The slow movement of Ravel's piano concerto shall be played whilst the audience enters. ACT 1. The following announcement of the play which follows shall be made by an actor. Adolf
Hitler was beaten by his father incessantly every day of his life as a child for being bad. If Jesus was beaten very severely every day of his life as a child, how would he behave?
The problem is not to see the genocide in others, it is to see the genocide in ourselves.
Monologue between an actor, Reinhardt, on a chair on the left conversing with a portrait of Adolf Hitler on a chair on the right. He is somberly but not too elegantly dressed. He is
not wearing black. His trousers are ironed with a crease. There is a can of Coca-Cola stage right of an empty glass on a smallish table to the side and in front of Reinhardt's chair.
Reinhardt opens the can and pours a small amount of Coke into the glass beside a slice of rye bread not on a plate on the table.
He questions Hitler's lack of ambition compared with himself and why he did not extend his plans further. The actor declares his intention to tear up the portrait of Hitler, put it in
a waste paper basket and vacuum the carpet. He stands up. As he is about to do so, the voice of Adolf Hitler tells him to stop, sit down and listen to him. Reinhardt smiles and says
'Like Prince Charles, I am all ears'. He draws up his trousers and sits down, looking just above the portrait of Hitler. His smile goes as he listens. Hitler says Reinhardt is none other
than Adolf Hitler himself, and he did all this. He goes on to describe everything the actor did in his career as Adolf Hitler, including that given in the Fourth Reich section, the death
of Martin Bormann who was to join him, and the role of scientist Ettore Majorana in the Nazi bomb programme. Reinhardt takes sips of the Coke until there is none left, before the
'Eva divorce account'. Hitler says why it was necessary to eliminate the Jews as a consequence, the U-boat carrying uranium supplies to New York with the agreement of supreme
Freemason Franklin D. Rooseveldt, the advanced defences of his remote ranch in Argentina, the success of some aspects of the Argentinan themonuclear programme, the weekly
flights of Klaus Barbie from Argentina to CIA headquarters, the necessary elimination of Evita Peron, the US moon programme, how he and Eva had three siblings and Eva ended
up divorcing him, and how he enjoyed watching the moon landings on TV.
Reinhardt is quite disturbed and pours the remainder of the can of Coca-Cola into the waste paper basket. He says 'This is the Hotel LUNA'. He begins to think of tearing up the
portrait of Adolf Hitler, putting it in the bin and then continuing to vacuum the carpet. Hitler responds that he was beaten very severely by his father every day from a young age for
being bad. He had kept his inner soul throughout his life because his inner pain that there existed despite all bombardments, an inner thread of love within he had just recognised
that declared itself in communion with all life. This thread had protected him against all external urgings to destroy and beat up everything and anybody that opposed the will of
Germany. Reinhardt rises up and stands still. Adolf Hitler then states 'Before you begin the shreddings of your own mind in display of the wretchedness of mankind, think that you
may wander about and declaim your thoughts on what troubles you, or finally repose in rest the deliberation exactly that what is of no use and must be confined as the rubbish of
the mind, disarded in the bin, to the more important task of vacuuming the carpet.' Reinhardt says, 'You speak my thought exactly, for the author of this play knows its actions with
ACT 2. Reinhardt says 'I am terrified of myself and others, and what we might do. I speak now as the playwright, not only his agent on the stage. The account is true, there can be
no other belief, but it may exist only in the author's brain many decades before this event, as a thought-of true happening'. Reinhardt explains why he had gone to see Albert Speer
in Hull to find out why Speer, an intelligent man, had decided to follow Hitler and become his closest friend.
On seeing the University meeting was closed to him, he had seen a man wearing electric blue, which Speer had said in a newspaper article Hitler liked for his suits. Being at the time
in a delusional state due to taking drugs, he asked out 'Albert Speer, why are you here?' The man replied 'How did you know?' Reinhardt said Hitler had been frozen. Speer responded
that Reinhardt did not know that Hitler was still alive, and offered 50 million Swiss francs for the suggestion. Reinhardt replied he wanted only the bus fare back, and left. The next
day, they met again on the stairs, and Speer again offered more Swiss Francs. Reinhardt said he did not want the money. Speer then threw gold coins at him, and Reinhardt had left.
When someone asked if he wanted the coins, he had said 'If they are of no use to you, give them to the poor'. Some asked why he had said that, and in fright he had run off.
Then Hitler divulges to Reinhardt that his assumed father is not his real father, but he, Hitler is his father. Reinhardt for half a minute becomes progressively more disturbed, including
as he looks at himself in the mirror of the dresser. For four minutes he goes totally deranged, trying to eat the flex of the wire of the vacuum cleaner, and putting the waste paper basket on his head (many I think will now stand up and walk out, for they cannot remember what is in the play anyway. They are not to be imprisoned in the auditorium, but allowed to leave).
He is fully in front of the stage, with the waste paper basket on his head and shouting. He has the flex of the vacuum cleaner in his left hand, and his right hand displays firmly a Hitler salute. He says 'Citizens of Treblinka! I come not to praise Hitler but to bury him!' He pulls the vacuum cleaner with the plug to his left, and holds the flex with a firm fist. 'This vacuum cleaner is a Dyson! It will last a hundred years! Citizens of Treblinka, give me your Airblades!' He holds the flex of the plug whilst waving it in the air with his left and shouting louder in a rage says 'This plug will last a thousand years! It is designed by the European Commision to conform to the standards of the Master Race!' Then, considering, a little lower 'This is not Plisner Urquell. This is not Truth!' Then, in conversation tone 'I must play hopscotch.' He does so, and collides with the small table, hurting himself. Angrily he shouts 'Get out of the way!' and kicks the table out of the way. In conversation tone again, but slightly louder than the conversation tone before he says 'Citizens of the famous Globe Cafe at Pstrossova Street, you exchange glances and smiles amidst a forest of books. He takes the waste paper basket off his head. His face is running with black Coca-Cola. 'As you stare into your coffee cups, think of the dark dregs which lie beneath. I cannot grin at my own jokes. They are too ruddy awful to mention, and beside, there is none to laugh at their inane madness.' He shakes his head from side to side whilst walking in a circle 'I am mad, deranged and evil.' Putting the waste paper basket in front of his face, he remarks 'I see you staring through your Bohemian Seekt Stary Plznec.' He bows down and holds his ears 'I feel sick', then with a whisper 'Give me Zyklon B'. Finally for half a minute he begins to calm down. He kneels down and puts his hands together in prayer. Eventually he lies prostrate on the floor, stiff and unmoving as in the introduction to ACT 3. He raises in a Hitler salute his right hand slightly above his body. In whispered voice he says 'It is so terrible' and quivering 'It is me.' Then, weakly and with emotion 'Heil Bratwurst'. The arm collapses to the floor and there is a short pause. A section of Schoenberg's violin concerto is played very softly as the curtains slowly close.
ACT 3. As Reinhart is lying motionless in semi-darkness on the floor in front of the two chairs, there is simultaneously a soft gong. A woman of slightly younger age enters stage
right and moves to kneel down beside him. She may have a pale item of clothing, at most off-white. Reinhardt looks up and says 'Who are you'? She replies 'I am your sister Elaine'.
He says 'I have no sister'. She says 'You have. Here is some strong black coffee. It will wake you up'. Reinhardt says 'I cannot ...' Elaine is moving towards the bathroom [offstage] 'accept (pause for a minute) who I am'.... Elaine returns with a medium white towel, brings it to Reinhardt whilst he is sipping his coffee, and begins to dry his face. Standing in
front of the dresser he says 'Mama, Papa'. He places the portrait of Hitler between his assumed mother and his assumed father on the dresser, and then saying 'nein', moves the portrait of Hitler
centre on the dresser with his assumed parents to one side. Walking back from the bathroom with a large white towel, Reinhardt spreads it out at right angles to the dresser. He kneels
on the towel and says in a clear but broken voice 'Only God can help me'. The music of the slow movement of Bartok's third piano concerto, which is entirely classical and begins
with an invokation of the sounds of the night, first muted, and then as background is heard. He lies prostrate on the white towel. With Reinhardt lying with legs and arms apart on
the bathroom towel in front of the dresser, the scene dims, and only the window is showing the light of a new day. No other action happens except at the close of the music, which
if the slow movement is not distinct from the last movement, should end in a fade. Elaine moves from the chair occupied by the portrait of Hitler to the dresser, picks a single red
rose in a glass jar from it and lays it on the white towel next to Reinhardt. She then moves a little slowly to the window, at last looking up. The dawn is increasing as this happens.
She moves to the left of Reinhardt and kneels down close to him, whilst remining separate. She says in a comforting voice: 'Reinhardt, pick up the rose. It is the dawning of a new day'.
Reinhardt remains motionless as she puts her right hand lightly on his left shoulder, she smiles at him, and as the curtains close, but finally leaving a brilliant aperture lit, we see
the placement of the hand is firm, perhaps eventually nearly clasped.
The Precious Ward for the Recuperation of the Soul.
Come Off It Angela, We Want you in Power for the Next 1,000 Years!