AKÍM [excited] Past! No, lad, it's not past. Sin, I mean, fastens on to sin--drags sin after it, and you've stuck fast, Nikíta, fast in sin! Stuck fast in sin! I see you're fast in sin. Stuck fast, sunk in sin, I mean! NIKÍTA. Sit down and drink your tea, and have done with it! AKÍM. I can't, I mean can't what d'ye call it, can't drink tea. Because of your filth, I mean; I feel what d'ye call it, I feel sick, very sick! I can't what d'ye call it, I can't drink tea with you. NIKÍTA. Eh! There he goes rambling! Come to the table. AKÍM. You're in your riches same as in a net--you're in a net, I mean. Ah, Nikíta, it's the soul that God needs! NIKÍTA. Now really, what right have you to reprove me in my own house? Why do you keep on at me? Am I a child that you can pull by the hair? Nowadays those things have been dropped! AKÍM. That's true. I have heard that nowadays, what d'ye call it, that nowadays children pull their fathers' beards, I mean! But that's ruin, that's ruin, I mean! NIKÍTA [angrily] We are living without help from you, and it's you who came to us with your wants! AKÍM. The money? There's your money! I'll go begging, begging I mean, before I'll take it, I mean. NIKÍTA. That's enough! Why be angry and upset the whole company! [Holds him by the arm]. AKÍM [shrieks] Let go! I'll not stay. I'd rather sleep under some fence than in the midst of your filth! Faugh! God forgive me! [Exit]. NIKÍTA. Here's a go! AKÍM [reopens the door] Come to your senses, Nikíta! It's the soul that God wants! [Exit]. AKOULÍNA [takes cups] Well, shall I pour out the tea? [Takes a cup. All are silent]. MÍTRITCH [roars] Oh Lord, be merciful to me a sinner! [All start]. NIKÍTA [lies down on the bench] Oh, it's dull, it's dull! [To Akoulína] Where's the concertina? AKOULÍNA. The concertina? He's bethought himself of it. Why, you took it to be mended. I've poured out your tea. Drink it! NIKÍTA. I don't want it! Put out the light ... Oh, how dull I feel, how dull! [Sobs]. Curtain. ACT IV Autumn. Evening. The moon is shining. The stage represents the interior of courtyard. The scenery at the back shows, in the middle, the back porch of the hut. To the right the winter half of the hut and the gate; to the left the summer half and the cellar. To the right of the stage is a shed. The sound of tipsy voices and shouts are heard from the hut.[5] Second Neighbour Woman comes out of the hut and beckons to First Neighbour Woman. [5] Where not otherwise mentioned in the stage directions, it is always the winter half of the hut that is referred to as "the hut." The summer half is not heated, and not used in winter under ordinary circumstances. SECOND NEIGHBOUR. How's it Akoulína has not shown herself?