The Count of Monte Cristo

The Confrontation in the Box

At the beginning of the second act, the door opens and Monte Cristo enters, dressed in black, leaning over the box front to survey the pit. Morrel follows him, searching for his sister and brother-in-law, whom he discovers in another box and greets with a kiss. The count’s survey of the audience meets Albert’s pale, threatening gaze, but Monte Cristo chooses not to acknowledge him, appearing not to notice while maintaining constant observation. When the second act ends, he sees Albert leave with his two friends and knows the approaching confrontation is imminent. The door opens and Albert appears, pale and trembling, followed by Beauchamp and Château-Renaud. Monte Cristo greets Albert with his characteristic benevolent politeness, calling him “my cavalier” and offering good evening. Albert, his trembling voice barely audible, declares they have not come for hypocritical expressions of politeness or false professions of friendship but to demand an explanation. Monte Cristo notes the unusual location and suggests he is little acquainted with Parisian habits if he thinks this an appropriate place for such a demand. Albert replies that since Monte Cristo has shut himself away and cannot be seen during bathing, dining, or sleeping, they must seize the opportunity when he appears in public. The count reminds him that he is not difficult of access and was at his house just yesterday, to which Albert responds that yesterday he did not know who Monte Cristo truly was. This declaration, raised so as to be heard by those in adjoining boxes and the lobby, attracts considerable attention, with murmurs passing through the crowd about Morcerf, who has been the subject of conversation all day.

The Glove is Thrown

Monte Cristo asks where Albert has come from and suggests he has lost his senses. Albert responds that as long as he understands Monte Cristo’s perfidy and makes him understand his intention to be revenged, he will be sufficiently reasonable. Monte Cristo says he does not understand and that Albert’s tone is too high—he is at home here and alone has the right to raise his voice above another’s. He points to the door with commanding dignity and orders Albert to leave. Albert declares he will know how to make Monte Cristo leave his home, clasping the count’s glove in his convulsed grasp. Monte Cristo quietly advises him that making a display of a challenge is in poor taste and not becoming to everyone. At the name “M. de Morcerf,” a murmur of astonishment passes through the spectators, who have talked of nothing but Morcerf all day. Albert understands the allusion immediately and is about to throw his glove at the count when Morrel seizes his hand while Beauchamp and Château-Renaud hold him back, fearing the scene will exceed the limits of a challenge. Without rising, Monte Cristo merely stretches out his arm and takes the damp, crushed glove from Albert’s clenched hand. In a solemn tone, he declares that he considers the glove thrown and will return it wrapped around a bullet, ordering Albert to leave or face being thrown out by his servants. Wild, almost unconscious, with inflamed eyes, Albert steps back and Morrel closes the door. Monte Cristo resumes his opera glass as though nothing has occurred, his face like marble and his heart like bronze.

A Vow to Kill

Morrel asks what the count has done to Albert, and Monte Cristo replies that he has done nothing personally. When Morrel notes that there must be some cause, Monte Cristo explains that the Count of Morcerf’s adventure has exasperated the young man. Morrel recalls having heard that the Greek slave he has seen with Monte Cristo in that very box was the daughter of Ali Pasha, and Monte Cristo confirms this is true, adding that it was through Haydée that the Chamber was informed of his father’s treason. Morrel understands that the scene was premeditated—Albert had requested his presence at the opera specifically so he might witness the insult. Monte Cristo accepts this as probable. When Morrel asks what he will do with Albert, the count declares with absolute certainty that he will kill him before ten o’clock the following morning. Morrel takes Monte Cristo’s hand in both of his and shudders at its cold, steady feel. He mentions Albert’s father’s love for his son, but Monte Cristo displays the first movement of anger he has shown, declaring he will make Albert suffer. Morrel, amazed, lets fall the count’s hand. Monte Cristo then surprises him by commenting on the beautiful singing, noting he was the first to discover Duprez at Naples and the first to applaud him, and calling “Bravo, bravo!” as though nothing terrible has been decided.