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8/10/2019 Gas - Complete Trilogy
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THE CORAL
(DIB KORALLE)
BY GEORG KAIS ER
Translatedfmm theGermanhy WINIFRED KATZIN
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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
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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
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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
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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
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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 .
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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
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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.
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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
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] 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
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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-
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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.
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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.
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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.
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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
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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 .
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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
8/10/2019 Gas - Complete Trilogy
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?
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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
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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.
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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