The setting represents the interior of a café; we have a rendezvous, I am waiting. In the Prologue, the sole actor of the play (and with reason), I discern and indicate the other's delay; this delay is as yet only a mathematical, computable entity (I look at my watch several times); the Prologue ends with a brainstorm: I decide to “take it badly,” I release the anxiety of waiting. Act I now begins; it is occupied by suppositions: was there a misunderstanding as to the time, the place? I try to recall the moment when the rendezvous was made, the details which were supplied. What is to be done (anxiety of behavior)? Try another café? But if the other comes during these absences? Not seeing me, the other might leave, etc. Act II is the act of anger; I address violent reproaches to the absent one: “All the same, he (she) could have…” “He (she) knows perfectly well”. “Oh, if she (he) could be here, so that I could reproach him (her) for not being here.” In Act III, I attain to (I obtain?) anxiety in the pure state: the anxiety of abandonment; I have just shifted in a second from absence to death; the other is as if dead: explosion of grief: I am internally livid. That is the play; it can be shortened by the other's arrival; if the other arrives in act I, the greeting is calm; if the other arrives in act II, there is a “scene”; if in act III, there is recognition, the action of grace: I breath deeply, like Pelleas emerging from the underground chambers and rediscovering life, the odor of roses.