[They run away so that Savva’s mangled body becomes visible.
MAN IN OVERCOAT
It ought to be taken away from here. It isn’t right to leave it here on the road. It’s dirty. Boys! Say, boys!
[He goes off following the rest, but is met by the procession pouring in upon the stage. There is a great din and humming of talk. Speransky and Tony approach the body cautiously, bend over it on their knees, one on each side, and stare at it eagerly.
Dead! His eyes are gone.
Shut up! (He bursts into a groaning laugh, pressing his hands hard to his mouth)
But his face is calm. Look, Mr. Anthony. It’s because now he knows the truth.
Shut up! (Bursts out laughing) What a funny face he has!
[He laughs behind his hand. Then his laugh bursts through his fingers, so to speak, grows in intensity, becomes irresistible, and passes into a whine. The crowd begins to fill the stage, concealing the body, Speransky, and Tony. The bells are rung in the monastery as at Easter, and at the same time the singing of thousands of voices is heard.
“Christ is risen from the dead. He has conquered death with death and given life to those lain in their graves. Christ—”
LIPA (flinging herself into the crowd)
“Christ is risen!”
[The crowd continues to pour in, filling the entire stage. Gaping mouths and round, wide-open eyes are seen everywhere. Shrill shrieks are uttered by the crazed epileptics. A momentary outcry is heard: “Somebody crushed!” Tony’s laughter dies away somewhere. The triumphant hymn rises, spreads, passes into a titanic roar that drowns every other sound. The bells continue to ring.
CROWD (shouting at their utmost power)
“Christ is risen from the dead. He has conquered death with death and given life to those lain in their graves. Christ is risen—”
THE LIFE OF MAN
A PLAY IN FIVE SCENES WITH A PROLOGUE
I DEDICATE THIS COMPOSITION
ON WHICH WE WORKED TOGETHER
Someone in Gray called He