Lulu: Alban Berg – Synopsis, Part 3

A spacious salon. The wide-open double doors in the back wall, center, lead into the gaming room. A side door leads into the dining room. The company is in evening dress. Rodrigo proposes a toast in honor of Lulu. The banker Puntschu, the journalist Heilmann, the Marquis Casti-Piani, Lulu, Countess Geschwitz, Alwa, Rodrigo, Magelone, her twelve-year-old daughter Ka­didja, Bianetta, and Ludmilla Steinherz are engaged in animated conversa­tion. Several of the company retire to the gaming room. Magelone, Hell­mann, Alwa, and the banker discuss their investments in Jungfrau Funicular Railway shares. They follow the others into the gaming room.

Casti-Piani asks Countess Geschwitz to leave so that he may be left alone with Lulu. Alwa having exhausted his inheritance, Lulu is no longer able to extract money from him to meet Casti-Piani’s demands.

About to go into the gaming room, she meets the Countess in the doorway. Geschwitz: ‘Are you going because I’m coming?’ Lulu: ‘God knows I’m not. But if you come, then I go.’ The Countess reminds her of ‘the passionate protestations, when we lay in the hospital together, through which you seduced me to let myself be locked up in prison in your place.’

Schigolch is admitted. He, too, has come to ask Lulu for money. She suddenly bursts into tears. Schigolch takes her on his knee as though she were a child. ‘You’re overtaxing yourself, my child. You ought to go to bed with a novel for once. Have a good cry, a really good cry.’ She tells him that Rodrigo is going to hand her over to the police. Schigolch promises to dis­pose of him, provided that he can be enticed into visiting Schigolch’s lodg­ings. ‘My window opens out on the river. But he won’t come, he won’t come.’ Lulu assures Schigolch that Countess Geschwitz will bring Rodrigo to him that very evening. ‘And then, my child, what then?’ asks Schigolch. He reminds her that it’s almost ten years since they’ve been together. Lulu promises him money and ‘whatever else you like—whatever I have,’ if he will swear to ‘take care of’ Rodrigo. He reassures her and departs. Lulu leaves the salon.

Casti-Piani angrily pushes Rodrigo into the salon, accusing him of threatening to denounce Lulu to the police if she doesn’t give herself to him. Rodrigo indignantly denies the accusation and Casti-Piani leaves. Lulu returns and tells Rodrigo that the Countess will lend her the money that Rodrigo has demanded, provided that Lulu can arrange an affair between the Countess and Rodrigo. Rodrigo goes to the dining room to await the Countess.

Lulu calls the Countess in from the dining room. She tells her that Rod­rigo threatens to denounce her unless the Countess submits to him. ‘How can such an atrocity save your life? I don’t understand it.’ Lulu: ‘I’m yours, my darling, if you will keep the acrobat quiet till morning. He only needs to have his vanity soothed; you must entreat him to take pity on you.’ Lulu gives the Countess the address of Schigolch’s lodgings. Rodrigo and the Countess leave together.

Lulu accompanies them to the exit and returns quickly with the groom, whom she asks to change clothes with her. They go into the dining room.

A commotion is heard in the gaming room. The doors are flung open and the company, surrounding Puntschu the banker, come into the salon. They have just learned of the collapse of the Jungfrau shares and demand satisfaction from Puntschu. ‘How is it possible? So we’re on the rocks!’ cries Alwa. ‘What am I supposed to say, who’ve lost my whole fortune?’ replies the banker. He leaves quickly with Bianetta. Kadidja tries to revive her mother, who has fainted. Magelone leaves, supported by her daughter. Heilmann throws his crum­pled shares away and leaves.

Lulu, dressed in the groom’s uniform, comes in from the dining room. She tells Alwa that they have been denounced. ‘In two minutes the police will be here.’ They leave together. A police officer, in plainclothes, enters, followed by Casti-Piani: ‘You’ve under arrest—in the name of the law!’ Casti-Piani: ‘What nonsense are you up to? That’s not the right one!’

A wretched attic room, without windows. A bowl of water stands under the skylight. A bottle of brandy and a smoking oil lamp are on a rickety flower stand. Schigolch, lying on a torn mattress, and Alwa, wrapped in a rug and lying on an old chaise longue, are alone. Schigolch: ‘The rain’s drumming up a parade.’ Alwa: ‘The weather sets just the right mood for her first appearance.’ Lulu, barefoot, wearing a torn black dress, comes in from the adjoining room. She is about to go into the street as a common prostitute for the first time. They talk, as she waits for the rain to let up. Schigolch offers her encouragement and advice, while Alwa tries to prevent her from going out. She points out that he is incapable of earning any money to provide them with food. She leaves. Schigolch and Alwa await Lulu’s return from the street with her first customer. Schigolch: ‘I very much doubt that anyone will take the bait.’ Footsteps are heard on the stairs. Alwa: ‘I won’t stand for it! I’ll throw the fellow out!’ Schigolch pushes him into a closet, goes in after him, and shuts the door.’

Lulu enters with Mr. Hunidei. Lulu: ‘I admit it’s not very cozy here.’ Mr. Hunidei puts his forefinger to his lips. ‘We’re quite alone here. No one can hear us.’ Hunidei remains silent and indicates that she is to do likewise. Lulu: ‘I hope you’re going to give me something.’ He holds her mouth shut and presses some money into her hand. Lulu takes the lamp and goes with him into her room.

Schigolch and Alwa furtively creep out of their hiding-place. The stage is in darkness, save for the shaft of light coming from under the door of Lulu’s room. Alwa creeps to Lulu’s door and listens. Schigolch gropes his way to the cape that Mr. Hunidei has laid on a chair. He goes through the pockets, but all he finds is a book, Admonitions for Pious Pilgrims and Those Desirous of Becoming Such. He replaces the cape. Alwa and Schi­golch return to the closet.

Lulu and Hunidei reenter. ‘Will you visit me again?’ He holds her mouth shut. She looks at the ceiling in despair and shakes her head. She throws her arms round his neck. He gently disengages himself, kisses her hand, and noiselessly departs. Alwa and Schigolch emerge. Lulu, tonelessly: ‘How exciting he was!’

They hear footsteps. Alwa supposes Hunidei must be coming back for his book. Lulu, listening: ‘No, it’s not he. That’s someone else.’ They won­der who could possibly be visiting them here. The visitor is at the door. It is Countess Geschwitz, poorly dressed and carrying a rolled-up canvas. ‘If I haven’t come at a convenient time I’ll go away again.’ She tells them that her efforts to get money for them have been fruitless. ‘I haven’t come quite empty-handed, all the same.’

Alwa takes the canvas from her. It is Lulu’s portrait. Lulu cries out, ‘Take that picture out of my sight! Throw it out the window!’

Alwa is rejuvenated at the sight of the portrait. Schigolch suggests that they nail it up. ‘It will make an excellent impression on our clientele.’ Alwa fastens the canvas to the wall. Schigolch: ‘The whole apartment has a more elegant appearance.’ Alwa compares the picture to Lulu. ‘The child­like expression in the eyes is still quite the same, in spite of all she’s been through since. But the fresh dew that covers the skin, the fragrant breath about the lips, the radiant light that beams from the white brow, and this bold splendor of the youthful flesh on the neck and arms—’ Schigolch: ‘All that’s been carted away with the rubbish.’ Lulu is about to go into the street again. Alwa tries to stop her. The Countess asks where she is going. Alwa explains. The Countess insists on accompanying Lulu.

Alwa and Schigolch alone, as before. Schigolch regrets that they permitted the Countess to go out into the street with her. ‘She’ll drive off anything that breathes, with her aristocratic death’s head.’ The brief dialogue between Schigolch and Alwa at this point in the libretto is partly taken from their conversation at the beginning of the scene, where Alwa complains of the disease with which Lulu has infected him, and concludes with the aphorism that Schigolch utters later in the play, just before he leaves: ‘She can’t make a living out of love because love is her life.’

They hear footsteps. Alwa refuses to join Schigolch in their hiding-place and creeps back under his rug. Schigolch: ‘Noblesse oblige! A respectable man acts in a way that’s befitting to his position.’ Lulu enters with Kungu Poti, an African prince. He complains of the darkness and cold. Lulu compliments him on his good looks and offers him the brandy bottle. She asks him how much he will give her. He promises her a gold piece, but re­fuses to show it to her. ‘Me never pay before.’ ‘You can give it to me later, but show it to me!’ ‘No understand!’ He seizes Lulu round the waist. She resists and cries out, ‘Let me go!’ Alwa creeps up behind Kungu Poti and pulls him back by the coat collar. The Negro turns quickly. ‘Oh, oh, here is den of murderers!’ He hits Alwa on the head with a blackjack and Alwa collapses. ‘Nice dreams!’ He points to Alwa. ‘Dreams of you.’ He hastens to the door and leaves.

Schigolch emerges from the closet. He tries to revive Alwa. ‘He has to be got out of the way.’ He drags Alwa out of the room.

Countess Geschwitz comes in from the street. ‘She sent me on ahead.’ Schigolch: ‘That’s sensible! I’ll be downstairs in the pub, if anyone should ask for me.’ Schigolch goes out. The Countess sits down near the door. The Countess, alone, takes a small revolver from her pocket and holds it to her forehead. The Countess: ‘Better to hang! If she sees me lying in my own blood today she won’t shed a single tear for me. Wouldn’t it be better if I jump off the bridge? Which might be colder, the water or her heart? Better to hang!—Stab myself?— Hmm, nothing would come of it. Better to hang!’ She tries to hang herself, but the strap breaks. She sinks to her knees before Lulu’s picture and clasps her hands. ‘Have pity on me, have pity on me, have pity on me!’

Lulu opens the door and admits Jack. He sees Countess Geschwitz on her knees before Lulu’s picture. ‘Who’s that?’ ‘It’s my sister, sir. She’s in­sane. I don’t know how to get rid of her.’

Jack: ‘You seem to have a pretty mouth.’ Lulu: ‘I have it from my mother.’ Jack: ‘It looks like it. How much do you want? I don’t have much money left.’ Lulu: ‘Don’t you want to stay all night?’ Jack, on the point of leaving: ‘Why should I stay here all night? It sounds suspicious! While I’m asleep someone will turn my pockets out.’ Lulu: ‘No, I won’t do that. No one will do that. Don’t go because of that. Please!’

Countess Geschwitz, still on her knees, has turned toward Jack. Lulu pulls her back. ‘Lie down, will you!’ Jack: ‘Let her be! She’s not your sister. She’s in love with you.’ He pats the Countess on the head as though she were a dog. ‘Poor creature!’

The Countess rushes to the door and shakes it with all her might. Jack, crouching, suddenly pulls the door open and stabs the Countess. Jack: ‘That was some job!’ He washes his hands in the bowl. ‘What a lucky bastard I am!’ He looks around. ‘They haven’t even got a towel here!’ He wipes his hands on the Countess’s petticoat. ‘It will all be up with you too, soon,’ he says to the Countess. He leaves.

The Countess, as she dies: ‘Lulu! My angel! Let me see you one more time! I am near you— will stay near you— forever!’