEMAN
You've let me live, so don't go blaming me for anything. I'm doing what I got to do. Not like those others. So don't tell me about guys shot down. In my place, you'd have done worse. Or better.
 
JEAN
You can't put me in your place.

THE POLICEMAN
All my informers, about ten--just for keeping a single cop informed--were toughs like you.
 
JEAN
My trigger is sensitive and my wrist is tired. You'll remember that I don't like cops. In making you a prisoner, I took a hostage.
 
THE POLICEMAN
I've proven myself. I earned my weapon.
 
JEAN
Who gave it to you? Riton? Did he untie you too?
 
THE POLICEMAN
Ask him that. But as I disappear, remember... I shoot straight, even through a door.
(He leaves, aiming at Jean and Scott. A few seconds of silence)

 
JEAN
(to Scott, who prevents him from firing at the door)
Are you defying me? Or are you leaving me? Are you with Riton also? Scott, cut through the white salon, the south corridor, the suite, the three rooms... before the cop reaches... the stairway.
 
SCOTT
(sarcastically)
Are you afraid he won't join up with Riton again?
 
JEAN
The stairway! If he descends a single landing, a single story, he'll get away, he'll escape us, and then his pals will know everything. He knows too much.

SCOTT
He won't leave.
 
JEAN
Why not? No one's been able to keep his mouth shut. He knows the American gal died in our hands.
 
SCOTT
He's even seen her dead.
 
JEAN
Obey!
 
SCOTT
He won't leave.
 
JEAN
Why not? Is he under some spell? (a blast of machine-gun fire) Hold your fire! Nobody shoot! Nobody move!
 
SCOTT
You're talking like the police. Are you afraid?
 
JEAN
What's in your clip? Just a single bullet?
 
SCOTT
The last.
 
JEAN
Who's been shooting?
 
SCOTT
Pierrot, no doubt.
 
JEAN
Where is he?
 
SCOTT
In front of a mirror. Standing in front of his wardrobe mirror. Ever since yesterday he's been trying to recall the gestures of his brother. And copy them. Hidden by a curtain, he shoots at the crowd from time to time. No one disturbs him. His brother...
 
JEAN
Is dead! And you know it! Yesterday the cops drove him to shoot down a ledge. So tell Pierrot to give you all his bullets, except one. He's not allowed to have anymore fun.
 
SCOTT
He's playing. We're all playing. He's playing at making his brother come back to life. He's taken it upon himself to bring his brother back to us.
 
JEAN
Me, I'm not playing.
 
SCOTT
Just like the rest of us. Tonight we play the gangsters we have never been.

JEAN
Never? All the deeds I've done, all the jobs I've pulled, they've all succeeded. If I become furious, if I put myself on edge, it isn't just because I feel sorry for you. I want to get out of this. I hold myself responsible. I blame myself, but don't fool yourself, I don't do it like at mass, by beating my breast. I blame myself in order to give myself the right to save you. You're all mad. (to Scott) You too.
 
SCOTT
No more than Riton who leads us, massacring furniture.
 
JEAN
Furniture?
 
SCOTT
Easy chairs. Sofas, mattresses, eiderdown. He's tearing up carpets, shattering mirrors. If swallows cut through the rooms, he terrifies them. At every window, he's destroyed a nest.
 
JEAN
Scott, you're the educated man of the gang, and this is the brute you want to follow?
 
SCOTT
He does what he can to make things worse for himself. It's the only way out of this.
 
JEAN
It's time to play poker again. The one who loses takes the rap for everything. For all the crimes. It's only fair.
 
SCOTT
Accept that we cheat, and we'll play.

JEAN
We won't cheat.
 
SCOTT
We won't play.
 
JEAN
This is the moment of loyalty.
 
SCOTT
This is the moment to refuse rules--or invent them. All our past crimes...
 
JEAN
They were never crimes, Scott. We have never...
 
SCOTT
The crimes we've always wanted! The ones that reunited us! What would they become if suddenly we erased them through an act of loyalty? We'd be carrying the dead around inside of us. Our crimes must flourish.
 
JEAN
I don't understand. I've never understood. But still, you accept that a cop we've aimed at, tied-up, gagged, and made prisoner, would put himself on our side, would remain with us, and stroll in freedom, sharing our misery?
 
SCOTT
As a precaution we should've killed him. But would it be as a precaution, or would it be for fun?
 
JEAN
Neither one, Scott. Because you never figure a cop in the job. You never give a cop a chance.

SCOTT
Don't go blaming him for joining those who are wrong and take a stand. I'm not so sure that you, if you could've, wouldn't have gone and joined the police. Betrayal is sweet.
(A door opens. Enter Bob and Bravo dancing together)

 
JEAN
You're dancing!
 
BOB
We're whistling too. The waltz. Music. This is grand opera. (he whistles a tune)
 
JEAN
Stop!
 
BRAVO
Oh, Johnny, let us dance!
 
JEAN
(to Bob)
You're with Riton. You too, Bravo. So go back to him. I'm settled here in this corridor with Scott and Gunfire. Don't come over here and bother me.
 
BOB
The hotel is ours. Like you, we've conquered it. We pace it, waltzing. It distracts us.
 
JEAN
You bastards!
 
BRAVO
(in anger)
What did you say!?

BOB
(sarcastically)
Politeness! Since yesterday, everyone's been watching each other. We're watching each other from behind a rosebush. And you think you're the toughest one here? That's not right.
 
SCOTT
Courtesy is a must, Johnny.
 
JEAN
(just as angry as Bravo)
I have the right...
 
SCOTT
Easy now. If you insult them, you place me in danger too. Each of us has a finger on a trigger, each of us threatens the other, and is threatened by the others. So, we'll continue to relate, more and more politely, and we'll continue our movements, more and more gently.
 
BOB
You're right, Scott. (to Jean) Therefore, not bastards, but waltzers.
 
JEAN
In the next room... (he hesitates)
 
BRAVO
(bursting with laughter)
The dead gal! The corpse of a beautiful young gal! We've been wandering, dancing through the rooms and corridors. Past every window, we pass embraced. Around the dead gal, we dance, we skip about. The most beautiful of dances. The police see us. At last, the police notice me. They don't dare shoot. They watch the party passing.
 
JEAN
The drawers, the wardrobes... they're full of dresses, go...

BRAVO
I should have the right. In a dress with a train, and in your arms! Ten or fifteen minutes to live, this is my last ball.
 
JEAN
(softly)
Stop dancing please.
 
BOB
It upsets you?
 
BRAVO
For two years I've risked my life to be with you...
 
JEAN
Risked your life? Petty burglaries...
 
BRAVO
In order to be with you, you made me--the gentlest guy of the gang--live with nerves. Like a hero, like a gentleman, on my own, and on my feet! In anger and without flinching.
 
JEAN
It's been the same for everyone.
 
BRAVO
Yes, the same. Not a second of sweetness. Never any contact between us. Never any friendship. We lived together and always apart. Except to offer each other an English cigarette from a gold case. And Scott talks to us about politeness! For years, frozen in the ice of a terrible politeness. A lethal politeness if we forget it for a fraction of a second!
 
BOB
(to Jean)
And lethal if we forget it tonight.

SCOTT
It's been watching sternly over us. Let's keep it that way.
 
BRAVO
(dancing)
Tonight I'm attaching myself to everyone. And I'm dancing, Scott. Alone.
 
BOB
In my arms, Bravo.
 
BRAVO
(continuing to dance alone)
Alone, Bob. All alone. (to Bob) Don't stay too long. Riton doesn't like it when we leave him face to face with Johnny.
 
JEAN
He has nothing to fear.
 
BRAVO
It isn't that. But when war is declared, you got to be on guard. It's a matter of principle.
(the radio plays a waltz)

 
JEAN
(to Scott)
Silence! (Scott turns the knob)
 
VOICE OF THE RADIO
...the evening papers, and even the morning papers, are reporting to you the numerous exploits of those seven bandits, famous today, whom the police, at dawn, will have captured. Their cruelty and audacity are celebrated in the annals of crime...
(Scott turns the radio off)

 
BOB
That's funny! Let's take advantage of the crimes they want us to... (machine-gun fire)
 
SCOTT
Pierrot again.
 
JEAN
(to Bob)
Go stop him from shooting. He's a waster. He doesn't even aim.
 
BOB
Do it yourself. You love strolling through the hotel. For the first time, you're rubbing elbows with luxury. Unfortunately though, this is the night of your demise. So go, Napoleon, to Saint Helena, wander your domain...
 
SCOTT
Bob!
 
BOB
No, Scott. Politeness, that's between yourselves. Me, I don't dread disrespect. (to Jean) So go. And as you pass by, check to see if a billionaire has forgotten his watch or rings, and pocket them! It'll be your last haul. For me, there are too many corridors to cross through. To hell with that! And walking tires me. Besides, we can't bother Pierrot. His work is sacred.
 
JEAN
I'm giving you an order.
 
BOB
(coldly)
Give it.
 
JEAN
(threatening)
You're refusing?
 
SCOTT
Bob's been up all night. He hasn't eaten anything. He gave his ration to Pierrot.
 
BOB
You're wrong. It wasn't Pierrot.
 
GUNFIRE
(entering)
No more water! (no one seems to understand him) I'm telling you there's no more water here. They just shut it off. I've checked all the faucets. The radio will tell us more.
 
SCOTT
No more alcohol either. Not one more drop of whiskey.
 
JEAN
(to Bob)
You're refusing?
 
GUNFIRE
(to Bob)
You, you're here?
 
BOB
Easy Gunfire. Easy and polite.
 
GUNFIRE
(to Jean and Scott)
You'd allow him in with us? He's the one who untied the cop, who's strolling through the hotel with a machine-gun now.
 
BOB
I don't take orders anymore. Even if I was leaving the room to go see Pierrot and disarm him, you couldn't be so sure I'd obey. Besides, Pierrot might still hold out. The fall of his brother drives him, and the machine-gun excites him.
 
GUNFIRE
It's not Pierrot shooting anymore, it's the cop.
 
SCOTT
(to Bob)
You're nervous, Bob.
 
BOB
Idiot! Just because I don't...
 
SCOTT
(rushing)
Careful, Bob, I have a finger on the trigger.
 
BOB
Pardon me.
 
SCOTT
Walk and speak softly. I repeat: you're nervous, Bob.
 
BOB
Because I don't speak like you? In short abrupt sentences? Your brevity says a lot about this. You couldn't make it to the end of a long sentence without trembling. You feel done in. At the movies, you've seen the funeral processions of American gangsters: flowers, Gentlemen! Wreaths with pearls, ribbons, miles of crepe! And you've been dreaming of the same for yourself.
 
SCOTT
That'll come.

GUNFIRE
We've been dreaming of following one just like it.
 
BOB
No. Yours will be the exact same thing. You're there right now. Standing on the catafalque, and trembling. Gentlemen, we've got the jitters. The heebie-jeebies. Plainly speaking: we are afraid.
 
SCOTT
Not that word! Don't say that word...
 
BOB
So now, on top of everything else, you're becoming superstitious?
 
SCOTT
We've always been this way. It's the ornament of the trade.
 
BOB
As for the cop, the pig--ever since yesterday he's been insisting on be allowed to shoot at his pals. He's even wept.
 
GUNFIRE
To redeem himself.
 
BOB
It wouldn't make him part of the gang.
 
GUNFIRE
So, it was you who charmed him. He wants to be equal to us. He couldn't know you're the biggest...
 
BOB
Chicken! You want to talk about the attack at the bank? Blame me then! After the attack, I took off when everyone else was pulling their weight. You didn't shoot me down because you were afraid of killing a man. During the beating of the driver, I refused to shoot. I found myself getting sick when you tortured the two old people at the farm. I'm a coward and I brag about being one: this is my courage. I took off, for the edge, for safety. I beat it, I broke away, I escaped! When the going gets tough, when things get hot, I spread myself out, I stretch myself and I have abdominal pains. But this time I'm going to speak up. So don't talk to me about that old stuff anymore, they're dead. Like the American gal. Dead!
 
GUNFIRE
But not buried, Bob. And we're glad to talk to you about it again.
 
BOB
When there was a chance to live, I chose life. You chose the parade. Tonight, it's the reverse. All my life, I've been terrified. With you, I had to do the dirty work. You didn't trust me. You were right. I would've given in. But tonight, I say No to your orders.
 
JEAN
And to my threats?
 
BOB
The same. You're the courageous ones, the gutsy ones! Riton also! You're the big boys, the notorious ones! You grant yourself the luxury of a magnificent terror. Which you carry with elegance.
 
JEAN
I can shoot you down.
 
BOB
Shoot!
 
SCOTT
We don't have any more provisions, we have little or no ammunition, there's no more alcohol, the water is cut off, the police have got us surrounded, the possibility of flight is nil, the American gal has died in our hands--and the police'll figure it out! Unless, that is, we can get the corpse to stroll to the window, and make it walk out on the balcony...
 
BOB
Why not? We also owe a luxurious funeral to that beautiful bitch. Let's stroll her to the stars in front of the crowd upon their knees...
 
JEAN
You have no modesty.
 
SCOTT
What purpose would that serve? Cruelty saves us. But let me continue: we don't have much time left, two hours maybe, before the building gets blown up, or we blow our heads off, or surrender ourselves to the cops. (to Bob) I've made it, without trembling, through a long enough sentence. Now we must try to live these last two hours in full dress.
 
GUNFIRE
That's for sure!
 
SCOTT
I'm talking about attire. In my mind, it's equivalent to the cruelty Riton's flaunting.
 
JEAN
You too, you're with him...

SCOTT
No. Though we've already ceased to live.
 
BOB
Two years ago we stopped living the life of the world. We entered the adventure like one enters a convent.
 
SCOTT
(turning on the radio)
Listen.
 
VOICE OF THE RADIO
...powerful searchlights sweep the four facades of Splendid's Hotel, allowing the gangsters no chance of escape. They've ceased firing. It seems their ammunition is running out. Therefore, we expect a surrender. But what has become of the unfortunate victim and the young policeman? Concerning the latter, his comrades are unable to learn anything, and they swear to avenge him. His mother is in tears...
 
GUNFIRE
Bewitched by your beautiful eyes, Bob, the policeman fires away.
 
BOB
Whatever went through his head doesn't concern us. You never know why a guy slips into dissent. As for the cop, it's Riton who seduced him.
 
GUNFIRE
Again, Riton the rebel. He should calm down. What's happened is his fault. If he hadn't killed that gal, the police wouldn't have done all that blasting. But he also had guts. And we're going to die here because of his mood-swings. All of us.
 
RITON
(appearing)
By mistake, Gunfire. She died by mistake.

GUNFIRE
Just like that? So gently? From a caress, perhaps? From your delicate hands of terror?
 
RITON
(to Bob)
You've been hanging around here too long, Bob. Go watch the stairway.
 
JEAN
To stop the cops from coming up or to stop me from going down? In the first case, you know we're watching the stairs from here.
 
RITON
(to Gunfire)
What about my hands of terror?
 
GUNFIRE
I've got nothing more to say about that. And I won't recount the young lady's last moments to you.
 
RITON
You should've been in my place. She would've died from joy.
 
GUNFIRE
Her loot was precious. That's the only metal I care about.
 
RITON
And for the gold of her hair?
 
GUNFIRE
Admit it! Won't you admit it? The American gal--she was hot for your cute little mug!
 
RITON
You're bursting with jealousy. You still smell her on me. I stroll her through the hotel. I don't carry her in my arms, but she adorns me. She veils me and saddens me. She troubles you...
 
JEAN
We knew it. Your carnal glare...
 
RITON
And her carnations! You won't forgive us because of those.
 
GUNFIRE
That's not true.
 
RITON
On the left, she pinned her carnations, there, on the left. You gulp with grief because she was mine. Because I'm the one she called "Gunfire".
 
JEAN
You admit it?
 
RITON
No.
 
GUNFIRE
Thief, you even stole my name!
 
RITON
Gunfire? That belongs to nobody. That name's been going through the entire gang for a long time. Now it belongs to anyone, especially the one who wears it the best.
 
GUNFIRE
It was given to me first.
 
BOB
(sarcastically)
Through Holy Baptism?
 
RITON
Look, Johnny was the boss. Still, everyone kept saying, "Gunfire's Gang, Gunfire's Gang". (to Jean) So explain that. Justify yourself.
 
JEAN
And you never touched her?
 
RITON
(sarcastically)
I'm talking about the name! I'm talking about 'Gunfire'!
 
JEAN
I'm talking about the dead gal!
 
BOB
(mocking)
He was itching to! He's the cruelest of the gang. In the young lady's room, he had to treat himself to the luxury of a gilded corpse, sequinned, in bloom, with pearls and diamonds, unearthly...
 
JEAN
(to Riton)
Admit it!

BOB
You're all jealous. And glad to blame him. You all thought that gal was hot for you, for each of you. You thought she didn't ever want to leave. Caught in a trap. Scared stiff. Stuck. Drowned. She intimidated you--but not me: I have no need of lace to blow my nose with. And then you became brutes. If he snuffed her...
 
RITON
When her veil brushed against me you became enraged.
 
BOB
What veil?
 
RITON
Her lace, her little veil, I don't know what it's called. But... and what if it was me who actually strangled her?
 
JEAN
We could execute you.
 
RITON
You're the boss?
 
JEAN
Yes.
 
RITON
Prove it.
 
JEAN
You were the last one left with her, there, in the pink room.
 
RITON
In presiding over this court, you are magnificent. But what I meant was: prove that you're the boss.
 
JEAN
I can shoot you down without any proof. In the business of counterfeit money you've already upset me enough. Your filthy little mouth...
 
RITON
Is unfortunately more beautiful than yours! Rock-hard, it will always dazzle you. And besides, my filthy mouth gets you off.
 
GUNFIRE
Watch your words, I aim at the belly.
 
BOB
If the situation, like Scott says, is to be so solemn, let's wait for the end to put him to death.
 
JEAN
I'm the boss, I have the right to take action. (to Gunfire and Scott) So boys, it's not our fault if he killed the American gal! He's the one who must pay. Him, alone. (long silence) Nobody ordered him to kill her.
 
RITON
(bragging)
So? Make up your mind. Hand me over to the cops. You can even say I was the boss.
(long silence)

 
SCOTT
(to Jean)
Do you know why we obeyed you? Because of laziness. Who made you the boss?

JEAN
(hesitating slightly)
I was born to be him.
 
RITON
Like the kings of France?
 
JEAN
Exactly. I have the right to be boss, because I recognize the responsibility of this. Behind me, I know that you, the men of my gang, are there. As well as all the thieves, burglars, hoodlums, and good-for-nothings of France. And when a man fails me, I have the right to judge him.
 
BOB
That dethrones a king. And decapitates him too.
 
JEAN
Yes, I know. Are you trying to start a mutiny? Listen to reason. If we're going to live a little longer, let's try to agree on the least possible violence. Riton? Listen Riton, a little while ago I said that you're the culprit, for making us think you killed the American gal. I grant you this: I see there's doubt. So, let's play poker to name the culprit. Let's let the cards speak, fair and square.

BOB
I refuse to play cards, I'm too good at that. With the money I won, thanks to my skill, the gang was able to make its start. And don't you forget it.
 
JEAN
It's a matter of being fair tonight. Between us all. Suppose I let you command. You're the one who'll have to pass as the boss. You're the one who'll be responsible. You're the one who they'll talk about. If the cops let us go without shooting, we'll lay down our weapons. One of us will confess--one of us, not necessarily you--to murdering the gal. Then we'll get out of prison and bust that guy out.

BOB
Impossible.
 
RITON
Let him speak.
 
BOB
(to Riton)
Don't listen to him. What he's hoping for is a little friendship among men. For a bit of their peace, and this is why we've got to refuse him.
 
JEAN
Bob's fighting fiercely. He wants to drag you down too, but all is lost. Riton, you know me. You know we can fight! Throw down! Shoot down a few! But for days we've been hesitating, asking ourselves, questioning ourselves, examining ourselves, suspecting ourselves...
 
BOB
If the atmosphere is heavy, so much the better. In breathing our own foul odors, we bring ourselves closer together, and thus, we separate ourselves from other men. (to Jean) And you're part of it.
 
JEAN
(to Riton)
Don't listen to him. Accept what I'm proposing instead. Can't you see that he's accusing you?
 
BOB
I'm not accusing him, I'm pointing out our responsibilities. Each of us has a corpse on his hands. On each of our ringed fingers: the exquisite corpse of a lovely young lady.
 
JEAN
But in front of the Judge...
 
BOB
The court, Riton. Before the court! Don't worry though, you won't bear the weight of our crimes all alone. We'll all be there.
 
RITON
Suppose we play cards. The one who wins will agree not to give himself up. At the last moment, he can chicken-out.
 
JEAN
Let's risk it.
 
RITON
I'm not so sure the others will agree to play.
 
BRAVO
(entering, dancing with the Policeman)
Me, I refuse.
 
JEAN
We'll force you.
 
BRAVO
Riton's the one I answer to. To him alone. And he doesn't have the right to decide anything. You're all proud of the gang, even though you know the gang--or the "association of evil-doers", as the court will no doubt call us--didn't exist until we were shut up inside this hotel. In other words, until we became prisoners. The radio tells us this, and imposes our fraternity upon us. And for two years, without ever succeeding, we worked to form this. But tonight, misfortune binds us. Misfortune bonds us. The gang you dreamed of is alive, and already you're dreaming of destroying it. Boys, you--the tough ones, the notorious ones--you aren't deserving of misfortune!

JEAN
The gang will still exist when we're in prison.
 
BRAVO
No. It won't be this strong. Didn't you want the gang to exist? So now that it does (he lowers his voice) you got to...
 
RITON
What? Out with it.
 
BRAVO
(softly)
Sacrifice yourself.
 
RITON
That's a crock. That's nonsense...
 
BRAVO
Shut your mouth when I'm talking! What? You hesitate... Riton, I don't want you to let yourself get taken away by them. After what I did... you shouldn't give in.
 
JEAN
Be reasonable. Why not surrender to the police?
 
BRAVO
(smiling)
Surrender myself? To their arms? You surprise me, I'm not complaining.
 
JEAN
(gesturing at the Policeman)
Let him take our demands to his pals.
 
THE POLICEMAN
I'm not leaving you.
 
SCOTT
If it's better to die, you can do it with the police. The chances of death aren't lacking there.
 
THE POLICEMAN
It's not that.
 
SCOTT
What then?
 
THE POLICEMAN
How can I explain it to you? I don't know what happened. I tried to become what you were. A cop is a heavy burden to carry. The weight made me teeter.
 
BOB
And lean towards us?
 
THE POLICEMAN
Probably. Now they think I'm dead, and that I fired the shot.
 
JEAN
Your pals don't suspect it. They'll never suspect it.
 
THE POLICEMAN
If only I could! But I'm tongue-tied, my mouth is pasty. For a cop, there are only general accounts of reports to be rendered, and wordy trials. Otherwise, I'd say we tremble with envy to shoot down gangsters like you--so as not to know our own strength: in order to lose it. When you nabbed me, it made me tipsy, to be on the seventh floor with you.
 
BOB
(sarcastically)
Such great charm!

THE POLICEMAN
Such great charm. To fire at your pals, that's a big leap to make. It's beautiful to be on the roofs, to be prey, but especially, it's sweet to pass to the other side. Perhaps you'll know this soon. Perhaps you know it already.
 
PIERROT
(appearing)
I understand you. I slip easily into places on the other side.
 
THE POLICEMAN
I've seen guys like you--it's relaxing to be nice to the cops. But not for money. They've got honor--though they'd sell their mothers for a handshake. I've probably shot at her. It's the same thing.
 
JEAN
The police...
 
SCOTT
(posted at the radio)
Listen!
 
VOICE OF THE RADIO
...no hope should be entertained. We know nothing of the innocent victim. We cannot see her. And because it's assumed they have a radio post, the police administration, upon the request of Sir Crafford, is making its announcement known--that the attack on the seventh floor will be delayed for two hours if the gangsters can prove the good health of his daughter. Otherwise, in spite of all other signs, a special police squad will...
 
RITON
Turn it off.
 
JEAN
(to Pierrot)
While the police are surrounding us, closing us in, you occupy yourself with what?
 
PIERROT
With smiling.
 
JEAN
Your madness won't save us, Pierrot.
 
PIERROT
You think I'm crazy, don't you Johnny? You, who he loved more than all the others? Ever since yesterday, I've been looking for my brother. Where else would you want me to look for him besides within myself? I want him to live.
 
RITON
For two hours?
 
PIERROT
Let him live one more hour. Boys, don't deprive him of one more hour of life on earth. Help me.

JEAN
We can't bring him back to life.
 
PIERROT
We're going to bring him back to life. I'll take care of it. And you won't be so cocky when he's here. You're afraid of his fuse. (he arranges a fuse on his forehead) You're afraid of his frowning eyebrows. Afraid of his calm. Afraid of his anger. Afraid of his fists. Afraid of his thighs. But will you forget your fears when facing him? You're afraid of him watching you. But regard this. (to Jean, feigning sword-play) En garde!
 
BOB
(showing Pierrot)
No. The elbow a little lower. Like that.
 
PIERROT
My leg. My foot, the left one. It's always placed upon the earth, as if by mistake.
 
BOB
Farther forward. (he kneels in front of him) A bit to the outside. His left knee is always a bit bent. Your brother walks in waves. His rump flows.
 
PIERROT
(walking)
My rump flows. And I arrive. I arrive among you.
 
JEAN
(to Riton)
Tell him to finish up.
 
BOB
Why? Does this involve you? If he loved his brother it's normal--and it's normal that he searches for him still. Does his work scare you? In your greatest misery, what would you try to become, or what would you try to hide behind? (to Pierrot) Continue. Always, one hand in your pocket.
 
PIERROT
And what about my peepers? My terrible peepers! My oglers, my gleamers! Boys, I bring you my brother. I'm transporting him now. I offer him to you. It's me, it's Pierrot being killed. You will bring roses and wreaths to me. One hand in my pocket! I'm putting this hand in this pocket. And the smile? The smile, guys? You think I'd come back to earth without smiling? I've always shown my teeth. A magnificent set of teeth, the dentist used to say--when he resurfaced them in gold. But say hello. Say hello to me!
 
THE POLICEMAN
Hello Dédé.
 
JEAN
Stop.
 
RITON
Let him do it.
 
PIERROT
Hello friends. I just returned from far away. I could speak to you of death where I left my brother. Death lasted a long time. I had to tear myself away from someone who wanted to live in my place. That is, I had to tear myself away from my brother, but I succeeded. A terrible ordeal. But I could see you. And when I arrived just a bit ago, I thought I wouldn't be able to put my foot on the top step of the stairs my brother was descending. But you were there to help me, Johnny!
 
JEAN
Calm down, Pierrot. We should think about getting out of here.
 
PIERROT
Through where? Seeing that there are no exits, we've got to think of something else, and flee somewhere else. Even though I'm not afraid of anything anymore. I now have the strength of Dédé. So now, with courage, I will speak to you, Johnny.
 
JEAN
Make him shut up! For Christ's sake, make him shut up! Turn on the radio!
(He goes to the radio. Pierrot tears the machine-gun out of his hands. Bob takes it from Pierrot)

 
PIERROT
(to Jean)
Then shut me up! How dare you ask this of me? You?
 
BOB
(to Jean)
Give up. You're done for.
 
RITON
(to Bob, taking the machine-gun from him)
Give up. We must only obey Gunfire, the gang. That's who commands. (to Gunfire) Not you, you bastard. Gunfire, the gang! That's who commands.
 
BOB
We still have two hours to live.
 
GUNFIRE
We can't just stroll the corpse out on the balcony.
 
JEAN
Give up.
 
RITON
(to Jean)
You're disarmed, you no longer have the floor.
 
THE POLICEMAN
And why not stroll the dead gal out on the balcony?
 
BOB
It would be amusing to watch their mouths drop open.
 
RITON
(to Bob, indicating Gunfire and Jean)
Take them away. Yeah, over there. Into her room.
JEAN
Let me go.
 
BOB
Are you afraid? Within two hours you'll be just like her.
 
BRAVO
But not as pretty.
 
BOB
Who knows? (to Jean, shoving him brutally) Get in there.
(Jean goes into the bedroom, followed by Bob, who threatens him. Scott, Pierrot, Gunfire, the Policeman, Bravo, and Riton remain)

 
RITON
Is it agreed then? We'll let ourselves get shot down by the police. No one will flinch.
 
BRAVO
I pity you. You're afraid. I would've taken all your crimes a long time ago--I would've been very proud, and very happy, to take the rap for them--if you were men.
 
RITON
Look at how silent the others are. We're going to die. No more threats. Just calmness.
 
BRAVO
You've never been calm.
 
RITON
Since yesterday...

BRAVO
Yesterday? You didn't even dare go near her.
 
RITON
She's the one who backed away. She stumbled into the bed. She fell. I don't know if it was because of love, or to die quickly, and easily. So don't tell me I wouldn't dare. Women--I've shot down plenty, lots of them. Not one has troubled me.
 
BRAVO
We know your coldness. And your delicacy too. You're skin-deep Riton. But without my arrival...
 
RITON
All the same, the girl would've succumbed.
 
BRAVO
I got to laugh at that! But don't worry, I needed your hands. If that will console you, I'll explain it to you. I've been thinking about your hands of terror.
 
RITON
You have your weapons. Your handsome viper head, your pale face, your fury, your lava, your venom...
 
BRAVO
But not your strength. Though I use it better than you suspect. In all the jobs I've done with you, I used it to support you. To help you. You need someone watching over you, to carry you along. Riton, I'm your fairy!
 
SCOTT
Who killed her?

BRAVO
That's not important. I'm not a man who loves another man. I'm a man who's in love with an adventure, which no man can go on alone. That's why I've always wanted for you to take my strength to the limit. I'm the one who's always picked out the cruelest mission the most dangerous way, for you. And my courage and cruelty are the same tonight in telling you that I despise you. Your cowardice allowed me to give you the hardest jobs. Yesterday your flesh and bones gave me the strength to accomplish what you couldn't.
 
GUNFIRE
Was it you who killed her?
 
BRAVO
(looking toward the open door which Jean and Bob went through)
Are you interrogating me? You seriously believe that you're going to croak like some sort of decorated officer? And that after having taken Riton down, I'd want to leave you all alone and disabled? I could've been your gal, seeing how you've been depriving yourself since that day in prison when the gang first formed. I could've been--I should've been--dressed in dresses! But I refused them--outfits which would've made me even more lovely than that dead gal. So tonight, boys, I become the girl who leads us into battle.
 
GUNFIRE
Who killed her?
 
BRAVO
I wanted to make it impossible to go back. I burned all our bridges. You got it? You're in big trouble. It wasn't Gunfire, the gang, who took her down. It was me. Alone. She was dressed for the ball. But now that she's undressed, I want...
 
RITON
Don't touch her!
  
BRAVO
...to adorn her beautiful head. Arrange her earrings. Arrange her pleats. I'll fix her hair, do her make up, and put gold on her, and powder her, and perfume her, and flower her... do you have any flowers?

SCOTT
In suite 723, the Maharajah's. There's some artificial roses there.
 
BRAVO
And his emeralds.
 
SCOTT
Sapphires, Bravo. Emeralds are green.
(suddenly it's dark)

 
THE POLICEMAN
The spotlights! The spotlights have gone out. Turn on the lights!
(Scott switches the lights back on. The American gal appears, a fan concealing the bottom of her face. Bob is supporting her)

 
RITON
You!
 
BOB
She's ready.
 
THE POLICEMAN
No mistaking it. She's beautiful.

RITON
You! Johnny!
 
SCOTT
Sensational, Johnny. You wear her outfit marvelously. Did you do her make up, Bob?
 
BOB
We had problems. Had to split the neck-line and tear the dress. Time is pressing. They've cut the spotlights. (to Jean) Move it.
 
RITON
Don't touch him.
 
BOB
He has to be held up. He's pale. Pale with shame, or terror, at the idea of appearing on the balcony. Someone's got to help him.
 
RITON
Without my orders? Johnny, I didn't want them to dress you like a broad. It wasn't me.
 
BOB
Don't insist. He's mute. Rage and shame--or maybe his new persona--have cut off his breath. But I can answer in his place. What do you want to know? If the police see the American gal they'll give us an hour, let's take advantage of this. He looks life-like, doesn't he? (to Jean) Walk!
 
RITON
Don't hit him. I forbid you...
 
BOB
You're soft for your victim. Offer him your arm.
 
RITON
Bastard!
 
SCOTT
Easy, Riton. Respect the rules. We respect you, Madame.
 
BOB
That's Mademoiselle! (to Scott) Turn the radio on. First music! Then Death!
 
SCOTT
(after having turned the radio on)
It's Mozart. (to Jean) And if they applaud you, then wave.
 
BOB
Walk slowly, like at Mass. Arrange your lace.
 
RITON
Leave him alone.
 
BRAVO
(to Riton)
You're afraid that he's changing completely, and permanently, into a woman. Or is it a dead woman? You're getting angry because he's fortunate enough to show how beautiful he is. The crowd will applaud him. But me, the only time I've ever been able to put on a dress was in order to rob a vestry. It was the cassock of a parish priest.
 
BOB
Nobody'd ever doubt it. It's her. Riton, do you recognize her? She has his beautiful blue eyes.
 
BRAVO
Speak to her politely. And don't jostle her. She still doesn't know her dress is jimmied.
 
RITON
(to Bravo)
You're taking revenge! (to Jean) Get out on the balcony.
 
BRAVO
I'll stay. (to Jean) Walk. Move it, slut!
 
RITON
You're pushing him around like you were pushing her around before killing her. You've always been vulgar with women. You mistreated her in the same way right before she went to the balcony to collect the ransom. It was after that, immediately after that, that you strangled her.
 
BOB
We'll allow him to continue in a bit. (to Bravo) Arrange the pleats. That's it. He's missing the pins in his mouth.
 
RITON
Fuck off!
 
BOB
Let's go. (Bob and Pierrot, supporting Jean, start walking toward the balcony)
 
BRAVO
(to Riton)
She's been revived. Just like before, when you laid her down on the bed. She's not as happy tonight though, from having been strangled.
 
RITON
You've got no pity. Dogs!
 
SCOTT
Smile a little, Riton. Then afterwards, be cruel to him. (to Jean) And look at them! Like on the news, you've seen it done before--like when old Queen Mary goes to greet her people. The feasts of the Jubilee are tonight. Long live the Queen!
 
THE POLICEMAN
In cases like this a cannon is shot off.
 
BRAVO
Turn on the radio.
 
SCOTT
Not yet. Wait for her to come back.
 
BRAVO
Listen! They're cheering for her.
(Supported by Bob and Pierrot,
Jean appears on the balcony)

 
SCOTT
Music! (he turns on the radio) And now, let's dance!
(the radio plays a wedding march)

 

CURTAIN.
 
 
 
ACT 2
 
 
(Jean, still dressed like a woman, is leaning on Gunfire, and bandaging his head)

 
THE POLICEMAN
One less bullet for the belly of a cop.
 
RITON
(to Jean)
He should croak, since he wanted to.
 
SCOTT
Let the young lady bandage the wounded. It's her roll.
 
RITON
She's got no hope of saving Gunfire. Out of fear, he fired the machine-gun into his head.
 
BRAVO
I don't understand how he goofed. When somebody really wants to end it all, he succeeds.
 
SCOTT
Nevertheless, it's clear. Gunfire wants to disarm the cops. He wants to soften them up and make them take him out on a stretcher. That way, he's sure to avoid all the shooting. Mind you, this process could serve us all.
 
RITON
It would be great if the police took us away in one of those ambulances down there.
 
THE POLICEMAN
We'd look fine! But I warn you: even at the point of giving up the ghost, don't count on the pity of cops: a cop has no pity. And all they'll consider in the gesture of Gunfire is that he's depriving us of a bullet.

RITON
I figure it wouldn't be such a bad idea to...
 
BRAVO
Mutilate yourself! I don't want you to do that!
 
SCOTT

It takes some skill for someone to wound himself without too much damage.
 
RITON
You can shoot yourself in the foot. Or in the ribs. A fleshwound.
 
BRAVO
Riton, if you want to stay beautiful, watch your beautiful mouth. Then you'll be beautiful all the way to the end.
 
RITON
Me, beautiful?
 
BRAVO
Riton, you're beautiful. It's your beauty which drives me. It drives us all.
 
RITON
(gazing into a mirror)
Is that true? The moment has come that it serves me, Bravo. Now it's useful to me. So assure yourself, I keep it intact, so it'll protect me better. I'll take shelter behind it, I'll wrap myself in it. I'll forget you all.
 
BRAVO
Except for me, Riton.

BOB
Why? This gentleman here is alone with himself, this gentleman gazes into his image. He focuses on it, right in the eyes, and drowns himself there.
 
RITON
And after that? Am I afraid? I am afraid.
 
BOB
Don't get angry or you'll end up trembling. Stay calm.
 
THE POLICEMAN
You're all weaklings! I like the police better. They know what they're doing and what they're risking: and foremost, it's the entire scorn of the world, the entire world--and especially the scorn of those they protect. But for them, there are no beautiful headlines, no photos, no poems. No poems--do you hear me--to sing of their exploits! They are your shadow. But then when I come here, I find myself amidst cowardice, weakness, false luxury! And yet, you get them going. They're passionate for your adventures, they talk about you! Listen.
 
VOICE OF THE RADIO
...crimes which will lead them to the fatal cleaver...
 
THE POLICEMAN
Fatal! That's what they're saying about you!
 
VOICE OF THE RADIO
...in several columns, crowned with sensational headlines, the exploits of the bandits plunge the evening papers deep into darkness...
 
THE POLICEMAN
Crowns, headlines, darkness, sensation! That's what they're saying about you! And when I want to help you carry these...

SCOTT
We ignore all that. Too much nobility crushes us.
 
THE POLICEMAN
You don't have the strength to lift it. I'm offering you my arms, my arms of steel, my fists, my knuckles, my shoulders, and you refuse.
 
SCOTT
We don't share.
 
THE POLICEMAN
You're confusing things. If I help you, it's not for the hope of glory: it's out of respect for what you represent.
 
RITON
Leave us. We've done our work. And you, you talk too much.
 
THE POLICEMAN
You're croaking! You're croaking from fear!
 
RITON
You didn't have to work like we did. You've never been entirely inside an adventure you couldn't escape from. You've never been caught in your own trap. You've never had to fight all alone, against the police and what they represent.
 
THE POLICEMAN
I've done better: yesterday I forced my way through my own police barricades. And then I came to you. That took a different kind of courage than yours.
 
SCOTT
But courage in its pure state matters only to you. It makes you look better.

RITON
That doesn't give you the right to speak for your pals. And especially not the right of taking control here.
 
THE POLICEMAN
I know discipline.
 
SCOTT
And we know violence.
 
THE POLICEMAN
For Christ's sake, listen to me! You know damn well that you've ended up where you wanted to be, but me, I haven't. I go from cop to gangster. I turn myself inside-out, like a glove, and I show you the reverse of a cop: gangster. The police. The police force! I've been there for two years. And I like it, lads, and I'm beginning to love it even more, ever since I've been shot at. I've arrested, chased, and shot down guys like you. I've taken part in raids, I've aided in spontaneous confessions, I've worked against you to the limits of my power--until I knew I couldn't go any further. Remember, I was the first policeman to force your guns to fire--I couldn't go any further, in serving the cruelty of the upper class. I reached the limits, borders which we share, borders which--when one crosses over--one is with you. Do you understand me? No? Well you can't. So I won't explain anything else. I'll just settle myself in quietly among you. But here also, I will take command.
 
BOB
You have to earn it.
 
THE POLICEMAN
That'll be easy for me, I don't have anything else to lose.
 
SCOTT
Then despair is a great help. In any case.
 
THE POLICEMAN
For too long I've been working to protect dopes, kidnapped children, lawyers, collectors, ladies in lace, millions of princesses!
 
JEAN
(semi-reverent)
That's me!
 
THE POLICEMAN
(coming down hard on him)
That's you doll! But don't worry, I'm no slave in revolt! It isn't hatred making me howl. It's love!
 
JEAN
You're all crazy! Don't let him...
 
THE POLICEMAN
Crazy with hope! What do I care about talking to an empty dress, to some jewel lacking visible support, to a fan hiding nothing! I've had enough rage and anger that there's no way I could've invented all this. You've been kidnapped and you think you can get out by pitting us against each other?
 
JEAN
I'm satisfied with staying still. I'm hardly speaking...
 
BRAVO
(to Jean, sarcastically)
Defend yourself! You've got your charms. Give him the eye.
 
THE POLICEMAN
Give it to them! They're jealous. For too long, I've been deprived of the luxury, your father's luxury, the luxury of all America, of all your banks! But today, today I triumph!
 
RITON
(to the Policeman)
You won't touch her!
 
BRAVO
Why not? Have you become her knight in shining armor? (to the Policeman) Don't listen to him, listen only to your heart. You're right, be ferocious! Be terrible! Annihilate her! But do it gently.
 
JEAN
Watch me if you're afraid. And besides, what's there to fear from me?
 
BRAVO
Oh--Mademoiselle would never hurt anyone, is that it? But is Mademoiselle so delicate that she wouldn't put out?
 
JEAN
Nothing's been lost. Everything can still work out.
 
THE POLICEMAN
What work out? It's all over for me. (he makes a gesture) But don't back away! You're mine, at any rate. You've already passed from the state of king to that of victim. The transformation happened before my eyes. I've even seen how it made you a little sick, then suddenly you were revolted. You're the one getting killed! Do you feel good in your skin? Because now you're going to serve me. But don't back away!
 
BOB
(to Riton, who wants to intervene)
Forget it. It's too late.

JEAN
(backing away and yelling toward the window)
You... Why? Why did you want to make me who I am? I accept it! You're the men, and I'm the Queen of the Ball! So leave me alone! It's understood, I take responsibility for my skirts, for my corsage, for my little veil, for my gestures! It's understood! I'm the one you hound with your hatred! And I'm waiting for one of you to kill me again! You better believe it!
 
THE POLICEMAN
(pursuing him)
I agree! I'll do the deed!
 
JEAN
You wouldn't dare. I'm too beautiful.
 
THE POLICEMAN
It's the other way around! This'll give me guts. Don't refuse me, here I come!
(They disappear out on the balcony, between the two windows. We hear a gunshot)

 
PIERROT
I think they understood this time.
 
BRAVO
That cop, he's a real man.
 
BOB
Are you going to offer yourself to him?
 
BRAVO
It's already been done. I've been part of his adventure. From one end to the other, I accompanied him.
 
SCOTT
He earned his place. The radio will speak. (he turns the radio on)
 
VOICE OF THE RADIO
...for many other motives. This grotesque and deadly masquerade was carried out right beneath the noses of a police force so horrified by such a spectacle that it must be said that these audacious and courageous gangsters have just made themselves even more odious from this infernal massacre. No pity at all should...
 
THE POLICEMAN
(returning)
I'm disarmed now. I shot her with my last bullet.
 
RITON
We can be certain they'll be here in ten minutes.
 
THE POLICEMAN
And afterwards? Will the only thing left be for us to kill ourselves? Or don't you feel like getting acquainted... with the executioner?
 
SCOTT
Why not? We've all dreamed of him. He's been part of our conversations and jokes long enough to become our deepest desire.
 
THE POLICEMAN
Are there any bullets left? Pierrot? Watch the stairs! Stop them there. Hold out 'till death!
 
PIERROT
There's not much left inside me to kill with. I've come to my end.
 
BRAVO
So much the better. I don't regret anything. My life will spark with hard blows!
 
THE POLICEMAN
(to Riton)
Let's shoot down as many as we can, as soon as they come up. They'll have to come up slowly in the stairway.
 
RITON
Scott still has one bullet left, Pierrot also has one, Bravo has one, Bob has one, and I have one. We've got five bullets left.
 
THE POLICEMAN
So let's shoot down five at least.
 
BOB
It's too late for tenderness. You want to do it quick and dirty.
 
RITON
It won't serve any purpose to get them all riled up.
 
THE POLICEMAN
We've got ten minutes to live--they should all be brilliant. Get ready for the game of massacre!
 
BOB
Five minutes to offer ourselves no new luxury. We're cornered, caught, seized!
 
SCOTT
But there's still one luxury we can offer ourselves...
 
BRAVO
What? Say it quickly. Which one?
 
SCOTT
It's a luxury which could serve us, perhaps.
 
RITON
Even now? It wouldn't mean much...
 
SCOTT
Let's offer ourselves the luxury of being cowards.
 
THE POLICEMAN
What's that supposed to mean?
 
SCOTT
You, you can't understand. But us, we do. All our lives, we've known the audacity, the nerve, the boasting, the mortal parade, but we never could give up. Never.
(Bob turns the radio on)

 
VOICE OF THE RADIO
...they were famous for their nerve. These bandits, we know of them for their many abominable sides, through numerous acts of the greatest courage. How did they come to abduct a young girl? These smiling monsters...
 
SCOTT
(interrupting)
That's what they're saying about us.
 
BOB
The newspapers say even more, and they do a better job. But we've held through the shock. However, it was difficult, and not very fun to be forced to resemble our own images.

THE POLICEMAN
So what? You can't go giving up! Not at the moment it's happening! Your whole life you've worked for such a role. A golden role. A starring role. And you'd give up!?
 
RITON
What the hell difference does that make to us? To be cowards or not? Do you see something, or someone, to fear? I don't see anyone.
 
BRAVO
I'd love to know what it feels like when you decide to surrender. Because we're going to surrender, ain't that right boys?
 
PIERROT
But why?
 
BRAVO
Well... for... for... for playing one last dirty trick on the cops, on Justice, on the upper class, on all the dopes! One last dirty trick! With shit, with their own shit smearing the most beautiful image they have of us.
 
SCOTT
You know the surrender will be hard to take to the end. After the arrests there'll be the cell, and after that the judgement, and after that...
 
BRAVO
Well, are you afraid? Say so. Of the executioner? So much the better. I'll do a little flirting with him though.
 
THE POLICEMAN
I'll stop you from giving up. I'm staying. I'm staying ferocious.

RITON
You have nothing to do with us anymore.
 
THE POLICEMAN
What'll become of me? I did my work too quickly. Yesterday, I was on the other side. But this morning I'm shooting at the police. I'm shooting at myself. I'm destroying myself to become someone else... and time is pressing.
 
VOICE OF THE RADIO
...with the aid of ladders, the firemen scale the four walls of the hotel. They operate in unison. Each fireman is protected by a policeman armed with grenades...
 
THE POLICEMAN
Watch the windows! Bob, go to the south wall! (to Scott) You...
 
SCOTT
No one has the courage to move anymore.
 
THE POLICEMAN
You won't fight?
 
SCOTT
Slowly, but surely, cowardice overcomes us.
 
THE POLICEMAN
They'll be here in ten minutes!
 
BOB
And after that? I'm fed up with being the person they've been making me be.
 
THE POLICEMAN
Who made you? And what did they make you?
 
BOB
The cops. From too much discipline, from too much rigor. Is it for them that we make ourselves so beautiful, so tough? All this does is serve their discipline and handsome allure.
 
THE POLICEMAN
It's going to cost you a lot to be cowardly.
 
SCOTT
Why? I'm finished. I'm going to let myself be swallowed up. I feel the sweetness of the cell already beneath my feet. I'm up to my knees in peace. (he sets his machine-gun down) There!
 
BOB
Scott, is it difficult? Or does it really give you peace?
 
SCOTT
One never gives up without regret, but it'll be better for you when you do what I've done.
 
RITON
Boys! Try to hold out to the end!
 
BRAVO
Even with the jitters, you're giving up! Incapable of taking it to the end! And you want me to help you?
 
RITON
What are the papers going to say about us? I can already see the articles. With our photos.

BRAVO
Exactly. And they'll make us small. Very small. And we'll end up no longer being the giants we were. We'll lead another life somewhere else.
 
RITON
In shame.
 
BRAVO
Why not? Let's do like the others did, with the courage of cowards.
 
THE POLICEMAN
They're climbing your walls and still you debate this? The cops are scaling your monument, and you're sitting there reasoning? Get to the windows! Defend us!
 
BOB
I like putting my hands up. (he lays his weapon down) Let's give it all up!
 
RITON
Listen boys, there's still one detail: we can't go down to the street in dress coats, we'll be mobbed.
 
BOB
That's where we're at.
 
BRAVO
And then what? It's morning. It's that time when merry-makers make their way home. They're going to bed. But if we die right away, they won't even know we're gone.
 
RITON
Hold out a bit longer...

BOB
For me, there's no way I'm going to pick up my piece. I've really put it down.
 
RITON
Scott!
 
SCOTT
Your discussions exhaust me. I'm getting ready to defend myself.
(Bravo turns on the radio)

 
VOICE OF THE RADIO
...near the top landing of the hotel, a group of policemen is getting ready for the final attack. In a few minutes, the gangsters will be raising their blood-stained hands. It will be the shameful surrender. The sweat...
 
THE POLICEMAN
Are you giving up on me? Then I'll stick it out alone!
 
BRAVO
Defend yourself then.
(He throws his machine-gun to the Policeman. The Policeman hesitates, then catches it. We hear a gunshot)

 
THE POLICEMAN
Pierrot! Watch the stairs! Shoot them down! Shoot them all down! Fire!
 
PIERROT
Look guys, I'm aiming.
 
(A gunshot. We see the image of Pierrot in the mirror, collapsing)

 
RITON
They're here. Hurry up. Put down your weapons. Gunfire, stop shouting.
 
THE POLICEMAN
Hands up! Don't move! Not a word! I'm not acting! I'm making you my prisoners!
 
RITON
You're leaving us? You, who had...
 
THE POLICEMAN
I had everything, boys. I've forgotten the party and I'm returning to my place. Don't move or I'll shoot you down!
 
RITON
Already!?
 
BOB
But you wouldn't dare. We're pals...
 
SCOTT
Good performance.
 
THE POLICEMAN
I'm not acting. I never was acting. A little while ago I was on your side. I supported you. But your cowardice sickens me. Hands up!
 
BOB
When your pals find out how you turned against them...

BOB
You won't talk!
 
RITON
They'll come down on you hard.
 
THE POLICEMAN
No one's going to believe you. And if you say a word... (he suddenly interrupt himself)... Bastards! Hands up! And don't even make a move or I'll destroy you. (to the window) Come on in boys. It's all over!
 
 
 
CURTAIN.


ISSUE 8 HOME || BROKEN NEWS || CRITIQUES || CYBER BAG || EC CHAIR || FICCIONES || THE FOREIGN DESK
GALLERY || LETTERS || POESY || REVIEWS || SERIALS || STAGE & SCREEN
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