Arch of Triumph
(Gaisenmon)
Boris: (Singing)
À Paris, dans chaque faubourg
Le soleil de chaque journée
Fait en quelques destinées
Éclore un rêve d'amour
Francois1:(Singing)
Parmi la foule
Un amour se pose
Sur une âme de vingt ans
With Veber:(Singing)
Pour elle tout se métamorphose
Tout est couleur de printemps
All: (Singing)
À Paris, quand le jour se lève
À Paris, dans chaque faubourg
À vingt ans, on fait des rêves
Tout est couleur d'amour
Ravic:
I am Ravic, a surgeon who has fled Germany. Since the Nazis took power there, darkness has spread all over Europe. For now, the light of Paris holds it at bay… People fleeing Fascism have begun to gather here. In 1938, Paris quietly endures, but how long will its lights continue to shine?
Song:
| The Twilight of Paris Ravic: All: | Tasogare no Pari
|
Scene 2A
A bridge late at night. Joan enters. She stumbles as she passes Ravic and he catches her.
Ravic:
What's the matter?
Joan:
Please let go of me…
Ravic:
Alone in the middle of the night like this –
Joan:
Let go…
Ravic lets go and starts to walk away, then stops.
Ravic:
Planning to dive into the Seine? It's cold.
Joan:
It doesn't matter what happens…
Ravic:
Where is your home, where did you come from?
Joan:
A hotel – but I can't go back there!
Ravic:
Why?
Joan:
Raszinsky is – he's in the room – Dead!
Ravic:
This is your husband? A male friend? You say he died, was he sick? When did it happen?
Joan:
Today. I don't know what to do. I don't know anything…
Ravic:
So you carelessly went out walking? What about a doctor?
Joan:
I don't know this place, and I don't know what I'm supposed to do. We just came to Paris a week ago from Italy.
Ravic:
I suppose there isn't anyplace you can go either? I see. Well, there's nothing for it – I'll help you. I'm a doctor. However, you'll still have to let the police know. Where's this hotel?
Scene 2B
Boris is standing in front of the nightclub.
Boris:
I'm an exile from Russia – Boris Morosow. A friend of Ravic's. He was troubled after rescuing Joan Madou at the Alma Bridge, yet didn't want to get involved. So he asked me to get her a job where I work. I'm a doorman at the Scheherazade nightclub.
(singing)
| Nothing feels right, these days What are we even living for? This uneasiness visits endlessly Yet I keep impatiently opening the door | Roku demo nai kono jidai Nan no tame ni ikite iru no ka Yogo to otozureru fuan to aseri ni Doa o akete yaru no sa |
Customers Enter
Boris:
Bonsoir
Customers:
Bonsoir
Boris:
Jean Madou is here again tonight.
The men go inside.
Aspiring actress Jean Madou is now a popular singer at this club. However, not only has Ravic not asked about her – he didn't even come to the club for three weeks! Does the weight of a heart with no future make him flinch at the idea of love?
Ravic was famous in Germany, where he was head surgeon at an important hospital. But since he doesn't have a license to practice in this country, he is resigned to working illegally. Some fellow!
Ravic comes out.
Going home, is she?
Ravic:
She's changing now.
Boris:
She's something else…
Ravic:
Yeah. To be honest, I had completely forgotten about her.
Boris:
After she stayed in your room a night or two? I've left a few behind myself. But you're not like me – you're a romantic. But really Ravic, if there's one thing we can do, it's be kind. Men of compassion ought to give comfort when life is painful.
Joan comes out.
Joan:
Ravic!
Ravic: (To Boris)
See you.
Joan:
That night we met, that liquor you gave me to drink – what was it?
Ravic:
Ah! Calvados.
Joan:
Really? Calvados. Let's get that again…
Chorus (Singing):
Calvados, Calvados… Oooo…
Scene 3A
Ravic and Joan come to a bistro
Bartender:
Bonsoir Monsieur!
Ravic:
Bonsoir
Joan:
That's the table we had before!
Ravic:
Yeah.
Bartender:
Yes, it was that table.
Ravic:
Oh, so do you remember anything else?
Bartender:
I remember everything.
Ravic:
Well then, what did we have to drink?
Bartender:
Calvados.
Ravic:
Well, that is what we came here for…
Bartender:
Before you had doubles, so two doubles?
Ravic:
He put me in my place, didn't he?
Bartender:
Last time you ordered these, but…
Joan:
That's right! Laurens Green. You're incredible!
Ravic:
We'll take them as a remembrance. Salute!
Joan:
Salute.
They drink.
Joan:
Yes, this was it! It's good!
Ravic:
Are you still living at the same hotel?
Jean:
Yes. I've moved to a little bigger room though…
Ravic:
You've gotten pretty cheerful, haven't you?
Joan:
It's because of you. When we first drank Calvados here that night …
Ravic:
That night, you had the face of someone intending to die. And because we met on that bridge…
Joan:
It's been three weeks since then. I've been waiting for you all this time. Have you been very busy?
Ravic:
Yeah, sort of.
Joan:
I wanted to drink Calvados with you. And because, now, I feel like you've given me back my life.
Ravic:
Joan, when I saw you singing today at the Scheherazade, I was shocked… I don't know why, but I felt like I was meeting you for the first time.
Joan:
I've been born anew. The old me doesn't exist anymore.
Bartender:
It's started raining.
Ravic:
Just like that night. Shall we go?
Scene 3B
They leave the bistro. There is a girl selling flowers outside.
Ravic:
I'll walk you home.
Joan:
I'd rather go to your place.
Ravic: (To flower seller)
Oh, miss – I'll take all of them.
Flower Seller:
All? With it starting to rain like this, I'm saved!
Ravic:
Keep the change.
Flower seller:
Merci
Joan:
I love them. They're like a symbol of the day I was reborn. I'm so happy… The Arch of Triumph there will be our witness! I want to go walking in the rain!
Ravic:
Then lets.
Song:
| Arch of Triumph in the Rain Ravic: Pa-ra-ra Pa-ra-ra Pa-ra-ra Just when life was at its worst Joan: Together: Chorus: | Ame no Gaisenmon
Parara Parara Parara Ikiru koto ga tsurai toki ni
|
Joan:
Everyone in Paris has a place to go home to but me – I don't have a real home. Ravic, don't let me go.
Fade to darkness. Light comes up on Boris.
Boris: (Singing)
| A new love affair Born from loneliness Born from sadness Becomes just as desperate A love as possible… | Koi no hajimari Samishii kara Kanashii kara Kagiri naku Setsunai koi ga |
Light fades on Boris. Light comes up on Jaime and Yulia2 sitting on a bench.
Song:
| "My Heart Is A Violin" Yulia: Jaime: Yulia: | Watashi no Kokoro wa Vaiorin
|
Scene 4
The front room of the Hotel International
Boris:
The Mistress has Arrived.
Rosenfeld:
Oh, I was hoping she wouldn't see me today… She's collecting rent, huh?
Francois:
Everyone, I'd like to introduce some new guests. They've just come from Spain – Jaime Alvarez and Yulia.
Markus:
You're exiles from Spain? You fought against General Franco?
Jaime:
Yes, we finally had to flee…
Francois:
Everyone is in the same situation as you. Some have escaped Nazi Germany, or were dissidents in revolutionary Russia, or –
Boris:
Here!
Ruth:
Are you married?
Jaime:
No, it's not like that. We're childhood friends.
Yulia:
I was studying the violin in Paris, but…
Jaime:
Her parents were lost in the civil war.
Ruth:
Oh, I see…
Markus:
If you like, please try playing with me sometime.
Rosenfeld:
I beg you, don't encourage him to play that thing! He plays it so gloomily, I end up even more depressed!
Francois:
Just make sure I "end up" with your rent money, Rosenfeld!
In all of Paris, only my hotel won't make a fuss over identification cards and Visas, but I do require prompt rent payment!
Rosenfeld:
My apologies, Madam. I am forever in your debt.
(Kisses her hand)
It's just until I sell my paintings…
Aaron:
There aren't many places that will accept refugees, are there?
Francois:
But that's not how I do business.
Aaron:
Thank you so much.
Boris:
No, madam. Better to call it your human feeling – or honor.
Binder
For us, this is the only place to stay.
Mrs. Binder:
There's nowhere else to go…
Markus:
It's out refuge.
(Song begins)
| All: Hotel International Our home. Our refuge. Jaime: Yulia: Together: Others join: Otto: (Spoken) All: |
|
Ravic comes in.
Boris:
Ravic.
Jaime:
Dr. Ravic! I don't know if you remember me or not, but I'm Alvarez, who you treated during the Spanish civil war.
(Ravic has blank look)
It was at a field hospital near Aranjuez – you pulled a piece of shell from my leg.
Ravic:
Ah! Now I remember. That time, I didn't have enough anaesthetic….
Still flaring up?
Jaime:
I crossed the Pyrenees on this leg!
Boris:
In Spain too, were you?
Wiesenhoff:
Um, Doctor, I still haven't been able to sleep…
Ravic:
I have medicine upstairs in my room.
Francois: (To Ravic)
Welcome back.
(To Jaime and Yulia)
I should give you the instructions for new guests. If you can't avoid the police, and they come looking for you, go through the courtyard and into the garage. There's a secret passage there, and you can get out.
Jaime and Yulia:
Yes, thank you.
(All have now left except for Boris, Markus, and Rosenfeld)
Markus:
Quite an item, eh? It's just sad…
Rosenfeld:
Huh?
Markus:
The Spanish Hero and Violinist
Rosenfeld:
Why?
Boris:
Because of this era. It drains all the energy from a love affair - we're the perfect example.
Case in point: Our own Markus Meyer. He's a master at sensing and avoiding danger. A woman would just be a hindrance.
Rosenfeld:
People call you the Bird of Death.
Markus:
And you, you hold your Impressionist Art closer and more faithfully than any woman. But I wonder if they're genuine or just fakes…
Rosenfeld:
That's not funny! My van Goghs3 are the real thing!
(Drinks)
But don't tell Madam that, okay?
By the way, Ravic has a woman coming here nearly every day. His girlfriend?
Markus:
Most likely. If she's coming everyday.
Boris:
Ravic isn't really the type to fall in love, but…
Exile is a long journey.
Markus:
On a long journey, love is excess baggage.
Boris:
Exactly.
Rosenfeld:
And so, for us…
All Three:
This is absolutely necessary!
Song:
| Getting Drunk Markus: Boris: Rosenfeld: All Three: Drink up! Then dance with the angels Step, Step, Step | Yoishirete
Nomou Soshite tenshi to odorou Suteppu Suteppu Suteppu |
Rosenfeld:
Hey, watch it!
Boris:
Drink up!
Scene 5
Ravic's Room.
Joan:
I came yesterday too.
Ravic:
About what time?
Joan:
About five in the morning. You weren't here.
Ravic:
I waited till three, but I thought you weren't coming so I went out for a drink… Why the flowers?
Joan:
A present from a customer.
Ravic:
I see. Some Calvados?
Joan:
Thanks.
Ravic:
Everything you do you do wholeheartedly, don't you? When you drink…
Joan:
When I love…
Ravic:
It was the same when you despaired.
Joan:
Oh! You mean that first time when we met on the bridge? That night I was planning to die. But now I'm so happy…
Ravic:
Happy? This "happiness" of yours – what's its source? Where is it going?
Joan:
It begins with you. It ends with you.
Ravic:
You don't know anything about me.
Joan:
It's very simple. I love you.
Ravic:
Joan, you know when you say "love" that means – you know that you want to grow old together with that person.
Joan:
Love is – if that person isn't there, you can't bear to live. To wake up with you, to fall asleep with you… Right now I'm so happy. I want to make you just as happy. Why do you hold back?
Ravic:
You have an innocent and wild nature. Even when you're completely broken down, part of you is still standing. That's what's most dangerous.
Joan:
Me, a dangerous woman? How amazing!
(Ravic laughs)
It's good for you to laugh. If you're really living, you want to be aware of your whole body – living, flying, leaping…
Ravic:
That's true. But I don't know if it's right… Joan.
(Sound of marching)
Joan:
Ravic!
Aaron:
The Germans have attacked the Czech border.
Mrs. Binder:
The French Cabinet falls apart!
Ravic:
If it goes on like this, there'll be nowhere in the world to fly to! Everyone will be hunted down, tortured, slaughtered!
Joan:
What's going to happen? France is going to be engulfed too…
Ravic:
Joan! Right now we're together. That's enough.
(Fade out. Phone rings. Fade in on Veber.)
Veber:
Ah Ravic! It's Veber. An important surgery has come up this morning and I need your help. Kate Hegstroem, and it's urgent. Get to the hospital by 9:00.
Scene 6
(Veber's Hospital)
Veber:
Kate Hegstroem is a patient at my hospital, but she's a friend of Ravic's too. Since she's an American millionaire, she's also famous in Paris society.
That day I called Ravic and he came to attend my operation. Since then, it's been a month – the day of her discharge.
Eugenie:
Congratulations, Ms. Hegstroem. The hospital director is waiting for you.
Kate:
Thanks. Dr. Veber! Thank you for taking care of me all this time!
Veber:
No, not at all. You seem yourself again.
Kate:
Thanks to you.
Veber:
I hear you're going to Italy now.
Kate:
While I'm getting my strength back, I'll stay at my villa in Florence. After that I'll go on to Cannes, and from there home to America.
Veber:
Can you go home?
(Ravic enters)
Kate:
Dr. Ravic.
Ravic:
Hey.
Veber:
She says she's travelling to Florence.
Ravic:
Yes, I heard. Locking yourself away with a big fireplace, that book you've been wanting to read, some wine…
Veber:
Our ideal lifestyle…
Kate:
Oh, but I've heard that you have a splendid house and a wonderful family, Dr. Veber.
(To Ravic)
And you can't come with me, can you Doctor?
Ravic:
Yes, it's too bad, but I have my work…
Kate:
Paris was fun with you.
Ravic:
Of all the women I know, you're the most gifted.
Oh! This is an introduction to an esteemed physician in Florence. While you're there, call on him if you feel unwell.
Kate:
Is that necessary?
Ravic:
It's best to be careful with an incision, Kate.
Kate:
…Thanks. Well, I'm going, Ravic.
(Starts to walk away, and stops.)
My legs can't carry me very well…
Ravic:
Kate, I know that living anywhere in Europe has grown difficult. But with you there's a place to go home to. That's enough to make me happy.
Kate:
I no longer think happiness is just being able to survive in safety. You're the one who taught me that.
Ravic:
Kate…
Kate:
Thanks for everything, Ravic. Goodbye.
(She leaves)
Veber:
You couldn't tell her after all. About the cancer.
Ravic:
No, I couldn't. When I operated there was nothing I could do, so I had to just close up.
Veber:
A cancer growing in that beautiful woman… It's like the way Fascism is growing in Europe.
(Nurses come running in)
Nurse:
Head nurse – it's an emergency! Another one of that midwife's failures!
Pepe:
Please Doctor, help her! She's dying!
Eugenie:
Who are you?!
Nurse:
He's escorting the patient.
Veber:
That midwife again? Last week we had one come in already past helping and die.
What are you doing?
Ravic:
I'll have a look. Take her to the operating room.
(They go out. Pepe cries loudly.)
Eugenie:
Be quiet! Director –
Veber:
Yet another disreputable lot…
Eugenie:
Exactly! A prostitute and her pimp. And they won't pay properly either, that lot.
Veber:
There's nothing we can do, Dr. Ravic can't be stopped.
Scene 7A
Paperboy:
Extra! Extra! Extra! Nazi Germany invades Czechoslovakia! Extra!
Man on Street #1:
The Nazis have taken Czechoslovakia. What's become of the Munich Agreement? Aren't they breaking the pact?
Woman on Street #1:
Franco took over Spain.
Man on Street #2:
Why did France ignore these dictators?
Woman on Street #2 &3:
France is just sitting back and watching!
Man on Street #1:
I don't want to go to war!
Chorus (singing):
| Marching, Marching, Marching, Pushing on here to France, to France Watching, Storming, Pressing On | Hita, hita, hita, hita Sematte kuru yo Kono Furansu ni Furansu ni Ukagai Osoi Sematte kuru |
Worker #1:
It's too much! Inflation! Unemployment!
Worker#2:
Poverty and War!
Mrs. Demiaso:
I lost my husband in the last war! Now it's my son's turn – no more!
All:
Everyone in politics is evil!
All + Refugees: (singing)
| What will become of Paris? Paris is in danger! | Pari wa dou naru Pari wa abunai |
Wiesenhoff:
Austria has been swallowed by the Nazis.
Markus:
Belgium and Holland too!
Rosenfeld:
Now there's nowhere for us to go.
Jaime:
It's just like back in Spain!
Yulia:
Everyone is falling to pieces!
Binder:
People tremble in their souls.
Mrs. Binder:
People are questioned, people are betrayed!
Ruth:
Howling voices at the street corners…
Aaron:
Smiling faces and dreams are frozen in place.
Chorus: (singing)
| What will become of Paris? Paris is in danger! | Pari wa dou naru Pari wa abunai |
Boris:
Look at this, the Nazis are building internment camps all over the place.
Ravic:
For the sake of world peace.
Boris:
They're building up arms.
Veber:
For the sake of world peace.
Boris:
They've broken the Munich Agreement.
Veber:
For the sake of world peace.
Boris:
Lies and deception engulf us.
Ravic:
The truth is buried in darkness.
(sound of wings flapping)
Those pigeons… I wonder, when will they return to these streets?
(song)
| Boris: We endlessly follow down The path of war That frightened trembling weeping Is our precious life Veber: Ravic: Chorus: A shining soul | Hateshinaku tsuzuku
Kagayaku kokoro |
(Song ends, people disperse. Ravic sees a familiar man and runs after him)
Boris:
What's wrong? Ravic!
Scene 7B
Ravic loses the man in the crowd and talks to Boris.
Ravic:
It's him – I'm sure it was Schneider. The Nazi secret police, the Gestapo's, highly decorated Officer Franz von Schneider. This abyss I've been thrown into, everything I've lost, it's all because of that time four years ago – when I was captured by the Gestapo and I was interrogated and tortured by Schneider.
Vision of what Ravic describes appears.
I was captured because the Gestapo were after two acquaintances of mine. I was accused of harboring them and helping them to escape. They tortured me to get me to tell them the two's whereabouts – I really didn't know!
The vicious beatings went on all night. The torture became so painful that I couldn't even feel it anymore. I don't know how may times I fainted each day. Then Schneider brought in my girlfriend, Sibyl.
Schneider:
If you don't answer, I wonder what will happen to her…
Ravic:
Three days later, Sibyl was dead. I was sent to an internment camp. As soon as I saw my chance, I escaped.
Boris:
What will you do if you meet Schneider again?
Ravic shakes his head.
Boris:
You should think about it. You can't just go making trouble in the middle of the city. You have to keep an eye out for how you'll get away.
Ravic:
You're right.
Boris:
If you get caught by the police, what with you being a refugee…
Ravic:
I know! A refugee mustn't cause any trouble…
Music rises
Ravic and Refugees:
A refugee mustn't behave suspiciously. A refugee has to bear the nightmares of his homeland. And endure it all alone!
Song:
| Nightmare Chorus: Ravic: Ravic and Chorus: | Akumu
|
Ravic envisions his nightmare.
Francois
Overwhelmed by his tumultuous fears, Ravic forgot himself. Controlled only by his imaginings, he aimlessly wandered the nighttime streets.
Song:
| Embrace Me Francois: Hold me in your arms Lu-lu-lu-lu… Lu-lu | Watashi o Daite
Anata no te ni dakarete Ru ru ru ru… Ru ru |
Scene 8
Ravic:
So far I've thought of nothing but vengeance. If I keep chasing these phantoms of hatred, these fragments of my miserable past, what will become of me? It's idiocy. Will I compromise the life I've worked so hard to create because of one person?
More than that, I can't let Joan be involved. I have someone who cares about me. I have someone who I'm happy whenever I see her face. Will I sacrifice this irreplaceable passion for the sake of my convulsive vengeance? What am I doing?
Joan walks up.
Joan:
Ravic!
Ravic:
Welcome home.
Joan:
You were waiting for me?
Ravic:
Yeah. Joan, I've just returned from the Moon World.
Joan:
The Moon World? Where is that? I would have liked to go too!
Ravic:
I'd only just gotten back when we met. Joan, don't you think that love is more important than anything else?
Joan:
Yes, Ravic. That's the way I hope to live.
Ravic:
To you it's as important as life, so you draw away from the dull past. But… Today I finally understand it completely. When people have love for each other, that's everything. It's love that is life.
Kisses her.
We're living in a dying era. Even this city is fading. You and I, we have nothing left but our hearts.
Joan:
That's true. You're beside me… and I'm happy.
Oh! I've been thinking about this for awhile – can't we live in the same apartment? Not living in these separate hotels, but a life surrounded by our own things. Chairs and dishes and a bed and two or three rooms and we close the door and “Ah-!” our worries disappear.
Ravic:
A snug little apartment. A little life for just the two of us.
Joan:
Exactly.
Ravic:
Joan, I can't do that. Listen carefully to what I tell you now. I'm living in France illegally. I don't have an identification card or passport. When I work, I have to do it secretly. I can't get married either. I can't live any other way than the way I do right now.
Joan:
Is this the truth?
Ravic:
Yes, that's what it is to be a refugee. I'm a man without a future. Right now there's about five or six thousand people like me in Paris.
Joan:
(Gasps)
Ravic:
But truly, Joan, I'm very happy this way. I have my work and I have you.
Joan:
If you're caught by the police, what will happen?
Ravic:
I'll be deported.
Joan:
Deported!
Ravic:
Yeah.
Joan:
If that happens, what will I do?
Ravic:
Don't worry. After a week or two, I'll come back again.
Joan:
Have you been deported before?
Ravic:
Two or three times so far.
Joan:
I don't want to be alone again. If you don't stay with me…
Song:
| "Arch of Triumph in the Rain" (Reprise) Ravic: (Kisses Joan) Ravic and Joan: Joan: Ravic and Joan: Pa-ra-ra Pa-ra-ra Pa-ra-ra |
Parara Parara Parara |
Ravic:
Hey, let's go somewhere for a few days. Someplace sunny. Like Cannes or Antibes.
Joan:
Really? I'd love to. But won't it be expensive?
Ravic:
I have a little money.
Joan:
I've never been to the Riviera… Ah! What should I do? I don't have a good dress – I only have two old ones.
Ravic:
Well, let's buy a new one. Most likely some work will come my way during the next couple weeks.
Scene 9-1
Spotlight on Veber with phone
Veber:
Ravic, the director of Duran Hospital is requesting you again. This time it's a gall bladder surgery. The patient is an important police official – the director in charge of refugees. It's likely to be a fatality, but what do you think? Give it a try? The money –
(Whispers)
– I hear the money should be pretty good. I checked into it quietly; since Duran is a decorated surgeon, this operation easily costs ten thousand francs. If I were you, I'd negotiate my fee up front.
Scene 9-2 Duran Hospital
Duran:
Well, Mr. Abair, all the preparations are complete. There is absolutely nothing to worry about. With the general anesthesia, you'll be asleep before you can count to five and when you wake it'll all be over.
Abair:
It's just that it's my first surgery…
Duran:
Not to worry, gallbladders are my specialty. I have a great deal of experience. Think of it as riding gently in a sturdy boat…
Abair is taken out.
Ravic:
He the one?
Duran:
Once I refugee is caught, it's his job to decide whether that refugee is given life or death. But don't worry, he'll already be unconscious when you're with him. You'll be long gone by the time he wakes up. In a moment here, I'll leave it to you.
Well, hurry up!
Ravic:
What will my payment be?
Duran:
Huh, why? Same as always…
Ravic:
Two hundred francs? This time I want two thousand.
Duran:
What do you mean, springing this on me at the last minute!
Ravic:
Okay then, you go ahead and do it.
Pretends to leave.
Duran:
Wait, damn it. What kind of man are you? – You better watch yourself.
Ravic:
I think the one looking out for himself is you. Bye.
Duran:
Fine, fine, two thousand then!
Both exit.
Scene 9-3
The operating room
Chorus:
There's a world of difference between the exterior and the interior. In the shadow of the truth, fraud!
Rosenfeld:
Performing the surgery –
Chorus:
Ravic!
Wiesenhoff:
Taking the money –
Chorus:
Duran!
Binder:
The one saving a life is Ravic.
Rosenfeld:
The one getting the credit is Duran
| Chorus: The patient doesn't know, Doesn't know anything. | Kanja wa shiranai Nani mo shiranai |
Jaime:
Holding the lives of thousands of refugees in his hands –
Chorus:
Abair!
Markus:
Holding the life of a man without compassion –
Chorus:
Ravic!
| Chorus: The patient doesn't know, Doesn't know anything. | Kanja wa shiranai Nani mo shiranai |
Boris:
And that was how Ravic and Joan were able to go to Antibes in search of the fleeting sun. But…
Scene 10
Antibes
Dance number. Joan is dancing with Henri.
Joan:
(Noticing Ravic) Oh! You're back?
Henri:
You must be Dr. Ravic. I've often seen you at the Scheherazade…
Ravic:
Hello. Did you enjoy the yacht? (To Henri) It seems I'm in your debt.
Henri:
No, no. Even though we're friends, what with her having so many fans… Well, I've been intruding on your fun.
Joan:
Henri is a movie actor. He says I should try being in a movie sometime. I don't know if there's anyone who'd want to see me…
Henri:
Plenty!
Ravic:
Yes, isn't that great?
Henri:
Well then, excuse me.
He leaves.
Joan:
You're angry, aren't you? Anyone can see that. Because I went on the yacht with those people and didn't come home for dinner.
Ravic:
What do you want me to say?
Joan:
Stupid, aren't I? I can't understand why you love me. (To waitress) Calvados for me, too. (To Ravic again) I have to thank you for bringing me to this gorgeous place. I'd love to live this way all the time. I suppose you think that's terribly shallow, don't you?
Ravic:
Joan.
Joan:
I really will understand how silly I'm being. But, in our lives there's not nearly enough silliness. There's war and inflation and hunger pains – if it's bad, we've got it. But just a moment of peace, or some quiet; there's absolutely none. I'm not an important woman, but I still want some happiness.
Ravic:
I know, Joan.
Joan:
We're happy here, but in only a few days we'll have to go back to Paris, back to that nightclub and that dreary hotel.
Ravic:
That's the way everyone thinks these days. But Paris is still a pretty good place.
Joan:
That's what the head waiter at the club said. He also said that in Paris there're doctors who do two or three 10,000 franc surgeries in one day. They have fine estates and drive Packards…
Ravic:
You're adorable when you talk that way. Anything glamorous must be good.
Joan:
You're making fun of me again.
Ravic:
No, I'm not.
Joan:
It's because I love you too much that I've gotten so foolish. Oh, Ravic – Let's go back to Paris.
(Sings)
| Let's steal a trunk Full of jewels And go off on a trip We'll eat cavier At the most expensive restaurant Let's live a cheerful, sentimental life That's free of restraint Joan and Ravic together: | Houseki ippai no
|
Boris:
Ravic is definetly caught up in that woman. Guys who see some secret in a woman always act that way. A completely different type from me. I wonder what the point is…
Henri:
There's no logic to it - there's just something about her. A mysterious charm.
Boris:
Ravic, as a refugee, even if you're given love, you're still not granted life.
Henri:
I could give her a full life.
Boris:
A few days later, Joan and Ravic returned to Paris.
Henri:
Paris in February was freezing.
Scene 11A
An accident
Veber:
After returning from Antibes, one morning Ravic got involved with an accident. The scaffolding at a construction site collapses and a worker fell. Ravic happened to be passing by, so of course he had to go over and give first aid.
Police Officer:
(To Ravic) Wait a minute.
Ravic (Thinking):
Damn. I have to get away…
(Speaking) The necessary procedures have been completed.
Police Officer:
Are you a doctor, sir?
Ravic:
Yes, I am. I'm in a hurry, so…
Police Officer:
Thank you for your assistance. Since you're a doctor, I'll have to take record of your name.
Ravic:
I have to hurry back to the hospital for a surgery. I was only waiting here until the ambulance arrived. Excuse me.
Police Officer:
I'm afraid I can't allow that. I'm sorry, but I have to enter you in the record. Please accompany me to the station.
Ravic (Thinking):
Ah, they've got me.
Scene 11B
Police station
Ravic (Thinking):
This is a surprise. It's the man I operated on.
Abair:
Since you don't have a passport, you're an illegal alien.
Police Officer:
But sir, he saved an injured man.
Abair:
He's not allowed to practice in France. He's performing illegal surgeries and who knows what other quackeries.
Ravic (Thinking):
If my scalpel had wavered even a little, you'd be in a grave right now. I saved your life.
Abair:
Just the other day, a highly regarded physician was explaining to me the problems associated with the large numbers of unlicensed doctors.
Ravic (Thinking):
I don't believe it. It has to be Duran.
Abair:
It was Dr. Duran. As for you, deportation. Tomorrow morning, see him to the border.
Veber:
Immediately afterwards, Ravic was escorted to the border. A fifteen franc bribe allowed him to call Joan…
Scene 11C
Phone Call
Joan:
Hello.
Ravic:
Hello.
Joan:
Ravic! Where are you?
Ravic:
A border town.
Joan:
Ah! Ravic, I heard about it from Dr. Veber. But is it really that bad? I'll go there immediately.
Ravic:
No, don't – there's no time.
Joan:
No, no, Ravic. I don't know how I'll live if you're not with me.
Ravic:
Do you want to see me that badly?
Joan:
Ravic, I'm frightened to death. What if Dr. Veber went out there and met with them…
Ravic:
Joan, let's not quarrel. It wasn't my intention to share with you the wretched life of a prisoner. I'll be back in Paris in two or three weeks. Take care, Joan.
Scene 12
Veber:
He was deported, but instead of coming back within two weeks as he'd planned, Ravic caught pneumonia in that border town and was bedridden for three months.
(A Paris Café. Ruth sees Wiesenhoff.)
Ruth:
Wiesenhoff!
Song: Frou-Frou
| Ruth: Frou-Frou Frou-Frou The heart's dilemma Frou-Frou Frou-Frou That rustling sound Frou-Frou Frou-Frou A woman's charm is her skirt's Whisper. Frou-Frou! Women: Frou-Frou Frou-Frou A woman's charm is her skirt's Whisper. Frou-Frou! | Furufuru Furufuru Kokoro nayamasu Furufuru Furufuru Kinuzure no oto Furufuru Furufuru Onna no miryoku wa sukato no Sasayaki Furufuru Furufuru Furufuru Onna no miryoku wa sukato no Sasayaki Furufuru |
(Boris enters and sees Ravic.)
Boris:
Hey, you're back. Veber keeps asking about you.
Ravic:
Okay, I'll give him a call.
Boris:
Have a rough time of it?
Ravic:
Yeah, the border was a bit nippy.
Boris:
A little trouble, eh?
(Lucienne comes up and interrupts the two. Pepe is watching in the background.)
Lucienne:
Doctor, thanks so much for helping me out! It's Lucienne. I've completely recovered.
Ravic:
Are you working again? (To Boris) She's got a bad pimp.
Lucienne:
Oh, no! Pepe is a good man!
Ravic:
I got this money from that midwife that nearly killed you. I don't want to see you again.
Lucienne:
Oh, doctor…
Pepe:
Thank you very much, doctor!
Ravic:
It's not for you.
Pepe:
Of course not. Come on, Lucienne, let's go.
(They leave.)
Boris:
Disgusting fellow. And I know that was out of your own pocket. What'd you pay the midwife a hundred francs too?
(They sit)
So, you're finally back in Paris. Anything you want to do? Anything you want to know?
What?
Hurry up and ask about what's on your mind.
Ravic:
All right then. How's Joan?
Boris:
No idea. Haven't seen her in weeks, or heard about her.
Ravic:
The Scheherazade?
Boris:
She quit about five weeks ago. Before that she was always asking about you. She even came and asked two or three times afterwards.
Ravic:
Is she still in Paris?
Boris:
I don't know whether she is or not.
Ravic:
What do you think she's doing?
Boris:
Something to do with movies, I hear.
Ravic:
That didn't take her long.
Boris:
You mean to get over you? Isn't that for the best – for your sake?
Ravic:
Thanks for telling me. Well, see you.
(He stands. Joan appears with Henri and other admirers.)
Joan:
…! When did you get back? To Paris?
Ravic:
Two or three days ago.
Joan (To her escort):
I'm sorry. Please go on ahead of me.
Henri:
But Joan, the preview party is about to start. You'll be late.
Joan:
I'll hurry as fast as I can.
Henri:
There are people there that I want to introduce you to.
Joan:
Please, Henri.
(Henri and company leave.)
Why didn't you ever contact me? Not even one phone call or letter…
Ravic:
Nobody knew where you were.
What's the matter?
Joan:
I thought you were never coming back.
Ravic:
I wasn't sure I'd make it back either.
Joan:
Ah, Calvados.
Ravic:
Yeah, Calvados.
Joan:
You're horrible. It's all your fault.
Ravic:
Huh?
Joan:
Leaving me all alone for months like discarded goods.
Ravic:
I had no choice.
Joan:
You know, I thought you just wanted to get rid of me. But, I'm so glad to see you today. I can't stand to be all alone.
Ravic:
All alone? Somehow I don't think so. Don't you need to get going?
Joan:
It doesn't matter. I couldn't bear it, you gone so far away.
Ravic:
You seemed to be handling it okay.
Joan:
And what else was I supposed to do? Should I have sat in my hotel room staring at the walls? I'd go mad!
Ravic (Thinking):
Without a moment's pause, she turns back to me. Why am I hesitating?
(Outloud)
If you hadn't happened by here, I was about to go blindly searching for you.
Joan:
What are you doing?
Ravic:
Kissing you. I should have done it sooner.
Boris:
That night, the two of them went to Ravic's room. Some days later, Joan invited him over to her place in Pascal.
(Scene 13A. Joan's apartment.)
Joan:
Sorry to keep you waiting. I'm so happy! Were you lonely without me?
Ravic:
Yeah.
Joan:
It's a new phonograph. It's American. Well? Do you like this room?
Ravic:
It's nice and spacious.
Joan:
The bedroom's over here – come and look.
Ravic:
No, that's okay.
Joan:
First something to drink. What would you like? I have Calvados…
Ravic:
I don't want any. I'm going home.
Joan:
What's wrong?!
Ravic:
… Is this apartment's style to your taste, or to another person's taste?
Joan:
What?!
Ravic:
You're living here with someone else. I won't share my lover with another man.
Joan:
Who told you that? It was Boris, wasn't it? The doorman at that club.
Ravic:
Don't talk about Boris that way.
Joan:
Wait. I'm no one's kept woman. I rent these rooms with money I earn from working.
Ravic:
Is that so?
Joan:
With Henri's help I've gotten some movie work. They're still small parts, but I get by. I earn a little more than I did before, so I have all this…
Ravic:
Well, that's just great.
Joan:
Ravic! When you got back to Paris, you knew who I was with. Yet that night you didn't say anything. Now, all of a sudden, you start making accusations!
Ravic:
That night I thought you were coming back to me. But you weren't.
Joan:
I can't suddenly cut off people who've helped me in good faith, just because you came back.
Ravic:
There's no use talking about seeing each other if you're not willing to change anything. It's only that I'm in love with you.
Joan:
I see. It's getting late.
| Am I such a bad woman? I only think of you. I only love you. | Watashi warui onna? Anata dake o omoi Anata dake o ai shi |
Ravic:
Why can't you do that?
Joan:
| I keep thinking of you, but you turn away I keep loving you, but you fade away | Omoi tsuzukete mo se o mukerare Ai shi tsuzukete mo kiete shimau |
Ravic:
You want him, you want me – you want it all!
(Ravic leaves)
Joan:
| Within your soul there's mist Within my heart there's a maze | Anata no sugata kiri no naka Atashi no kokoro wa meiro no naka |
(Joan cries. Henri enters.)
Henri:
He came here? You invited him?
Joan:
That's right. I invited him.
Henri:
And?
Joan:
He got angry and went home.
Henri:
And that's why you're crying? Joan, I'm begging you, please don't go. If you left, I wouldn't know what to do.
(Scene 13B. A City Street.)
Ravic:
Joan. Why didn't I take her with me? I'm a fool. What am I thinking? Why am I suffering like this?
Song: Golden Rain (Kojiki no Ame)
| The golden rain, the pouring rain I wish it could flow through my crazy heart Joan, Joan, Joan Why does it have to be you? There are women more beautiful than you There are women sweeter than you There are women more loyal than you Such women exist, and yet… The one I love is you The one I love is Joan. | Konjiki no ame Furisosogu ame Ore no kurutta kokoro o nagashite hoshii Joan Joan Joan Naze omae na no ni Omae yori mo utsukushiku Omae yori mo yasashiku Omae yori mo seijitsu na Hito wa iru keredo Ore no ai shite iru no wa omae Ore no ai shite iru no wa Joan |
(Scene 14. A Paris Street.)
| Prostitute: Women and men Men and women Cheat and are cheated on Glimmers in the dark Lu lu lu lu lu lu… | Onna to otoko Otoko to onna Damashi damasare Yami ni matataku Ru ru ru ru ru ru… |
Prostitute: (To Markus)
Waiting for someone?
Schneider:
Bird of Death?
Markus:
You're?
Schneider:
Schneider.
Markus:
Your full name.
Schneider:
Franz von Schneider
Markus:
Have the requested arrangements been made?
Schneider:
They have. A passport and visa to America. It even has a photo. What about you?
Markus:
I can hand them over anytime. Please don't move any closer.
Schneider:
When are you going to give the names and hiding places of the refugees you know?
Markus:
As soon as I'm sure I can get away safely.
Schneider:
I'm only in Paris for four days. When I take the last train on the eighteenth, how about we make the exchange at the station.
Markus:
The eighteenth. That'll do. Goodbye.
It would be useless to follow me.
Schneider:
Wouldn't dream of it. In exchange for “overlooking” you, I'll catch a lot of other refugees. I came to Paris prepared to enjoy myself.
(Both leave – Schneider with prostitutes.)
Francois:
Seeing that the woman-hunting Gestapo was here, the God of Death possessed a man at the Hotel International. One of the refugees: Aaron Goldberg.
(Aaron is shown hanging himself.)
(Scene 15. Hotel International.)
Francois:
Come on, Ruth. Pull yourself together.
Ruth:
He – my husband – he was just the same as always today. He looked just the same. He said he was going to the American consulate…
Wiesenhoff:
Ma'am…
Francois:
Wiesenhoff, this is your job. Well, hurry up and comfort her.
Wiesenhoff:
I…
Francois:
There isn't a single person who didn't know about you two. Except maybe her husband.
(Rosenfelt enters from outside.)
Rosenfelt:
Madam, outside they're saying someone killed himself?!
Francois:
Not so loud.
Rosenfelt:
Ah! When did he…?
Francois:
Well, when I found him he was already cold…
Rosenfelt:
He was a good man… Um, I know this isn't the best time to talk about this, but I have the rent I owe you. Want it now?
Francois:
Don't worry about that right now! (Takes his money.) There's so many more important things to do. We have to call a doctor; I wonder if Dr. Ravic is here.
Rosenfelt:
He's always gone this time of day.
Francois:
I have to call the police anyway so if Dr. Ravic were here, that would be awkward. Oh, there's so much to do! If only there was someone here I could rely on…
Rosenfelt:
What about me?
Francois:
Completely useless.
Markus:
Hey. Sell any pictures? Your van Gogh's?
Rosenfelt:
Just one small one.
Markus:
But you seem to be doing all right.
Rosenfelt:
Not really. Since I don't have a passport, they realized that I must be a refugee.
Markus:
That's how it goes.
Boris:
Madam, once you've called the police, perhaps it would be best if those not carrying a passport were to take the secret way.
Francois:
Yes, of course. Everyone, please go the way I told you before.
(Jaime comes in with Yulia.)
Jaime:
Why would Mr. Goldberg do such a thing?
Boris:
I don't know.
Yulia:
I met him this morning at the entrance to the hotel…
Ruth:
It's my fault. He – He probably suspected something.
Wiesenhoff:
Ma'am…
Ruth:
What should I do…
Boris:
Why did he do it? Your husband was dreaming of the day when the two of you would cross to America.
Rosenfelt:
Maybe he couldn't get a visa to America?
Markus:
That must be why.
(A woman's scream)
Otto:
Mother!
(The Binder's enter. Mrs. Binder is screaming.)
Otto:
Somebody, my mother –
Francois:
Mr. Binder!
Mr. Binder:
Just now, as we were coming in through the garden, my wife saw Mr. Goldberg…
Otto:
Are you all right, Mother?
(Mrs. Binder screams.)
(Scene 16A – Spotlight on Boris with a telephone)(The phone rings)
Boris:
Hello, Ravic? Mr. Goldberg died. This morning, without telling anyone, in the courtyard, he… Yeah, everyone got out before the policemen arrived, same as always.
I have some urgent business for you. A certain Gestapo has shown himself. Calm down! At the Fouquet Café. I happened to go by there, and he was ordering lunch. …No, not on the terrace, inside.
What will you do, Ravic? You’ll do it. Today. How can I help?
Yeah, I know it’s your problem, but… I understand. You’ll go alone.
I’ve said this before, but don’t get carried away. It’s not your only chance.
(Scene 16B – A Paris Café)
(Ravic is sitting at a table. Joan enters and sees him.)
Joan:
Ravic!
Ravic:
Joan!
Joan:
I’ve been looking for you.
Ravic:
(Distracted) Oh?
Joan:
I’m going to leave that man.
Ravic:
(Still distracted) Huh….
Joan:
I’m afraid of him. He’s threatening me. He says - he’ll shoot me dead!
Ravic:
What? What did you just say?
Joan:
He’s saying he’ll shoot me dead.
Ravic:
Who is? He probably didn’t mean it.
Joan:
No, he has a terrible temper.
Ravic:
Guys like that are all talk.
Joan:
I’ve decided to leave him and come to you.
Ravic:
Now, hang on a second –
Joan:
No, Ravic. Why aren’t you listening to me? Are you meeting someone here? Who is she?
Ravic:
It’s not that. There’s something important I have to do.
Joan:
I’m going. Don’t worry about me.
Ravic:
Wait –
Joan:
No!
(Leaves. Schneider approaches Ravic.)
Schneider:
Excuse me.
(Ravic doesn’t respond.)
Excuse me.
Ravic:
Huh?
Schneider:
Mind if I join you?
Ravic:
No, go ahead. (Thinking:) Does he recognize me?
Schneider:
I noticed you from inside.
Ravic (Thinking):
He does recognize me!
Schneider:
My eyes didn’t deceive me. You’re definitely… German.
Ravic:
(Laughs) Yes, I am. (Thinking:) Good, he doesn’t know me.
Schneider:
Been living here long?
Ravic:
Yeah, always.
Schneider:
Were you born in France?
Ravic:
Yes, I was.
Schneider:
I’m von Schneider.
Ravic:
I’m Herren.
Schneider:
Every other week I come from Berlin for a few days. I’m doing a little organizational work.
Ravic:
I see!
Schneider:
I’m gathering intelligence on Paris. I’ve had a lot of luck getting information about refugees. You can buy anything; there’s plenty who’ll sell their closest friends.
Ravic (Thinking):
Playing on human weakness – what a foul man!
(Lucienne and a friend enter. They notice Ravic)
Lucienne:
Oh?
Ravic (Rushing them along):
Hey.
Lucienne:
It’s my hero!
Ravic:
How are you feeling?
Lucienne:
Fine, thanks to you.
(Ravic succeeds in rushing the two women away)
Schneider:
They were something else. Are they – you know?
Ravic:
Yes, they’re women who sell love.
Schneider:
They were particularly lovely.
Ravic:
Shall I introduce you?
Schneider:
Yes, please!
Ravic (Thinking):
I’ve thought about what to do a million times. I have to stay calm.
Schneider:
The ones just now were nice, but the woman you were talking to before – she was really chic. That’s Paris for you…
Ravic:
Ah, she’s half English and half Romanian.
Schneider:
Oh! Looked like maybe she’s an actress…
Ravic:
Something like that. Would you rather have her?
Schneider:
What, really? Have her – just like that?
Ravic (Thinking): This is too easy! (Speaking) Yeah, I know the way. We have a different type around here – upper-class women in Paris have a lot of free time, and they’re curious about things.
Schneider:
Wow.
Ravic:
Shall we go?
Schneider:
Is it nearby?
Ravic:
Yeah, toward Boulogne.
Schneider:
I have to leave from the northern station later today, but there’s still plenty of time. It’s unusual to ask this kind of favor of someone you’ve just met, but… I’ll take advantage of our shared German blood.
Ravic:
It’s no trouble at all. To Boulogne then?
Schneider:
Yes, absolutely!
(Scene 17A)
(A dance number)
(Scene 17B – In the Car)
Ravic (Monologue):
I drive the dozing Schneider through a forest dark as death. The headlights fly before the car like white ghosts, tearing trees from the darkness. The sound of tires gliding over asphalt seems to go on forever. And then –
Schneider (Waking up):
Where are we?
Ravic:
Boulogne Forest.
Schneider:
How long have we been driving?
Ravic:
10 minutes.
Schneider:
No, it’s been longer than that.
Ravic:
Impossible.
Schneider:
I checked my watch before I fell asleep – it’s been more than thirty minutes.
Ravic (Monologue): He’s not drunk anymore. I step hard on the accelerator and the car leaps forward like an arrow.
Boris’ Voice:
Ravic, a gun will be trouble afterwards.
Ravic (Monologue):
It’s risky. When I chose this abandoned road, I made sure the car had good steering and breaks.
(Breaks hard. Schneider is thrown from the car. Ravic kills him.)
(Scene 17C – A Paris Street)
(Markus enters)
Prostitute A:
What’s wrong? Looking for someone?
Markus:
You probably don’t remember, but by any chance has the middle-aged German man I was talking to the other day come back by here?
Prostitute B:
You have an appointment?
Markus:
No, it wasn’t here that we’d agreed on, but I thought maybe…
Prostitute A:
Oh dear, you’ve been stood up…
Markus:
Well, see you.
(Scene 18 – Paris)
Francois (Singing):
Now, as the sunset fades
This is the twilight of Paris
Like a fleeting sorrow
Time silently passes on
Shudders of foreboding only spread
The blackness of fear
So we draw close those
Quiet lamplight streets in our thoughts
Ima kure nazumu toki
Tasogare no Pari
Tsuka no ma no wa kanasa ni
Shizuka ni toki ga utsuri yuku
Tatakai no yokan ni furue
Kuroi kanashimi ga hirogaru
Nokosareta tomoshibi no machi
Omoi ga yorisou machi
Boris:
Hey, madam. A lot of people have left the Hotel International, haven’t they?
Francois:
Yes, Markus and about two other rooms. I thought it’d be more…
Boris:
Markus – humph! The Bird of Death ran off early. As for the others, they’re still here because they don’t have anywhere else to go.
(Jaime and Yulia come up)
Jaime:
Madam, I heard that starting tonight we have to turn off all the lights in the city?
Francois:
Yes, I heard that too.
Boris:
Damn it, it’s a blackout.
Yulia:
The city will be completely dark, won’t it?
Francois:
I suppose this means the war is starting.
Boris:
Most likely.
Francois:
Well, I guess we’ll just have to do the best we can. See you later.
(Francois leaves. Jaime and Yulia move away. Ravic enters.)
Boris:
How’s it going? You’re relaxed.
Ravic:
Yeah, completely. I’ve no identity.
Boris:
How’s it feel?
Ravic:
It seems very far away.
Boris:
Inside you’re completely empty, aren’t you?
Ravic:
Yep, hollow.
Boris:
By the way, what’re you going to do?
Ravic:
You mean about fleeing around like rats? I’m not going anywhere. Though the others are different. I’d like to find a safe way for Jaime and Yulia to get away.
Boris:
Naturally. What about Joan?
Ravic:
Don’t know. Still running around chasing the good life, I guess. Childish.
Boris:
It comes of fear. Everyone’s that way.
Ravic:
But you’re not. You’re a student of pleasure.
Boris:
And you’re a wanderer above the clouds. Me, I’d rather pursue my second-rate pleasures. I think it’s more honest not to have a woman than be one of those men who is dragged into love.
Ravic:
If that’s the way for you, then good. But in essence it’s no different than the love that’s lost to me.
Boris:
Ravic…
Ravic:
I’ve had revenge and I’ve had love. There’s nothing more I want.
(Henri enters)
Henri:
Dr. Ravic… You’re Dr. Ravic, aren’t you? I’ve been looking for you.
Ravic:
And your business would be?
Henri:
Pardon me for interrupting your conversation, but would you be so kind as to go to Joan as soon as possible?
Ravic:
Why?
Henri:
She’s been injured.
Ravic:
Oh, what kind of injury?
Henri:
… She’s been shot.
Ravic:
She shot herself?!
Henri:
No – I shot her! She may be dying.
Ravic:
What did you say!
Henri:
Please hurry. I have my car.
(Scene 19 – In Joan's Apartment)
(Ravic and others enter)
Ravic: Joan
Joan: Ravic…
Ravic: Does it hurt?
Joan: Yes, terribly.
Ravic: It's alright, just stay calm. Everything's going to be okay.
Soon it'll stop hurting. (Gives her a shot). All done.
Joan: I'm not afraid, now that you're here.
Henri: I didn't mean to hit her. It was an accident. I didn't mean to hit her at all. It's just that I thought her heart belonged to you…. Joan… Forgive me!
Ravic: Quiet!
Veber: Come over here.
Henri: I'm sorry. Somehow, please… (Veber leads him away)
Joan: You can save me, can't you?
Ravic: Of course. (To Veber) I can't operate.
Veber: What do you mean?
Ravic: I don't think I can operate. It needs to be examined extremely carefully first. Call an ambulance and the hospital.
Veber: Alright. (leaves)
Joan: You'll stay with me?
Ravic: Ah – I'm here.
Joan: Aaah! My head hurts…
Ravic (Thinking): I've studied so many things, but now when it matters most, I'm useless.
Joan: What's wrong with my feet? They won't move.
Ravic: No need to worry.
Joan: Promise me – when the pain is too much for me to bear you'll – do something.
Ravic: I understand. But, it won't be necessary.
Joan: If you don't, there's no way I could go on.
Ravic: Don't be foolish, you'll be fine. We'll go drink Calvados together again.
Joan: Okay…. When we first met, I didn't know where to go. In the year since then, this year, you've been there for me.
I want to tell you – … All this time, you're the only one I –
Ravic: I know, Joan.
Joan: It's strange, dying while you're in love… I was never a suitable woman for you.
Ravic: You've been my life.
(Moves so he's holding her)
Joan: I want to hold you. But my arms…
Ravic: You're in my arms now and I'm holding you.
Joan: I'm glad… I love you.
Ravic: You gave me life. I was just like a rock until I met you.
Joan: Ravic…
Ravic: You've always been with me. When I loved you, when I hated you, even when I tried to act indifferent.
Joan: Kiss me.
(Ravic kisses her gently)
Joan: No more… Ravic…
Ravic (sings):
| Just when life was at its worst I met this person | Ikiru koto ga tsurai toki ni watashi wa kono hito ni deatta |
Joan: Oh, Ravic… Ravic! Help me!
Ravic: Alright. You won't sense anything or feel any pain.
Joan! (Gives her a shot in the arm)
Joan: You…
(Dies. Ravic cries. Veber enters.)
Ravic: There's no longer any need for an ambulance. You can call the police.
Veber: The police will be busy now. France just declared war on Germany. And I'm going to the front.
Ravic: So of all my nights in Paris, this will be the last.
Veber: Is there no escape for a fugitive?
Ravic: No, if he's arrested, he'll go to an internment camp.
Veber: I see… Well, you've been a real help to me.
Ravic: No, you've saved me many times. Thank you.
(They shake hands)
Veber: Oh, I don't understand anything.
(Leaves)
Ravic: Farewell, Joan.
Scene 20 (Near the Hotel International)
Boris: Ravic.
Ravic: Boris, is that you?
Boris: The police are coming.
Ravic: I thought they would.
Boris: Here, I have this identification card. You can use it if you change the photo.
Ravic: Thanks, but don't bother.
Boris: What will you do?
Ravic: I'm going to the hotel.
Boris: Think what you're doing!
Ravic: Oh, I intend to go to the internment camp.
Boris: Don't you know where that'll take you?
Ravic: It's fine, Boris. Joan is dead.
Boris: I see…
Ravic: I have a favor to ask of you. Will you take care of Joan's funeral?
Boris: Of course.
(Jaime and Yulia come up)
Jaime: Ravic, we heard from Doctor Veber.
Yulia: Our condolences.
Ravic: Thank you. Boris, couldn't Jaime use that identification card? Yulia has a passport, so if we did that, they could get away somewhere together.
Boris: I guess so. Well, we'll do as the romantic suggests.
Jaime: Thank you so much. You don't know what it means to us.
Ravic: Boris, you have your own identification, so don't worry. And feel free to use anything in my room. Well, then. I'm going (Walks away.)
Boris: Damn you!
Police Officer: The track is this way. Over here.
Wiesenhoff: Oh, I made it in time. My name is Wiesenhoff.
Police Officer: Occupation?
Wiesenhoff: I was a bricklayer.
Police Officer: Your passport?
Wiesenhoff: I don't have one.
Police Officer: Well, then you're just like the rest of them.
Wiesenhoff: Will I go to the same camp as everyone else?
Police Officer: Probably. But the men and women will be separated.
Wiesenhoff: Eh –
Francois: Well, here's some food for all of you. There probably won't be anything good to eat where they're taking you.
Ravic (To Rosenfelt): Hey. You haven't run away?
Rosenfelt: Because my van Gogh's will be safer in the internment camp. The Bird of Death has disappeared.
Otto: Are you coming with us Doctor?
Ravic: That's right! (To Binder) Don't worry, I have your wife's medicine with me.
Binder: Thank you!
(Boris comes up)
Ravic: When the war's over, let's meet at Fouquet again
Boris: Alright. We're a couple idiots, huh?
Well, come here.
Ravic: No way. I hate the way Russians say goodbye…
Boris: Come on.
Ravic: It's not right for men to kiss.
Boris: Shut up. (They hug; he kisses Ravic on both cheeks)
Ravic: Boris! (They part)
(To police officer) My name is Ravic. Surgeon. No passport.
(To himself) Is it a blackout? It's so dark, I can't see the Arch of Triumph.
Joan's Voice: I love them. They're like a symbol of the day I was reborn. I'm so happy… The Arch of Triumph there will be our witness!
(Fade to black)
(Scene 21 – Resistance fighters battle for Paris)
(Scene 22, Finale A, White birds do a dance of peace)
(Scene 23A, Finale B, Men in suits dance)
(Scene 23B, Finale C)
(Male and Female sing. Top pair enter and begin to dance)
Male Singer (Boris):
| Whenever I sleep The dream I see Is always a dream of you And your gentle smile Through the veil of night I can meet with you | Nemuri no naka de Ore no miru yume wa Itsumo omae no yume Yasashii egao Yoru no tobari no naka de Ore wa Omae ni aeru |
(Double Swing)
(Scene 24, Finale D, Grand Staircase)
First Parade Singer:
À Paris, dans chaque faubourg
Le soleil de chaque journée
Fait en quelques destinées
Éclore un rêve d'amour
Second Parade Singer:
Parmi la foule
Un amour se pose
Sur une âme de vingt ans
Pour elle tout se métamorphose
Tout est couleur de printemps
Third Parade Singer:
À Paris, quand le jour se lève
À Paris, dans chaque faubourg
À vingt ans, on fait des rêves
Tout est couleur d'amour
Fourth Parade Singer:
À Paris, dans chaque faubourg
Le soleil de chaque journée
Fait en quelques destinées
Éclore un rêve d'amour
Fifth Parade Singer:
Parmi la foule
Un amour se pose
Sur une âme de vingt ans
Pour elle tout se métamorphose
Tout est couleur de printemps
Sixth Parade Singer (Joan):
À Paris, quand le jour se lève
À Paris, dans chaque faubourg
À vingt ans, on fait des rêves
Tout est couleur d'amour
Final Parade Singer (Ravic):
| Rain gets in my eyes Just as love seeps in my breast There's the apple scent of calvados And here in the streets of Paris, I've fallen in love All: Just when life was at its worst Final Parade Singer (Ravic): All
| Ame ga me ni shimiru Ai ga mune ni shimiru Karuvadosu no ringo no kaori Pari no machi de koi o shita
Ikiru koto ga tsurai toki ni
|
THE END
Notes:
1 The owner of the Hotel International is never referred to by name in the book. There is a small, entirely different, character named "Francois" in it.
2"Jaime" is a Spanish name, so pronounce it "Haime." Yulia is not a character in the book and since the English version of her name in the play's Program was obviously wrong ("Yuria" in Japanese to "Julia" in Spanish.) I took the liberty of using a Latin version "Yulia" for her name.
3I'm pretty sure van Gogh isn't an impressionist artist. I guess Markus is trying to be annoying.
Note: The original Japanese text used on this site is the property of the Takarazuka Revue and Hankyu Corporation. It is used without permission, with the intent of publicizing the revue to a larger audience.
The translations on this site were done by me. I reserve all applicable copyright on them and DO NOT give permission for them to be redistributed, published, retranslated, used as fansub scripts, etc.