The Cafe: A Drama in Three Acts

by J. Christian Farrell

When two societal opposites fall in love, consequences arise that threaten their relationship, but when they uncover a past that has no loopholes, Edmond and Lina must decide if their love is strong enough.

1. Part One: 1919

Scene One

Set: The train station [Gare Montparnasse.

A bench sits in the center stage under an ominously blinking electrical lamp. Ellie and Edmond sit, presently, both looking uncomfortable. The latter reads a map while the former tries to be patient. Ellie, despite her impatience, is visibly excited to be anywhere but London.

ELLIE. (Following a silence in which she fidgets greatly) So - ? (Relapses back into silence; gets up and walks over to a sign in French and proceeds to butcher the annunciation) Gair-ay Mont-par-nass [Gare Montparnasse. Hm. (Goes to another sign; butchers the French) Plaise Ray-ole Dawtry [Place Raoul Dautry (She smiles pleased with herself and prances to another sign) Ar-ate. [Arrêt Ar-ret? Ar- Oh bloody hell! (To herself) Damned if I know. (Sighs and takes her seat next to Edmond) You know, Ed, French looks very much like English only its got a lot of funny marks over the letters that we don't got in England.

EDMOND. (Unflinching, corrects her) We haven't got.

ELLIE. That's what I say ain't it?

EDMOND. (Squinting at the newspaper) Ellie, love, could you do something for me?

ELLIE. (Eager to please him) Of course, Ed.

EDMOND. (Flinches at being called "Ed", which he despises) Two things: (Looks up from his paper straight ahead) First, try to do the English language some justice, and Second, (Look at her angrily) DON'T CALL ME ED! (Resumes his former position with emphasis)

ELLIE. (Resuming her fidgeting, as though a child, looks over in the distance and hears Church Bells) Oh how loverly. (Pesters Edmond) Ain't they – (Checks herself) Aren't they lovely, Ed – mond, dear? Just listen to those bells!

EDMOND. (Deadpan) They're monotonous, Ellie.

ELLIE. Oh you have no romantic bone in your body, do you? (Stands and looks about for the church) Do you think we shall go to Church while we're here, Ed?

EDMOND. (Exasperated) Edmond, Ellie, EDMOND! Can't you understand how I detest that name? (Ellie looks alarmed) It's Mum's pet name! (Resumes his paper)

ELLIE. Sorry. (Saunters about the platform with her head down; comes across the last sign and tries to figure it out again) Edmond, how do you say that?

EDMOND. (Annoyed by something) Good grief, Ellie! Can I not read my paper?

ELLIE. You ain't reading it anyways. You know French, don't you? You know what this means, right?

EDMOND. (Telling her the meaning) Stop.

ELLIE. Hey! I only asked a honest question! That ain't a honest answer!

EDMOND. I means STOP, Ellie.

ELLIE. (Cross) Fine. (Goes to a corner) I suppose I can't help you any no?

EDMOND. You'd help a lot if you'd desist your chattering! (Silence follows)

ELLIE. All right, Edmond, I'm getting a little fed up just standing here. Can't you put me to any use?

EDMOND. (Blandly) Apparently not.

ELLIE. Well what are you so upset about? (mocking) "Darling Edmond"?

EDMOND. Mightn't you stop your chatter anytime soon?

ELLIE. Mightn't you give me something to do anytime soon?

EDMOND. Ellie, I need to think for a moment! Can't you spare me that?

ELLIE. A moment is all you need? Years of French tutoring, the highest, I assume, and all you need is a moment! (Stomps about, muttering) All those years of good money going to good tutors to teach you French, but once we happen to go to France, you forget everything! Perfect! So wonderfully perfect! So, now, I understand what I left London for! All I wanted to do was see France and Paris, and all Edmond wanted to do was get away from his bloody parents! And then, of course, I know nothing about French or France for that matter!

EDMOND. (Blandly, overlaps her muttering) I can't imagine what you're so upset about. You don't even know French…

ELLIE. (Continues muttering) But I just want to help as much as I can, but no! NO, that's not convenient for His Majesty! I just want to assist him!

EDMOND. (Overlaps again)…and this isn't exactly easy!

ELLIE. Well, then, perhaps I could assist you!

EDMOND. Don't be foolish, Ellie. You don't know a bit of French. How can you assist me?

ELLIE. Well how much different is French than English?

EDMOND. (Deadpan) You have no idea. (Ellie sits, perturbed) It's not easy coming here alone!

ELLIE. (Quiet but defiant) But you're not alone.

EDMOND. That's not the point! The point is…well gosh Eleanor! … I've only ever been to Paris with my father. I've only ever been under his protective wing anywhere I have gone! It's not that I never paid any attention to my French lessons…its that I never really needed them because Father took care of everything, and everywhere I went with him, he always spoke for both of us! People never knew who I was because I was "the son of Sir Richard Wentworth"! Its just fine for you to stomp around and sit there and huff and puff as you will, but you can't possibly realize the things I am going through! I had a plan…I had a damn good plan of how things were supposed to go, but it turns out that my plan, however damned good it was, was all wrong. (Sits) I admit it, I was wrong. I shouldn't have come and I shouldn't have dragged you along with me. There was no real use for you in this rebellion of mine. I just wanted to be free from them.

ELLIE. Edmond, it's okay to be wrong. God only knows I'm wrong half the time I open me mouth, but that doesn't stop me!

EDMOND. I know! (Both pause then laugh)

ELLIE. See? See! We can make it through this. I might not know any French…and you might have forgotten a good bit, but I'm willing to bet that it'll come back to you when you really need it. And besides, I am fairly street savvy. (Proudly) I've picked gentlemen's pockets countless times in London and only got caught twice! I think I could find me way around any city after London!

EDMOND. (Aside) I'll feel encouraged when we run out of money, then! (To Ellie) What about the French?

ELLIE. I may know nothing in French, but I do know this: there is nothing that can stop me and you from succeeding. You can rely on me. That's why we'll succeed. We have each other to rely on.

EDMOND. All right. (Pause) You certainly do have an unconquerable spirit, Ellie.

ELLIE. I need it to keep you balanced, Ed.

EDMOND. (Pause) What do you think of love?

ELLIE. It all depends on whom you love. I could love a fool, but does that make me one? You could love the most beautiful peasant girl in Europe (Bats her eyes dramatically) but does her lack of dowry defer a match?

EDMOND. (Laughs) God, money means so little to me.

ELLIE. (Poking fun) It was theoretical, Ed! C'mon. Lighten up, you toad! (They laugh and fall into an affectionate silence; Ellie plays with her hands, embarrassed suddenly)

EDMOND. (Pause) You know, I think I have loved you all my life.

ELLIE. And you chose now to be the time to tell me this?

EDMOND. (Winks) Better late than never? After all, Paris is the city of love, (Jokingly) ain't it?

ELLIE. Well, then, I think I have loved you all my life as well.

EDMOND. Well isn't that something? (Looks at her fondly)

ELLIE. What? (Suddenly shy)

EDMOND. How would you feel about a little French lesson?

ELLIE. (Poking fun) Are you sure you remember any French?

EDMOND. (Flirtatious) Very funny. (Becoming studious) Alright. Repeat after me: Moi (Points to himself)

ELLIE. (Points at Edmond) Ma!

EDMOND. (Laughs) No, no! (Points to Ellie) Tu. (Points to himself) Moi. Mwa!

ELLIE. (Pointing to herself) Tu. (Points to Edmond) M-Moo-a!

EDMOND. (Laughs) No, Ellie. Moi means I. Tu means you.

ELLIE. OH! (Points to herself) M-wa. (Points to Edmond) Tu.

EDMOND. Bon. (Ellie looks puzzled) It means good.

ELLIE. (Smiles) Bwon. (Tries again) Bon.

EDMOND. Trés bien, Ellie.

ELLIE. (Tries it) Tr-ey…Trey bee-a. (Smiles) What does that mean?

EDMOND. It means very good.

ELLIE. I thought bon meant good?

EDMOND. They both do. It's similar to English. Well and Good are sometimes used the same way, right?

ELLIE. Right.

EDMOND. Just so, in French, bon and bien are much like "well" and "good".

ELLIE. Right! Oh, can we try more?

EDMOND. Oui.

ELLIE. (Imitates) We! OH! I sound so distinguished-like, speakin' French! What does oui mean?

EDMOND. Yes.

ELLIE. Alright. Give me something a little harder.

EDMOND. Bon. (Thinks) Ah! (Slowly) Quel heur a-t-il?

ELLIE. (Imitating) Kell or ay teel? (Quicker) Kell or ay teel! What does it mean?

EDMOND. What time is it.

ELLIE. (Looking at a clock) It's half past. Can't you read the clock? (Suddenly gets it) Oh! I see. (Laughs at herself)

EDMOND. You answer that by saying: (Slowly) Il est – cinq et midi.

ELLIE. (Slowly) Eel ay sank ay middy. What does that mean?

EDMOND. It means it is half past five.

ELLIE. Lovely. (Claps her hands in glee) More!

EDMOND. (He's taken pleasure in his role as teacher and now he is boosting his ego with each word) Alright. Parlez-vous anglais?

ELLIE. (Matches him to the intonation) Parlay vooz on-glay?

EDMOND. Good. It means, can you speak English.

ELLIE. That's useful. What else?

EDMOND. MMm, there are some particulars when it comes to titles, for example, a married woman is referred to as Madame. An unmarried woman is called Mademoiselle. A gentleman is referred to as Monsieur. Bon?

ELLIE. Alright.

JACQUELINE. (Enters) Perdons ? Quel heur a-t-il ?

ELLIE. Sorry, mademoiselle; we can't speak French. Erm…Parlez-vous anglais ? (To Edmond) That's correct, isn't it? (Edmond nods)

JACQUELINE. (Laughs) Oui, Madame. I was hoping you could tell me the time, Madame.

ELLIE. (Corrects) Miss…I'm not married.

JACQUELINE. Oh. My mistake.

EDMOND. (Choppy French) Il – erm – Il est – no, that's not correct! C'est cinq heurs et midi. I think that's correct.

JACQUELINE. (Stifles laughter) Il est cinq heurs et midi, mais tu ne pas usez "c'est". Try again next time, I think. (Laughs again) So it is 5:30, no?

ELLIE. Yes! Are you waiting for someone?

JACQUELINE. I am. Have you seen a woman and her daughter, s'il vous plait?

EDMOND. Ah, yes. (Remembering) They've been here and gone the last quarter hour, though. The girl said something about going to a church for her father…

JACQUELINE. Oh merd! (Turns to leave)

ELLIE. (To Edmond) What does that mean?

EDMOND. Wait! Please, we could use your help. We don't really speak much French. Can't you help us?

JACQUELINE. What is it you are looking for?

EDMOND. We've been traveling all the way from London, and it would be wonderful to find a place to stay and a bite to eat. I have money.

JACQUELINE. I know of just the place! Mon patron, Mr. Pierre Farcois and his sister-in-law and her daughter run a little café and lodge just down this street. Shall I show you and your guest there?

EDMOND. That would be lovely. (To Ellie) So, now we're getting somewhere! (hesitantly) You don't want to go to dinner with me – perhaps – the night after tomorrow, do you?

ELLIE. Are you asking me on a date?

EDMOND. (In jest) in a brotherly way.

ELLIE. Well then, I suppose I ought to accept… but only in a sisterly way.

EDMOND. (Takes Ellie's hand) Good. Whatever way you choose to accept it, I am glad for it.

[Exeunt

Scene Two

Set: A church

Presently Lina kneels before a set of candles, praying. She is dressed in plain peasant clothes, which are mostly black save for an ugly brown skirt. She rises and blesses herself. Slowly turning to leave, her emotions suddenly get the better of her and she leans an exhausted arm upon the nearest pew. Even in her state of bereavement, she is clearly a great beauty. Therese, a girl of six dressed in a plaid skirt and navy cardigan, her hair neatly curled and pinned down with a hat upon it, spots the regal woman and leaves her pew directly opposite Lina's support pew.

THERESE. (Liberally removes several flowers from altar decoration and hands them to Lina) Here. You look like you're going to cry. Please don't cry. My mum cries sometimes and that makes me sad. And I shouldn't be sad today because its my birthday. That should make me happy, and it does; only I want you to be happy too. I picked these flowers for you. The only thing that wouldn't make me happy today, and I'm a big girl too seeing as I'm going to be six at exactly 10:45 this evening, is that my daddy isn't here to celebrate with me. Mum says daddy is here with me in spirit but not ph-ph- (Looks at Laurie)

LAURIE. Physically.

THERESE. Physliclally…erm…Physiscally…oh damn it!

LAURIE. Therese! Where did you hear that word?

THERESE. I heard you say it when the drawer fell on your foot the other day, mum.

LAURIE. Oh, well don't say it again, at least, for another ten years.

THERESE. I think I'll forget. Ten years is an awfully long time to wait to say a thing.

LAURIE. Sorry to bother you. My little daughter is very friendly.

LINA. There's no problem. She seems to have decreed that there be no tears today and I think, since she's appeased me with a gift of flowers, that I should oblige. (Smiles at Therese)

LAURIE. Goodness, I haven't properly introduced myself. I'm Laurel Carmichael. My daughter here is –

THERESE. (Properly sticks her hand into Lina's) I'm Therese Rose Carmichael. How do you do?

LINA. (Stifling a laugh) How do you do, Therese? You are quite a pretty little girl.

THERESE. I'm only little now. Wait till 10:45 tonight. Then I'll shoot up and be a big girl because I'll be seven years old then. I don't suppose you can because you're an adult and adults have ever so much to do but if you could, do you think you could come to my party tonight? Mum is letting me invite all my friends, who aren't too many but surely, enough, and we're going to have tea on the rose china because my middle name is Rose, or so mum says. Truthfully, I think it would be very positively brilliant if you could come because then all my friends would see how well I am getting on in the world already having an adult friend and all. And besides, you're so pretty they'd all look up to you. (Pauses) And…well…you smell really nice.

LINA. (Laughs) Well I suppose if I smell nice and look pretty enough for the birthday girl I should be fit to visit!

THERESE. (Genuinely) Really!? Oh, wow. This is going to be the best birthday ever. (Stops) Only one problem – I don't know your name. Mum says I can only invite girls if I remember their names, and seeing as…as I remember only my greatest friends I only invited them. Though I felt dreadful walking into my class (Laurie – mouths Sunday School) and seeing all those poor girls whose names I had not remembered and therefore had not been able to invite. I think that parties should be shared with everyone not just a select group of people. Do you agree? And what is your name anyways? I bet its something quite beautiful like Emily or Felicity. I once knew a girl named Felicity and I just thought she was the prettier of the girls for it.

LINA. (Laughs) Sadly, my dear chatterbox, I am not called Felicity nor Emily. I am called Katalina Louise Farcois.

THERESE. (In awe) I think that is a truly lovely name! But you're so pretty and nice that I can't do a lot of things you can, so I suppose I'll have to wait for 10:45 tonight to get my wishes granted and I know now what I want to wish for, and I don't mind telling you, Miss Katalina Louise because it has to do with you…I wish I could grow up and be like you! I hope you don't mind playing my role model.

LAURIE. Therese darling, perhaps it would be best if you caught your breath?

THERESE. (Embarrassed) Right…sorry Mum.

LINA. I think you are positively darling, Therese. But do call me Miss Lina if you must. Miss Katalina Louise sounds far too complicated for a tongue as busy as yours. And where do you live? It can't be anywhere near here.

THERESE. Actually, we live in the north of England.

LAURIE. Liverpool.

THERESE. Yeah, in Liverpool. Mum says if I tried hard enough I could stand out at Albert dock and look clear across the sea to Ireland! That's where daddy is from Mum claims.

LINA. Liverpool! Well you're a might bit away from home! However, are you going to have your party this far away?

THERESE. I haven't thought about that. Mum assured me that we'd have a big party. Are we really far away from Liverpool? (Tears well up in her eyes)

LINA. Oh, never mind being far from home. My home is just up the way from here. It'll be big enough for your party, and my mother is a right good cook…she'll make you something rather lovely to eat.

THERESE. (Cheering up quickly) Can she make cake?

LINA. The best in all of Paris!

THERESE. (To Laurie) Can we go, Mum? Can we go to Miss Lina's?

LAURIE. I suppose so. First, we have to go to our hotel, dear.

LINA. Where are you staying?

LAURIE. It's that small hotel just up the road.

LINA. May I escort you there? My café is just a little further.

THERESE. (Tugs on Laurie's skirt as Jacqueline enters) Mummy, look! Its that funny man and his wife from the train station! (points)

LAURIE. (As Jacqueline enters with the ensemble) Cousine! (Embraces Jacqueline) We are so sorry for the misunderstanding. Our train was in a half hour earlier than expected. Oh, but it is wonderful to see you, dear Jacqueline!

LINA. (Observing the newcomers) It appears you've found some guests as well, Jacqueline?

THERESE. (Authoritatively to Lina) They're odd.

JACQUELINE. Yes, Miss Lina. They're from London. They are coming to stay at the Café.

LINA. (Sticks out a hand) Bonsoir, mes amis. Bienvenue a Paris.

JACQUELINE. Oh, they don't speak French.

LINA. Right. Welcome to Paris nonetheless. My name is Katalina Louise Farcois. What shall I call you, miss?

ELLIE. (Stiffly) Eleanor Bixley. So nice to meet your acquaintance, miss Farcois.

LINA. Yours as well. (Looser) And you, sir? What shall I call you?

EDMOND. (Stutters) Erm…Edmond – Edmond Wentworth. So – nice to meet your acquaintance, miss Farcois.

LINA. Wentworth? (Warmly) You are most welcome here Young Mr. Wentworth.

EDMOND. …how did you know to call me young Mr. Wentworth?

LINA. You are not the first Mr. Wentworth to cross our paths.

EDMOND. You knew my father?

LINA. Sir Richard is cherished as a saint to my family.

EDMOND. That's not the impression he has made on me.

LINA. (Matter-of-fact) Well, you mustn't know your father as I do. He is a saint. (Walks away)

EDMOND. (To her back) He's not!

ELLIE. (Touches his shoulder) Give it up, Ed.

EDMOND. Yeah we do, but…

ELLIE. But what?

EDMOND. Never mind.

JACQUELINE. Shall we go to your hotel, Cousine, first so you can settle down before tea?

LAURIE. That would be a good idea. Therese seems a little antsy to see the hotel.

THERESE. Yeah! I hope it has a nice big fancy restaurant where all the food is free! (Laurie and Jacqueline laugh) What? Is there no restaurant? Is it not fancy? I don't really mind if it's not fancy or big, I just hope that its suitable and that the food is free. I couldn't care for anything else in the world as much as this…well, and my birthday party. (To Ellie) Will you come to my party? Mummy says I shan't have to wait until we return home to have it, though I can't really suppose that my friends from home will be able to come here. I would have liked for them to come but not everyone has the means to come to France like we do. That's what Mummy says, at least. So, now that we're friends, can you come? You can bring your boyfriend too, even though he's a little odd.

LAURIE. (Embarrassed) Therese, that's enough.

ELLIE. You're a delightful little girl, Therese, and I would be honored to attend your birthday party.

THERESE. Ooo! Can I call you Miss Ellie? I think it sounds so much nicer to add a 'Miss' to every woman's name because then it sounds like they're real ladies like in the olden days. I'll have homework when I get back to school, and, as Mummy says, that will be quite vexing. She doesn't think I should wish for homework any sooner than it is bound to come because those things tend to turn out differently than they seemed at first. I don't really understand why she says that, but I guess she's trying to tell me not to count my chickens before they hatch. What do you say, Miss Ellie?

ELLIE. (Laughs) Well, now, I can't say too much. I never went to school for very long. I can't say I ever stepped foot in a schoolhouse.

THERESE. Really! Oh, what fun you surely missed! Did you ever have any girl friends?

ELLIE. I had a few, but they moved from London before I could really get acquainted with them. Mostly I had just Mr. Edmond here. He got to be like a brother to me.

THERESE. (Surveys Edmond) I guess so. He doesn't look like you though.

ELLIE. He's not really my brother. We were playmates.

THERESE. (Confused) Oh. Well, he can come to the party too. I was going to make it just a girls' party, but since he's like a brother to you, I suppose he'd feel left out if you were to go to a party and not he. Besides, I like the way he looks. (Lina and Ellie laugh)

ELLIE. As do I…

LINA. So do I. (Her comment generates attention from the adults)

THERESE. (Laughs) You're in love with the same guy! All right, my party begins at eight o'clock sharp! Be there or miss out.

JACQUELINE. Shall we go to the hotel?

LAURIE. Yes. (Jacqueline, Lina, Laurie and Therese exit)

EDMOND. (Interested) She's a cute little girl.

ELLIE. (On her guard) Big girl, Ed.

Scene Three

Set: The lobby of a hotel

Present are Juliette, the Receptionist at the desk, Henri, the Door Man standing idly by the double doors leading into the Restaurant, glancing at Juliette now and then; PierreFarcois stands expectantly by the door peering out the big front window every so often. This happens for a few moments.

LINA. (Enters with the party) Oncle! What are you doing here?

PIERRE. I came looking for you. Your mother needs assistance at the café. (Sees Edmond and Ellie) But whom are these new vagabonds?

LINA. They'll be coming back to the café to stay with us until they can figure something else out.

PIERRE. (Hissing) More money wasted on strangers? More time forsaken from you work?

LINA. They are not a diversion, Pierre…just as you are not my father.

PIERRE. Then what are they?

LINA (Coolly) Friends.

PIERRE. (Eyes her venomously) We have no friends.

LAURIE. Well, now you do! Therese, would you like to go ask that nice lady at the desk for the room key? (Therese runs off to do so) Jacqueline, shall we eat with you this evening…perhaps give our friends a friendlier welcome than has been afforded them?

ELLIE. You need not worry about us. We can take a room here if it's too much trouble to stay with you, Jacqueline.

PIERRE. Stay here? (Laughs maliciously) If you can afford it, peasant girl, sure you could stay here. It's an upgrade from your London alleyway isn't it?

EDMOND. Take it back!

PIERRE. (Faces him) And you… (Looks him up and down) What are you? Her pimp?

LAURIE. Jacqueline tells me you're not too far from living in an alleyway yourself, Pierre. Be careful about whom you call less fortunate.

ELLIE. Just so you know, Pierre…I suppose that is your name…I do not live in an alleyway in London. I have a three room home which I share with my small but loving family. My mother who works for the Duke and Duchess Wentworth, whom are my companion, Edmond's parents. Edmond and I have been the best of friends for many years and such an alliance, I have found, is not a bad one!

PIERRE. You know nothing about alliances, beggar girl.

ELLIE. And you know nothing about friends.

PIERRE. (Pause) I need no friends. I can take care of myself.

ELLIE. I don't think you are as vindictive as you pretend to be.

LINA. As if he had something to be vengeful of!

PIERRE. Your mother requires you, Katalina. (Exits)

ELLIE. What was that all about?

LINA. I'm sorry you had to see that. He's my uncle. He's not a very good man.

ELLIE. I'm sorry for you.

LINA. Oh, that's kind of you but you need not waste any pity on me. I'm not planning on staying with him for very long.

ELLIE. You mean, you are planning to run away?

LINA. You could say that.

EDMOND. Where to?

LINA. Well, I've always thought about trying for an actress. I don't think there's much to it and I'm very good at remembering things. It's something you pick up from working in restaurants or cafés all your life.

ELLIE. But then you wouldn't have to leave Paris to become an actress.

LINA. No, but I would have to leave Paris to escape Pierre.

ELLIE. He's that bad?

LINA. Does the word oppressor mean anything to you?

EDMOND. (Snorts) My mother.

ELLIE. Oh. I see. Well if we are going to cause you much grief, I suppose we could stay here.

LINA. It is up to you but I will insist upon your company at the café for supper. I will not take no.

EDMOND. (Excited)Yes, we'd love to!

ELLIE. (Resigned) I think we can do that.

LINA. Wonderful!

EDMOND. I'll go get a room. (He does)

LINA. May I speak with you for a minute, Miss Ellie?

ELLIE. Of course. What about?

LINA. Mr. Wentworth. He's a rather peculiar gentleman.

ELLIE. I'm not sure what you mean by that.

LINA. He's very wealthy and yet he harbors much disdain for his benefactor. I'd say it's looking the gift horse in the mouth.

ELLIE. Well now, I don't know that you could make such assumptions not knowing him or his disposition.

LINA. Need I sympathize with the Tiger?

ELLIE. It might help. After all, I may not know anything about alliances, but a friendly alliance with someone who does have money never hurt.

LINA. I see. (Pause, changes subject) You must be his sweetheart.

ELLIE. (Laughs) Oh no! Not at all! Edmond and I have been best friends for as long as either of us can remember. My mother bore me around the same time as Duchess Catherine bore Edmond, and since she was his nanny, she would look after me and Edmond at the same time. We became friends out of necessity.

LINA. Have you never felt in love with him in all that time?

ELLIE. No…goodness! Ed is like a brother to me, and he's always been there for my family. Even when we fell on hard times. He was there.

LINA. Hard times?

ELLIE. Yes, hard times. (Reluctant to speak) My brother, Colin, got messed up in a scandal with an upper class woman, Jane Wellington, and her father sought to destroy our reputation. Colin was convicted of slander when he defended himself.

LINA. How horrible. What happened to the girl?

ELLIE. She must have gone mad. She married a Frenchman, last I heard. I've been looking for her.

LINA. But why?

ELLIE. It's not a vendetta, it's more a reconciliation. The charges and the accounts her family displayed for the jury seemed anachronistic and wholly unbelievable. And I've heard rumors about her. Some people would call her a home-wrecker if they knew some of the things Colin has told me about her. But most of all, Colin loved her and I am sure she loved him – but it's impossible to marry above your station in England. Maybe she had to do it? That's why I'm looking for her.

LINA. What a terrible woman!

ELLIE. I thought so too. People can be very cruel, but they can be forgiven also.

LINA. You showed more than enough kindness to my Uncle.

ELLIE. I'll work on your Uncle, Miss Lina. Things will get better for you, I'll make sure of it.

LINA. Thank you.

EDMOND. Well, we have ourselves a room! And after some haggling, I got us just across from Laurie and Therese.

ELLIE. Well done Ed! (plants a peck on his cheek)

EDMOND. (Unsure how to respond) I thought it best to stick together.

LINA. (Trying not to be ruffled by the kiss) Well I should be off to the café. Meme must need me by now! (To Ellie) Shall we chat more later?

ELLIE. Certainly. I would like that.

LINA. As would I. Bonsoir. (Exits)

EDMOND. Did you have a good chat?

ELLIE. Yes. She doesn't hate you.

EDMOND. Really? (Very interested) What did you say about me? She likes me, doesn't she? Can I know or is it a secret? (Looking after where she left) Even in that inferior outfit, she's a beauty. A diamond in the rough.

ELLIE. (Looping her arm in his) Yes…no secrets here. She just wanted to know about you. She was interested in your complexities.

EDMOND. My complexities? Why?

ELLIE. I could think of a couple of different reasons. Maybe she's interested in knowing why you and Sir Richard don't get on well? Or maybe she's just interested?

EDMOND. What does that mean?

ELLIE. It is no coincidence that you have money and are handsome and she needs money, and she is handsome. In fact, it's so much a match made in Heaven, it's almost predictable.

EDMOND. I can't understand what you are getting at, Eleanor Bixley?

ELLIE. Well, I'm just saying she might be a perfect candidate for a wife. Better than anything your mother would have picked, no?

EDMOND. A wife? I don't even know her. Is that what this is about?

ELLIE. (Sarcasm) No, of course not. Why would you be looking for a wife in France? That's not why you're here, any way, is it? (Unloops her arm) I suppose one of your mother's choices is better?

EDMOND. That's not fair.

ELLIE. I know.

EDMOND. Are you sorry?

ELLIE. No. Some time, sooner or later Edmond, you are going to have to grow up. Open your eyes.

EDMOND. What! I don't believe this. What happened to "Lets be nice to each other and look out for one another?"

ELLIE. I'm not sorry, but I am looking out for you. I always have and I always will.

EDMOND. I think I'm beginning to understand.

ELLIE. What's that supposed to mean? (Thick silence) Never mind! Let's get ready for dinner. (Exits)

EDMOND. Yeah…(Yells) Love you too! (Wrong thing to say) Good Lord! WOMEN!

[Exeunt

Scene Four

Set: The café, later that evening.

LINA. (Enters) Meme! (Hugs Josette) Did you need me for something?

JOSETTE. Yes. I think we need to close up early tonight. I want to go to the graveyard and visit your father.

LINA. Is everything alright?

JOSETTE. I just need some time with him, alone. I need to remember why we're still doing this…keeping the café running. It's all for him.

LINA. Oh Mama. (Holds her) It's for us too.

JOSETTE. I know. But I still need to visit him. It's been a year, you know. One year today.

LINA. I know. (Josette is about to leave) Meme! We have company for supper… and Jacqueline's niece is celebrating her birthday here too. (Josette smiles at the contrast of life and death) I'll take care of it, but I thought you should know. Go, see Papa. (Josette exits; Edmond enters alone; feebly) Send him my love – again.

EDMOND. Is this not a good time?

LINA. (Jumps) Oh God!

EDMOND. (Jumps) Ah! (Laughs)

LINA. (Laughs) You startled me! Why did you jump?

EDMOND. You startled me!

LINA. (Smiles) Yes well… (Fidgets)

EDMOND. You're still angry with me.

LINA. Angry? (Works)

EDMOND. Why are you angry with me?

LINA. Why not? You insult your own father. I would give anything… never mind.

EDMOND. Where is your mother going? I bumped into her as I came in.

LINA. Out.

EDMOND. Oh. Out?

LINA. Yes. I just said that.

EDMOND. Does she know we are coming to dinner?

LINA. Yes.

EDMOND. And still she leaves?

LINA. Yes.

EDMOND. Oh. (Silence) Well I was keen to know what you wanted to know about me from Ellie.

LINA. Nothing, really.

EDMOND. Nothing? Really?

LINA. (Suppressing a smirk) Yes. Nothing really. Just why you were so peculiar around me. Or in general.

EDMOND. Peculiar?

LINA. Repeating words doesn't change them, Edmond.

EDMOND. Right. Well I wasn't being peculiar around you specifically.

LINA. (Somewhat disappointed) Oh…

EDMOND. I am peculiar, as you say, in general.

LINA. Really?

EDMOND. Nothing. (Lina cracks – gives a short laugh) No, seriously, what did you want to know? I can tell you, straight from the man himself.

LINA. If you insist. Why don't you agree with your father?

EDMOND. We don't see eye-to-eye, he and I. He wants me to be something I don't want to be.

LINA. But that's life.

EDMOND. But it doesn't have to be. He wants me to be just like him, to work as a merchant, make a living off other people. It seems so criminal to me, but to him, he's made his life out of it.

LINA. But that's life.

EDMOND. Repeating words doesn't change them, Lina. (Silence) I'm not ready to follow his prescribed life for me. I want to live my life for me, not him, by my standards and not his.

LINA. What about responsibility? Isn't your father just trying to look after you?

EDMOND. Yeah, you can say that, but to him I'm just a chess piece, not a son. I can't make a move without him knowing, and I used to be all right with that, but I'm not all right with it any more. If I'm going to live at all by my means, I might as well start living right now! (Silence; Linadisplays outward sympathy to him) Anyway, what makes you praise him as you do?

LINA. My life has been much different from yours. I have been helped by your father in many ways, but I would do anything to have had the life you had. Few people have shown me kindness, but your father was one such. And he helped my father out of a scratch, and I am ever so grateful to him for that.

EDMOND. Oh. Well I'm sorry. Your father must be wonderful.

LINA. He was.

EDMOND. I'm sorry – I have to disagree with you still. I can't imagine my father doing anything out of the goodness of his heart like that. Gosh, he didn't even marry my mother out of the goodness of his heart. (Lina laughs awkwardly) There must be something invested in it for him.

LINA. But what good do you think you can do with your life? Is it any better than what you father has already done for you?

EDMOND. I don't know. I'd like to though. I don't really have any plans for my life, just the idea of it being mine for once it's a great start.

LINA. You think your father has only ever made you do what he wanted you to do?

EDMOND. Yes, precisely.

LINA.(Sudden angst) Then what do you want from me, Edmond? A pat on the back? Perhaps a cheer?

EDMOND. No. I just don't want you to be angry with me any longer.

LINA. Why? What alliance am I to you?

EDMOND. I don't seek an alliance. Just friends.

LINA. Then what? What good am I to you? I have nothing, and you have everything.

EDMOND. I only want friendship, Lina! What do you think I am?

LINA. You really want to know?

EDMOND. Yes.

LINA. Alright. I think you are a spoiled, selfish, egocentric, ungrateful, worthless and unloving despicable excuse for a human!

EDMOND. (Injured) Woah… all right. Thank you. (Turns to leave)

LINA. That's it? You're going to just take it? You're not giving anything back? You're not going to tell me what you think of me?

EDMOND. Yes. Yes I am going to tell you what I think of you. I think you are absolutely the most beautiful doll of a woman I have ever known. I think you are a diamond in the rough. (Exits)

LINA. (Stunned to silence) A kiss would have been nice too! (Seconds pass, she gives up)

EDMOND. (Re-enters) I forgot something.

LINA. No you – (Edmondpulls her into a desperate embrace)

EDMOND. All better. I'll see you in a bit. (Exits again)

LINA. (Stumbles, catches a chair, touches her lips as if capturing the kiss, then bursts into a fit of laughter like true happiness)

Scene Five

Set: The hotel lobby. Henri is at his post in the otherwise vacant room. Ellie comes down from her room some seconds later and sits on the vacant couch. She shifts as if trying to get comfortable. She appears very fidgety. Finally, she gives up.

ELLIE. (Looks up at the clock) He's been gone an hour! Goodness! It's silly. (To Henri) Silly! You hear me? Ridiculous.

HENRI. (Confused) Yes, ma'am.

ELLIE. Well what else could he be doing that it would take him this long? Well…I know not to open my mouth again. If this is his reaction… (Sorrowfully) He was my Edmond. Ha! I said it again. (To Henri) You know I have been telling myself for the last hour that he's not really MY EDMOND, but I can't really imagine him as anything else. He is my Edmond. Well, what do you think? Is he her Edmond?

HENRI. No ma'am.

ELLIE. You're smart. I suppose he could be her Edmond… or maybe I'm dwelling on it too much. (To Henri) Do you think I am capable of getting the man I want?

HENRI. (Stalls) Uh…I don't know. I can't say.

ELLIE. You mean to say that you don't think I am capable of that? Of getting the man I want? Is that what you're trying to say? Well?

HENRI. I don't know, ma'am. Please don't ask me any more questions.

ELLIE. Well… isn't that just my luck! Uncertainty.

HENRI. This Edmond? Is he the man you were arguing with before?

ELLIE. (Sits crossly)

HENRI. I'm sorry. I didn't mean to bother you.

ELLIE. Oh, no worries! I'm already bothered! Not by you though. I never should have included you in this.

HENRI. Who is Edmond, ma'am?

ELLIE. You'd know him when you saw him.

HENRI. (Looks around) Sorry… no.

ELLIE. He's the kind of guy that makes you want more in life. More than you have ever wanted or yearned for before. He makes you want to see the best and your potential in yourself. He's just… I don't know… a once-in-a-lifetime guy! And I love him! I… love him.

HENRI. You really love this chap?

ELLIE. Yes. I love him. (Smiles) Oh it's the most wonderful feeling too! I don't think anyone can quite understand what it feels like until they've been in it! Love.

HENRI. Okay…I guess.

ELLIE. I only wish it were. You see, I cannot marry him. He's the son of a Duke and I am just a poor defamed flower-girl. Society says it's impossible to marry above your station, so I can't marry him.

HENRI. What will happen to you then?

ELLIE. I will die of a broken heart… (Pause for dramatics) Or I will return to England and be forced to marry some chimney sweeper my intoxicated father convinces to marry me off to!

HENRI. Don't condemn yourself like that! If it helps, I was a chimney sweep once. That is until I fell off the roof. I've been well grounded ever since. But look at me now? A Butler in a good hotel working for good people. Fairy tales have happy endings, why not real life?

ELLIE. So what are you saying?

HENRI. I'm saying that you should go for him if you love him. You do love him and you're sure he might love you too?

ELLIE. Yes, I love him. I don't know how he feels about me. He's been such a… well a brother to me, a protector. I suppose thinking he loves me isn't as ridiculous as it seems. How would I know?

HENRI. You must trust your heart.

ELLIE. (Looks at him as she begins to understand)

LAURIE. (Enters) Are you ready for supper, Miss Ellie?

ELLIE. (Snaps out of it) Uh, yes. I'm ready.

LAURIE. (Looks around) Where is Mr. Edmond?

ELLIE. We got into a little scuff. He went off to the café to talk to Miss Lina. I suppose we'll meet him there.

LAURIE. Oh. Well, let's go. Jacqueline should be down in a moment. In fact, I'll go up and get her. (Exits)

EDMOND. (Enters)

ELLIE. Edmond! Where have you been? What took you so long? Edmond, I'm so sorry for yelling at you! I never meant –

EDMOND. (On Cloud Nine) I kissed her! I can't believe I kissed her!

ELLIE. You what?

EDMOND. I walked right up to her and snogged her right on the lips! It was brilliant! I'm such an idiot! (Sits) Ellie, I can't go back there now! Please don't make me go back.

ELLIE. You…kissed her?!

EDMOND. (Reserved; Tiredly) Yeah. Is there a problem with that? She's so beautiful, like a Goddess. I kissed a Goddess! What's wrong?

ELLIE. N-Nothing.

LAURIE. (Returns) Oh, Edmond! You're back. We should be going.

ELLIE. (Holding back tears) You know what, Laurie, I'm not feeling up for it anymore. I think I'll just go and lie down in my room. (Exits)

LAURIE. What happened? Edmond? Where were you?

EDMOND. (Angrily) I don't want to talk about it. Can we just go? Lets get this over with.

LAURIE. (Awkwardly) Sure. Let's go. [Exeunt

Lights dim to gloomy; Jeannette enters with Pierre and Madam Picot

MADAM PICOT. (Mid-sentence) …so, the documents will need to be signed again, since Louis' signature no longer holds validity, God Bless him. (Removes the documents and hands them to Pierre) You'll vouch for your brother, Pierre.

JEANNETTE. (Rummages in her bag, accidentally removing a pistol, looking at it for a moment) Mama?

MADAM PICOT. (Takes the pistol from her and tucks it away in her bag) Oh never you mind with that, Janie! And don't worry, Pierre is paying tonight!

PIERRE. (Sneers) Alright. (Madame Picot and Jeannette exit into the restaurant; Pierre is reluctant to follow)

ELLIE. (Teary-eyed, enters and clearly she has been crying) Well Mr. Farcois, it appears I have you alone…(Walks up on him) all…to…my…self.

PIERRE. (Looks down on her) So it appears.

ELLIE. So, my first question is…what is your profession?

PIERRE. Why do you care?

ELLIE. I'm making an effort to get to know people. You're a person I don't know, thus I am making an effort to get to know you.

PIERRE. Why?

ELLIE. Because I believe that everyone in this world has a story to tell and I'm eager to hear as many of them as I can!

PIERRE. I can see you're going to be a bother.

ELLIE. Yes, and I will not go away until I have made your acquaintance.

PIERRE. And then?

ELLIE. Then I shall keep good company with you until I am satisfied.

PIERRE. No. I don't have any desire to make your acquaintance, peasant! I need no friends.

ELLIE. Your lot is rather ill-favored, though. I should think making better friends, like myself, would please you.

PIERRE. Please me? I need no pleasing! I need nothing. (Backs down and retreats)

ELLIE. Yes you do. You need someone to love you.

PIERRE. I do not trouble myself with fickle things like love. They do me no good. Love kills.

ELLIE. No, love heals.

PIERRE. (Stares at her) Why are you doing this?

ELLIE. Because I need to. I need to hear your story; yours and everyone else's so that I can understand my own.

PIERRE. (Glares at her and the bursts into sudden laughter) You need me to understand yourself!? That is pathetic! That is the most pathetic thing I have ever heard. (Continues laughing)

ELLIE. (Determined) I don't think so. You might call it pathetic but I call it sympathy! You might think its weakness but I think its an extreme strength of character.

PIERRE. And now you're going to lecture me? Scold me as though I were your child? You'll call that strength of character?

ELLIE. Why do you mock me?

PIERRE. Because you're so easy to be made an example of.

ELLIE. And why do you need to make an example of me?

PIERRE. Because the opportunity presents itself, and I am the type of man who takes the opportunity when it is given to me.

ELLIE. A poor example of a man you are for it.

PIERRE. A poor example of a woman you are for not taking it!

ELLIE. What, have I ruffled a feather?

PIERRE. Never!

ELLIE. (Looks at him intently) You rely on no one for happiness. It simply stems from yourself?

PIERRE. Yes.

ELLIE. And you look up to no one.

PIERRE. (Less certain) Of course.

ELLIE. (Triumphant) You hesitated!

PIERRE. I took a breath. It's stuffy in here.

ELLIE. You're bluffing.

PIERRE. Prove it!

ELLIE. I don't have to! (Commanding respect) You've already proven it yourself! You chastise people you do not know! You belittle your own niece! You order your sister-in-law around! What kind of man are you that does that to anyone? You can't be a very happy one, can you? (Pause) Are you a content man, Pierre Farcois?

PIERRE. Yes.

ELLIE. And what is your source of contentment?

PIERRE. Why do you care?

ELLIE. Why don't you tell me?

PIERRE. Why do you bother?

ELLIE. Why can't you show some respect? Is it below you?

PIERRE. Why can't you keep your nose out of my business, stranger?!

ELLIE. Why don't you conduct yourself in a respectable manner? Have you none for yourself?

PIERRE. What does it matter to you?

ELLIE. Why doesn't it matter to you?

PIERRE. (Relinquishes power) Where's your boyfriend?

ELLIE. He's not my boyfriend. He's the best friend I have in the world and I threw him away. (Sits) He's the man I needed and I am the girl he needs, but he is far too far sighted to realize that he has me! All he needs is to reach out and tell me he needs me and I am there for him! And even if he doesn't say he needs me, I'm there for him. That is what friends do for one another. But you don't need friends. You can make it, all on your own.

PIERRE. Why are you telling me this?

ELLIE. Because I think I can help you change.

PIERRE. (Laughs sardonically) You think you can help change a rake like me?

ELLIE. I think I can help change a man like you.

PIERRE. (Looks at her) Well, you'll need to know a few things about a … a man like me.

ELLIE. (Gently) I'm listening.

PIERRE. (Abruptly) I want none of your pity! None of it! I will not hear any of it! I'm not sorry for what I have done…only what might happen because of what I have done.

ELLIE. I will respect your wishes, Pierre.

PIERRE. Alright! Alright. It happened a long time ago. I was a young boy, 10 to be precise, and my brother, Louis, was 13. We lived with my family, our parents and our two sisters, Madeline and Christine. My parents died very young. Maddy was adopted by some wealthy family who moved to Bruxelles soon after. Christine didn't fare as well and was forced to work the streets. The last time I saw her… well now, I can't remember when that was. I think she died in childbirth…I never really got to see her once we left Marseilles. Louis and I were all that was left of the family. We moved to Paris where Louis thought he might be able to get a job. He did…working at a small café owned by a family by the name of Mirabeau. The father was not very wealthy but he was very frugal and meticulously careful with his money. He died in a brawl at a pub and passed the café on, not to his own son, but to my brother. He had always regarded Louis like a prodigal son, but Marcel, his actual son, never took to Louis. He took to me more, though he was older than I. Soon after Monsieur Mirabeau died, Marcel took off to Belgium or Germany, I can't remember which. We thought that he had died when the war broke out. Instead, word got out that he was the wealthiest man in Europe! Of course, Louis passed away a year later, so there was some speculation among Josette, Louis' wife, and me over who would get the café…and since I ended up getting in, by my brother's will, Josette thought she would have to move out. I don't now why she thought that, but she got that idea into her mind somehow and she's not gotten it out.

ELLIE. What sort of man does she see you as being?

PIERRE. Like everyone else…a bad one.

ELLIE. Why?

PIERRE. (Sourly) You ask too many questions!

ELLIE. You give too few answers.

PIERRE. (Grunts in dissatisfaction) I'm talking at least!

ELLIE. Yes, I give you credit for that. Now why does Josette think you a bad man?

PIERRE. I'm not a bad man! I'm just not a very kind one. Kindness was never shown to me…I never had a chance to show it to others, until now. Josette is my sister-in-law! How could I run her out of the place she has called home for all these years? The truth is… the truth is… it wouldn't have felt like home if I ran Josette and Lina out of it. I didn't quite know how to convince her to stay, though, so I … I asked her to marry me.

ELLIE. Marry you?

PIERRE. I faltered… I didn't know what to say! I couldn't say... Especially after what I'd done.

ELLIE. And what was that?

LAURIE. (Enters) Ellie, dear, you really ought to come to dinner. We're all waiting for you, even Mr. Edmond.

PIERRE. (Changed) If you don't mind, Miss Laurie… I'll bring her over just as soon as I am finished talking with her.

LAURIE. You? Alright. (Exits; Madam Picot and Jeannette are seen eavesdropping)

ELLIE. So, you did something?

PIERRE. (Ashamed) Yes… can we continue this later?

ELLIE. Of course.

PIERRE. You are kind… you listen. I don't know how to listen, or be kind.

ELLIE. I'll see what I can do. (Gets up; offers her hand to Pierre) But now… Mr. Farcois… we eat. [Pierre takes her hand, awkwardly, then swiftly stoops and gives it a peck, blushing the whole way; mutters an apology and stands, awkwardly; Ellie suppresses a giggle and they walk out together; from the restaurant (spots) Madam Picot and Jeannetteenter

MADAM PICOT. (Brushing her hands and putting her gloves on, shoulders her purse and takes out the pistol, looking at it for a moment then replacing it) Soon, and very soon it'll all be over with. Can you imagine that, Jane, dear?

JEANNETTE. I cannot wait. To be wealthy again!!! I can even clear my name.

MADAM PICOT. Yes, yes, but first we must make sure Pierre vouches for the arrangement. If he doesn't, we'll be nowhere. And we need that money. (In French) D'accord?

JEANNETTE. Oui, maman.

MADAM PICOT. I always knew I could count on you. (Smiles and touches Jeannette's cheek) We women know best don't we?

JEANNETTE. (Acts as a daughter would to a mother) Indeed we do.

[Exeunt and lights fade out

Scene Six

Set: The Café

It is the next morning and Lina appears from the stairs. She moves to the kitchen when Ellie enters.

ELLIE. (Closing the door behind her) Good morning mademoiselle.

LINA. Oh, Miss Ellie, how nice to see you. How is my uncle doing? Have you begun to work on him?

ELLIE. He'll be fine. I need to talk to you though. It's about Edmond.

LINA. (Giggles at the name)

ELLIE. (Sadly) So its true.

LINA. What? You know he came over her after our talk and before supper?

ELLIE. Yes. Thank you for the meal, by the way. It was very nice of you to have us. And it clearly meant a lot to Therese.

LINA. Not at all. Anyway, can I tell you how interesting he is? I don't have to tell you, though, you must know. Has your heart never turned all loving to him? I can't imagine resisting that temptation all my life! He kissed me.

ELLIE. Yes, I know. It's quite unlike him though.

LINA. Really? Tell me more about him. He spoke a little but not much on his position.

ELLIE. (Sits) His parents haven't always been there for him. He was practically raised by my mother, and Colin and I came to love and regard him as family. His father always had plans for him to inherit the family business, but I think Edmond never really agreed with it in the first place. He's a Nationalist and a Conservative… and he's very much Protestant. He'd never support the Sinn Fein or anything Catholic. Anyway, the way in which Edmond defended Colin and my family – though it was a losing cause – when the Washington's brought us down, earned him a special place in my heart.

LINA. (Excitedly) You HAVE felt love for him! Oh how lovely! Did he bother to court you?

ELLIE. (Shocked) Bother? No. I was never that type of girl to him. Anyway, I wished to clarify his situation with his father.

LINA. Yes, please do. Sir Richard is such a saintly man!

ELLIE. Did Edmond not tell you what his father does?

LINA. Make chess boards?

ELLIE. (Laughs) Goodness no! Sir Richard is more powerful than that. On the outside, he is a banker, but within, he uses the noblemen's money to aid the Sinn Fein.

LINA. I don't know what that is, but I do know that any father deserves respect from his son. When we were on hard times, Sir Richard came to our rescue and gave us money. I can't tell you how he knew my late father but somehow they had a connection and it brought Sir Richard to Montparnasse each winter. One such winter, father had fallen ill an we were convinced it was influenza and he'd never recover. Meme didn't have the money to keep the cafe running and pay for a doctor. Already so many people were infected with influenza and already several in Marseille and Montmartre had died with the illness. We were so frightened father would be the next, but then, like an angel from Heaven, Sir Richard came to Montparnasse and delivered Meme from the financial burden. In time, father grew stronger and got healthier. Business was still under but at least father would live to see it continue. Sir Richard never asked for any repayment, he issued us no debt but to his kindness. Now that his son is here, I feel obligated to repay his father's good deed by assisting him. (Giggles) I never thought he'd be so attractive though. So, tell me more about Edmond's position.

ELLIE. Yes, well, Lady Catherine always had the idea of being distanced from her child, and she felt that childbearing was so vexing that she denied Sir Richard a chance to have another. About a year ago, Lady Catherine chose to associate with her son again, only this time it was to throw elaborate drawing room parties to allow aristocratic girls to be brought out into society for show to Edmond. She hoped to have him engaged by now, but Edmond, for whatever reason, resisted it. He didn't like the idea of being saddled into a marriage that meant nothing to him. It became unbearable for him, and I pitied him – someone had to. He often talked of running away and he tried several times, but he would find himself in the real world and decide that his mother's games could be dealt with. It was once Sir Richard decided it was time for Edmond to buckle down and learn the family trade that Ed got so irritated that he actually ran away. First it was to Chelsea, not too far, then to Southampton, further, and the last before this was all the way to Manchester. But each time he was brought back. I think it was all too much for him though. The drawing room socials, the business of banking and marriage – I think he just wanted to be free from it all… free to chose for himself. Finally he came to me and told me he wanted to run away permanently. He chose here because it was the easiest place to go by train out of England. I agreed. What more could I do? He needed company. And this is where we are now.

LINA. Gracious! Being wealthy ain't any better than being poor in your country I suppose.

ELLIE. It has some advantages but in Edmond's old fashioned family, yeah, it is pretty restricting.

LINA. (Standing) Well, thank you, Miss Ellie. (Just then Edmond enters) Oh! Mr. Wentworth!

ELLIE. (Standing) We were just talking about you.

EDMOND. (Upset) Ellie! Why didn't you inform me you were coming here this morning? Why the sudden secrecy?

LINA. Oh, it was my fault, Edmond. I asked her here this morning because last night at supper we didn't get to talk, what with my uncle hanging around like a tick! You must forgive me.

EDMOND. (Softer) Not at all, Miss Farcois. (to Ellie) Ellie, we must go back.

ELLIE. Of course. Forgive me.

EDMOND. (Softening) Yes, sorry. But come! (Ellie exits, Lina follows her to the door) Excuse us, Miss Farcois.

LINA. (Smiling) Call me Lina. (She allows him enough time to smile before she gently strokes his cheek; Edmond beams and takes her into his arms romantically)

EDMOND. (Cooing) Very well then, Miss Lina. (They share a laugh as they rub noses and then Lina kisses him; they look at each other, then Edmond dips Lina, making her squeal, and stops her noise with a deeply romantic kiss)

[In the background, Josette smiles wrapped in her blanket crouched on the stairs; Lights dim out slowly

The Café: Act Two

Scene One

Set: The café.

It is early autumn, three months following the previous act; the room glows with evening light, like an Audrey Hepburn film, cozy and romantic. Edmond sits on a stool with a book of fairy tales in his hand, Therese, Laurie and Ellie are sitting around listening, and Lina stands in the corner with a dishrag and a dish, a content dreamy look on her face. In the background, Josette busies herself with the tasks of cleaning and preparing the café for business. She momentarily looks up and sees Lina. She makes her way, knowingly, over to her daughter and places a hand on her shoulder, making Lina jump.

LINA. Oh, Meme. (Laughs)

JOSETTE. (Laughs) Its so nice to see you smiling again. (Smiles) Its him, isn't it?

LINA. (Laughs) What? Edmond?

JOSETTE. I know that twinkle. In your eyes, I know it, what it feels like.

LINA. (Nervously) What twinkle? (Looks away but catches Edmond's eye, pausing and smiling)

JOSETTE. (Convinced) Its him. (Leaning closer to her) Its not something to be ashamed of … even though you've been pretty particular in keeping it hidden from everybody.

LINA. (Laughs) Not – everybody. I mean, I don't know what you're talking about.

JOSETTE. Don't try to play coy with me, young lady. I've been down that road before. You know I had a mother too. And you might not know but I defied her wishes in marrying your father (Blesses herself). Its not that it matter much anyway, she had your seven aunts to dote over, (Slight resentment) one more daughter wasn't too bad.

LINA. (Interested) What did grandmere want of you?

JOSETTE. Oh, she wanted me to settle down and marry a rich man and be secured for life. She never really thought much about love … and I did, of course. (Reminiscing) But no matter who she set me up with, meeting those ridiculous bourgeois Frenchmen in their silly tailcoats and top hats, (Laughs) and I fell for a doting hardworking Belgian without a penny to his name – except for this place. (Sighs) And I fell in love with him and this place. His place.

LINA. (Puts her arms around her mother's waist and lays her head on Josette's shoulder) Our place. (They both smile and watch Edmond enact the story to his audience)

JOSETTE. It is him, isn't it?

LINA. (Pausing) What do you think?

JOSETTE. That Edmond is a genuinely good man, despite what you may think. (Pause) His father got us out of hard times.

LINA. I know.

JOSETTE. He personally saved your neck, Lina.

LINA. (Confused) What?

JOSETTE. Well, I've been meaning to tell you for some time – (Pierre enters with Jacqueline at his heals, breathless)

PIERRE. (Curtly) Good news. Josette, a word. (He retreats with Josette following him).

JACQUELINE. (Breathless) Miss Lina, its not good. Its not good at all.

LINA. (Edmond approaches) What is it, Jacqueline?

JACQUELINE. I can't talk to you about it here! We must go upstairs. Quickly! (Pulls Lina to the side)

LINA. (Alarmed) Jacqueline! What is going on? (Edmond watches helpless)

JACQUELINE. Not here!

LINA. (Pulling away) No! I have work to do!

JACQUELINE. (Urgently) No. This is more important!

LINA. I don't understand. What is happening? You looked so scared.

JACQUELINE. (Near tears) I am scared! God! (Paces like a mad woman) I know too much!

LINA. Hold on! Slow down, Jacqueline! Talk to me.

JACQUELINE. (Crying) Oh God! No, not here. Please come up stairs and talk with me! Please! We don't have much time.

LINA. (Hesitant) O – Okay. (Jacqueline rushes upstairs; Lina sticks behind; Edmond takes her in his arms and they gaze at each other for a moment, then Lina rushes after Jacqueline)

LAURIE. What was that all about?

EDMOND. I don't know. I don't think its anything good.

ELLIE. News is never good these days, is it? Otherwise who would care to talk about it?

EDMOND. What's this new melancholy façade, Ellie?

ELLIE. I'm not melancholy, Ed, I'm tired.

EDMOND. You've been saying that a lot.

LAURIE. It's because you don't get sleep, dear. Ever since you moved into our suite, you've been up into the early hours of the morning. And doing Heaven knows what!

ELLIE. I'm writing memoirs, among other things.

EDMOND. Why?

ELLIE. Because life is shorter than you think! (Exits to the stairs but lingers out of Edmond's sight, listening)

EDMOND. What's gotten into her lately?

LAURIE. Nothing; she's got her issues she needs to sort out.

EDMOND. I'll say. She never talked of short life before.

LAURIE. Don't worry. I'm looking after her.

EDMOND. I was supposed to do that.

LAURIE. Things happen. Promises become irrelevant after a certain time. I always thought promises should come with an expiration date.

EDMOND. Why? That's terribly morose.

LAURIE. Because, from my experience, (catches Ellie sneaking out the back door, wiping her eyes; raises her voice a little louder) even the strongest promises only last until you're dead. And sometimes that's shorter a time than we think.

EDMOND. Well death seems to be a popular discourse today.

LAURIE. Pity, its such a gorgeous autumn day too. (Turns) Therese, what do you say to taking a little walk before supper?

THERESE. Of course, Mum. I love the colors of the trees. (To Edmond) My favorite thing in the whole world is to try to catch leaves as they fall, well at least in the autumn it is. I also love picking flowers, but that's in the spring.

LAURIE. (Interrupting her) Just go get your coat and hat and come back and we'll go. (Therese exits; Sighing) Funny little girl.

EDMOND. (Corrects her) Big girl. (They share a laugh)

LAURIE. It's pretty obvious, you and Lina. I think its wonderful. I've not seen Lina happier since we got here. And you – well, I don't know you very well, but I think – you look fairly happy yourself.

EDMOND. Thank you.

LAURIE. Yes, I am just curious to know when you plan on telling Eleanor about it.

EDMOND. What?

LAURIE. It's only obvious to those who are not blinded by their own feelings, Edmond. You know what I'm talking about. (Pause) She loves you, but she's well aware of her role, and its expiring quickly.

EDMOND. Yes. I suppose I should do something about it.

LAURIE. She should be able to understand perfectly, if you let her down easy. She's been up so high since your dinner date; to continue in that fashion – its not very fair to her.

EDMOND. (Folds arms and sighs) Yes. Love's a game, and I wish – I only wish, I knew the rules.

LAURIE. Life is a game, love is another turn we have to take.

EDMOND. How did you figure it all out, all the confusion?

LAURIE. Well, I met Ethan in 1910, at a club in Dublin. He was going into the services to train; his ferry left for London the next morning, but he and I talked for hours, almost scandalously, and then he gave me his photo – and that was it. I kept his picture for one whole year, until he returned in November of 1911. We wrote letters, not often but enough, and I got to know him through occasional notes of that sort. His family wasn't very well established but he told me he loved me and that training was ghastly but my letters, my signature, they got him through it. We got married – well we ran away to Scotland and eloped in 1912 (Giggles) and it was the most scandalous and wonderful thing I have ever done. I didn't see my parents again, after I sent them word that I had married Ethan. Strict Irish Catholics, I was as good as dead to them, but I didn't care at all. Ethan was my family. I was four months pregnant when they took him away to England in 1913. Again, we continued our marriage through letters, and when Therese came in August, he sent word that he was coming home. And he did. I'm glad because he got to see his daughter for that brief time, and she still remembers him. But the war came in 1914, and they took him back. He wrote later in that year saying there was a lull and they might deploy him back to London, he might be home again. (Pauses; Therese hangs in the hall listening) His last letter came in 1917, three years after he had expected to be home. He said he was trying to get back to me, but somehow he couldn't. It was like Odysseus, all he wanted was to come home, to see his daughter again. Life is so short, though. I got the letter early last winter. He died in Normandy. And I've kept the letters. It's that piece of him I keep with me, like this café to Lina and Josette, and I would never give them up.

EDMOND. What am I supposed to do?

LAURIE. Tell her the truth. Tell both of them the truth.

THERESE. (Wiping her eyes, enters) I'm ready, Mum.

LAURIE. (Knowingly) Right - so am I. (They exit)

JOSETTE. (Comes from the stairs, Pierre behind her) Are you sure about this, Pierre?

PIERRE. Yes.

JOSETTE. (Playing with Pierre's collar) You are positive? There are no strings attached?

PIERRE. (Smiles at Josette; it's a genuine smile) No strings attached. I know Louis would want this.(To Edmond) Where did Miss Ellie go?

EDMOND. Upstairs. Did you not see her?

PIERRE. No. I'll get her for supper. (Exits)

JOSETTE. Good to see that man has some sense left in him! I've been meaning to talk with you, Ed.

EDMOND. What about?

JOSETTE. Lina. Things have come up. Your romance needs to be a bit more – expedient I think.

EDMOND. Sorry, what?

JOSETTE. Oh, there's no more time to play games, Edmond. Everyone knows about you and my daughter.

EDMOND. (Bashful) Oh, I didn't mean to play coy, its just that she let on there was some need for secrecy.

JOSETTE. (Alarmed) She did?

EDMOND. Yes, she seemed to think that Pierre would ruin our relationship if he found out. I'm not sure what made her think that, but she did.

JOSETTE. (Relieved) Oh, goodness. You scared me there, for a moment I thought she might know.

EDMOND. Know what?

LAURIE. We just needed a quick little walk about the park. (Hangs her shawl and Therese's also; to Edmond) Therese found someone you might be looking for Edmond. (Walks off to the kitchen)

EDMOND. Ellie? I thought -

ELLIE. (Brief) Mr. Wentworth.

EDMOND. Ellie -

ELLIE. (Brushing past him) Ed.

EDMOND. I owe you an apology.

ELLIE. (Turns her back to him; stiffly) Among other things -

EDMOND. Won't you listen to me?

ELLIE. (Not looking at him) I am listening to you.

EDMOND. Please look at me.

ELLIE. Why? (Looks right into his face) So you can lie right to my face again? (Turns away)

EDMOND. (Getting angry) Lie? Ellie -

ELLIE. Save your dramatics for someone else. I have no use for them.

EDMOND. (Angry) Ellie, talk to me!

ELLIE. (Quick) Which would you rather me do: Talk or Listen? If you require me to do both, I shall do neither.

EDMOND. (Angrily seizes her arm) Stop! (The room falls silent)

ELLIE. (Defiantly looks into his face) Mr. Wentworth. (She violently wriggles free; They part to different sides of the room)

The ensemble is deathly quiet and Pierre enters during the action and stands in the doorway, Lina comes down behind him shortly after the climax of the argument. Pierre rushes, somewhat urgently, to Ellie's side (to the shock of all) as Lina rushes to Edmond's.

LINA. What is going on?

EDMOND. Nothing.

PIERRE. Are you hurt, Miss Eleanor?

ELLIE. (Gruffly) No. (Loud enough for Edmond to hear) One can't be hurt if one cannot feel!

PIERRE. (Brings her gently to her feet) Come. (They exit as Jeannette and Madam Picot appear at the door)

JEANNETTE. Knock, knock! (Laughs)

MADAM PICOT. (Smiling maliciously) Who's there?

JEANNETTE. Oh, you know. (Taunting Pierre) Change of heart, Monsieur Farcois? (Walks up on Josette) Looks like you get out of marrying him after all.

MADAM PICOT. (Jeannette retreats sneering) My dear friend, Josette. Can't we join your party?

JOSETTE. Of course. (Pulls up two more chairs)

JEANNETTE. Oh, Mr. Wentworth! Have you heard the good news? (Josette freezes, hovering over a pot of stew)

EDMOND. What good news?

JEANNETTE. (Laughs) Oh!!! I suppose I'm spoiling the surprise! He's returned!

EDMOND. Who has?

JEANNETTE. Only the richest man in all of France!

EDMOND. And who is he?

JEANNETTE. (Laughing) OH! You don't know! (Taunting) Not going to get on well in the world if you don't know your own peers! (Waits for an answer from the speechless Edmond; the tension in the room is almost bursting; disappointed) Marcel Mirabeau. (Flirtatiously) You had better keep a firm hold on all your … valuables … Mr. Wentworth. He's coming to collect his – long term investments.

JOSETTE. (Flustered) Supper is ready! Lina, go get Jacqueline and Pierre, and do invite Miss Eleanor if she is ready. (Lina nods and exits up the stairs) Please sit, everyone. (She motions for Edmond to sit next to her) I believe we have a lot to pray for. Madam Clarisse, could you say grace?

[Lights dim out

Scene Two

Set: A little bedroom upstairs.

There is a single window with a bed on either side of it. The room is practically arranged, hardly anything on its walls and very Spartan everywhere else. Presently, Pierre sits on a bed with his arm around Ellie, hugging her to him. Ellie appears to be crying.

PIERRE. (Stroking her head rhythmically) Shhh. Shhh.

ELLIE. (Sitting up; suddenly serious) I guess that's it.

PIERRE. What?

ELLIE. (Wiping her eyes) I had a brilliant thought.

PIERRE. (Unease clings to the edge of his voice) Ellie –

ELLIE. Yes, a brilliant idea.

PIERRE. Don't do something you'll regret, Ellie.

ELLIE. (Snapping back, laughs a very short sardonic laugh) You sound like me.

PIERRE. Not possible. (Awkward attempt to flatter) No one could sound so sweet.

Footsteps are heard on the stairs and the two part awkwardly, Pierre retreating to the other side of the room in time for Lina's entrance

LINA. Supper is ready, Uncle. (Tenderly) Miss Ellie, if you're feeling well enough to join us, you are welcomed to.

ELLIE. (Bluntly) I'll pass, I think, so long as Ed – I mean Mr. Wentworth is there.

LINA. (Going to her) Ellie, you mustn't blame him for everything.

ELLIE. (Defiantly) Mustn't I? He brought me here and he made me look like an idiot down there and I've been trying to be strong even though he's abandoned me!

LINA. I don't think he's abandoned you yet, Ellie.

ELLIE. Well its easy for you to say, Miss Lina. You're in his favor.

LINA. (Straightens up) Well, I don't think that's a very respectable shot at me, Ellie.

ELLIE. (Looking right at her) I'm going to be frank with you, Lina Farcois: I haven't really liked you since we first met, and I don't know if that initial feeling has changed too much, but I know this: I cannot blame you for what Edmond does, nor can you rightfully defend him in the case. What has fallen out between Mr. Wentworth and me is between Mr. Wentworth and me, and no one else.

LINA. I see. (Turns to leave)

ELLIE. (Standing) You can't have any idea of how it feels to be left in a strange country by a man you thought was your best friend.

LINA. (Stops) You're right.

ELLIE. But I would give anything to be in your shoes.

LINA. (Turns) You can't mean that.

ELLIE. Oh, if I were you, I would have Ed – Mr. Wentworth's – love, and that's all I could ask for.

LINA. If I were you, Miss Ellie, I would be free to go wherever I wanted to go! I wouldn't be tied down to the ill-favored decisions of this man! (Points to Pierre)

ELLIE. I don't think you have the slightest idea who he is, really.

LINA. How can you say that?

ELLIE. Have you ever taken the time to ask him who he is? I have. Have you ever given him a chance to love you? I have. Have you ever looked into his eyes and seen past your dislike for him? I have. In the end, what it comes down to, Miss Lina, is that everyone is human and every human has a heart, and therefore, every human is capable of loving if they are given the chance.

LINA. Where do you come off talking to me like that?

ELLIE. How many people have you given a chance to know you?

LINA. How many people have given me a chance to know them?

ELLIE. You can't live your life relying on the goodness and kindness of others to get you through! That only leads to a loss of respect and I don't think it would do you any good. I don't like you, Lina, but I cannot blame you for the problems Mr. Wentworth and I are having. Its no use.

LINA. You're right! I am not to be blamed for your problems.

ELLIE. (Defiant) You shan't have to put up with me much longer. I'm leaving. (The room falls silent) As soon as I can, tomorrow even. I'll go back to London and marry some pickpocket and live my life as though I never met you.

PIERRE. Why, Ellie?

ELLIE. Because there is nothing left here for me. I'm only going to get in the way.

PIERRE. What about me?

ELLIE. I will miss you, Pierre, but I can't continue to ruin your life.

PIERRE. (Incredulously) Ruin my life! You changed my life, Ellie.

ELLIE. (Standing) Then my work here is done. (To Lina) I will join you for dinner, for one last supper before I leave. Tell no one. (Lina nods and exits) Pierre.

PIERRE. (Stands) Ellie?

ELLIE. I'm sorry Pierre.

PIERRE. This is my home, and I can't leave Lina and Josette to their fate. But you – (He gets closer) you have shown me what it means to be a good man – a good person.

ELLIE. Why are you telling me all this? I already told you I want no credit for your change. You did it on your own, Pierre.

PIERRE. Indeed, but you deserve all the credit Edmond has – (Ellie winces)

ELLIE. Please don't refer to him by his proper name.

PIERRE. Of course. (Tries to look into her eyes; Ellie dodges his gaze by turning her head; Pierre tries again but Ellie dodges again; finally Pierre takes her face in his hand and smiles at her) He's not treated you as you deserve, I know, but you deserve as much credit as you've been denied.

ELLIE. (Clasping his hands in hers) Look at us, two silly romantics parting as though we were in some melodramatic play! (Laughs)

PIERRE. Ah, but the lives of the dramatis personae exist only until the play has ended, and ours will continue for much longer than that.

ELLIE. Says who?

PIERRE. Me. (They kiss, somewhat awkwardly) Shall we descend to your Last Supper?

ELLIE. You may lead the way, Judas.

[They exit

Scene Three

Set: The café kitchen.

Following dinner, Josette and Lina are washing the dishes, side by side, another uniquely beautiful picture of daughter and mother together. The autumn light is in streaks through the window while the creeping shadows hang on the walls, ominously.

JOSETTE. He eats very awkwardly.

LINA. (Laughs) How so?

JOSETTE. (Laughs) Oh, I don't know. Its as if he's confused between eating like a dignified Englishman or like an impoverished hungry Frenchman.

LINA. He's just nervous. He doesn't know if he's being offensive acting as himself.

JOSETTE. Well, he need not be so nervous. We're all harmless.

LINA. Except for Clarisse. She was lethal the way she questioned him.

JOSETTE. She's always been like that, you know.

LINA. She used to be nice, at least she was to me.

JOSETTE. (Drying her hands on a dish towel) Well, she liked you. She liked you a lot.

LINA. What do you mean?

JOSETTE. You got preferential treatment from Clarisse.

LINA. Yes, I know. (Pause) Meme? What is it?

JOSETTE. (Sighs) Men are her business.

LINA. You mean she's a Madame?

JOSETTE. No – she's possibly worse. She doesn't seduce men – she matches them.

LINA. She's a matchmaker? Isn't that an archaic profession?

JOSETTE. Unfortunately, not for peasants. And, sadly, not for us.

LINA. What happened then? I was business for her?

JOSETTE. You were blessed with beauty as a child, and it has only blossomed as you have aged. A child of your circumstances with your complexion is a sad story, and most of the girls whom have shared your lot have gone on to less than dignified professions, especially in seducing men. But Madam Clarisse Picot saw something in you, Lina. She saw potential – enough potential to attract a rich husband and to live comfortably, and when she came to your father and I, some six years ago, she promised to have you associating with all the gentlemen of the upper class that she knew. She made an offer for setting you in a life that would be better than mine or your fathers. And I did not see anything wrong in allowing her permission to oversee your social activities from then on. She was true to her word. She was very true. She took you under her wing and brought you out into society among the best Frenchmen in the city. One took an interest in you quicker than we thought. His name was Marcel Mirabeau. Louis knew him intimately, as he had worked for Marcel's family before beginning the business with Pierre. At first I had not taken Clarisse seriously, but when Marcel asked for your hand it became all too clear. Do you remember him?

LINA. I was so young, I can't really remember many men. I remember Edmond's father though.

JOSETTE. He's not one to be forgotten, though his part comes later. You weren't an appropriate age for marriage then, you were only twelve and Marcel was twenty, but Madam Clarisse wanted to promise you to him nonetheless, and she would have had your father not stood in the way. The trick was that Marcel was not staying in France for long. The Swedish were interested in his business sense and they wanted to advance him. They took him as an apprentice for several years, and he met you shortly before he was to go to Sweden. Madam Picot initially refused his proposal. But when When the war struck hardest it put social stress on your father and I. But he managed to handle it with grace, taking everything in himself and working harder and harder when a problem arose. It got to the point where he would not sleep for days just working through difficult paperwork and managing bills. But Pierre pushed him – he pushed your father too far. He bullied him with Madam Picot's help. They threatened to take you in the night and set you to a brothel if your father would not sign the marriage contract. I had no means to defend the café! What else could we do? Your father signed the marriage contract hoping that the money would help us, and that it might be a good match for you. Therefore, you were…and still are –

LINA. (Gasping) Arranged to marry Marcel!

JOSETTE. Of course, soon after, Edmond's father got us out of hard times. He saved you. He saved us. He said he instantly fell in love with the charm of this place and that he would endeavor to keep it running, and he paid the difference of our debt in full. We no longer had to fret about you being taken from us to the whorehouse, but the contract – Pierre told Madam Clarisse it'd been signed.

LINA. I didn't know I was such trouble. Where is the contract now?

JOSETTE. (Goes to a cabinet in the corner of the room, runs her hand along its side and then reaches underneath, pulling a document out. She turns and smiles, but the happiness is not there)

LINA. We should burn it. We should destroy it. Give it to me.

JOSETTE. Burning it won't change anything! It's set in stone.

LINA. Paper is not stone, just as a arranged marriage is not a marriage; it's a business. We don't need this to be held over our heads any longer.

JOSETTE. It's not over.

LINA. What?

JOSETTE. Your father died. His signature is invalid. Now all Pierre has to do is co-sign and you'll be lost.

LINA. That's not fair.

JOSETTE. Well, dear, we're women. What can we expect? A voice?

LINA. (Thinking) What must I do, then?

JOSETTE. I think you should go away. Apply to Edmond's father for help.

LINA. But I couldn't leave you to all this mess!

JOSETTE. (Taking Lina's face in her hands) Darling, I've been dealing with this mess all your life. I want you to be happy, and I want you to be safe. Marcel has returned. He's in Belgium visiting his family. He'll be in Paris in time for the New Year.

LINA. That should be enough time, you think?

JOSETTE. I hope so.

LINA. I will, I promise. (Silence settles on them as the truth dawns. Lina suddenly grasps her mother in a hug, to which her mother slowly reacts.)

EDMOND. (Enters) Ah, Miss Lina, shall we go?

LINA. (Breaks from her mother and gives her an affectionate squeeze) I'm ready.

PIERRE. (Enters as Edmond and Lina are preparing to leave) Going so soon?

LINA. Its getting darker earlier, Uncle. You know what its like after dark 'round here.

PIERRE. (Smiles and nods; quickly kisses her forehead awkwardly as though he's never done it before) Be safe, my niece. (She and Edmond exit, somewhat stunned) Be safe. (Turns to Josette) You told her. (Josette nods) Right. Sooner or later she had to know.

JOSETTE. (Looks at him in a new way) You're a changed man, Pierre. It's beautiful.

PIERRE. Right, well I think I ought to keep that contract in my possession for a while.

JOSETTE. You're not going to sign it are you?

PIERRE. (Tiredly) I don't know. I don't know. I'm going to take the document. The cat hasn't clawed yet, and I'm beginning to get worried.

JOSETTE. (Smiling wryly) Clarisse doesn't suspect anything Pierre.

PIERRE. I'm not too sure. (Pockets the contract) In any sense, it makes sense to be extra careful. She's working for Marcel.

JOSETTE. (Yawning) I agree. I'm going to bed. (Crosses to the door)

PIERRE. (Not moving) Josette – (She stops and looks at him) sleep easy. You made the right choices.

JOSETTE. (Affection in her voice) Good night, Pierre. (She lingers looking at him as the lights dim, then exits)

PIERRE. (Turning to make sure she is gone, crosses to the cabinet and takes a pen from under it; in a single light source he leans upon the counter, removing the contract and placing it on the counter, and signs it.) Good night.

[Lights fade out

END OF PART ONE: INTERMISSIONFinal Edition

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