回复：【至尊龙裔】蝴蝶君舞台剧剧本

act two
Scene 1
M.Gallimard’s cell. Paris.Present.
Lights up on Gallimard. He sits in his cell, reading from a leaflet.
GALLIMARD:This, from a contemporary critic’s commentary on Madame Butterfly: “Pinkerton suffers from … being an obnoxious bounder whom every man in the audience itches to kick.” Bully for us men in the audience! Then, in the same note: “Butterflyis the most irresistibly appealing of Puccini’’s ‘Little Women.’ Watching thesuccession of her humiliations is like watching a child under torture.” (Hetosses the pamphlet over his shoulder) I suggest that, while we men may allwant to kick Pinkerton, very few of us would pass up the opportunity to bePinkerton.
Gallimard moves out of his cell.

Scene 2
Gallimardand Butterfly’s flat. Beijing.1960.
We are in a simple but well-decorated parlor.Gallimard moves to sit on a sofa, while Song, dressed in a cheongsam, entersand curls up at his feet.
GALLIMARD(To us): We secured a flat on the outskirts of Peking.Butterfly, as I was calling her now, decorated our “ home” with Wester furniture and Chinese antiques. And there, on a few stolen afternoons or evenings each week, Butterfly commenced her education.
SONG:The Chinese men – they keep us down.
GALLIMARD:Even in the “New Society”?
SONG:In the “New Society”, we are all kept ignorant equally. That’s one of theexciting things about loving a Western man. I know you are not threatened by a woman’s education.
GALLIMARD:I’m no saint, Butterfly.
SONG:But you come from a progressive society.
GALLIMARD:We’re not always reminding each other how “old” we are, if that’s what youmean.
SONG:Exactly. We Chinese – once, I suppose, it is true, we ruled the world. But sowhat? How much more exciting to be part of the society ruling the world today. Tell me – what’s happening in Vietnam?
GALLIMARD:Oh, Butterfly – you want me to bring my work home?
SONG:I want to know what you know. To be impressed by my man. It’s not the particulars so much as the fact that you’re making decisions which change the shape of the world.
GALLIMARD:Not the world. At best, a small corner.
Toulon enters, and sits at a desk upstage.

Scene3
Frenchembassy. Beijing.1961.
Gallimard moves downstage, to Toulon’s desk. Song remains upstage, watching.
TOULON:And a more troublesome corner is hard to imagine.
GALLIMARD:So, the Americans plan to begin bombing?
TOULON:This is very secret, Gallimard: yes. The Americans don’t have an embassy here. They’reasking us to be their eyes and ears. Say Jack Kennedy signed an order to bombNorth Vietnam,Laos. How would the Chinese react?
GALLIMARD:I think the Chinese will squawk –
TOULON:Uh-huh.
GALLIMARD:-- but, in their hearts, they don’t even like Ho Chi Minh.
Pause.
TOULON:What a bunch of jerks.Vietnamwas our colony. Not only didn’t the Americans help us fight to keep them, butnow, seven years later, they’ve come back to grab the territory for themselves.It’s very irritating.
GALLIMARD:With all due respect, sir, why should the Americans have won our war for usback in ’54 if we didn’t have the will to win it ourselves?
TOULON:You’re kidding, aren’t you?
Pause.
GALLIMARD:The Orientals simply want to be associated with whoever shows the most strength and power. You live with the Chinese, sir. Do you think they like Communism?
TOULON: I live inChina. Not with the Chinese.
GALLIMARD:Well, I –
TOULON:You live with the Chinese.
GALLIMARD:Excuse me?
TOULON:I can’t keep a secret.
GALLIMARD:What are you saying?
TOULON:Only what I’m not immune to gossip. So, you’re keeping a native mistress. Don’tanswer. It’s none of my business. (Pause) I’m sure she must be gorgeous.
GALLIMARD:Well…
TOULON:I’m impressed. You have the stamina to go out into the streets and hunt onedown. Some of us have to be content with the wives of the expatriate community.
GALLIMARD:I do feel…fortunate.
TOULON:So, Gallimard, you’ve got the inside knowledge – what do the Chinese think?
GALLIMARD:Deep down, they miss the old days. You know, cappuccinos, men in tuxedos –
TOULON: So what do we tell the Americans about Vietnam?
GALLIMARD:Tell them there’s a natural affinity between the West and the Orient.
TOULON:And that you speak from experience?
GALLIMARD:The Orientals are people too. They want the good things we can give them. Ifthe Americans demonstrate the will to win, the Vietnamese will welcome theminto a mutually beneficial union.
TOULON:I don’t see how the Vietnamese can stand up to American firepower.
GALLIMARD:Orientals will always submit to a greater force.
TOULON:I’ll note your opinions in my report. The Americans always love to hear how “welcome”they’ll be. (He starts to exit)
GALLIMARD:Sir?
TOULON:Uh-huh?
GALLIMARD:How… widespread do you think it is?
TOULON:It’s only widespread within this embassy. Where nobody talks because everybodyis guilty. We were worried about you, Gallimard. We thought you were the onlyone here without a secret. Now you go and find a lotus blossom… and top us all.(He exits)
GALLIMARD(To us): Toulonknows! And he approves! I was learning the benefits of being a man. We form ourown clubs, sit behind thick doors, smoke – and celebrate the fact that we’restill boys. (He starts to move downstage, towards Song) So, over the –
Suddenly Comrade Chin enters. Gallimard backs away.
GALLIMARD(To Song): No! Why does she have to come in?
SONG:Rene, be sensible. How can they understand the story without her? Now, don’tembarrass yourself.
Gallimardmoves down center.
GALLIMARD(To us): Now, you will see why my story is so amusing to many people. Why theysnicker at parties in disbelief. Please – try to understand it from my point ofview. We are all prisoners of our time and place. (He exits.)

Scene 4
Gallimard and Butterfly’s flat. Beijing.1961.
SONG(To us): 1961. The flat Monsieur Gallimard rented for us. An evening after hehas gone.
CHIN:Okay, see if you can find out when the Americans plan to start bombing Vietnam.If you can find out what cities, even better.
SONG:I’ll do my best, but I don’t want to arouse his suspicions.
CHIN:Yeah, sure, of course. So, what else?
SONG:The Americans will increase troops in Vietnamto 170,000 soldiers with120,000 militia and 11,000 American advisors.
CHIN(Writing): Wait, wait. 120,000 militia and –
SONG:--11,000 American –
CHIN:--American advisors. (Beat) How do you remember so much?
SONG:I’m an actor.
CHIN:Yeah. (Beat) Is that how come you dress like that?
SONG:Like what, Miss Chin?
CHIN:Like that dress! You’re wearing a dress. And every time I come here, you’re wearinga dress. Is that because you’re an actor? Or what?
SONG:It’s a … disguise, Miss Chin.
CHIN:Actors, I think they’re all weirdoes. My mother tells me actors are like gamblers or prostitutes or –
SONG:It helps me in my assignment.
Pause.
CHIN:You’re not gathering information in any way that violates Communist Partyprinciples, are you?
SONG:Why should I do that?
CHIN:Just checking. Remember: when working for the Great Proletarian State, you represent ourChairman Mao in every position you take.
SONG:I’ll try to imagine the Chairman taking my positions.
CHIN:We all think of him this way. Good-bye, comrade. (She starts to exit) Comrade?
SONG:Yes, I’ve heard.
CHIIN:Just checking. (She exits)
SONG(To us): What passes for a woman in modernChina.
Gallimardsticks his head out from the wings.
GALLIMARD:Is she gone?
SONG:Yes, Rene. Please continue in your own fashion.

Scene 5
Bejing.1961-63
Gallimardmoves to the couch where Song still sits. He lies down in her lap, and shestrokes his forehead.
GALLIMARD(To us): And so, over the years 1961, ’62, ’63, we settled into our routine,Butterfly and I. She would always have prepared a light snack and then, ever sodelicately, and only if I agreed, she would start to pleasure me. With herhands, her mouth… too many ways to explain, and too sad, given my presentsituation. But mostly we would talk. About my life. Perhaps there is nothingmore rare than to find a woman who passionately listens.
Songremains upstage, listening, as Helga enters and plays a scene downstage withGallimard.
HELGA:Rene, I visited Dr. Bolleart this morning.
GALLIMARD:Why? Are you ill?
HELGA:No, no. You see, I wanted to ask him…that question we’ve been discussing.
GALLIMARD:And I told you, it’s only a matter of time. Why did you bring a doctor into this? We just have to keep trying – like a crapshoot, actually.
HELGA:I went. I’m sorry. But listen: he says there’s nothing wrong with me.
GALLIMARD:You see? Now, will you stop –
HELGA:Rene, he says he’d like you to go in and take some tests.
GALLIMARD:Why? So he can find there’s nothing wrong with both of us?
HELGA:Rene, I don’t ask for much. One trip! One visit! And then, whatever you want todo about it – you decide.
GALLIMARD:You’re assuming he’ll find something defective.
HELGA:No! Of course not! Whatever he finds – if he finds nothing, we decide what to do about nothing! But go!
GALLIMARD:If he finds nothing, we keep trying. Just like we do now.
HELGA:But at least we’ll know! (Pause) I’m sorry. (She starts to exit)
GALLIMARD:Do you really want me to see Dr. Bolleart?
HELGA:Only if you want a child, Rene. We have to face the fact that time is runningout. Only if you want a child. (She exits)
GALLIMARD(To Song): I’m a modern man, Butterfly. And yet, I don’t want to go. It’s thes ame old voodoo. I feel like God himself is laughing at me if I can’t produce achild.
SONG:You men of the West – you’re obsessed by your odd desire for equality. Yourwife can’t give you a child, and you’re going to the doctor?
GALLIMARD:Well, you see, she’s already gone.
SONG:And because this incompetent can’t find the defect, you now have to subjectyourself to him? It’s unnatural.
GALLIMARD:Well, what is the “natural” solution?
SONG:In Imperial China, when a man found that one wife was inadequate, he turned toanother – to give him his son.
GALLIMARD:What do you --? I can’t…marry you, yet.
SONG:Please, I’m not asking you to be my husband. But I am ready your wife.
GALLIMARD:Do you want to…have my child?
SONG:I thought you’d never ask.
GALLIMARD:But, your career… your—
SONG:Phooey on my career! That’s your Western mind, twisting itself into strangeshapes again. Of course I love my career. But what would I love most of all? To feel something inside me – day and night – something I know is yours. (Pause)Promise me… you won’t go to this doctor. Who is this Western quack to set himself as judge over the man I love? I know who is a man, and who is not. (Sheexits)
GALLIMARD(To us): Dr. Bolleart? Of course I didn’t go. What man would?

Scene 6
Beijing.1963.
Party noises over the house speakers. Reneeenters, wearing a revealing gown.
GALLIMARD:1963. A party at the Austrian embassy. None of us could remember the Austrianambassador’s name, which seemed somehow appropriate. (To Renee) So, I tell theAmericans, Diem must go. TheU.S.wants to be respected by the Vietnamese, and yet they’re propping up thisnobody seminarian as her president. A man whose claim to fame is hissister-in-law imposing fanatic “moral order” campaigns? Oriental women – whenthey’re good, they’re very good, but when they’re bad, they’re Christians.
RENEE:Yeah.
GALLIMARD:And what do you do?
RENEE:I’m a student. My father exports a lot of useless stuff to the Third world.
GALLIMARD:How useless?
RENEE:You know. Squirt guns, confectioner’s sugar, hula hoops…
GALLIMARD:I’m sure they appreciate the sugar.
RENEE:I’m here for two years to study Chinese.
GALLIMARD:Two years?
RENEE:That’s what everybody says.
GALLIMARD:When did you arrive?
RENEE:Three weeks ago.
GALLIMARD:And?
RENEE:I like it. It’s primitive, but… well, this is the place to learn Chinese, sohere I am.
GALLIMARD:Why Chinese?
RENEE:I think it’ll be important someday.
GALLIMARD:You do?
RENEE:Don’t ask me when, but…that’s what I think.
GALLIMARD:Well, I agree with you. One hundred percent. That’s very farsighted.
RENEE:Yeah. Well of course, my father thinks I’m a complete weirdo.
GALLIMARD:He’ll thank you someday.
RENEE:Like when the Chinese start buying hula hoops?
GALLIMARD:There’re a billion bellies out there.
RENEED:And if they end up taking over the world – well, then I’ll be lucky to knowChinese too, right?
GALLIMARD:At this point, I don’t see how the Chinese can possibly take –
RENEE:You know what I don’t like aboutChina?
GALLIMARD:Excuse me? No – what?
RENEE:Nothing to do at night.
GALLIMARD:You come to parties at embassies like everyone else.
RENEE:Yeah, but they get out at ten. And then what?
GALLIMARD:I’m afraid the Chinese idea of a dance ball is a dirt floor and a man with aflute.
RENEE:Are you married?
GALLIMARD:Yes. Why?
RENEE:You wanna…fool around?
Pause.
GALLIMARD:Sure.
RENEE:I’ll wait for you outside. What’s your name?
GALLIMARD:Gallimard. Rene.
RENEE:Weird. I’m Renee too. (She exits)
GALLIMARD(To us): And so, I embarked on my first extra extramarital affair. Renee waspicture perfect. With a body like those girls in the magazines. If I put atissue paper over my eyes, I wouldn’t have been able to tell the difference. Andit was exciting to be with someone who wasn’t afraid to be seen completelynaked. But is it possible for a woman to be too uninhibited, too willing ,so asto seem almost too…masculine?
ChuckBerry blaresfrom the house speakers, then comes down in volume as Renee enters, towelingher hair.
RENEE:You have a nice weenie.
GALLIMARD:What?
RENEE:Penis. You have a nice penis.
GALLIMARD:Oh. Well, thank you. That’s very…
RENEE:What – can’t take a compliment?
GALLIMARD:No, it’s very…reassuring.
RENEE:But most girls don’t come out and say it, huh?
GALLIMARD:And also…what did you call it?
RENEE:Oh. Most girls don’t call it a “weenie”, huh?
GALLIMARD:It sounds very –
RENEE:Small, I know.
GALLIMARD:I was going to say, “young”.
RENEE:Yeah, young, small, same thing. Most guys are pretty, uh, sensitive about that.Like, you know, I had a boyfriend back home inDenmark. I got mad at him once andcalled him a little weenihead. He got so mad! He said at least I should callhim a great big weeniehead.
GALLIMARD:I suppose I just say “penis”.
RENEE:Yeah. That’s pretty clinical. There’s “cock,”, but that sounds like a chicken. And“prick” is painful, and “dick” is like you’re talking about someone who’s notin the room.
GALLIMARD:Yes. It’s a…bigger problem than I imagined.
RENEE:I – I think maybe it’s because I really don’t know what to do with them – that’swhy I call them “weenies.”
GALLIMARD:Well, you did quite well with… mine.
RENEE:Thanks, but I mean, really do with them. Like, okay, have you ever looked atone? I mean, really?
GALLIMARD:No, I suppose when it’s part of you, you sort of take it for granted.
RENEE:I guess. But, like, it just hangs there. This little…flap of fresh. And there’sso much fuss that we make about it. Like, I think the reason we fight wars isbecause we wear clothes. Because no one knows – between the men, I mean – whohas the bigger…weenie. So, if I’m a guy with a small one, I’m going to build areally big building or take over a really big piece of land or write a reallylong book so the other men don’t know, right? But, see, it never really works,that’s the problem. I mean, you conquer the country, or whatever, but you’restill wearing clothes, so there’s no way to prove absolutely whose is bigger orsmaller. And that’s what we call a civilized society. The whole world run by abunch of men which pricks the size of pins. (She exits)
GALLIMARD(To us): This was simply not acceptable.
Ahigh-pitched chime rings through the air. Song, dressed as Butterfly, appearsin the upstage special. She is obviously distressed. Her body swoons as sheattempts to clip the stems of flowers she’s arranging in a vase.
GALLIMARD:But I kept up our affair, wildly, for several months. Why? I believe because ofButterfly. She knew the secret I was trying to hide. But, unlike a Westernwoman, she didn’t confront me, threaten, even pout. I remembered the words ofPuccini’s Butterfly:
SONG:“Noi siamo gente avvezza/ alle piccolo sose/ umili e silenziose.”
GALLIMARD:“I come from a people/ Who are accustomed to little/ Humble and silent.” I sawPinkerton and Butterfly, and what she would say if he were unfaithful…nothing. Shewould cry, alone, into those wildly soft sleeves, once full of possessions, nowempty to collect her tears. It was her tears and her silence that excited me, everytime I visited Renee.
TOULON(Offstage): Gallimard!
Toulonenters. Gallimard turns towards him. During the next section, Song, up center,begins to dance with the flowers. It is a drunken dance, where she breaks smallpieces off the stems.
TOULON:They’re killing him.
GALLIMARD:Who? I’m sorry? What?
TOULON:Bother you to come over at this late hour?
GALLLIMARD:No…of course not.
TOULON:Not after you hear my secret. Champagne?
GALLIMARD:Um…thank you.
TOULON:You’re surprised. There’s something that you’ve wanted, Gallimard. No, not apromotion. Next time. Something in the world. You’re not aware of this, butthere’s an information gossip circle among intelligence agents. And some of usheard from some of the Americans –
GALLIMARD:Yes?
TOULON: That theU.S.will allow Vietnamese generalsto stage a coup…and assistanate President Diem.
Thechime rings again. Toulonfreezes. Gallimard turns up-stage and looks at Butterfly, who slowly anddeliberately clips a flower off its stem. Gallimard turns back towards Toulon.
GALLIMARD:I think…that’s a very nice move!

Toulonunfreezes.
TOULON:It’s what you’ve been advocating? A toast?
GALLIMARD:Sure. I consider this a vindication.
TOULON:Not exactly. “To the test. Let’s hope you pass.”
Theydrink. The chime rings again. Toulon freezes. Gallimard turns upstage, and Song clips another flower.
GALLIMARD(To Toulon): The test?
TOULON(Unfreezing): It’s a test of everything you’ve been saying. I personally thinkthe generals probably will stop the Communists. And you’ll be a hero. But if anything goes wrong, then your opinions won’t be worth a pig’s ear. I’m sure that won’t happen. But sometimes it’s easier when they don’t listen to you.
GALLIMARD:They’re your opinions too, aren’t they?
TOULON:Personally, yes.
GALLIMARD:So we agree.
TOULON:But my opinions aren’t on that report. Yours are. Cheers.
Toulon turns away from Gallimard and raises his glass. At that instant Song picks upthe vase and hurls it to the ground. It shatters. Song sinks down amidst theshards of the vase, in a calm, childlike trance. She sings softly, as ifreciting a child’s nursery rhyme.
SONG(Repeat as necessary): “The whole world over, the white man travels, setting anchor, wherever he likes. Life’s not worth living, unless he finds, the finestmaidens, of every land…”
Gallimardturns downstage towards us. Song continues singing.
GALLIMARD:I shook as I left his house. That coward! That worm! To put the burden for hisdecisions on my shoulders!
Istarted for Renee’s. But no, that was all I needed. A schoolgirl who wouldquestion the role of the penis in modern society. What I wanted was revenge. Avessel to contain my humiliation. Though I hadn’t seen her in several weeks, Iheaded for Butterfly’s.
Gallimardenters Song’s apartment.
SONG:Oh! Rene…I was dreaming!
GALLIMARD:You’ve been drinking?
SONG:If I can’t sleep, then yes, I drink. But then, it gives me these dreams which –Rene, it’s been almost three weeks since you visited me last.
GALLIMARD:I know. There’s been a lot going on in the world.
SONG:Fortunately I am drunk. So I can speak freely. It’s not the world, it’s you and me. And an oldproblem. Even the softest skin becomes like leather to a man who’s touched ittoo often. I confess I don’t know how to stop it. I don’t know how to becomeanother woman.
GALLIMARD:I have a request.
SONG:Is this a solution? Or are you ready to give up the flat?
GALLIMARD:It may be a solution. But I’m sure you won’t like it.
SONG:Oh well, that’s very important. “Like it?” Do you think I “like” lying herealone, waiting, always waiting for your return? Please – don’t worry about whatI may not “like.”
GALLIMARD:I want to see you…naked.
Silence.
SONG:I thought you understood my modesty. So you want me to – what – strip? Like a big cowboy girl? Shiny pasties on my breasts? Shall I fling my kimono over my head and yell “ya-hoo” in the process? I thought you respected my shame!
GALLIMARD:I believe you gave me your shame many years ago.
SONG:Yes – and it is just like a white devil to use it against me. I can’t believe it. I thought myself so repulsed by the passive Oriental and the cruel whiteman. Now I see – we are always most revolted by the things within us.
GALLIMARD:I just mean –
SONG:Yes?
GALLIMARD:-- that it will remove the only barrier left between us.
SONG:No, Rene. Don’t couch your request in sweet words. Be yourself – a cad – and know that my love is enough, that I submit – submit to the worst you can give me. (Pause) Well, come. Strip me. Whatever happens, know that you have will edit. Our love, in your hands. I’m helpless before my man.
Gallimardstarts to cross the room.
GALLIMARD:Did I not undress her because I knew, somewhere deep down, what I would find? Perhaps.Happiness is so rare that our mind can turn somersaults to protect it.
Atthe time, I only knew that I was seeing Pinkerton stalking towards hisButterfly, ready to reward her love with his lecherous hands. The image sickened me, pulled me to my knees, so I was crawling towards her like a worm. By the time I reached her, Pinkerton… had vanished from my heart. To be replaced by something new, something unnatural, that flew in the face of all I’d learned in the world – something very close to love.
Hegrabs her around the waist; she strokes his hair.
GALLIMARD:Butterfly, forgive me.
SONG:Rene…
GALLIMARD:For everything. From the start.
SONG:I’m…
GALLIMARD:I want to –
SONG:I’m pregnant. (Beat) I’m pregnant. (Beat) I’m pregnant. (Beat)
GALLIMARD:I want to marry you.

Scene 7
Gallimardand Butterfly’s flat. Beijing.1963.
Downstage, Song paces as Comrade Chin readsfrom her notepad. Upstage, Gallimard is still kneeling. He remains on his kneesthroughout the scene, watching it.
SONG:I need a baby.
CHIN(From pad): He’s been spotted going to a dorm.
SONG:I need a baby.
CHIN:At the Foreign Language Institute.
SONG:I need a baby,
CHIN:The room of a Danish girl… What do you mean, you need a baby?
SONG:Tell Comrade Kang – last night, the entire mission, it could’ve ended.
CHIN:What do you mean?
SONG:Tell Kang – he told me to strip.
CHIN:Strip?!
SONG:Write!
CHIN:I tell you, I don’t understand nothing about this case anything. Nothing.
SONG:He told me to strip, and I took a chance. Oh, we Chinese, we know how togamble.
CHIN(Writing): “ … told him to strip.”
SONG:My palms were wet, I had to make a split-second decision.
CHIN:Hey! Can you slow down?
Pause.
SONG:You write faster, I’m the artist here. Suddenly, it hit me – “All he wants isfor her to submit. Once a woman submits, a man is always become ‘generous.’”
CHIN:You’re just gonna end up with rough notes.
SONG:And it worked! He gave in! Now, if I can just present him with a baby. AChinese baby with blond hair – he’ll be mine for life!
CHIN:Kang will never agree! The trading of babies has to be a counterrevolutionaryact!
SONG:Sometimes, a counterrevolutionary act is necessary to counter acounterrevolutionary act.
Pause.
CHIN:Wait.
SONG:I need one … in seven months. Make sure it’s a boy.
CHIN:This doesn’t sound like something the Chairman would do. Maybe you’d bettertalk to Comrade Kang yourself.
SONG:Good. I will.
Chingets up to leave.
SONG:Miss Chin? Why, in the Peking Opera, are women’s roles played by men?
CHIN:I don’t know. Maybe, a reactionary remnant of male –
SONG:No. (Beat) Because only a man knows how a woman is supposed to act.
Chinexits. Song turns upstage, towards Gallimard.
GALLIMARD(Calling after Chin): Good riddance! (To Song) I could forget all that betrayalin an instant, you know. If you’d just come back and become Butterfly again.
SONG:Fat chance. You’re here in prison, rotting in a cell. And I’m on a plane,winging my way back toChina.Your President pardoned me of our treason, you know.
GALLIMARD:Yes, I read about that.
SONG:Must make you feel … lower than shit.
GALLIMARD:But don’t you, even a little bit, wish you were here with me?
SONG:I’m an artist, Rene. You were my greatest… acting challenge. (She laughs) Itdoesn’t matter how rotten I answer, does it? You still adore me. That’s why Ilove you, Rene.(She points to us) So – you were telling your audience about thenight I announced I was pregnant.
Gallimardputs his arms around Song’s waist. He and Song are in the positions they werein at the end of Scene 6.

Scene 8
Same.
GALLIMARD:I’ll divorce my wife. We’ll live together here, and then later inFrance.
SONG:I feel so…ashamed.
GALLIMARD:Why?
SONG:I had begun to lose faith. And now, you shame me with your generosity.
GALLIMARD:Generosity? No, I’m proposing for very selfish reasons.
SONG:Your apologies only make me feel more ashamed. My outburst a moment ago!
GALLIMARD:Your outburst? What about my request?!
SONG:You’ve been very patient dealing with my…eccentricities. A western man, used towomen freer with their bodies –
GALLIMARD:It was sick! Don’t make excuses for me.
SONG:I have to. You don’t seem willing to make them for yourself.
Pause.
GALLIMARD:You’re crazy.
SONG:I’m happy. Which often looks like crazy.
GALLIMARD:Then make me crazy. Marry me.
Pause.
SONG:No.
GALLIMARD:What?
SONG:Do I sound silly, a slave, if I say I’m not worthy?
GALLIMARD:Yes. In fact you do. No one has loved me like you.
SONG:Thank you. And no one ever will. I’ll see to that.
GALLIMARD:So what is the problem?
SONG:Rene, we Chinese are realists. We understand rice, gold, and guns. You are adiplomat. Your career is skyrocketing. Now, what would happen if you divorcedyour wife to marry a Communist Chinese actress?
GALLIMARD:That’s not being realistic. That’s defeating yourself before you begin.
SONG:We must conserve our strength for the battles we can win.
GALLIMARD:That sounds like a fortune cookie!
SONG:Where do you think fortune cookies come from?
GALLIMARD:I don’t care.
SONG:You do. So do I. And we should. That is why Isay I’m not worthy. I’m worthy to love and even to be loved by you. But I amnot worthy to end the career of one of the West’s most promising diplomats.
GALLIMARD:It’s not that great a career! I made it sound like more than it is!
SONG:Modesty will get you nowhere. Flatter yourself, and you flatter me. I’mflattered to decline your offer. (She exits)
GALLIMARD(To us): Butterfly and I argued all night. And, in the end, I left, knowing Iwould never be her husband. She went away for several months – to thecountryside, like a small animal. Until the night I received her call.
Ababy’s cry from offstage. Song enters, carrying a child.
SONG:He looks like you.
GALLIMARD:Oh! (Beat; he approaches the baby) Well, babies are never very attractive atbirth.
SONG:Stop!
GALLIMARD:I’m sure he’ll grow more beautiful with age. More like his mother.
SONG:“Chi vide mai/ a bimbo del Giappon…”
GALLIMARD:“What a baby, I wonder, was ever born inJapan”– orChina,for that matter –
SONG:“…occhi azzurrini?”
GALLIMARD:“With azure eyes” – they’re actually sort of brown, wouldn’t you say?
SONG:“E il labbro.”
GALLIMARD:“And such lips!” (He kisses Song) And such lips.
SONG:“E I ricciolini d’oro chietto?”
GALLIMARD:“And such a head of golden” – if slightly patchy – “curls?”
SONG:I’m going to call him “Peepee.”
GALLIMARD:Darling, could you repeat that because I’m sure a rickshaw just flew byoverhead.
SONG:You heard me.
GALLIMARD:“Song Peepee”? May I suggest Michael, or Stephan, or Adolph?
SONG:You may, but I won’t listen.
GALLIMARD:You can’t be serious. Can you imagine the time this child will have in school?
SONG:In the West, yes.
GALLIMARD:It’s worse than naming him Ping Pong or Long Dong or –
SONG:But he’s never going to live in the West, is he?
Pause.
GALLIMARD:That wasn’t my choice.
SONG:It is mine. And this is my promise to you: I will raise him, he will be ourchild, but he will never burden you outside ofChina.
GALLIMARD:Why do you make these promises? I want to be burdened! I want a scandal to overthe papers!
SONG(To us): Prophetic.
GALLIMARD:I’m serious.
SONG:So am I. His name is as I registered it. And he will never live in the West.
Songexits with the child.
GALLIMARD(To us): It is possible that her stubbornness only made me want her more. Thatdrawing back at the moment of my capitulation was the most brilliant strategyshe could have chosen. It is possible. But it is also possible that by thispoint she could have said, could have done…anything, and I would have adoredher still.

无端被抽了好几层。。。

一直被吞帖，so，此帖不更了