The Conformist. Maxim Titovets

https://maximtitovets.ru/

The Conformist. Maxim Titovets.

City life scenes in four acts.

Translated by Olga Savchuk.

CHARACTERS OF THE PLAY

Sergey Lebedev, a professor, a neuro surgeon, 65.

Victoria Pavlovna, his wife, an owner of an art gallery, 62.

Aglaya, his eldest daughter, art expert, 28.

Inna, his younger daughter, 23.

Nikolay Orlov, an aspiring painter, 25.

Olga Orlova, his mother, a high-level public official at the ministry of education, 50.

Leonid Gromov, a retired general, a businessman, 63.

Mitya Gromov, his son, a man of pleasure, 25.

Liliya Vasilievna, Mitya’s mother, general Gromov’s wife, 54.

Alexander Veselov, the director of the art gallery, 30.

Katya, Inna’s friend, 23.

Domeniko Longhi, a professor of painting.

Slepyen, a facilitator, Boss’s assistant.

Exhibition guests, journalists, pub visitors and others.

Bright new life.

The action takes place in Russia at the present time. Seventeen months pass after Act 4.

ACT 1.

Scene 1.

Sunday evening. Professor Lebedev’s house. There’s a big living room with a door to a terrace. The window is closed. The light is dim.

Lebedev is sitting on a wooden chair at a huge desk, he’s taking some items and children’s paintings from its drawers, looking at them, touching them. Victoria Pavlovna is sitting in the armchair near the unlit fireplace with a book, on her lap we see a cat.

Lebedev. My treasures’ treasures. (Pensively) Time passes by really fast. (Takes off his glasses, locks them in a drawer)

Is everything in the modern world really organized in such a way as to make every person think only about their pocket and how to line them better, how to fix their offsprings better… What about mission, duty for the society, love, after all? Could it happen to be important for anybody?

Victoria Pavlovna. These things don’t exclude each other if one just knows the limits. But you’ll always be romantic, Sergey.

Lebedev. This quality is what helped me take you away from Leonid Gromov thirty years ago, Victoria.

Victoria Pavlovna. A boaster, too. (Smiling)Right, I haven’t made a general’s wife.

Lebedev. But you have made the best wife and mother in the world. (He stands up and hugs his wife)

Victoria Pavlovna. This Wednesday will be the fifth anniversary of Alexey’s death, it’s the fourteenth of July, his name day. It was raining. I thought I wouldn’t endure that. You were at a conference in Berlin, Aglaya went down with a pneumonia the day before… Everything was like in a fog and I felt almost dead. I worried most about Inna, she worshipped her older brother and I was afraid she would commit suicide, our little rebel. It was then, after the news of his death that she refused to continue her studies in Moscow and came back.

The cat jumps off her lap. Lebedev straightens up.

But now, five years later, I speak of it calmly, the girls have got over it and your insomnia has gone. I remember his funeral, a lot of people came to the cemetery, there was a military orchestra and they shot… anyway, the weather was dull, windy and everybody soon left.

Lebedev. This is a painful memory!

The door opens, Inna runs in, laughing, she’s holding a paper envelope in her hand. She is followed by Aglaya.

Inna. You’ve made It so dark in here! (Turns on the light) Here! (gives the envelope to Victoria Pavlovna).

Aglaya. Calm her down at last! She’s set everybody at edge! (Laughs)

Inna. I’ve got the first prize at the theatre contest!

Lebedev. Well done!

Aglaya. A diploma and twenty thousand roubles. (Sceptically).

The doorbell rings.

Inna. That must be Katya! I’ll answer it. (Goes off, singing)

Pause.

Victoria Pavlovna. This could make a cat laugh. (Throws the envelope on the table angrily). I still can’t understand how she could refuse studying at Moscow State University and join this farce!

Egor, the Olshanskies’ son, was even a worse pupil than her, but he also was admitted to the University. He graduated, moved to Canada, started his IT company.

Lebedev. What if applied math isn’t really her vocation?

Victoria Pavlovna. Don’t make excuses for her! Inna just showed her character again. She went to the theatre institute – and you didn’t forbid her! Who is she now? An actress, for God’s sake! With no money, no decent education, she’s got only fun on her mind.

Aglaya. It’s been five years and you’re still arguing.

Enter Inna and Veselov with a bunch of flowers, he hands it to Victoria Pavlovna.

Veselov. Victoria Pavlovna! This is from Leonid Fyodorovich Gromov with the best wishes. The deal’s on Wednesday.

Aglaya. What about the expert’s resolution?

Veselov. I emailed you a copy. Hello, Sergey Ivanovich!

Lebedev. Hello, Sasha! (He shakes Veselov’s hand, then leaves the room).

Veselov and Aglaya sit down at the table. Victoria Pavlovna puts the flowers into a vase. Inna sets the table for tea.

Victoria Pavlovna. How did it go?

Veselov. Wonderfully! Gromov’s in. He’s looking forward to adding to his collection. Apart from the deal itself he’s willing to buy six modern painting for his villa in Spain.

Victoria Pavlovna. What else?

Veselov. Everything’s ready for the exhibition. We’re expecting the governor and a Chinese delegation at the opening ceremony. There will be a few representatives from the city council, too, then the media, the TV, the sponsors. Everything goes as it was agreed.

In addition to the main exhibition, the third hall will feature works by young painters (to Inna) including four paintings by Nikolay Orlov.

Inna. You’re great! (hugs Veselov) Orlov won’t let you down.

Veselov. Congratulations on winning the contest. I owe you a bottle (shakes Inna’s hand)

Aglaya. Veselov, I’ve never thought you drink.

Veselov. I’m drunk with love, Aglaya Sergeevna!

The doorbell rings.

Inna. Veselov’s in love! That’s a surprise! (goes off)

Victoria Pavlovna. What about the young Gromov, will he come?

Veselov. Yes. He’s back. He promised to come here today. Switzerland has done him good.

Victoria Pavlovna. That’s good news.

Aglaya. Mitya Gromov is a simpleton, though still a good match for Inna. We were sorry that their engagement was canceled because of his overdose in February. But now he’s returned and things seem to be improving.

Victoria Pavlovna. Seem to be. Although I don’t like it that during the unexpected parting with Mitya Inna became so close with his school friend Nikolay Orlov.

Yes, Orlov’s mother holds a good position in the Ministry of Education and an additional ‘lever’ at the establishment won’t be too bad. But I see that Nikolay lacks ambition and interest in his career. How else can one explain that, having got a degree in international affairs at the Ministry Academy, he still dabs in painting?

Veselov. Experts say he’s got potential. And his father was a decent landscape painter.

Victoria Pavlovna. You said it – he was! But he got to drinking and died. This is bad heritage.

Aglaya. Such painters’ problem is that their works grow in price only after their death – in a lucky case.

Victoria Pavlovna. This won’t suit me and Inna!

Take Mitya. The young Gromov is not the brightest one. His father though! He’s got real power. And the main thing, he’s made a fortune that will help a few generations prosper for years.

Lebedev, Katya, Orlov, Inna, Mitya Gromov enter noisily and cheerfully. Inna and Mitya are holding hands.

Lebedev. We have guests, darling.

Aglaya. Speak of the devil and there he is.

Everybody greets each other.

Katya. Hello!

Orlov. Good evening! (He bows to Victoria Pavlovna, shakes hands with Aglaya).

Mitya. I missed you so much. Hello, Victoria Pavlovna, Aglaya!

Victoria Pavlovna. Hello, Mitya, I’m glad to see you! Please do come in, everyone. Girls, lay the table. We’ll drink tea on the terrace.

Inna. We must celebrate the meeting! Veselov, where’s the bottle you promised? (Laughs).

Mitya. Only tea for me. I don’t drink alcohol.

Veselov. (to Aglaya) The Swiss clinic has obviously done him good: no alcohol, no drugs.

Aglaya. Just how long will it last?

Everybody goes to the terrace. Orlov lingers.

Inna. Nikolay, come in, we’re going to have tea.

Orlov. Thank you, Inna. I’ll join you soon, I need to make a call first.

Inna leaves, Orlov stays in the living room alone. He takes out his phone.

Olga Vladimirovna (on the phone). Yes, Nikolay.

Orlov. Hello, mum. Is it convenient?

Olga Vladimirovna, I’m listening to you, dear.

Orlov. My paintings have got approved for the exhibition at Victoria Lebedeva’s gallery.

Olga Vladimirovna. (coldly) Congratulations.

Orlov. I wanted to ask you of a favour. It’s very important for me.

Domenico Longhi, a professor of painting, is arriving here on Wednesday for the exhibition opening. I know you are old acquaintances. It would be great if he reviewed my works and published his review in his journal, and if he also gave an interview to our journalists. I’m confident in my works. You won’t be embarrassed, mum.

Pause.

Olga Vladimirovna. You know how much I love you, Nikolay. That’s exactly why I’ll tell you something you won’t like: if you want to achieve something in this life, never expect help from friends or relatives. Only rely on yourself.

Orlov. All right. Thank you, mum. See you. (Hangs up, sits wondering for a while, then goes to the terrace to his friends).

Inna (meets him) Nikolay, join us at the table!

Orlov. Only rely on yourself.

Inna. Pardon?

Orlov. It’s all right, Inna. Life is beautiful. Come on, show me your diploma, it calls for celebration. (Laughs)

Veselov. My friends, champagne!!! (He opens the bottle, pours into glasses)

Inna, Katya. Hooray!

Aglaya. I’m driving, so I’ll have tea. Do we have a cake?

Lebedev. Has anyone seen my glasses?

Mitya (To Victoria Pavlovna and Katya) I haven’t had a drink in five months and I’m not even tempted!

Victoria Pavlovna. Well done, Mitya! We’ve been waiting for you to come back and are happy to see you.

Lebedev. Well my dear children and guests, welcome to our common holiday! Mr Gromov, welcome back and keep your good health! Miss Lebedeva, congratulations upon your winning and our wishes to play the main role in your play! Mr Orlov, here’s to your talent and exhibition debut, let good luck and success be with you! My dear Victoria Pavlovna, my angel, we have wonderful children and let love and wealth always stay at our house. Hooray!

Everybody. Hooray! (Glasses clinking, smiles, good humour and laughter).

Veselov. Yesterday I got a new issue of a magazine with an article by professor Domenico Longhi. He writes about our gallery and about visiting the exhibition on Wednesday. Let’s meet our guest first-class. Mr Lebedev, you know Italian better than the others here, would you read the article to us?

Lebedev. I would! Has anybody seen my glasses? I can’t find them.

Inna. Have you looked everywhere?

Lebedev. I have. I even looked under the sofa.

Inna. When will you stop losing them? (Laughs) You must have been rummaging in the treasure box again. (Goes off)

Aglaya. (to Orlov and Katya) Inna and dad have a secret place in the house – it’s the top drawer of the desk in the living room, they call it “treasure box”. They keep our childhood drawings and crafts there.

Inna (returns). Here, take it, daddy-daydreamer.

LEbedev. Thank you, sweetheart. (Opens the journal, pretends to be reading aloud with a clever face.

If you believe in what you’re doing,

You’ll see what you really can.

You’re strong and you will win.

Don’t stop!

You’re the strongest.

Just hold on and you’ll win.

Aglaya. I don’t think it’s an article by Domenico Longhi, but the song by Adriano Celentano. That’s a funny little fellow who calls himself a professor. (Laughs)

We hear the song La pigiatura by Adriano Celentano.

Scene 2.

Lebedev’s house. The same room. Inna and Mitya are alone.

Inna. You haven’t called.

Mitya. It all happened so quickly. When I came to my senses, for a few days the doctors didn’t let me use the phone. But I didn’t call for another reason… I was embarrassed that I put you all in such trouble, especially you.

He goes to Inna, takes her hands and wants to kiss them. Inna backs off and sits into the chair. Mitya comes to the window and opens it. A clock strikes somewhere In the house.

Inna. Today, when you came, I was happy. I wanted to tell you about all the things that happened here in spring… about the theatre, the exhibition… about how I missed you…but now I feel as if something has burst inside.

Mitya. I often thought of you in the clinic. I couldn’t remember what I wanted to tell you that day. And I still can’t . Yesterday Veselov told me about you prize at the theatre contest. Now you’ll finally get a leading role. This is perfect!

Inna. I don’t feel like this is so important. (We can hear the sound of a torn string). …I think I’ve fallen in love.

Mitya looks at her in silence, then sits on a chair.

Inna. Mitya…

Silence.

Mitya. I respect your choice.

Inna. I’m not indifferent to you.

Mitya. They say, people who survived clinical death have sharper perception of everything around them. I saw how you were looking at each other. And I understood everything at once.

Inna. I don’t know how it happened. And I’m supposed to be feel guilty about it, but…

Mitya. Inna! (Interrupts) You have nothing to blame yourself for. I still have the same attitude to you.

Inna rises abruptly, comes up to him and hugs tight, clinging to his cheek. Mitya holds her around her shoulders.

Come Aglaya and Lebedev.

Lebedev. Here are our lovey-doves.

Mitya. I’ve stayed too late, I should go. Thank you for your hospitality.

Inna. I’ll see you to the door.

Aglaya. Good-bye, Mitya! We were happy to see you, do come and visit us. Send our love to Lilia Vasilievna.

Lebedev. See you soon, Mr Gromov.

Mitya and Inna leave.

Lebedev. She’s grown up so fast, our little rebel.

Aglaya. She’s always been your favourite. Alexey adored her as well. This Wednesday is the anniversary of his death. Time flies by.

Silence.

Alexey and I were born a year apart and I always perceived him as my older brother. I remember our last meeting, just a week before he died in a crash during a trial flight. It wasn’t the best time in my life, I had just split apart with Frolov after I had learned he had been cheating on me.

I think I was crying and Alexey was comforting me, as he always would. I still remember his words:

“Don’t ask me where to find a decent and rich husband…

A lot of girls still believe with their whole heart that a pretty face will suffice to claim all treasures in this life. But they are wrong. Mature people are interested in a relationship between two personalities rather than exchanging money for sex.

If you don’t see a decent man near yourself, chances are you don’t have the qualities necessary to attract him, and you are moving on different orbits.

Then you should ask yourself: what are you made of? How clever are you? How educated? How interesting is your life? How successful are you at work? How much do you earn, after all? And judging upon the answers you should either improve yourself or lower your demand”.

Lebedev. Alexey loved you and Inna a lot. Your mother and me miss him so much.

Victoria Pavlovna and Inna come in.

Victoria Pavlovna. Darling, the weather is wonderful today, let’s go around the garden before bedtime.

Lebedev. I’d love to, dear.

Victoria Pavlovna. Aglaya, will you stay overnight? I could make you a bed in your study or in the guest bedroom.

Aglaya. No, mum, thank you, I’ll go home. Tomorrow’s Monday, I have a lot of things to do.

Victoria Pavlovna. Well, see you, then. Good night, Inna.

Lebedev. See you tomorrow, my sweethearts. (Kisses his daughters).

Inna. Good night.

Aglaya. Mum and dad, I love you.

Victoria Pavlovna and Lebedev go off.

Inna. Mitya has gone.

Aglaya. Aren’t you happy to see him?

Inna. I’ve been waiting for him for a long time, but when I say him today, I suddenly understood I had been afraid of his return at the same time.

Aglaya. That’s strange news! (Pensively) The parents were so happy to hear about your engagement last winter! Veselov said Mitya gave up drugs. The senior Gromov was generous to treat him. It seems the treatment in Switzerland has really done him good.

Inna. They say there are no ex-addicts. But this is not what’s worrying me.

Aglaya, sister, you are ever so sensible and you’ve never lied to me. Just look at us- what kind of a husband and wife are we? My relationship with Mitya is nothing more than gratifying our mother and his father’s wish. Mother dreams of settling me with some rich heir. Mitya’s father hopes that his silver spoon will become steady and start doing business once he marries. But those are only their dreams and wishes, and nobody’s asked us!

Aglaya. Inna, my dear! Our parents mean well. I’m not saying you are wrong. Certainly, love and feelings are still in force, but one can’t underestimate the importance of choosing sensibly.

Inna. Choosing sensibly… a sensible choice… a convenience marriage. Whatever you call it, it’s not me.

I don’t want to be a rich heir’s wife. I don’t need a pushover for a husband, afraid of holding reins of his own life. I want to be a Muse! Men seek inspiration… I want him to be feel good with me. I want the relationship with this man to be the main project of my life. I want to invest effort, time and energy into my man, so that he would go to conquer the world and achieve whatever he wanted!

Aglaya. Alexey once said we couldn’t have expectations regarding something we don’t control. I didn’t pay much attention then…

We all had a perfect picture of your ideal future ready in our heads. We expected your union with Gromov to bring some income, but obviously brother didn’t call you a rebel without a reason. Really, we can’t have any expectation from something we don’t control.

Scene 3

The office at Victoria Lebedeva’s gallery whish belongs to Veselov. It’s well-furnished and has a door to a balcony.

Veselov is in his arm-chair. Nikolay and Katya are drinking and playing fool: Katya is playing The Flea Waltz on a small keyboard, Nikolay Orlov is miming a phone conversation.

Katya. Enough! (stops playing, pours more alcohol from the bottle, takes her glass and hands the second one to Orlov) Where did we stop?

Orlov (paces the office) I love my haters and enemies: they motivate me with their negative energy. When I feel low and want to cry and roll on the floor in a throw of despair…what do I think about?

Veselov. Really, what?

Orlov. I remember how many people will be happy if I fall. ‘Yes, Orlov’s lost it!’ I tell them in my mind: “Sod off, you bunch of losers!’.

I get up and keep on. It’s easier for me to do a lot of things in defiance, not in the name of something. I have done my best deeds when I was depressed, when I had problems, when I was disappointed and nothing seemed to go right!

When I’m happy and satisfied I have no motivation to go ahead. A diamond isn’t made lying on a sofa, it needs a lot of pressure. That’s why I thank the ill-wishers that stand in my way, I give them my biggest smile which you can read as ‘To hell with you, bitch!’ (He throws the rest of the drink from his glass into the face of an imaginary opponent)

Veselov. You’re a real terrorist! (Laughs)

Orlov. I’m rather a conformer. I’ve learnt to survive in the modern world. I’ve adapted. Unlike my father, I’ve got accustomed. I’ve made my choice and I’m ready to be responsible for it.

Now I’ll feel okay in any regime, be it capitalism, communism or even Queen Catherine. I’ve even started going to church… It’s fashionable now. By the way, I met the governor there, all cats are grey.

Everyone only cares about their belly, willing to stuff it fuller, to snatch a better share, and settle one’s children comfy and nice, as if it were our mission to gourmandize and grow capital.

Just look who’s at the wheel now! Grandchildren of those who managed to snatch a bite.

I’m not the hero of my time, but its product.

If my environment is criminal, then my obedience to it becomes a crime, too. That’s the price of conformism.

Silence

Katya. I split up with Nikita yesterday. Do you remember the cheerleaders you introduced us to a week ago? He cheated on me with one of them, the red-haired one. I think her name’s Sveta.

Orlov. Congratulations, it was high time. (Sits on a chair)

Katya. Do you think so?

Orlov. We’re old acquaintances, and I can see very well that you’re tired of his cheating and binging.

Katya. At least he didn’t use his fists.

Orlov. Katya! Why do you estimate yourself so low? You aren’t stupid.

Katya. I’m afraid I’ll always be single. I’m already twenty-three.

Veselov. Oh, the young today! Most girls only pay attention to a man’s appearance, his money and his sweet words… All of this is rubbish! What really matters is how a man treats you, what he does for you and to what extent you can rely on him.

And if he’s a good-looking douche, who behaves like a homeless cat – today he’s here, tomorrow he has another girl, and the next day – yet another… Let him go to hell and make space for a normal adequate reliable guy!

Orlov. Amen.

Katya. And how do I recognise that adequate and reliable one? At first they all say the same. They’re all generous and nice. One offers to move to Italy together, another one promises to divorce his wife… but no one proposes.

Veselov. If you can’t choose one of two men, it means either is bad. Not in their own right, they could be wonderful people, but they don’t suit you and you don’t need them.

When you really are in love with a man, you don’t think and don’t choose. There’s only him – the hero of your love. He’s like a light in your life! He’s your only purpose! And you think he’s the best man in the world even if he’s a complete loser, bastard or scoundrel. You are dizzy and you drop things. You are ready to run away with him anywhere, be it snow, heat, rain – you don’t care…

That’s why the sooner you stop choosing the earlier you can find a man who’s your match.

Mitya comes in. Katya drops the glass.

Mitya. Guess why psychiatrists are so polite with their patients?

Veselov. So why?

Mitya. They know that their patients are not subject to criminal responsibility and consequently have nothing to lose.

Orlov laughs.

Katya. Mitya, I’m glad you are here. Why are you in such disorder? Where’s Inna?

Mitya. We parted friends.

Orlov stands up and pours himself another drink.

Veselov. That’s the news. Does Aglaya know? It might get alright.

Katya. Now we’re fellows in misery. Nikita dumped me… let’s drink. (She hands Mitya a glass).

Orlov. Everything happens for the best. Acorns were good till bread was found. Keep your chin up, Mitya!

Mitya. That’s easy for you to say, Nikolay. You’ve always chosen what to do. I remember when your mother insisted on your training as a diplomat. You agreed to make her calm. But after the studies you refused the job. You paint pictures. But my father’s a general. So I have to march all my life.

Orlov. Mitya, my dear fellow! My father was a talented alcoholic! And my mother worries I’ll follow his example, but in vain. I loved my father and he’s the best anti-model in my life. But I’ll never become a poor drunken artist, because I have learnt to survive in this society and its harsh climate.

The success in life most often comes to people who are determined, able to make decisions and carry responsibility for them. It concerns both work and private life.

I can’t help feeling amazed at such douches as you, who have never lifted a finger but keep moaning about how their life’s bad, their little money and bad relationships with parents, their unhappy love.

But who’s to blame? Parents? School? Government? School friends? Nobody’s to blame but you. That’s because you do nothing…just start, Mitya, and something will necessarily change.

Mitya. Do you love her?

Orlov. Who?

Mitya. Inna Lebedeva.

Orlov. I don’t want to discuss it with you. Veselov, let’s have a smoke.

Veselov and Orlov go out to the balcomy. Orlov shuts the door firmly.

Veselov. I wasn’t mistaken then. (He lights a cigarette)

Orlov. Pardon?

Veselov. I have noticed the way Inna has been looking at you lately.

Orlov. We keep it quiet about our relationships.

Veselov. Now I understand it: she received the first prize for a script of a one-woman show whose heroine dreams of being a muse for a talented artist…

Orlov. See, our relationship’s already bringing its fruit.

Veselov. Do you love her?

Orlov. In a way, I do.

Her mother owns one of the largest art galleries in the country and can introduce me to some useful people in Europe, China and Americas, so I have an opportunity to make my business international shortly.

Veselov. Is your devotion to painting a disguise then?

Orlov. It’s rather a tribute to my father and revenge to my mother for leaving him and making me sweat all my life, training to fulfill her far-reaching designs. Actually, her dream will soon come true, I’ll be a rich and powerful man.

Veselov. Have you thought that Victoria Pavlovna might not be happy about your thwarting her daughter’s wedding with Mitya Gromov whose father, by the way, is one of her best clients?

Orlov. It was Mitya who thwarted everything. He’s to blame for his problems. I just happened to in the right place at the right time.

I have a way to reach Lebedeva, too: she loves her younger daughter a lot. And she knows perfectly well the position my beloved mamma has in the government.

Soon Victoria Pavlovna will realise that there’s nothing good for Inna about that dope. When this happens, she’ll hook onto my figure because I’ll show the best of myself, letting everybody see clearly that I’m not going to be a poor unknown painter.

My mother’s administrative power plus Victoria Lebedeva’s money, connections and reputation will open the doors to all structures I’m interested in. That’s my plan.

Veselov. That’s a serious claim. (Puts his cigarette out)

Orlov. (to himself) I’d love to see your face when all Lebedeva’s business is in my hands. Just wait and see.

Veselov. What about Mitya?

Orlov. Don’t worry about him. Our romantic poet is in mixed feelings now and he’ll soon find comfort on the first wench’s bosom. Mitya is a douchebag. Eve now he gave up without a fight, letting me have Inna.

Veselov. Was Katya’s breakup also your work?

Orlov. Knowing that horny ape’s ways it was easy to organize the match-up. (Laughs)

Mitya and Katya are alone in Veselov’s office.

Mitya. I’m at unrest. I’m like a person after a heart attack and whose limbs are numb.

Katya. Why should it happen so?

Mitya. I’m sick at heart.

Katya kisses Mitya, he kisses her back.

Mitya. Let’s go away.

Katya. All right.

Mitya and Katya leave. Enter Veselov and Orlov.

Veselov. They took a French leave.

Orlov. I told you not to worry about Mitya Gromov.

Aglaya comes in. She’s carrying a file and a phone.

Veselov. Aglaya, I’m glad to see you. Come in, please.

Aglaya. Hi! I won’t be long. I dropped in my office. Somebody’s lost a phone, it’s out of charge. I found it near your door. (Shows the phone).

Veselov. That’s Mitya’s, I’ll give it to him when he comes back.

Aglaya. I saw him and Katya downstairs, they told me you were here. Why were they in such hurry?

Veselov. I don’t know. Would you like a drink?

Aglaya. No, thank you. I’m driving. I’d like a tea, though.

Veselov. And you, Nikolay?

Orlov. I think I’ve had enough today. I’ll go home. I was glad to see you. Bye, Aglaya. Sasha, I’ll phone you.

Aglaya. Bye.

Veselov. (Pouring her tea) Keep in touch!

Aglaya. I’ve known him for so long and I’ve never been able to get rid of the feeling that he’s constantly concealing something.

Veselov. Never mind. To each their own.

Aglaya. Inna and Mitya split up. It seems, this time for good.

Veselov. I know. When he came Mitya was very depressed, but he tried not to show it. Victoria Pavlovna will be disappointed.

Aglaya. We’ve gone a bit too far with the senior Gromov, got stuck to our own interests. The children have made their choices.

Veselov. Time is the best judge.

Aglaya. You know, Sasha, Orlov isn’t as simple as he tries to seem.

Veselov. What do you mean?

Aglaya. Mother was interested in buying some more venues for the restoration workshop in the new office building on the site of the former flour mill in the centre. I did some research. (Nods at the file)

One of the owners of the spot where the building is situated is Nikolay Orlov’s company. He also controls four organizations which regularly get state agreements for reparation and maintenance of buildings and premises of the education ministry. So, Nikolay seems to be using his family’s administrative forces to develop his own business.

Veselov. One should expect this, considering who his mother is. From each as he can, to each as he wants, so to say. That’s modern socialism at its most typical.

Aglaya. Yes, I agree, it’s not new. Every household earns as they can. But why does he put on such acts, refusing the job in diplomacy, truly neglecting his mother’s connections in the government and her money… A real nihilist! I feel he leads a double-game. It’s his business anyway.

Veselov. Can he be involved in the recent prosecutor’s investigation at the library?

Aglaya. That’s unlikely. Our lawyer says the thread leads to Moscow - that’s for sure. We’ve already activated the necessary people. Now this issue is solved.

Veselov. What do you recommend me to do in the future?

Aglaya. Take it under your control. You and mother should be alert in any law and financial issues when doing business with the city administration, new contracting parties and especially with the monitoring organizations. If they are gunning for us from there, this is where they’ll fight from.

But you know, Sasha, this is not why I came. There’s one more important question that I’d like to discuss with you.

She is interrupted by a phone ringing. Veselov picks up the phone.

Veselov. Yes… I’m in… He left not long ago. (He pauses) Nikolay Orlov has been killed!!!

Curtain falls.

ACT 2

Scene 4.

General Gromov’s countryhouse. It’s Monday, early morning. Leonid Fyodorovich and his wife are in the living room.

Gromov. Where could he be?

Lilia Vasilievna. Take your medicine, Lyonya. (She hands him some pills and a glass of water).

Gromov. My heart’s clenched. (Drinks) Dial him again.

Lilia Vasilievna. (Calls on her mobile) His phone’s turned off.

Gromov. Bastard! I’ll strangle him with my own hands!

Lilia Vasilievna. Will you stop your tantrum, sir?

Gromov. I’m sorry, darling. My nerves are frayed. Oh, Mitya, my Mitya…

Lilia Vasilievna. Could he get hold of a gun anywhere?

Gromov. Surganov says the shot was made from a gun. Now they’re conducting a ballistics test and taking data from the CCTV. My honorary weapon is in the safe, I’ve checked it. But it’s not a problem to find a piece in the city.

Lilia Vasilievna. Mitya couldn’t have done it. They’ve been friends with Nikolay since the third school year. They went to a language camp in London together. You know this well.

Gromov. Did you speak to Olga Vladimirovna?

Lilia Vasilievna. Yes, she’s shocked. She was on a business trip, but she came back at once and she’s now with him in the hospital.

Gromov. And this should happen right before the governor elections! I’ve been contacted by the central executive party committee. Take my car and go see her right now. Talk to her. I think Olga understands how serious this is. Nobody needs this fuss. We’ll deal with the media. Don’t give any comments or interviews. I’ll go to my office and make a few calls.

Gromov and Lilia Vasilievna leave.

Mitya and Katya come in. Both are cheerful.

Mitya. Mum, Dad, I’m home!

Katya. Don’t shout.

Mitya. Are they asleep? It’s still Monday morning and we haven’t slept a wink! We’ll wake them up. (He pulls Katya to him and kisses her)

Katya. You’re crazy! (She tries to release herself, laughing)

Mitya. I’m as hungry as a hawk.

Katya. Me too.

Mitya. My head’s splitting apart. I think I drank too much. What was that sour stuff you gave me?

Katya. It’s Spanish dry wine.

Mitya. Ugh!

They take out sandwiches, sweets, biscuits, pour some juice.

Mitya. Now I know what I really want!

Katya. What do you want, Mitya?

Mitya. Orlov told the truth yesterday. I’m the one to blame for my problems. As a child I never dreamt of becoming a loser, drug addict and a parasite. But I turned one when I was twenty-five. I’ve always blamed father for not being able to choose my own way, but in fact I did nothing to find that way.

Of course, my ex-girlfriends are at fault for deserting me just because I cheated on them, drank booze and took drugs… I’m not to be blamed! (He grins)

Now things are going to be different. I know exactly what I want! I want to change myself and change my life. I will work. Can you imagine, I’ve always been afraid that father will stop giving me money and will cross me out of his will. That’s such nonsense!

I am capable of providing for myself. I’ve graduated from a language gymnasium, so I can easily become a tutor or a translator from English and German. When Aglaya Lebedeva was presenting her thesis, I did translate a few of her articles into English.

I can start working for my father… but no, I’d be better on my own… There’s a lot I can do!

I want to live so much! (Excited)

And you? Katya?

Will you stay with me? I need you so much!

Katya. I’ll stay with you, Mitya.

Mitya. Remember this day! Today a new life was born in us! Let us live, Katya! Let us live!

Katya. Somebody’s coming.

Gromov enters.

Mitya. Hello, dad! This is Katherine.

Katya. Hello, Leonid Fyodorovich.

Gromov. Hello, Katherine. (Turns to Mitya, threatens him) What have you done?

Mitya. What’s happened?

Gromov. He dares to ask! Mother’s been on edge all night long! Where have you been?

Mitya. I was relaxing. (Cringing)

Gromov. Why don’t you answer calls?

Mitya. I’ve lost my phone somewhere. (almost hopelessly)

Gromov. Nikolay Orlov was shot yesterday. (Katya groans)

Gromov. There’s an idea that it was you.

Mitya. (He can’t say a word, because he’s amazed).

Silence.

Gromov. Mind you! If you did it, I’m not going to cover up for you. This time you’ll go to prison!

Mitya. Is Nikolay alive?

Gromov. At first there was a leak he was dead. The man who found him in the street, covered with blood, notified the security of the building. They called Victoria Lebedeva’s office which he had left short before that, and then the police. Now Nikolay is in hospital. He has an exit wound in his shoulder, the bullet went through and through.

Mitya. It wasn’t me.

Gromov. In the morning Colonel Surganov, my ex-colleague, called me. He knows the investigation officer in charge and he says the situation is really serious. The elections are pending… everything’s been turned upside down, the affair is under personal control of the director of the Head Department of the Ministry of Internal Affairs.

Mitya. I didn’t do it.

Katya. We were at my place together.

Gromov. I wish I believed that.

Mitya. Dad, don’t you believe me?

Gromov. I don’t know, Mitya.

Mitya. Do you believe me?!

Gromov. I couldn’t believe you gave up studying in London. I could never believe you gambled your new car away. I couldn’t imagine you were taking drugs until I saw you lying in the bathroom with foam at the mouth. How can I believe you now?

Mitya. You don’t believe me, then.

Gromov. Listen to this. You’ll go to the police right now and give testimony. Katherine, can you confirm he has been with you all this time?

Katya. Yes. We’ve been together. The whole night.

Mitya. I didn’t do it! Father!

Gromov. Stay here and wait. I’ll call our lawyer. (Leaves)

Katya. Listen to your father. He’ll settle everything out.

Mitya. He doesn’t believe me.

Katya. I believe you, Mitya! I love you! Everything will be fine!

Mitya. I am sorry, Katya. I must go. I’ll do it myself. Please, go home now.

Katya. Mitya, no! Stay.

Mitya. I’ll come to you soon. Thank you, sweetheart. (Kisses Katya) I love you very much. It seems, for the first time in my life I really love. (Runs out)

Scene 5

Tuesday. It’s one day before the opening of the exhibition. Professor Lebedev’s house. Inna and Katya are talking with animation.

Katya. I’ll never forget the day when Mitya and I learnt that somebody had shot Nikolay Orlov. Are you angry at me, Inna?

Inna. Of course I’m not. I’m even happy that everything has become clear between us. Do you remember how we first met their company at a night club? Mitya started to court you first. I didn’t even pay attention to him then.

Katya. You were so absorbed with your preparing for your graduation play at the institute that you didn’t even notice me. Or did the director charm you that much? (Both laugh)

Inna. Yeah, yeah! You offered to go to the Dead Sea and I refused. Then I started dating Pavel from a basketball team, and Mitya went to London. We met again only half a year later when he came back and came to the avant garde exhibition in mum’s gallery together with Leonid Fyodorovich. Then it all got started.

He had grave problems in relationships with his father because of his studying and in a week Mitya had to go back to London.

Look, he sent me his verse from England then(takes out an envelope with a letter):

I’ll bring some sea foam to you

I gathered it to the sound of waves.

Like a silent smile of a thousand slaves,

I’ll give you my dull ennui.

‘Ah! That’s another beggar poet’

We hear from an art abuser

‘Two thousand years have brought

Completely out of common uses

All romance and love words.

‘Ah! That’s another stupid poet’

One should keep silent, no reply.

He has his point in certain way.

Then my first line, like a firefly,

Will come back after doomsday.

It sings of love, of motherland, of pain,

Of misery that tears the heart apart,

Of northern sea, that roars in vain,

And time that gives no second start.

I’ll bring some sea foam to you

I gathered it to the sound of waves.

Like a silent smile of a thousand slaves,

I’ll give you my dull ennui.

Katya. (sobs, covers her face with her hands)

Inna. Katya, what’s wrong?

Katya. Leonid Fyodorovich isn’t his enemy. On the opposite, he cares about him and has strong feelings for his son. I met him and Lilia Vasilievna . They love their son a lot.

Inna. I know, Katya! It’s simply that Mitya’s father has always been too strict to him… but it hasn’t done much good. I almost went insane when I learnt that Nikolay had been shot. I remembered my brother’s death. I won’t survive another loss like that. Thanks God he’s all right.

Victoria Pavlovna, Aglaya and Veselov come in.

Aglaya. Here you are, besties. Did you cry a lot yesterday? (The girls smile back)

Veselov. Mitya gave his testimony, today it has been confirmed, he’s cleaned of all suspicions. Nikolay Orlov is safe, tomorrow he’s going to be released from the hospital.

Victoria Pavlovna. But who shot him?

Aglaya. The investigators will find out. One thing is clear: the attacker knew the place which is not seen by cameras, and he was waiting there.

Victoria Pavlovna. Let God be with him! I can imagine what his mother, Olga Vladimirovna, has been through.

Veselov. Every cloud has its silver lining. The hype around this event has warmed up some interest to tomorrow’s exhibition, there were reports on us on all national TV channels. The name of the young painter Nikolay Orlov has become known to the whole country! I suggest moving his works to the first hall, next to the modern art collection.

Victoria Pavlovna. I support your decision, Mr Veselov.

Veselov. I’m calling the gallery now and give all the necessary orders. Aglaya, do you mind my using your office?

Aglaya. Not at all, Sasha.

Victoria Pavlovna. What is that story of some important agreements with state structures that are being attributed to the Orlovs? I heard it on TV that he might have been shot because of them.

Aglaya. It’s all legal. It is really his own business which he is keeping a secret. That is no wonder considering his mother. It’s a matter of a few dozens of millions a year. The media nosed this out, put two and two together and made their conclusions.

Victoria Pavlovna. A talented man is talented in every respect! Inna, I’m so happy you and Nikolay are friends! I think I felt it from the start that you, lovey-doves, are hiding something from me. (Smiling) Surely, Mitya Gromov is a nice man, but, as it goes, love cannot be forced.

Inna. I haven’t fallen in love with Nikolay for his money. (Embarrased) Katya and I would better go to my room.

Inna and Katya leave.

Aglaya. It was hard for Inna. Nobody knew they were so close with Orlov. She almost fainted when she heard he was wounded.

Victoria Pavlovna. You tell me. Then this idiot, Mitya! I got stuck with him. Of course, I also thought he shot Nikolay because of jealousy. Who knows what this dope has in mind!

Aglaya. Weren’t you dreaming of his marriage with Inna just a couple of days ago, mum?

Victoria Pavlovna. It’s water under the bridge. Be it not for the senior Gromov, I’d never let him in my house again! Then there’s this whore, Katya. I’ve never liked her. Her mother’s the same, three children from three different men. She and the junior Gromov make a pair.

Aglaya. I’m very sad to hear those words from you. I don’t want to argue, though, so let it be your personal opinion.

Victoria Pavlovna. Tell me what, my little wise head, if you are so clever, why aren’t you still married? You are already twenty-eight, Aglaya!

Aglaya. Oh, mum, not that again, please.

Victoria Pavlovna. You need a man who you can rely on.

Aglaya. I know, I know, with an account in the cantonal bank of Zurich, a villa in Spain and so on and so forth.

Victoria Pavlovna. If you don’t like Pyotr Alekseevich, then Innokentiy Yakovlevich likes you a lot, and he’s got a chain of hotels in Bulgaria.

Aglaya. Mum, this Innokentiy Yakovlevich is sixty-seven years old.

Victoria Pavlovna. Which makes him even better for you.

Aglaya. (to herself) I can never stop being surprised at some mothers’ desire to sell their daughters at a better price. This looks more like legalized prostitution.

Aglaya. (to Victoria Pavlovna) I’m afraid we won’t match. I don’t like men who propose to a successful and ambitious woman and then try to put her in a cage in their three-floor tower as if she were a rare trophy. What’s the point of making a hen out of a bird of paradise when there are enough hens already?

Victoria Pavlovna. You’ll never get married with those ideas.

Silence.

Aglaya. Mum, we need to talk seriously.

Victoria Pavlovna. I’m all ears, Aglaya.

Aglaya. Do you remember Irina, who was the maid at Denis Ivanov’s wedding?

Victoria Pavlovna. Of course I do. She lives with her husband in Italy now.

Aglaya. That’s right. So, two months before she met her husband she went to the seaside with her beloved cat. It was an old cat. There she met a girl who was the Cirque Du Soleil magician’s assistant. They drank a little and started to chat. The girl asked, ‘Do you want me to do a trick?’

‘Go ahead’

‘I’ll turn your cat into a handsome young man and you’ll get married in a month!’

‘That’s impossible,’ says Irina.

The girl took the cat, wrapped it in a hotel towel, opened the door to the bathroom, put the cat there – voila! A stunning beau leaves the bathroom, showing his wonderful body covered only with a towel.

Irina was shocked, naturally.

The man slowly comes up to her, holds her around the waist and says in a soft voice, ‘Now you must be sorry you neutered me…’

Victoria Pavlovna. Gosh! (waves her hand) I almost believed… (She laughs)

Aglaya. Neither do I believe that an old neutered cat can make a good husband.

Lebedev and Veselov come in, talking animatedly.

Veselov. Everybody believes the main thing is to prevent a splitting of the country. But let’s finally realize that existence of different opinions is not a splitting yet, it’s a sign of psychically adequate society.

Lebedev. If you replace the word ‘splitting’ with the word ‘diversity’, the situation will become more elliptic. Remember Gorbachyov and his perestroika.

Veselov. We’ve all seen the results!

Victoria Pavlovna. They’re harping on the same string again. Aglaya, let’s drink some coffee in the kitchen and discuss buying premises for the new restoration workshop.

Victoria Pavlovna and Aglaya leave.

Lebedev. Lately, I feel more and more convinced that we all inhabit some imaginary world, an imaginary country with imaginary past. We fight against something that doesn’t exist for something that never existed, ignoring the real adversaries completely and fighting against fictional enemies. We scrimp what could bring us billions and invest colossal resources in something that isn’t worth a penny.

Veselov. The question is, who needs it?

Lebedev. That’s why I ask you, Sasha, if a modern state can have somebody’s stupid dream, formed by political environment, as a base for prosperity?

We’ve lived for seventy years believing that autocracy is evil and tsar is the embodiment of that evil. It was easy to believe in that. We learnt from history textbooks that in the last two centuries there hasn’t been a single Russian tsaritsa, and people were governed by princesses from Denmark, Prussia, Württemberg, Darmstadt, who drank the nation’s blood. We read in official media that tsars sold Alaska for a mere song, trading away the national wealth. The last tsar paid for everything: Rasputin, Kshesinskaya ballet-dancer, Hodynka, the defeat in the Russian-Japanese war, his abdication. And that wasn’t enough! Which state of hatred and frenzy did they have to bring people in to make them so hungry as to start terror? They killed the poor martyrs, threw them in a pit and covered with mud.

You know the rest: the Civil war, the military communism, forced famine, BAM, GULAG, the war against fascism, the personality cult, thaw period, 20-year-long stagnation, war in Afghanistan, perestroika… In less than a hundred years the political environment in the country has changed. And we have a bunch of bearded men in our secular state, who have decided that tsar wasn’t evil, but he was a saint. And here we go.

Veselov. How can a minority rule the majority? Only through lies and forcing.

Lebedev. One can’t force faith!

Veselov. Unfortunately, sometimes history proves the opposite. And the fight between the clever and the stupid is usually won by the mediocre.

Lebedev. Mediocrity and dullness… You open a newspaper, turn on the radio or the idiot box: complete mediocrity. You look around and see only mediocrity, utter, wretched, pathetic mediocrity. That’s what is happening to us now. That’s what our modern life is.

Veselov. Last week I was looking through my granddad’s diaries. He was also a surgeon, he died twelve years ago. When he was nineteen, in 1937, his older brother, an engineer Nikolay Semyonov. To complete his studies in the medical institute, granddad had to denounce his brother and take their mother’s maiden name. His brother disappeared into the labour camp system of the Northern Pechora railway system just before the war. Nikolay wasn’t rehabilitated until 1989, and granddad reproached himself all his life. As a memory of Nikolay he had a miraculously spared notebook where Nikolay wrote his poetry. I remember one of his poems by heart, it was written half a year before his arrest.

All our history is formed by harlots,

Not truth, nor upward strides and no mistakes.

Born in abyss, we are faith zealots.

Rough shapes of coffins make our fates.

There’s dozen bears living in one den

They live together – what a puzzle .

They have nowhere to go, and though it’s sad

The only way to be the master is to devour the rest.

Like cunningly cast chain holds beasts in place,

We are encaged by love for our Motherland.

We jerk forward, at times without faith

That prophet, not a sucker, is our head.

Curtain falls.

ACT 3

Scene 6

It’s Wednesday. We’re at Victoria Lebedeva’s gallery. It’s the opening of the exhibition. The modern art show. Visitors are strolling to and fro, chatting and discussing pictures.

Reporter 1. Mister Veselov! Your opening speech was wonderful. Could you tell us what expectations you have concerning this exhibition?

Veselov. First of all, I want to thank all the staff and all the people involved in organizing the exhibition. As our highly respected governor rightly noticed, this is the first exhibition of such scale in our city, that’s why we are interested in the visitor’s reaction.

Reporter 2. Can we say that the appearance of the young artist Nikolay Orlov’s works means the rising of a new star?

Veselov. Mister Orlov is undoubtedly a talented man. And I’m glad that we have the honour to be the first hosts of his works, which were highly appreciated by the professor of art Domenico Longhi and his colleagues from Fine Arts Academy in Florence.

Reporter 3. In his interview the regional minister of culture has especially rewarded the effort of the exhibition curator, art specialist Aglaya Lebedeva. How can you comment it?

Veselov. Talking about the situation in Russia, I believe that our institute of curatorship is very young and has a huge potential. Thinking globally, some representatives of this profession have become as famous as great artist and their works. So, let’s wish Miss Lebedeva professional success and fulfillment of all her initiatives.

Thank you very much, dear colleagues. We welcome all citizens and guests of our city at our exhibition. Have our best wishes.

They leave.

Gromov. Accept my congratulations, Victoria! You’ve made it! Anyway, I never doubted. You always know what you want and how to achieve it.

Victoria Pavlovna. Thank you, Lyonya. Honestly, I didn’t expect such excitement about the opening. This story with Nikolay Orlov being shot has really worked for us.

Gromov. I must admit the fuss before the opening is not the only reason. The guy is really talented and good as investment. I bought one work of his, and two more went to an auction house in Beijing, yet one more to New York.

Victoria Pavlovna. I’m sure it’s a good investment.

Gromov. I agree. He isn’t like my chump. Olga Orlova is lucky to have such a son.

Silence

Gromov. Victoria, we’re old friends. I’ll be straightforward. I’ve heard a rumour that somebody higher up is very interested in your business.

Victoria Pavlovna. Really?

Gromov. I’m not the one to tell you how it happens. The monitoring bodies statrt coming with check-ups. You are threatened. A criminal case is brought against you. Property and accounts get arrested, administration as well. The functioning of the enterprise is blocked. Then you are offered a deal, profitable for the aggressor. If you reject it, conditions to form overdue receivables are created, your debts are acquired and you are taken over as a bankrupt.

Victoria Pavlovna. What a disaster… Aglaya warned me about something like that yesterday.

Gromov. Your daughter has good intuition and can see through the facts. And they are obvious. I’m afraid that recent prosecutor’s check is only a start.

Victoria Pavlovna. But who might need my business? I’ve been constructing it brick by brick for twenty years, I’ve put such effort in it, created strong connections around the world and earned a good reputation.

Gromov. The more tempting the business is.

Victoria Pavlovna. They can’t just take the gallery away, can they?

Gromov. They can, they pretty well can.

They leave.

Orlov (his arm is in a sling, he is talking on the phone) We’ll manage. We bloody will! We’ll push her and she will bring us the keys from the gallery on a golden platter. This idiot almost ruined it. He shot my shoulder through instead of making a light wound. I’ll get even with that bitch. Let him lie still for a while and be a no-show. We’ll see what to do with him later. Keep the piece, I’ll need it. No, Boss doesn’t know. Slepyen, this is my own business. Keep your mouth shut if you want to live. Be in touch tomorrow, we’ll start our masquerade. See you at Boss’s country house in the afternoon.

Inna. (She’s happy and comes up to Orlov, kisses him) Nikolay, sweetheart! I’m so happy for you! I always knew you’d do it. You’re such a good sport.

Orlov. Hi, darling! (Interrupts the conversation, hugs Inna) We’ve made it! You’re my muse! I adore you, my love!

Both leave.

Reporter 1. Missis Orlova! Let me congratulate you on behalf of all citizens of our town on the success of your son’s artistic debut! As we know, at the moment all his works are bought off, and the substantial sum received is going to be donated to the city art school for children, according to the artist’s wish. Tell us, what do you feel and think now in regard to exceptional success of Nikolay Orlov’s pictures?

Olga Vladimirovna. I’m very glad to learn the high assessment of my son’s works by the governor and the administration representatives. I have supported Nikolay’s urge to paint since he was a child and assisted him in getting art education.

His love for painting didn’t become a hinder to graduate from the Academy of Diplomacy in Moscow. But Nikolay preferred to work for the well-being of the city and the region to a job of a diplomat.

We do hope that in such important period when the city has applied to host the International Trade and Industry Exhibition, on the eve of the governor’s elections, crucial to us all, our input in developing the city popularity and work for the benefit of the country on the whole can be remarked at the highest level.

Reporter 2. Domenico! We’re happy to welcome you in our city and we highly appreciate your visit. We heard your feedback on today’s exhibition at the press conference with the governor. We are also aware of your assessment of works by modern Russian artists, and we’re eager to see your review of their paintings in your journal.

You are fluent in Russian. What binds you with Russia?

Domenico Longhi. Hello! Thank you. I won’t speak a lot.

I love Russia very much, because I was brought up in Russian literature which I have always read in original editions. My great-grandmother lived in a workers’ settlement in the South Urals and my great-granddad was a priest in the church of the Kazan icon of the Mother of God at the local ironworks.

Today’s exhibition proves one more time that Russia is bountiful with young talented people. But we mustn’t forget that any talent can only reach success through long and industrious work, through constant improving their professional and moral development.

I thank the organizers again for inviting me and wish everybody to derive real pleasure from the items exhibited.

Reporters leave.

Domenico Loghi. Hello, Olga! I couldn’t even greet you properly, I’m here straight from the airport. I am happy to see you…

Olga Vladimirovna. I didn’t expect that from you, Domenico!

Domenico Longhi (Stares in surprise)

Olga Vladimirovna. I mean your review of my son’s dabbing. As if he’s a real painter!

Domenico Longhi. The boy is really talented, just like his father.

Olga Vladimirovna. Don’t bring the old man up. I’ve put such effort into introducing Nikolay to the Governor. The latter promised him a good place in his new team. But it’s a blessing in disguise, for our Gov, as I learnt, has a soft spot for painting. We’ll use this to our own good.

I wish we found the jackass who shot Nikolay…

Domenico Longhi (to himself) I wonder how time makes people change. Where is that romantic young history teacher who came to Italy through a trade union arrangement, who admired the Palzzo-Pitti museum and read Arthur Rimbaud in French?

Both leave.

Mitya. I like it here. A lot of familiar faces. Orlov is a bastard, but he’s still smart! A talented badass. (Laughing) But I’m no fool either. Tomorrow I’ll tell father everything about us and my plans to start doing business. Now he’ll see I’m capable of doing things.

Katya. Well done, Mitya.

Mitya. I talked to my school teacher Nina Sergeevna today. She works for the city administration now. I explained her everything, and she’s ready to help and recommend me. She says the time is good. The city’s hosting the football world cup and there’s huge lack of people who speak English, leave alone German. They need to create study guides for the police workers and security staff, then they’ll train volunteers and the hotel personnel. Anyway, there’s a lot of work. I’ll start with that and then we’ll see.

Katya. I believe in you, darling. You’ll manage. We’re together.

Mitya. I love you, dear.

They leave.

Aglaya. Your speech at the opening was really good. Well done, Sasha!

Veselov. Speaking to audiences used to be my biggest fear. When I took university exams I shook with fear. The same problem haunted me when I started teaching history as a postgraduate student. I’m so grateful now to my scientific supervisor, professor Valentin Aleksandrovich Smetanin for giving me a heavy slap on the cheek before my thesis presentation and saying, ‘If you’re afraid, just go and do it!’. That helped.

Aglaya. (laughing) I hope you don’t slap your students and gallery workers?

Veselov. No, but I still read the old ‘Household Book’ before bedtime. (Smiles)

Aglaya. It’s your birthday on the seventeenth of September, what would you like to get as a present?

Veselov. I’m satisfied with my life. And whatever difficult it was for me in the youth when my parents divorced, I’ve always been grateful I have them.

I remember clearly that twenty-first birthday when I realized the only person who deserved a present on that day was my mother. Since then I come to her every year on the seventeenth of September and bring her flowers and presents.

My birthday is my mother’s holiday in the first place.

When I start my own family, I’ll try to get this message across to my children so that they remember about the significant person who gave them life.

Aglaya. (keeps silence. Her face is pensive).

Veselov. Do you know what I’m thinking about now, Aglaya?

Aglaya. Tell me.

Veselov. What did you want to talk about on the evening when Orlov was shot?

Silence.

Aglaya. I wanted to discuss our conversation at the beginning of June. Thank you for giving me time to think it all over. Here’s my answer, ‘Yes, I agree to marry you.’

Veselov. (stunned) Yes! (comes closer to her, takes her hands in his)

Aglaya! (People around them start to turn their heads at them)

I love you! (Hugs Aglaya and kisses her)

Scene 7

A restaurant-pub. Orlov, Katya, visitors, bartenders, waiters. Katya is sitting next to the bar and drinking a cocktail. Orlov enters, waves to somebody in the hall, then comes to the bar.

Orlov. (to a waitress) Miss, I’m happy to see you again.

Waitress. (smiles)

Orlov. Why did you put love potion in my cocktail last time, now I’m in love. When do you finish work today?

Waitress (leaves, laughing) Today my shift finishes at 2 a.m.

Visitor. Nikolay, hi! Last time you used the same joke on another one.

Orlov. All chippies are the same for me. (He notices Katya next to the bar and comes to her)

Katya! Hi! Glad to see you.

Katya. Hello, Nikolay.

Orlov. Why are you breaking the rules?

Katya. Which rules?

Orlov. They’re from the song, remember? ‘One mustn’t be so beautiful’ (Smiles)

Katya. Beautiful my foot. But thank you, it’s nice.

Orlov. Are you alone?

Katya. I’m waiting for Mitya Gromov, he should come soon.

Orlov. Lucky boy, he always gets the best girls!

Katya. Nikolay, don’t make me blush! (smiles) But thank you anyway.

Orlov. What would you like?

Katya. Another ‘Margarita’.

Orlov (to the bartender) Same choice for me and a ‘Margarita’ for the lady.

They leave the bar.

Katya. I was at the opening today and I saw your works. This is marvelous! You’re a star now. When girls learnt I knew you personally they were ready to die with envy.

Orlov. It’s nothing. That’s only a start. So you are with the young Gromov now?

Katya. It started somehow.

Orlov. Mitya is way better than that lusty ape you used to date.

Katya. (Laughs) This is true! Mitya is absolutely different. You know, he’s found a job and he’s starting next week.

Orlov. Has he? That’s a surprise. What is he going to do?

Katya. The city council needs some job done concerning the World Cup preparation.

Orlov. Well done!

Katya. Yeah, he’s great. I’ve always liked him.

Orlov. Why didn’t you date him before?

Katya. I always thought he was so distant, glamorous or something. A general’s son who drives a cool car. My parents are not rich and people of his kind rarely pay attention to my kind.

Orlov. If I were you I’d get him hooked long ago. It’s the thirty sixth power statute: despise everything you can’t possess. Ignoring is the best strategy, for silver spoons are too sensitive to being despised.

Orlov makes a sign for the bartender to repeat the drinks.

Orlov. And you’re mistaken about yourself. You are very attractive. And Mitya is very lucky to have you.

Katya. I didn’t want to be a one night stand. And then he started dating Inna…

Orlov. Let bygones be bygones. Shall we drink to luck? (They cling glasses and drink to the end)

The waiter brings drinks.

Orlov. What are you planning to do next?

Katya. You seem to be reading my mind. (Takes a sip). This is what I was thinking of when you came in. I realised I had to change my life. Trust me, this is not what I dreamed about when I graduated – becoming a commercial bank underwriter at twenty-three, having no purpose in life, no love for my job, a small salary, being single and distressed. The biggest thing I did was hiring a one-bedroom flat twenty minutes from the underground and an opportunity to go on a cheap holiday twice a year, staying in a hotel on the third or second line.

I tried to save up, but I realised this savings would never be enough to buy an apartment of my own. For the whole year I saved a hundred dollars regularly, convincing myself it was my active asset and it would bring me interest, but I was weak and bought a manteau… and I’ll have to pay a loan for it for two more years. And that’s a passive asset.

Orlov. Every passive means you’re somebody’s active asset, as Kiyosaki said.

KAtya. Exactly. I have a feeling that somebody constantly uses me for their purpose. (She drinks the rest of her cocktail) I’m sorry, it seems I’m drunk again.

Orlov. Wine is in, truth is out. Another round, please. (to the waiter)

KAtya. I couldn’t go to the streets, could I? Do you think I’m the only one like this? In February Inna and me met our classmates from the math and physics lyceum. So I saw what they’ve worked out. Generally, they all have the same problem: how to get money?

What other way is there for a young girl in a big city if she doesn’t have rich parents? Finishing school, entering university, starting to work during your second year. Getting married? Nobody marries you. So I work six days a week and only have strength to go to a pub and drink to death at the weekend.

Orlov. I understand you so, Katya. I grew up without a father. Mother didn’t always work at the ministry. Father drank. Then he died. She was a history teacher at school We never had money. She started bringing lovers home. At first all of them were kind and nice, but only at the very beginning. As they grew accustomed, they started to patronize me, one of them even beat me “like a father” (With hatred)

And mother was even glad, it was considered male education. Little did she know that they were alien to me. I loved my father very much. Oh, how I hated her! I hated her for leaving father! I started painting out of spite, she forbade me. I hated her for bossing me around. I think I still do. (Empties his glass) Let’s dance.

Katya makes a sip from the glass, they stand up and start dancing to the slow music (‘You’re so beautiful’by Joe Cocker)

Katya. Why should we be so unhappy? Isn’t there a way to fix it all?

Orlov. As a child I used to like reading Solzhenitsyn, he once said, ‘No one knows anything beforehand. The biggest trouble can find a person at the best place, and the biggest happiness – in the worst of places’ (He pulls Katya closer and kisses her. At first she resists, but then gives up to the impulse and kisses back)

Mitya enters, he sees Orlov and Katya. They don’t notice him. Then Katya pushes Orlov away.

Katya. Mitya!

Mitya. How could you! I trusted you!

Katya. Mitya! I didn’t want…I’ll explain it to you…

Mitya runs out, Katya rushes after, but stops. She covers her face with her hands.

KAtya. What have I done…

Orlov. Checkmate.

Curtain falls

ACT 4

Scene 8

Thursday. Midday. The living room in Lebedev’s house. Lebedev is standing next to the fireplace, Inna is sitting in the armchair, Victoria Pavlovna is sitting at the desk.

Victoria Pavlovna. It just doesn’t make sense. (With remorse)

Lebedev. Inna, pumpkin, take your sedative and have some rest. (He takes out some pills and a glass of water)

Inna. I’m fine, Dad. (Depressed) No, I’m not fine! (She stands up and starts walking across the room)

Victoria Pavlovna. How could this all happen?

Lebedev. Here’s what I know. Yesterday he was seen in the city administration hall.

Victoria Pavlovna. I saw him at the opening, too, he was happy and smiling.

LEbedev. Yes, he was at your opening with Katya. And in the evening he was seen in a café by security.

Inna. It’s a restaurant pub. (She sits down)

Lebedev. I don’t know the difference. Yes, he was seen there, but he left immediately.

Victoria Pavlovna. Who notified the parents?

Lebedev. The police guys , in the morning today. They called from the hotel where it happened. He had a pass with the name ‘Gromov’ on it, and a note. The father was notified first. Poor Lyonya! Poor Lilia Vasilievna. It’s so hard to learn such things about your child. An overdose. Heart stoppage. He was already bluish.

Victoria Pavlovna. Sergey!

Lebedev. I’m sorry.

Inna. It’s unbearable. It’s hard. I can’t breathe. I feel so guilty. I can’t feel my legs, hands or head. What have I done? Mitya… (She cries).

Victoria Pavlovna. My baby, calm down. Nothing is your fault here. (She comes closer, sits next to her and hugs her).

Inna. Mum. (Falls into her mother’s arms)

Lebedev. I hate to see you suffer, dear. Forgive us for not saving you from such pain. (He takes the pills prepared for Inna).

Aglaya comes in.

Aglaya. (To herself)What a terrible day it is! God, what have we done to have all this?

Aglaya. (to her parents) Mum, Dad. I didn’t telephone on purpose, I wanted to tell you in person. There’s a great misfortune. The gallery office was visited by Special Police Force, the investigation team is searching the premises. Sasha Veselov is detained. It seems a start…

Scene 9

Gromov’s country house. Orlov, Slepyen.

Slepyen. The engine’s whirring. ‘Masquerade’ in complete action. Veselov’s flat was also searched. I told you we needed to throw some stuff in his office. That would be a classic reliable argument.

Orlov. Back there, Slepyen. I’m going to need Veselov as an expert when the gallery’s ours. Everything goes as planned. Have you brought the piece?

Slepyen. Here you are. Careful. It’s been exposed. There are no fingerprints, but any ballistics test will prove that the journalist Sintsova and you were shot with it. (Passes a parcel to Orlov, the latter hides it in his briefcase) I have no idea what you’ve got in mind, but I’ll keep quiet.

Orlov. You know me. Not a word to Boss.

Slepyen. I got it, man. He’s enough to care about without you, his son’s funeral is in two days. They say Mitya caught his wench with somebody and lost his marbles.

Orlov. They say chicken give milk in Moscow. Mind your own business.

Slepyen. I do. Our Moscow friends have done a good job for their stake. All the threads form the first check in Lebedev’s gallery lead to them. Nobody will smell a rat. We won’t be suspected. We know everything we need to. Today the locals have joined, they’re raiding the gallery. I know my job.

Look, why does Boss care about that Lebedeva so much? It isn’t like him. He can just take everything, but he wants her to have a share. Did they use to know each other?

Orlov. Yes, they did. He only wants to scare the Lebedevs a little. But I have my own plans about that gallery. Somebody will have to go. Although Boss is against jerking moves, we’ll shake this family harder, hitting from different sides. Success is never blamed. When it’s all done, I’ll deal with Boss, he trusts me now. Moreover, Victoria Pavlovna already fancies me as a son-in-law. In the view of the future tumults she will be more than willing to sell her share to me. Just give me time.

Slepyen. You’re getting bigger, mate. So do your appetites. But I don’t care whose orders to follow as soon as I’m paid. And Boss is really losing ground and becoming sentimental. Right, Nikolay, have it your way, get your fat share . Talking about this…

Orlov. Here’s your share, as agreed. (Takes a wad of money from the briefcase)

Slepyen. Nothing helps trust as much as an advance fee. (Puts the money in the pocket).

Gromov enters, he is gloomy.

Orlov. Mr Gromov.

Slepyen. Accept our sincere condolence, Boss.

Gromov. I told you not to use that name.

Slepyen. I’m sorry, mister Gromov.

Gromov. (to Orlov) That’s the twist it took. God sees everything. He punishes us for our sins. We need to cancel everything.

Slepyen. Stares in bewilderment.

Orlov. Mr Gromov, I can only imagine how you feel now. We can’t return Mitya. It’s hard for me, as much as for you, to know he’s not here anymore. But at the same time let’s not forget what way we’ve made. We must hold on. I say it to you as to my mentor and the person closest to me.

Silence.

Gromov. Nikolay, I’ve always dreamt to have a son like you. But Mitya didn’t manage. Perhaps you are right and we must hold on. That’s life. The strong devour the weak. Whatever strange it may sound, Victoria will only benefit from our agreement. If it’s not us today, soon there will be others to come and snatch her business. To my deepest regret, the time is going to be difficult for her, but we are going to lend a helping hand.

Orlov. I absolutely agree, Mr Gromov.

Gromov. What’s the next step?

Slepyen. The check-up, caused by an anonymous tip, will reveal a few law violations in functioning of the gallery under her control. It will also find several agreements with organizations controlled by us, which can be followed by additional questions from the monitoring bodies. On the whole, the machine is started. We have enough tools to influence the opponents and the situation on the whole. The intensity of the supervising and the amount of pressure on Lebedeva will depend on her wish to collaborate. The rest is mere formality.

Gromov. Nikolay, keep it under your control. And remember that none of her family should be damaged.

Orlov. I’ll do everything right.

Slepyen. Can I have your permission to leave and set to business then?

Gromov. You can go.

Slepyen leaves.

Orlov. Mr. Gromov, can I ask you a personal question?

Gromov. You can, Nikolay.

Orlov. Why do you dislike Mr. Lebedev that much?

Gromov takes a bottle of whiskey and pours two glasses.

Gromov. It’s hard to tell. Sometimes I think I don’t remember it myself.

We met back in 1981 during the war in Afghanistan, when I went to hospital with a shrapnel wound. He was a graduate of the Leningrad Military Medical Academy, but he already did some serious surgeries. One could say, he pulled me back from the other world. We come from the same village, so we started to get on well. In a few years he gave up on war service and devoted himself to science, but we kept in touch. We saw each other as often as possible. So we became real friends.

Once Lebedev started dating one of his institute students, it happens between young people. I was on my New Year leave. That girl had a friend called Victoria. We met and became closer, then I went back to my regiment for half a year. Victoria continued to write to me. I don’t think I had any serious plans about her… But I was shocked when she married Lebedev. I felt offended and bitter about not proposing to her, since I considered her mine. Thirty years have passed and I still can’t forgive him.

Then they had Alexey. You know, I always envied Sergey about his son. He graduated from Krasnodar Higher Aviation College with excellence. And I am still ashamed to confess that I was happy deep inside when Alexey died a few years ago. I thought then that God is there and he sees everything and he took revenge on Lebedev for me. Only now, having lost my own son I start to understand with fear that God does see everything…

Orlov. What are you intent on doing?

Gromov. Alea iacta est. The die is cast. Stick to the main plan. I’ll make them respect me. Victoria will come here herself and she’ll beg me for help, beg me to save her husband. And then I’ll see if I want to punish or have mercy. Leonid Gromov doesn’t waste words.

Here, take it, as we planned. (He takes out a parcel and gives it to Nikolay)

This gun is a gift from Lebedev. It was in Afghanistan, and it’s a sign of friendship. The country was in a mess, perestroika had just started and the illegal guns were sold by tons. As you see, I’ve kept it. Be careful, it’s loaded.

Do you know where to put it for the search?

Orlov. Yes, I do. They have a secret place, they call it a treasure box, I’ll hide it there. Slepyen will tip our people on where to look for it.

But shouldn’t Lebedev recognise the piece and tell everything to Victoria Pavlovna?

Gromov. He must. That’s the point. I can pay my bills.

But he will never tell Victoria that I threw it in. Because he knows it’s our private business. And when the gun will be found, I can easily help him out, because the gun’s clear. Lebedev will escape with a light shock.

Enters Lilia Vasilievna. She looks like a woman who’s just lost her beloved son.

Lilia Vasilievna. Lyonya…Hello, Nikolay.

Orlov. Hello, Lilia Vasilievna. I really sympathize with your grief. (Speaks earnestly) Mitya was a good person. I do feel for you.

Lilia Vasilievna. Thank you…

Lyonya, Colonel Surganov called. It’s about Mitya’s death note, they’ll give us a copy. Besides we need to go to the city and sort it out about the funeral. I need you.

Gromov. All right, dear. We’ll go right now. (To Orlov) We understand each other, Nikolay.

Orlov. Yes, I got everything, Mr. Gromov. I’ll make some calls and leave for my office. (To Lilia Vasilievna) I share your grief, Lilia Vasilievna. You can always rely on me.

Gromov and Lilia Vasilievna leave.

Orlov. You can always rely on me. (Pours himself whiskey) Your loyal Iago, general, is always ready for service. (Laughs)

But you’ve overlooked one small detail. As you give, you will receive. (Takes out the first parcel from his bag, then puts there the gun that Gromov gave him)

I’ll deliver your message to Lebedev. But half a year later, when they’ll be out of the way, you are going to receive a message either. The one from me. Under similar circumstances. The strong devour the weak. You taught me that, Boss.

What shock you are going to receive, you pompous bastard, when the police will find this exposed piece at your place? Yes, you were against killing that journalist. But she started sniffing around about our forcible takeover in Khakassia. Now you’ll pay for her death.

Where’s that Mitya’s stash he showed me? (He opens the bookcase and searches for something.) Here it is! (Puts the parcel received from Slepyen there.)

Alea iacta est. The die is cast.

Scene 10

Lebedev’s house. Living Room. Inna is alone.

Inna. How easy it is for me to live with you, Saviour! How easy it is to believe in you! When my mind steps back or fades in perplexity, when the wisest people can’t see further than today’s evening and don’t know what to do tomorrow, You send me such clear confidence that You exist and that You will take care not to keep all Good’s ways blocked.

Aglaya enters.

Aglaya. What are you reciting?

Inna. A prayer. I learned it by heart. Nikolay gave me a book by Solzhenitsyn.

Aglaya. He’s too philosophical to my taste, I find it hard to read his books. How are you?

Inna. Better now.

Aglaya. Mum’s blood pressure has gone up, father gave her medicine.

Inna. Where’s Sasha Veselov?

Aglaya. He should be released tomorrow under a written pledge not to leave the town.

Inna. I hope it will come out all right. I talked to Nikolay, he promised to use all his connections to help us out.

Aglaya. Any help from friends will come handy.

Inna. You know, Aglaya, I think Veselov Likes you.

Aglaya. Why do you think so, sister? (sits next to her sister)

Inna. In the last months I was like in a fog, didn’t notice anything around me. It all came down together so suddenly. And on Sunday… when I was talking to Mitya… (she starts to sob, then continues)

Remember, Veselov said he was drunk with love…I thought then, who could it be? But I remember his eyes when he looked at you then.

Aglaya. You are a little dreamer! (hugs Inna)

Inna. That’s true.

Aglaya. Sasha proposed to me at the beginning of June. Yesterday I agreed to marry him. (Drops her face on her sister’s shoulder and starts to cry silently)

Inna. Aglaya, my dear! Don’t cry. It’ll be all right.

Aglaya. Yes. We’ll be good. We will live, sister. There’s no other way. We will live.

The door opens, Lebedev comes in.

Lebedev. She’s asleep.

Inna. I love you, dad.

Lebedev. My little babies.

Aglaya. (stands up and opens the door to the terrace) We need to last the day and stand the night.

Inna. Nikolay takes so long to come. Let’s have tea.

Lebedev. I’d have some cognac, I’ll fetch it. (Leaves the room)

Aglaya. He’s aged so. Dear Daddy.

Inna. In everyday frenzy we fail to notice our parents grow old. Unfortunately, we don’t notice how the dearest people change, we don’t see and don’t hear each other. And only in times of sorrow we start paying attention to each other and lend a ear to our relatives’ words.

Aglaya. You never know what you have until it’s gone.

Lebedev and Orlov enter.

Lebedev. Come in, let’s have a drink. Pour one out for Mitya.

Orlov. Hello, Aglaya, hi, Inna.

Inna. (Comes to Orlov and kisses him on the cheek). Hi, dear.

Aglaya. Hello, Nikolay, join us. Dad, pour one for me, too.

Lebedev pours cognac into glasses, everybody drinks in silence. Silence.

Lebedev. That’s how we buried Alexey, only the weather was dull. But this summer is warm. I remembered somehow the same summer of the year when I was at my sophomore year. And I almost got expelled from the third year. I’ll tell you about it.

There was a polytechnic institute’s accommodation in our district and we knew some girls from there. We used to climb to their window using a rope. Once we pooled our money to buy a vinyl called ‘Musical Kaleidoskop’, which had, among others, the song ‘Girl’ - a folk song – performed by the band ‘The Beatles’, I remember it as if it was yesterday. (Laughs) But the music didn’t last long. The accommodation neighbours complained to the union committee that we listened to foreign songs, sang to the guitar and so the police arrived at one of our evening parties.

Yes, we had a lot of fun those days, but that certain moment brought no fun.

All things pass, girls, and this will, too. Even if there’s nothing positive, we should make it up. We are alive and we must live.

Aglaya. But we have stayed up so long. I’ll go home, Dad. The taxi’s here, I’ll pick up the car tomorrow.

Inna. It will be fine, Aglaya. I love you, sister.

Lebedev. I’ll see you to the gate. Nikolay, see you.

Orlov. Good bye, Mr. Lebedev.

Inna. Wait for me here, Nikolay, I’ll see Aglaya out.

Orlov. Sure, Inna. Bye, Aglaya.

Aglaya. Take care, Nikolay.

Lebedev, Aglaya and Inna leave.

Orlov. It’s time to act. (He takes the parcel with the gun out of his briefcase, comes to the desk, opens the secret drawer, puts his hand into it, leaves the gun there, puts the cloth of the parcel back into the briefcase, closes the drawer.) It’s done. There’s no way back.

Phone rings. Orlov picks up.

Orlov. Yes, Mr. Gromov, I’m here. So…

He goes to the terrace. He doesn’t close the door to the living room and keeps talking. At this time Inna returns to the living room, Orlov doesn’t see her.

Inna. Nikolay, I’m back. (She looks around the room and hears Orlov’s phone conversation.

Orlov. Slepyen called back, he told it’s going as planned. Veselov? We must respect him, he keeps his cool. He’ll be under a pledge of not leaving the town for a while, and if he starts pushing back, we’ll break his neck. This time Victoria Pavlovna will have a big share of bad luck. In the nearest time the functioning of the gallery will be completely stopped.

Inna hears everything. She comes closer to the terrace door.

Orlov. Your message for Mr Lebedev is placed in the treasure box, it will be soon found tomorrow during the search. That will be a surprise. (Laughs) What did you say?

Inna slowly goes to the desk, sits down, opens the drawer and feels for its contents. She takes the gun out, checks if it is loaded and puts it on the desk.

Orlov. The main task now is not to lessen the pressure on Lebedeva, to attack from several flanks. Of course, Mr. Gromov, as you told. everything will be done in a civilized way. Nobody will be hurt. Soon the gallery’s accounts will be frozen. And her personal finances will hardly be enough to cover her debts. And this is where you enter the game.

Inna. (to herself, distractedly) How does the song go? Mother, I love a gangster….

Orlov finishes his conversation. He comes back to the living room.

Orlov. Are you back? I didn’t hear you come in.

Inna. Who were you talking to?

Orlov. Never mind, it’s about work. (He notices the gun on the desk next to Inna, asks in surprise) What is it, Inna?

Inna. It’s a Makarov gun, ninth caliber, magazine capacity is eight bullets.

Orlov. I didn’t know you are so good with guns.

Inna. Thank my father and brother. Everybody in our family is good with guns.

Orlov. Where did you get it?

Inna. It’s a message from Mr Gromov to Mr Lebedev.

Orlov. So, you heard everything.

Inna. Why are you doing it, Nikolay?

Orlov. Doing what?

Inna. We haven’t wronged you.

Orlov. This is not personal, it’s just business.

Inna. I loved you. I didn’t see anything around me. I trusted you…

Orlov. Inna, listen…

Inna. (interrupts him) I can’t believe this is because of money.

Orlov. Right, it’s not about money. Money is only a tool which I love and despise at the same time.

Inna. My obsession with you is a mistake. The only person who is to blame for my being deceived is myself.

Orlov. What are we going to do, Inna?

Inna. Please go.

Orlov. Moloch is awake. We can go today, but there will be others. The strong always devour the weak.

Silence.

Inna. Have you heard anything about resistance to evil by force?

Orlov. That’s Ilyin’s idea. Is he a trend again? I lived in Moscow when our president quoted him in his speech for the Federal Assembly.

Inna. Alexey loved his books.

Orlov. What will happen to us, Inna?

Inna. The one who doesn’t resist evil is devoured by it and becomes obsessed. Evil is, in the first place, human inclination as the passionate fixation on extending our power. Evil aims to dull vigilance of the consciousness, to lessen the power of shame and repulsion, to take an acceptable disguise and, if possible, to shake loose the forms of one’s spirit. Disintegration of this moral culture means the moral end of an individual, making it a victim of bad passions and external factors. The evil obsession become a whole and leads the soul along its own ways under its own laws.

Orlov. I don’t want to lie anymore, Inna! I’ll tell you everything. You’ll understand me and we’ll stay together. (He comes closer to the desk)

True, I hate my mother.

True, I started dating you to become a part of your family, to gain Victoria Pavlovna’s connections and favour, because I want to take over her gallery.

But then I did fell in love with you, Inna! (Makes a step forward).

Inna. As a hunter’s trophy.

Orlov. Don’t say that! I’m sincere in my feelings to you, trust me!

Inna (keeps silence)

Orlov. Yes. It was me who gave Mitya knock-off drug in February to cause his fit. I did it to throw the senior Gromov off centre and wriggle into his favour, because I have been planning to get hands on his business for two years. Now we have a couple of successful projects together.

Inna. You are disgusting.

Orlov. I organised the shot at myself to make a fuss and put my name in the public attention. Martyrs are loved by our people, and passion-bearers are announced as saints. I hid that gun in general Gromov’s house so that half a year later I can get him accused of attempt at murdering me and of murdering the journalist Elena Sintsova who investigated our forcible acquisition of a plant in Khakassia.

Inna. Oh my God, what have you become, Nikolay. What has happened to you…

Orlov. I initiated Veselov’s detention and the attack at your mother’s gallery… tomorrow in the morning your house is going to be searched. But I can fix everything, Inna. The deeper the bottom is, the higher it’s reflection. Trust me. (Makes another step forward)

Gromov dislikes your father. I used their conflict as a catalyst. It was him who asked me to throw the gun in your house to scare you a little and then help hush it all up. He’s an angry and unhappy man… But I have resources to destroy Gromov and take over his whole business. I’ll do anything for you… (rushes to the desk, trying to grasp the gun) Inna!

A shot. Orlov pulls his hands to his heart and falls on the floor.

Curtain falls

EPILOGUE

Seventeen months later.

Scene 11

Lebedev’s house. The living room. The fire is lit. Victoria Pavlovna is sitting in the chair. Aglaya is sitting, shaking a pram with two babies inside. Veselov paces the room.

Agalya. They seem to have fallen asleep.

Veselov. (coming to Aglaya and the children) Here’s the real treasure. Inna, Alexey.

Victoria Pavlovna. Yesterday I got a letter from Inna. Her lawyer is preparing documents for the early parole. It’s the second New Year without her. (cries silently)

Aglaya. Mother, don’t cry. Her term will end soon.

Victoria Pavlovna. But she didn’t want to kill him… Why couldn’t she just say he had attacked her? A rebel…

Lebedev enters, rubbing his hands for warmth.

Lebedev. The wind today is so strong. It’s a blizzard…

Victoria Pavlovna. Keep quiet, granddad.

Lebedev. (carefully comes to the pram) My treasure’s treasures. Our new bright life.

Lyonya Gromov called today. He invites us to join him, to celebrate Christmas together. I agreed. Do you mind?

Victoria Pavlovna. Why not? Life goes on.

Aglaya. We’d love to, right, Sasha?

Veselov. Of course, sweetheart. Do you really have no grudge against Gromov after everything he did?

Lebedev. Time is a great healer. When Orlov died, Lyonya came here at once and told me everything as it was. He’s just an old fool. Everyone makes mistakes. Now we made up.

Scene 12

Gromov’s country house. Gromov, Lilia Vasilievna, Katya with a small son.

Katya. He loved you very much, Leonid Fyodorovich, and it was such a burden for him that he wasn’t able to live up to your expectations. That morning when I met you, Lilia Vasilievna, Mitya told a new bright life was born in us.

Gromov. As if he saw it in a crystal ball. (takes the boy and lifts him up) Dmitry Gromov, the future general! (Suddenly, as if he remembered something) Here I go again. (passes the child to Lilia Vasilievna)

Good God, keep us from repeating past mistakes. What if this is my second chance, given to me by my son? It’s my entire fault, Mitya. Forgive me, son…

Lilia Vasilievna. Let by-gones be by-gones.

Gromov. And never let them return! General Gromov doesn’t waste words.

Lilia Vasilievna. (to Katya) My dear, read us again the poem that Mitya had written in that note.

Katya.

A golden lily is what I see in my dream,

A golden Lily that is crying for me

The silver moon is showing her teeth,

Of his father’s house a traveller quietly dreams.

Mitya appears next to them, unseen, and continues.

Sullen saint faces are staring at us from the corner,

Down comes a teardrop, it’s bloody and burning.

There’s a young woman crying about me.

A golden lily is what I see in my dream.

Ancient clock is ticking, and its ruthless hand

Smears our hair with its silver sand.

And the furious dancer, wind from outside

Dresses the whole city as a newly bride.

A golden lily is what I see in my dream,

A golden Lily that is crying for me

Curtain falls.