Scene 9 and 10

(Darkness. PEER lies in the mountains, flailing half-unconscious beneath a large branch.)

PEER. Who are you? Answer me!

VOICE. Go with the flow. Take the easy way out.

PEER. Who are you?

VOICE. I am...Myself. Don’t you wish you could say the same? Well, you can, through this amazing
onetime offer.

PEER. For the last time — Who — Are — You?!

THE INVISIBLE HAND. The Invisible Hand.

PEER. All right. At least I’ve heard of that. Now, get out of my way .

THE INVISIBLE HAND. Take the easy way out. Go the long way around.

PEER. No, I’ll go right through your heart! (He strikes.)

THE INVISIBLE HAND. Heart? Oh, please. I’m the Invisible Hand. The one, the only! The Invisible Hand
rules rich and poor alike. (economics) Try as you might, you can’t escape The Invisible Hand — in life or
in death.

PEER. Neither dead nor alive — but everywhere, like a slimy mist — without form or substance. (Pause.)

I’m unarmed! Come get me!

THE INVISIBLE HAND. What would be the point of that?

PEER. C’mon — hit me!

THE INVISIBLE HAND. But you’re a consumer.

PEER. Fight like a man!

THE INVISIBLE HAND. The Invisible Hand triumphs without lifting a finger …The Invisible Hand never
breaks a sweat.

PEER. (Peer starts fighting in the air, but as he can’t reach the Invisible Hand, he starts pulling his hair in
frustration.)

THE INVISIBLE HAND. Don’t do that. You’ll damage the product. Peer, you were born to greatness, and
at last great- ness has found thee. Take advantage of the Invisible Hand’s special onetime offer. Take the
easy way out, and just Be Your- self. (Voice echoes, Peer goes more violent)
PEER. God. (Sees SOLVEIG, hiding in the bushes.)

PEER. Solveig!
SOLVEIG. Don’t come any closer, or I’ll leave.
PEER. What are you afraid of? That you’ll end up in my arms?

SOLVEIG. Watch your mouth!

PEER. You know who was in my arms last night? The troll princess.

SOLVEIG. Then it’s a good thing we rang the church bells.

PEER. But she wasn’t good enough for me. What about you?

(SOLVEIG puts down a basket.)

SOLVEIG. There’s food in the basket.

(She exits.)

PEER. No, wait! (Then, to himself:)

Idiot! I just wanted to make sure she wouldn’t forget me. And yet...I wish she’d forget me.

(Pause.)

You’re an outlaw now, boy — driven into the wilderness. No Mommy here — no more home-cooked
meals. Want a bed? Gather some straw. A home? Chop down some trees. I’ll build a beauty with a roof
so high...and passing strangers will gaze up and wonder —

(Beat.)

You ass — you’re a fugitive!

(Suddenly startled:)

Who’s there?

(A cry:)

Solveig!
Scene 11

(ASE’s house. Clothes are scattered everywhere. ASE and KARI, a neighbor, attempt to restore some
order to the debris.)

ASE. What’s that rumbling?

KARI. It’s the cart, Mother Ase — hauling off the last load to Haegstad farm.

ASE. Humph. I wish they’d haul me away — in a long black box. The suffering never stops. Dear God,
they’ve taken eve- rything in the house! What Ingrid’s father left behind, the law- yers took in lieu of fees.
(Sits on bed.) The farm and the land are lost forever. No one came to my defense, or showed a drop of
mercy. If only Peer had been here — he’d have done something.

KARI. They were kind enough to leave you your house.

ASE. Yes — the cat and I can come home every night after begging.

KARI. Your Peer has really brought you down with him this time.

ASE. Peer? Ingrid got home safe and sound, didn’t she? They should’ve put the real criminal on trial —
Satan! Pulled a cart up to his house — there’d be some booty. Instead, the devil goes free and pins the
blame on my son!

KARI. Maybe I should send for the parson. You don’t sound so well.

ASE. Yes, maybe I could use a little rest. (Pause.)

Wait, what am I —? I can’t stop now, I’m his mother, I’ve got to help him somehow. They left him this
jacket. I’ll patch it up. If only I’d thought to hide the fur rug. And what happened to his stockings?...

Scene 12

(A forest clearing. In the middle, a small hut marks the beginning of a home PEER has started to
construct for himself. He stands a distance away, chopping down a tree.)

PEER. You think you’re tough? Not tough enough, Sir Lance- lot — you’re coming down!

(Pause; to himself:)

You’re pathetic, Peer. It’s just a tree — a tree! For once, will you stop dreaming?

(SOLVEIG enters on skis, carrying a bundle of possessions.)

SOLVEIG. Don’t tell me to go.

PEER. Solveig! This is impossible. You’re here? You’re not afraid of me?
SOLVEIG. Nights without joy, days without light — they kept your face before me. I could see nothing else
— only barren resignation with neither laughter nor tears. I didn’t know if you were serious, but I had to
find out for myself.

PEER. But what about your father?

SOLVEIG. In this world, there’s no one left whom I call mother or father. I’ve left them behind, forever.

PEER. Solveig, my sweetest — you did this...for me?

SOLVEIG. To come to you, yes. You’re all I have in the world now.

PEER. You heard about the verdict last spring. They stripped me of my farm and my lineage. There’s a
price on my head. If I step outside the forest, I’m fair game for anyone.

SOLVEIG. Coming up here, I stopped to ask the way. They said, “Why are you going there?” I said, “It’s
my home.”

PEER. Oh, Solveig! Stand still, I want to look at you. I’ll build us a beauty. With a roof so high…the vane
and the fixtures will be polished brass ...

SOLVEIG. Your dreams — they seem more real than most people’s lives.

PEER. Solveig. You are such an angel. I swear, I’ll make myself worthy of your trust I won’t soil you with
the dark things I’ve done.

(Opens the door, and SOLVEIG goes in. PEER leaps into the air with happiness. Picks up his ax and
starts to go. As an OLD HAG in a torn green dress enters, along with an UGLY BOY holding a nursing
bottle.)

OLD HAG. Is it my fault I’m not the beauty you ruined up on the hillside? When fall came around, in the
agonies of my labor, only Satan stayed behind to hear my cries. Is it any wonder I came away old and
ugly? But if you want to see me young and lovely again, just show that dirt the door. Do that, my dearest,
and see how fast this snout disappears.

PEER. Get away from me, you troll witch!

OLD HAG. Oh, no — I’ve got plans for you!

PEER. I’ll break your skull open!

OLD HAG. C’mon — try it — I dare you! How can you hurt me now, when I breathe pain as others do air?
No, I will keep coming around ’til the day you die. My eyes at your door. Yes, when you sit by the fire with
your little tramp, when you touch her,— then, I’ll appear — sliding in between you —So go ahead, marry
her — it’ll be ’til death do us part!

PEER. You’re a nightmare from hell!

OLD HAG. And one more thing. Once you’re happily married, Mr. Happy Feet, you can also raise your
son.

(To UGLY BOY:)

C’mon, little Peer — give your Daddy a kiss.

(The BOY throws his bottle at PEER, as he and the OLD HAG exit.)

THE INVISIBLE HAND: “Take the easy way out,” “Go the long way around.”

Peer: Solveig — how can I face her now? With the words of the Troll-Witch hanging over my head?

(Pause.)

But, wait — I shouldn’t let that old hag get to me, I’ve changed. All my wickedness — it’s in the past.

(Pause.)

But the past grows up to become the present, and looks out upon the future. I’m not ready, yet — the
stench of my sins would foul the air.

THE INVISIBLE HAND : “Take the easy way out,” boy.

Peer: (Throws down his ax.) my soul rotting

(SOLVEIG appears in the doorway.)

SOLVEIG. Peer?

PEER. I’m looking for an easier way.

SOLVEIG. Excuse me?

PEER. Please wait. It’s dark out now, and before I can come, I must find something.

SOLVEIG. May I help you?

PEER. No, it’s heavy. And I must carry this load alone.

SOLVEIG. Well — don’t stay out too long.

PEER. Be patient, my angel. Long or short — I hope you will wait.

SOLVEIG. Yes, I will. I will wait.

(PEER goes down the forest path, SOLVEIG remains standing at the open door.)
 Scene 13

(ASE’s home. Evening. She lies in bed. PEER enters.)

PEER. Mother.

ASE. Peer, God bless you, my son. You’ve come at last. But what’s gotten into you? Have you forgotten
there’s a price on your head?

PEER. My head’s not worth much. I just had to see you.

ASE. Now I can go peacefully.

PEER. Go? Where?

ASE. Oh, Peer, I haven’t much time left.

PEER. (Aside:) I run from one tragedy straight into another. I thought for certain that she could tell me
what to do. (To ASE:) Your hands and feet — are they cold?

ASE. They were, but that’s long past now. When my eyes cloud over, close them, one by one. And then
build me a coffin. Make sure you use the finest materials — oh God, I forgot ...
PEER. Sssh! Don’t think about that.

ASE. Look at the few scraps they left me. That’s their idea of justice.

PEER. Don’t start. I know it was all my fault.

ASE. No, no — it was the liquor, that’s what’s cursed us every step of the way. You’re not responsible for
your actions, you were drunk! And weak from that reindeer ride, too!

PEER. Let’s not talk about it any more.

PEER. You must be thirsty. Let me get you some water. And you’re all cramped in that bed! What the —?
It’s the bed I used as a boy! Remember how every night, you’d sit here and tuck me in? Then tell me
stories and sing songs?

ASE. Of course I do. After your father left us, we’d play sleigh- ride. Your blanket was a cover of fur, and
the floor an icy fjord.

PEER. And the best part — do you remember our beautiful team of prize stallions?

ASE. Seems like no time has passed at all. I was the driver then.
PEER. Yes, yes. you sweet old thing, you always treated me with so much love. You know, right now, in
Sonia Moria Castle, they’re holding a feast for the king. Lie back on this silken cushion, and I’ll drive you
there over the snow.

ASE. But Peer — am I invited?

PEER. Of course, we both are.

(He throws a cord round the chair where the cat sits, then takes a stick in hand.)

PEER. Geddiyup! Come on, Dasher, Blitzen, and all the rest of you. Mother, tell me if you’re getting cold.
Hey, Rudolph’s lighting the way — nothing can stop us now!

ASE. Peer — my ears — something’s ringing!

PEER. Those are the silver sleighbells.

ASE. But they sound so hollow.

PEER. On account of us flying over the fjords!

ASE. Peer, I’m scared. Now, something’s roaring — fiercely, as if to gobble me up!

PEER. Those are trees, battered by the storm beneath us. But we’re safe up here.

ASE. In the distance, I see a light — getting brighter, coming towards me.

PEER. The lights of the castle. Can’t you hear the dancing inside?

ASE. Yes — I think I can...

PEER. And look, it’s St. Peter at the gate. With the welcome wagon.
ASE. For me?

PEER. Yes, it’s a great honor. He’s pouring their sweetest wine.

ASE. Wine? Will there be cakes, too?

PEER. Stacks and stacks! On platters of gold! And there’s the bishop’s wife — with coffee and fruits.
ASE. But I feel so tired. From the hardships of my journey.

PEER. It won’t be long now. Just a bit longer. You’ve almost gained the castle.

ASE. Then I’ll just close my eyes, lie back, and leave the rest to you, my son.

PEER. Pick up the pace, Rudolph, lead on! The castle is filled with the righteous, all crowding the gates
and lifting their glasses. “Peer Gynt and his mother have arrived at last!” What’s this? St. Peter — you
can’t open the gates without checking your book? I think it’s pretty damn obvious — ex- cuse me — that
there’s not a finer woman to be found. So you will show her respect and honor, and make her feel at
home. You’ll find the world doesn’t make them any better nowadays. (In a deep voice:)
Why are you staring like that? (Feels her hand and forehead.)

Stop looking at me that way! It’s Peer, your son — speak to me! (Tosses away the cord.)

It’s done. Rudolph, that’s the end of the road. (Closes her eyes.)

Thank you for all of your days. For the spankings and kisses. And now, could the driver take his tip?

(Kisses her.)

Thanks for the ride. (KARI enters.)

KARI. At last her suffering has come to an end. (PEER hands her some coins.)

PEER. Make sure she gets a decent burial.

PEER. I’ll go far. Far as my dreams can take me.

(PEER exits. We see an image of SOLVEIG, standing by the hut where Peer left her. She picks up the ax,
splits a pile of logs.)

End of Act I