Читаем The Early Ayn Rand полностью

MISS SAYERS: My good man, do you realize...

MICK WATTS: I realize everything that you realize, and then some. And I'm telling you there's nothing to be done. Don't bother her now.

MISS SAYERS: May I ask who you are and what you're talking about?

MICK WATTS: Who I am doesn't matter. I'm talking about — [Extends the newspaper] — this.

MISS SAYERS: Yes, I've read it, and I must say it is utterly bewildering and...

MICK WATTS: Bewildering? Hell, it's monstrous! You don't know the half of it!...

[Catching himself, adds flatly] I don't, either.

MISS SAYERS: Look here, I must get to the bottom of this thing. It will go too far and...

MICK WATTS: It has gone too far.

MISS SAYERS: Then I must...

[KAY GONDA enters from the outside. She is dressed as in all the preceding scenes. She is calm, but very tired]

MICK WATTS: So here you are! I knew you'd be back now!

KAY GONDA: [In a quiet, even voice] Good evening, Miss Sayers.

MISS SAYERS: Miss Gonda, this is the first sigh of relief I've breathed in two days! I never thought the time should come when I'd be so glad to see you! But you must understand...

KAY GONDA: [Indifferently] I know.

MISS SAYERS: You must understand that I could not foresee the astounding turn of events. It was most kind of you to go into hiding, but, really, you did not have to hide from me.

KAY GONDA: I was not hiding from anyone.

MISS SAYERS: But where were you?

KAY GONDA: Away. It had nothing to do with Mr. Sayers' death.

MISS SAYERS: But when you heard those preposterous rumors accusing you of his murder, you should have come to me at once! When I asked you, at the house that night, not to disclose to anyone the manner of my brother's death, I had no way of knowing what suspicions would arise. I tried my best to get in touch with you. Please believe me that I did not start those rumors.

KAY GONDA: I never thought you did.

MISS SAYERS: I wonder who started them.

KAY GONDA: I wonder.

MISS SAYERS: I do owe you an apology. I'm sure you felt it was my duty to disclose the truth at once, but you know why I had to keep silent. However, the deal is closed, and I thought it best to come to you first and tell you that I'm free to speak now.

KAY GONDA: [Indifferently] It was very kind of you.

MISS SAYERS: [Turning to MICK WATTS] Young man, you can tell that ridiculous studio of yours that Miss Gonda did not murder my brother. Tell them they can read his suicide letter in tomorrow's papers. He wrote that he had no desire to struggle any longer, since his business was ruined and since the only woman he'd ever loved had, that night, refused to marry him.

KAY GONDA: I'm sorry, Miss Sayers.

MISS SAYERS: This is not a reproach, Miss Gonda. [To MICK WATTS] The Santa Barbara police knew everything, but promised me silence. I had to keep my brother's suicide secret for a while, because I was negotiating a merger with...

MICK WATTS:... with United California Oil, and you didn't want them to know the desperate state of the Sayers Company. Very smart. Now you've closed the deal and gypped United California. My congratulations.

MISS SAYERS: [Aghast, to KAY GONDA] This peculiar gentleman knew it all?

MICK WATTS: So it seems, doesn't it?

MISS SAYERS: Then, in heaven's name, why did you allow everybody to suspect Miss Gonda?

KAY GONDA: Don't you think it best, Miss Sayers, not to discuss this any further? It's done. It's past. Let's leave it at that.

MISS SAYERS: As you wish. There is just one question I would like to ask you. It baffles me completely. I thought perhaps you may know something about it. [Points at the newspaper] This. That incredible story... that boy I've never heard of, killing himself... that insane confession... What does it mean?

KAY GONDA: [Evenly] I don't know.

MICK WATTS: Huh?

KAY GONDA: I have never heard of him before.

MISS SAYERS: Then I can explain it only as the act of a crank, an abnormal mind...

KAY GONDA: Yes, Miss Sayers. A mind that was not normal.

MISS SAYERS: [After a pause] Well if you'll excuse me, Miss Gonda, I shall wish you good night. I shall give my statement to the papers immediately and clear your name completely.

KAY GONDA: Thank you, Miss Sayers. Good night.

MISS SAYERS: [Turning at the door] I wish you luck with whatever it is you're doing. You have been most courteous in this unfortunate matter. Allow me to thank you.

[KAY GONDA bows. MISS SAYERS exits]

MICK WATTS: [Ferociously] Well?

KAY GONDA: Would you mind going home, Mick? I am very tired. MICK WATTS: I hope you've...

KAY GONDA: Telephone the studio on your way. Tell them that I will sign the contract tomorrow.

Перейти на страницу:

Похожие книги

Берег Утопии
Берег Утопии

Том Стоппард, несомненно, наиболее известный и популярный из современных европейских драматургов. Обладатель множества престижных литературных и драматургических премий, Стоппард в 2000 г. получил от королевы Елизаветы II британский орден «За заслуги» и стал сэром Томом. Одна только дебютная его пьеса «Розенкранц и Гильденстерн мертвы» идет на тысячах театральных сцен по всему миру.Виртуозные драмы и комедии Стоппарда полны философских размышлений, увлекательных сюжетных переплетений, остроумных трюков. Героями исторической трилогии «Берег Утопии» неожиданно стали Белинский и Чаадаев, Герцен и Бакунин, Огарев и Аксаков, десятки других исторических персонажей, в России давно поселившихся на страницах школьных учебников и хрестоматий. У Стоппарда они обернулись яркими, сложными и – главное – живыми людьми. Нескончаемые диалоги о судьбе России, о будущем Европы, и радом – частная жизнь, в которой герои влюбляются, ссорятся, ошибаются, спорят, снова влюбляются, теряют близких. Нужно быть настоящим магом театра, чтобы снова вернуть им душу и страсть.

Том Стоппард

Драматургия / Стихи и поэзия / Драматургия
Человек из оркестра
Человек из оркестра

«Лениздат» представляет книгу «Человек из оркестра. Блокадный дневник Льва Маргулиса». Это записки скрипача, принимавшего участие в первом легендарном исполнении Седьмой симфонии Д. Д. Шостаковича в блокадном Ленинграде. Время записей охватывает самые трагические месяцы жизни города: с июня 1941 года по январь 1943 года.В книге использованы уникальные материалы из городских архивов. Обширные комментарии А. Н. Крюкова, исследователя музыкального радиовещания в Ленинграде времен ВОВ и блокады, а также комментарии историка А. С. Романова, раскрывающие блокадные и военные реалии, позволяют глубже понять содержание дневника, узнать, что происходило во время блокады в городе и вокруг него. И дневник, и комментарии показывают, каким физическим и нравственным испытаниям подвергались жители блокадного города, открывают неизвестные ранее трагические страницы в жизни Большого симфонического оркестра Ленинградского Радиокомитета.На вклейке представлены фотографии и документы из личных и городских архивов. Читатели смогут увидеть также партитуру Седьмой симфонии, хранящуюся в нотной библиотеке Дома радио. Книга вышла в год семидесятилетия первого исполнения Седьмой симфонии в блокадном Ленинграде.Открывает книгу вступительное слово Юрия Темирканова.

Галина Муратова , Лев Михайлович Маргулис

Биографии и Мемуары / Драматургия / Драматургия / Проза / Советская классическая проза / Самиздат, сетевая литература / Документальное / Пьесы