Eva lives with a pastor in a isolated parsonage, in northern Norway. The death of his son, has condemned her to a deep desperation. When she knows that the lover of her mother, Charlotte, died, she invites her to pass some “happy days” at her house. The encounter between the two, suddenly collapses when painful memories are recalled from a distant past. Eva blames the mother to have abandoned her, during the years of youth. She accomplishes her vengeance when Charlotte, desperate and fragile, begs for her forgiveness, receiving as an answer the firmest silence.
The play stems out of a path marked with the stagings of “Creditors” and “Dance of Death” by A. Strindberg, and “The Rite” and “Secrets of Women” by I. Bergman. The staging is a study on the double and the representation of parallel narrative lines: the line of the story, the succession of situations in the story, and the line of other possible situations that could have built a different story. This idea was realized building two different scenic spaces: the first, a platform covered with autumn leaves, where the present time happens; the second, a lifted platform, at the feet of a succession of windows, where the possible present happens.