by Vaclav Havel
Klein, with Victor’s help, slows down and gradually stops the swing. Offstage is the sound of a chainsaw and a falling tree.
Albín That was one of the finest, most balanced speeches I’ve ever heard you give, Vilem. You overstated nothing, and understated nothing either. Am I not right, Vlasta?
Vlasta Albín, you talk too much.
Klein Albín is right. Vilem spoke like a man.
Victor That’s exactly what I was about to say, Mr Vice-Prime Minister. The advisor to the advisor spoke like a man.
Klein Even though he may have slightly exaggerated the importance of being an advisor to the advisor.
Victor Yes, indeed, Mr Vice-Prime Minister. Advisors to advisors certainly don’t play such an important role, at least not in our country. I would say that at this moment, and in this country, the greatest influence on politics lies with the Vice-Prime Minister.
Klein Though in the future, when all is said and done, the most influential of all ought to be the Chancellor.
Klein laughs for a long time. Grandma rushes in.
Grandma The carriage is waiting!
Grandma takes the portrait of Rieger; Dick, Vlasta and Albín each take two suitcases; and they all exit. Bob exits too, but he takes nothing with him because he is shooting the departure. Rieger throws the last piece of luggage over his shoulder.
Klein Come back and see the place when everything is finished. You always were fond of sex clubs. Remember Bangkok, fifteen years ago?
Rieger Goodbye, house. Goodbye, orchard. Goodbye, gazebo.
Rieger picks up the hat with ‘I Love You’ on it, puts it on, only to sweep it off again and bow ceremoniously to Klein. Then he puts the cap back on, picks up the bust of Gandhi, and exits. Knobloch, carrying his rake, rushes in and calls out to Klein.
Knobloch Wouldn’t you like some of this cherry wood for your fireplace? It makes an excellent fire.
Klein You can deliver a wagonload to my villa.
Knobloch Which one?
Klein How about the one where that Frenchman used to live? The one Gambacci had deported today.
Knobloch exits. A sleepy Oswald emerges from the gazebo holding an empty beer bottle. A horse whinnies offstage, and then only the clip-clop of the departing carriage is heard.
Oswald They’ve gone. Forgot about me. I bet my master didn’t wear his fur coat, bet he put on that light one instead. Life is over before you live it. I think I’ll lie down for a minute. No strength left. He certainly left without his fur coat. Nothing left, nothing.
Oswald lies down behind a bush. Klein and Victor walk away from the swing.
The Voice One of my friends suggested I end the play right here. Just like Chekhov’s Cherry Orchard. But I think there needs to be something more for the play to be complete. I apologise to my advisor friend.
Victor Are you warm enough, Mr Vice-Prime Minister?
Klein Not really. I think I’ll put on my fur coat.
Victor exits, followed slowly by Klein. Then he sees that, not far off, Bea is standing with a book in her hand. He stops.
Are you looking for anyone in particular?
Bea You.
Klein And how can I help you?
Bea Would you be willing to sign my copy of this book of your speeches?
Klein You mean the one that just came out today?
Bea Yes. Democracy, Freedom, the Market, and Me.
Klein Let me have it.
Bea opens the book and hands it to Klein, who signs it for her.
You know what Molotov once told me over a cocktail? ‘Patrick,’ he said, ‘never refuse to sign one of your books.’
Bea It’s wonderful that you intend to keep the individual at the centre of your politics. Thank you.
Klein You’re most welcome. Checkmate!
Bea kisses Klein shyly on the cheek. At the same time, all the other characters in the play begin to enter from all sides: Rieger, Grandma, Vlasta, Zuzana, Monika, Albín, Hanuš, Victor, Oswald – who emerges from behind the bush – Dick, Bob, Knobloch, and the First and Second Constables. All gradually come downstage and surround Klein and Bea. Bob starts to arrange them all for a group photo. Then he stands in front of them with his back to the audience and starts taking pictures.
The Voice I’d like to thank the actors for not overacting. The theatre would like to thank the audience for turning off their mobile phones. Truth and love must triumph over lies and hatred. You may turn your phones back on. Goodnight and pleasant dreams!
Bob takes his place among the other actors. They all bow. A big orchestral version of the ‘Ode to Joy’ comes up on the sound system and plays until the audience has left the theatre.
The End.
About the Author
Václav Havel was born in Czechoslovakia in 1936. Among his plays, those best known in the West are The Garden Party, The Memorandum, Largo Desolato, Temptation, and three one-act plays, Audience, Private View and Protest. He is a founding spokesman of Charter 77 and the author of many influential essays on the nature of totalitarianism and dissent. In 1979 he was sentenced to four and a half years in prison for his involvement in the human rights movement. Out of this imprisonment came his book of letters to his wife, Letters to Olga (1981). In November 1989 he helped to found the Civic Forum, the first legal opposition movement in Czechoslovakia in forty years; in December 1989 he was elected President of Czechoslovakia; and in 1994 became the first President of the independent Czech Republic. His memoir, To the Castle and Back, was published in 2007. Leaving is the first play written by Václav Havel since he was propelled to political office in 1989.
About the Translator
Paul Wilson lived in Czechoslovakia from 1967 to 1977, when he was a member of the rock band the Plastic People of the Universe. Since his return to Canada in 1978 he has translated more than twenty books of Czech literature into English, including several other of Havel’s plays, notably The Memo (a new translation of The Memorandum), Guardian Angel and The Beggar’s Opera, and prose work including Open Letters, Letters to Olga, Disturbing the Peace, Summer Meditations, The Art of the Impossible and his recent memoir, To the Castle and Back. He works from Toronto as a freelance writer and editor.
By the Same Author
LIVING IN TRUTH
DISTURBING THE PEACE
LETTERS TO OLGA
OPEN LETTERS: SELECTED PROSE 1965–1990
SELECTED PLAYS 1963–1983
(The Garden Party, The Memorandum, The Increased Difficulty of Concentration, Audience (Conversation), Unveiling (Private View), Protest (Mistake)
SELECTED PLAYS 1984–1987
(Largo Desolato, Temptation, Redevelopment)
Copyright
First published in 2008
by Faber and Faber Ltd
Bloomsbury House
74–77 Great Russell Street
London WC1B 3DA
This ebook edition first published in 2013
All rights reserved
Odcházeni © Václav Havel, 2007
This translation © Paul Wilson, 2008
The right of Václav Havel to be identified as author of this work has been asserted in accordance with Section 77 of the Copyright, Designs and Patents Act 1988
The author is represented by Aura-Pont Agency, Prague, Czech Republic. English-speaking performance rights are controlled as follows. Applications for performances by amateurs and professionals in all English-speaking countries except for the USA and Canada must be made in advance, prior to any such proposed use, to Tom Erhardt, Casarotto Ramsay & Associates Limited, Waverley House, 7–12 Noel Street, London W1F 8GQ ([email protected]). Applications for performance by professionals in English in any medium in the United States and Canada should be addressed to Aura-Pont Agency, Veslarsky ostrov 62, 147 00 Praha 4, Czech Republic ([email protected] – www.aura-pont.cz). For amateur and stock rights in the United States and Canada, applications should be addressed to Lysna Marzani, Samuel French Inc., 45 West 25th S
treet, New York, NY 10010 ([email protected]). No performance may be given unless a licence has first been obtained.
This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly
ISBN 978–0–571–30139–3
