A Portrait of the Artist As Filipino First Scene Nick Joaquin

THE SCENES FIRST SCENE: The sala of Marasigan house in Intramuros. An afternoon towards the beginning of October, 1941. Candida and Paula Marasigan, Spinster daughters of on !oren"o Pepang, their elder married sister Manolo, their eldest brother "ito# Ca$acho, a friend of the famil$ %on# Ja&ier, a lodger at the Marasigan house Pete, a Sunday Magazine editor 'ddie, a writer A !etecti"e Don Al&aro & Do a (peng, hi$ %i&e Don Pepe Don Miguel & Do a )rene, hi$ %i&e Don Aristeo THE PEOPLE Cora, a news photographer Susan & Violet,#aude#ille artists Don Perico, a senator Do a !oleng, his wife Pats#, their daughter 'lsa Montes & Charlie Dacana#,friends of o%a !oleng A Watch an Po#ice an

friends of the Marasigans

THE FIRST SCENE &The curtains open on a second curtain depicting the ruins of Intramuros in the moonlight. The sides of the stage are in shadow. Bitoy Camacho is standing at far left. 'e begins to spea( unseen , )ust a #oice in the dar(.* "ito#* Intra uro$' The o#d Mani#a( The origina# Mani#a( The No)#e and E"er Loya# City* To the ear#y con+ui$tadore$ $he %a$ a ne% Tyre and Sidon, to the ear#y i$$ionarie$ $he %a$ a ne% Ro e( Within the$e %a##$ %a$ gathered the %ea#th o& the Orient-$i#. &ro China, $/ice$ &ro 0a"a, go#d and i"ory and /reciou$ $tone$ &ro India( And %ithin the$e %a##$ the Cha /ion$ o& Chri$t a$$e )#ed to con+uer the Orient o& the Cro$$( Through the$e o#d $treet$ once cro%ded a ar"e##ou$ u#titude-"iceroy$ and arch)i$ho/$, y$tic$ and erchant$, /agan $orcerer$ and Chri$tian artyr$, nun$ and har#ot$ and e#egant ar+ue$a$, Eng#i$h /irate$1 Chine$e andarin$1 Portugue$e traitor$1 !utch $/ie$1 Moro $u#tan$1 and 2an.ee c#i//er ca/tain$( For three centurie$ the$e edie"a# to%n %a$ a 3a)y#on in co erce and a Ne% 0eru$a#e in it$ &aith* No% #oo.: thi$ i$ a## that4$ #e&t o& it no%( Weed and ru))#e and $cra/ iron( A /iece o& %a##1 a &rag ent o& $tair%ay-and o"er there1 the $ a$hed gothic &a5ade o& o#d Santo !o ingo* +uomodo desolata es, ,i#itas ei- &.rom this point, light slowl$ grows about /ito$.* I $tand here in the oon#ight and I #oo. do%n thi$ de$o#ate $treet( Not $o #ong ago1 /eo/#e %ere dying here-a horri)#e death-)y $%ord and &ire-their $crea $ dro%ned out )y the $hri##er $crea ing o& the gun$( On#y $i#ence no%( On#y $i#ence1 and the oon#ight1 and the ta## gra$$ thic.ening e"ery%here* Thi$ i$ the great Ca##e Rea#-the ain $treet o& the city1 the ain $treet o& the #and1 the ain $treet o& our hi$tory( I don4t thin. there i$ any to%n in the Phi#i//ine$ that doe$ not ha"e or did not u$e to ha"e-it4$ o%n Ca##e Rea#( We##1 thi$ i$ the other $treet o& the a##( Through the$e $treet$ the "iceroy$ ade their &or a# entry into the city( A#ong thi$ $treet1 a id$t a g#ory o& )anner$1 the Sea# o& the 6ing %a$ )orn in a /arade %hene"er #etter$ arri"ed &ro the roya# hand( !o%n thi$ $treet arched the great annua# /roce$$ion$ o& the city( And on thi$ $treet the /rinci/a# &a i#ie$ had their to%nhou$e$-$/#endid ancient $tructure$ %ith red-ti#e roo&$ and %rought-iron )a#conie$ and &ountain$ /#aying in the interior /atio$( When I %a$ a #itt#e )oy1 $o e o& tho$e o#d hou$e$ %ere $ti## $tanding-)ut1 oh1 they ha"e co e do%n in the %or#d' No #onger $/#endid1 no #onger the $eat$ o& the ighty, a)andoned and &orgotten, they $tood decaying a## a#ong thi$ $treet, drea ing o& /a$t g#orie$, gro%ing e"er ore dar. and dingy and di#a/idated %ith the year$, turning into $#u -tene ent$ at #a$t-a dozen &a i#ie$ cro%ded into each o& the o#d roo $, gar)age /i#ed a## o"er the /atio$, and %a$h#ine$ dang#ing )et%een the $agging )a#conie$* Intra uro$ %a$ dying1 intra uro$ %a$ decaying e"en )e&ore the %ar( The 7ung#e had returned-the odern 7ung#e1 the $#u -7ung#e-7u$t a$ erci#e$$ and e&&ecti"e a$ the rea# thing-de o#i$hing en4$ o ent o& hi$tory and de"ouring hi$ onu ent$(

The no)#e and e"er #oya# City had )eco e 7u$t another 7ung#e o& $#u $( And that i$ ho% our &ather$'

o$t o& u$ re e )er the i /eria# city o&

3ut there %a$ one hou$e in thi$ $treet that ne"er )eca e a $#u , that re$i$ted the 7ung#e1 and re$i$ted it to the "ery end, &ighting $tu))orn#y to .ee/ it$e#& intact1 to .ee/ it$e#& indi"idua#( It &ina##y too. a g#o)a# %ar to de$troy that hou$e and the three /eo/#e %ho &ought &or it( Though they %ere de$troyed1 they %ere ne"er con+uered( They died %ith their hou$e1 and they died %ith their city-and ay)e it4$ 7u$t a$ %e## they did( They cou#d ha"e ne"er $ur"i"ed the de$truction o& the o#d Mani#a* Their hou$e $tood on thi$ corner o& Ca##e Rea#( Thi$ /iece o& %a##1 thi$ hea/ o& )ro.en $tone$ are a## that4$ #e&t o& it no%the hou$e o& !on Lorenzo Mara$igan( Here it $tood-and here it ha$ )een $tanding &or generation$( Oh1 &ro the out$ide1 you %ou#d ha"e thought it 7u$t another $#u -tene ent( It #oo.ed #i.e a## o& the other hou$e$ on thi$ $treet-the roo& )#ac. %ith o$$1 the ru$ty )a#conie$ $agging1 the crac.ed %a##$ un/ainted* 3ut enter-/u$h o/en the o#d a$$i"e gate$-and you &ind a c#ean )are /a$$age%ay1 you $ee a c#ean )right /atio( No gar)age any%here1 no %a$h#ine$( And %hen you %a#. u/ the /o#i$hed $tair%ay$1 %hen you enter the g#ea ing $a#a1 you $te/ into another %or#d-a %or#d 8%here a##4$ accu$to ed1 cere oniou$*9 &The lights go on inside the stage. Through the transparent curtain, the sala of the Marasigan house becomes #isible.* It %a$n4t ere#y the $ea$he##$ #ighting the $tair%ay1 or the )aro+ue &urniture1 or the o#d /ortrait$ hanging on the %a##$1 or the &a i#y a#)u $ $tac.ed on the $he#"e$( The "ery at o$/here o& the hou$e $ugge$ted another Age-an Age o& #a /#ight and ga$#ight1 o& har/$ and %hi$.er$ and &ine carriage$, an Age o& anner$ and e#odra a1 o& Re#igion and Re"o#ution( &The 0Intramuros ,urtain1 begins to open, re#ealing the set proper.* it i$ gone no%-that hou$e-the hou$e o& !on Lorenzo e# agni&ico( Nothing re ain$ o& it no% $a"e a /iece o& %a## and a hea/ o& )ro.en $tone$( 3ut thi$ i$ ho% it #oo.ed )e&ore it /eri$hed-and I4 $ure it #oo.ed 7u$t #i.e thi$ a hundred year$ ago( It ne"er changed1 it ne"er a#tered( I had .no%n it $ince I %a$ a #itt#e )oy-and it a#%ay$ #oo.ed #i.e thi$( A## the ti e I %a$ gro%ing u/1 the city %a$ gro%ing u/ too1 the city %a$ changing &a$t a## around e( I cou#d ne"er )e $ure o& anything or o& any /#ace $taying the %ay I re e )ered it( Thi$ %a$ one thing I %a$ a#%ay$ $ure o&-thi$ hou$e( Oh1 o#der1 ye$-and dar.er1 and ore $i#ent( 3ut $ti##1 7u$t the $a e, 7u$t the %ay I re e )ered it %hen I %a$ a #itt#e )oy and y &ather too. e here %ith hi on Friday e"ening$( &The sala now stands full$ re#ealed. It is a large room, clean and polished, but2li(e the furniture2dismall$ shows its age. The paint has dar(ened and is peeling off the walls. The windowpanes are bro(en. The doorwa$s are not 3uite s3uare an$more. The baro3ue elegance has tarnished. 4ear wall opens out, through .rench windows, into two sagging balconies o#erhanging the street. At center, against the wall between the balconies, is a large sofa. Ordinaril$ grouped with these chairs are two roc(ing chairs, a round table and two straight chairs. 4ight now, the table and the straight chairs ha#e been mo#ed in front of the balcon$ at right, its windows ha#ing been closed. The table is set for merienda. Through the open windows of the other balcon$, late afternoon sunlight streams into the room, and $ou get a glimpse of the untid$ tenements across the street. At left side of the room, downstage, is a portion of the banisters and the head of the stairwa$, facing towards the rear. In the middle of the left wall is a closed door. Against the bac( wall, facing stairwa$s, stands an old2fashioned combination hat rac( and umbrella2stand with mirror. At the right side of the room, downstage, against the walls, is a what2not filled with seashells, figurines, famil$ albums, maga"ines and boo(s. In the middle of the right wall is a large open doorwa$ framed with curtains. 5e6t to it, against the right wall, stands an upright piano. 7mbroidered cushions decorate the chairs. 8edestals bearing potted plants flan( the balconies and the doorwa$ at right. On the walls abo#e the sofa, the piano, and the what2not, are enlarged famil$ photographs in ornate frames. A chandelier hangs from the ceiling. The painting entitled 0A 8O4T4AIT O. T'7 A4TIST AS .I!I8I5O1 is supposed to be hanging at the center of the in#isible 0fourth wall1 between stage and audience. 0!eft1 and 04ight1in all the stage directions are according to the #iew from the aundience. /ito$ ,amacho steps into the room.* I re e )er co ing here one day ear#y in Octo)er )ac. in :;<:-7u$t t%o onth$ )e&ore the %ar )ro.e out( :;<:' Re e )er that year= It %a$ the year o& Hit#er &or the /eo/#e in Euro/e-)ut &or u$ o"er here1 it %a$ the year o& the Conga and the 3oogie-Woogie1 the year o& /ractice )#ac.-out$1 the year o& the 3are Midri&&( Oh1 %e %ere a## $ure that the %ar %a$ co ing out our %ay /retty $oon-)ut %e %ere 7u$t a$ $ure that it %on4t $tay #ong-and that nothing1 nothing at a##1 %ou#d ha//en to u$( When %e $aid: 86ee/ >e &#ying'9 and 83u$ine$$ a$ ?$ua#'9 our "oice$ %ere )ra"e and gay1 our heart$ %ere untrou)#ed( And )ecau$e %e &e#t $o $a&e1 )ecau$e %e &e#t $o con&ident( We de#i)erate#y tried to $care our$e#"e$( Re e )er a## tho$e grue$o e ru or$ %e

.e/t $/reading= We en7oyed $hi"ering a$ %e to#d the 1 and %e en7oyed $hi"ering a$ %e #i$tened( It %a$ a## 7u$t a thri##ing ga e( We %ere $o/hi$ticated chi#dren /#aying %ith ra/e and urder1 and ha#& %i$hing it %a$ a## true( &'e places himself at stair2landing, as though he had )ust come up the stairs.* That Octo)er a&ternoon1 I had co e here %ith y head )uzzing %ith ru or$( Out there in the $treet1 /eo/#e %ere $to//ing each other to e@change inter/retation$ o& the #ate$t head#ine$( In the re$taurant$ and )ar)er $ho/$1 i#itary e@/ert$ %ere &ighting the %ar in Euro/e( And in a## the hou$e$ in a## the $treet$1 radio$ %ere $crea ing out the #ate$t )u##etin$( I &e#t e@citedand I &e#t "ery /#ea$ed %ith y$e#& &or &ee#ing e@cited( I /ro"ed ho% in"o#"ed I %a$ in any ti e$, and ho% concerned1 ho% no)#y concerned I %a$ %ith the hu an condition( So1 I ca e u/ %ith tho$e $tair$ and I /au$ed here on the #anding and I #oo.ed at thi$ roo that I hadn4t $een $ince y )oyhood-and1 $udden#y1 a## the /eo/#e and a## the head#ine$ and a## the radio$ $to//ed $crea ing in y ear$( I $tood here-and the %ho#e %or#d had )eco e $i#ent( It %a$ a$toni$hing-and it %a$ $o high#y un/#ea$ant( The $i#ence o& the roo %a$ #i.e an in$u#t1 #i.e a $#a/ in the &ace( I &e#t $udden#y a$ha ed o& a## the no)#e e@cite ent I had )een en7oying $o uch( 3ut y ne@t &ee#ing %a$ o& )itter re$ent ent( I re$ented thi$ roo ( I hated tho$e o#d chair$ &or $tanding $o ca# #y( I %anted to %a#. right do%n again1 to #ea"e thi$ hou$e1 to run )ac. to the $treet-)ac. to the $crea ing /eo/#e and head#ine$ and radio$( 3ut I didn4t( I cou#dn4t( The $i#ence had e he#/#e$$( And a&ter a %hi#e I $to//ed &ee#ing outraged1 I )egan to $ i#e at y$e#&( For the &ir$t ti e in a #ong1 #ong ti e1 I cou#d hear y$e#& thin.ing1 I cou#d &ee# y$e#& &ee#ing and )reathing and re e )ering( I %a$ con$ciou$ o& y$e#& a$ a $e/arate /er$on %ith a $e/arate1 $ecret #i&e o& y o%n( Thi$ o#d roo gre% young again1 and &a i#iar( The $i#ence %hi$/ered %ith e orie$* Out$ide1 the %or#d %a$ hurrying gai#y to%ard$ de$truction( In here1 #i&e %ent on a$ u$ua#, una#tered1 unchanged, e"erything in it$ /ro/er /#ace1 e"erything 7u$t the $a e today a$ ye$terday1 or #a$t year1 or a hundred year$ ago* &A pause, while /ito$ stands smiling at the room.* 7nter Candida Marasigan at right, bearing a chocolate2pot on tra$. Seeing /ito$, she stops at the doorwa$ and stares at him in3uiringl$. ,andida is fort$2two, and is dressed in the st$le of the twenties. 'er uncut hair, alread$ gre$ing, is coiled up and (notted in the old manner. 'er bod$ is straight, firm and spare. 5ot con#entionall$ prett$, she can, howe#er, when among friends, grow radiant with girlish charm and innocence. 9hen among strangers, she is apt, from sh$ness, to assume the se#er forbidding e6pression of crabbed old maid. She is staring #er$ se#erel$ now at the grinning $oung man on the stairwa$. "ito#* He##o1 Candida(

&'e waits, smiling: but her face remains se#ere he wal(s towards her.* Candida1 $ure#y you .no% e=

&As he approaches, her face 3uic(ens with recognition, and she ad#ances to meet him.* Candida* 3ut o& cour$e1 o& cour$e' 2ou are 3itoy1 the $on o& o#d Ca acho' And $ha e on you1 3itoy Ca acho-$ha e on you &or &orgetting your o#d &riend$A &The$ ha#e met at center of stage.* "ito#* Candida* I ha"e ne"er &orgotten y o#d &riend$1 Candida(

Then %hy ha"e you ne"er B

&She spea(s with emphatic gesture that causes chocolate to splash from pot. /ito$ bac(s awa$. She laughs.* Oh1 e@cu$e "ito#* Here1 #et e 3itoy' e ta.e that(

&'e ta(es tra$ and places in on table. 'er e$es follow him. 'e turns around and, smiling, submits to her ga"e.* We##= Candida* "ito#* Candida* &approaching him* So thin1 3itoy= And $o Ia t%enty-&i"e( any #ine$ on your &ace a#ready= 2ou cannot )e ore than t%enty(

T%enty-&i"e' I agine that'

&She mo#es awa$, downstage.* And the #a$t ti e %e $a% you1 you %ere 7u$t a $ a## )oy in $hort /ant$ and a $ai#or )#ou$e*

"ito#* Candida* "ito#* Candida* "ito#* Candida* "ito#* Candida*

And the #a$t ti e I $a% you1 Candida--&swirling around passionatel$* No' No' &startled* Huh= &laughing* Oh 3itoy1 %hen you )egin to get a$ o#d a$ I a 1 it hurtsWhat= To )e to#d ho% uch one ha$ changed(

2ou ha"e not changed1 Candida( Oh ye$1 I ha"e-oh ye$1 I ha"e' The #a$t ti e you $a% e 3itoy1

&She sa$s these with all the gestures of a li#el$ belle.* I %a$ a "ery gro%n-u/ young #ady1 a "ery /roud young #ady-%ith ring$ on y &inger$ and a ri))on in y hair and the $tar$ in y eye$' Oh1 I %a$ $o &u## o& "anity1 $o &u## o& "i"acity' I %a$ $o $ure that any o ent at a## $o eone "ery %onder&u# %ou#d co e and ta.e e a%ay' I %a$ %aiting1 do you .no%1 %aiting &or y Prin$i/e de A$turia$' "ito#* Candida* "ito#* And he ha$ not co e yet-your Prin$i/e de A$turia$= A#a$1 he ha$ not co e at a##' And non o& our o#d &riend$ co e any ore* Not e"en on Friday e"ening$= u/( The o#d /eo/#e

Candida* Not e"en on Friday e"ening$( No ore 8tertu#ia$9 on Friday1 3itoy( We ha"e gi"en the are dying o&&, and the young /eo/#e-you young /eo/#e1 3itoy-do not care to co e( &She turns her face towards doorwa$ at right and raises her #oice.* Pau#a' Pau#a'

&Offstage, 8aula is heard answering; 0,oming-1 ,andida approaches /ito$ and ta(es both his hands in hers.* 3itoy1 ho% $%eet o& you to re e )er u$( 2ou ha//y day$( "ito#* Candida* 2e$1 I .no%( <ou )ring the )ac. to e1 too-a## tho$e Friday e"ening$ I $/ent here %ith &releasing his hands* 3ut ho% i$ it you re e )ered= 2ou %ere on#y a chi#d( y &ather( a.e e &ee# "ery ha//y( 2ou )ring )ac. e ory o& $uch

"ito#* 3ut I do1 I do' Oh1 tho$e 8tertu#ia$9-ho% I re e )er the a##' On Saturday night$1 there %a$ the tertu#ia at the Monzon hou$e in 3inondo, on Monday night$1 at the 3otica o& !octor Moreta in Cuia/o, on Wedne$day night$1 at the )oo.$ho/ o& !on Ari$teo in Carriedo, and on Friday night$-Li$ten1 Candida( On Friday night$1 do you .no%1 I $ti## %a.e u/ $o eti e$1 e"en no%1 thin.ing: Today i$ Friday1 the tertu#ia %i## )e at the Mara$igan hou$e in Intra uro$1 and Father and I %i## )e going* &'e pauses as 8aula appears in doorwa$, carr$ing a platter of biscuits. 8aula is fort$, also slightl$ gre$2haired alread$, and also wearing a funn$ old dress. She is smaller than ,andida, and loo(s more delicate, more timid: li(e ,andida, she is ambiguous2the blea(est of all maids, $ou would call her, until she smiles, when $ou disco#er, astonished, a humorous girl2still fresh, still charming2lur(ing under the gre$ hair.* Candida* Paula* We##1 Pau#a-do you $ee %ho ha$ co e to "i$it u$ a&ter a## the$e year$= &as she hurries to table and sets down the platter* Why 3itoy' 3itoy Ca acho'

&She goes to /ito$ and gi#es him both her hands.* Ho#y Dirgin1 ho% he ha$ gro%n' Can thi$ )e our )a)y1 Candida= "ito#* Candida* In the $hort /ant$ and $ai#or )#ou$e= He $ti## &ond#y re e )er$ our o#d Friday tertu#ia$(

Paula* Oh1 you %ere a )ig nui$ance in tho$e day$1 3itoy' I %a$ a#%ay$ ha"ing to %i/e your no$e or to ta.e you out to the $ a## roo ( Why did your &ather a#%ay$ )ring you a#ong= "ito#* Paula* 3ecau$e I ho%#ed and ho%#ed i& he tried to #ea"e e )ehind'

&throwing bac( her head* Oh1 tho$e o#d Friday night$' Ho% %e ta#.ed and ta#.ed'

&She begins to mo#e gail$ all o#er the room as though a crowded 0tertulia1 were in progress, chatting to imaginar$ #isitors and fanning herself with an imaginar$ fan.* More )randy1 !on Pe/e= So e ore )randy1 !on I$idro= !oEa ?/eng1 co e here )y the %indo%1 it4$ coo#er' What1 !on A#"aro-you ha"e not read the ne% /oe )y !ario= 3ut1 y good an1 in the #ate$t i$$ue o& the 83#anco y Negro19 o& cour$e' !oEa Irene1 %e are ta#.ing a)out the di"ine Ru)en' 2ou ha"e read the #ate$t o&&ering= 0Tu#o ra"on tu abuela con su cabello cano, mu$ mas 3ue tu con ri"os en 3ue es enrosca el dia=1 Aie1 !on Pe/e1 !on Pe/e-te## e1 do you not con$ider that /oe an a)$o#ute irac#e= Oh1 #oo. e"ery)ody-here co e$ !on Ari$teo at #a$t' We#co e to our hou$e1 no)#e $o#dier' Candida1 &ind hi a $eat $o e%here' Candida* &acting up, too* O"er here1 !on Ari$teo1 o"er here' And Pau#a1 $o e )randy &or !on Ari$teo' ay I a$. y dear $ir1 %hy you &ai#ed u$ #a$t Friday=

Paula* &offering imaginar$ glass* I &or)id you to ta#. /o#itic$ tonight' Mu$t %e hear a)out nothing e#$e the$e day$ e@ce/t thi$ eterna# !on C' Candida* Oh1 #i$ten e"ery)ody' !on A#"aro i$ te##ing u$ 7u$t %here the !on C %a$1 during the Re"o#ution'

Paula* Oh1 ye$ !oEa Irene1 %e %ent to a## the /er&or ance$-)ut %e con$ider thi$ zarzue#a co /any in&erior to the one %e had #a$t year( Candida* door' And ne@t onth1 the Ita#ian $inger$ are arri"ing' A#a$ &or our gir#$' The en %i## )e #ined u/ again at the $tage-

Paula* More )randy1 !on Migue#= So e ore )randy1 !on Pe/e= !oEa Irene1 %ou#d you /re&er to $it here )y the /iano= Oh1 go on1 go on1 !on A#"aro' And you $ay the Fenera# Aguina#do %a$ actua##y /re/aring hi$ ar y &or a #a$t a$$au#t= "ito#* Paula* Candida* Paula* Candida* Paula* &in the #oice often2$ears2old* Tita Pau#a1 Tita Pau#a-I %anna go to the $ a## roo '

Hu$h1 hu$h1 you #itt#e $a"age' And 7u$t #oo. at your no$e' And ho% any ti e$ ha"e %e to#d you not to ca## u$ Tita'

2ou ca## u$ Pau#a and Candida( 0u$t Pau#a and Candida-under$tand= 0e$u$1 %e are not o#d aid$ yet'

Candida* No1 no-%e are not o#d aid$ yet' We are young1 %e are /retty1 %e are de#ight&u#' Oh1 #i$ten1 !oEa ?/eng-#a$t night %e %ent to a )a##1 and %e danced and danced and danced ti## orning' &She dances around the room.* Paula* Candida* "ito#* Pa/a $aid %e %ere the /rettie$t gir# in a## the gathering' Oh1 ye$ !oEa Irene-our /a/a acco /anied u$-and he %a$ the o$t di$tingui$hed gent#e an /re$ent'

&still the ten2$ear2old: gesturing e6citedl$ towards the doorwa$* And here he co e$' Here he co e$'

Candida* &whirling around* Oh1 here you are at #a$t1 Pa/a' &4aising her #oice e6citedl$* !on Migue#1 here i$ /a/a' Here i$ /a/a1 !oEa ?/eng' Paula* &)o$ousl$ e6cited, too* Here i$ /a/a1 !on A#"aro' !oEa Irene1 here i$ /a/a'

&The sisters gesture towards front of stage as the$ sa$; 0'ere is papa-1*

Candida*

Hu$h1 hu$h1 e"ery)ody' Pa/a %ant$ to $ay $o ething'

&The sisters stand side b$ side, directl$ facing audience, their faces lifted, their hands clasped to their breasts, and their bodies at attention, as though the$ were listening to their father spea(ing. Then clapping their hands, the$ cr$ out in )o$ous adoration 0Oh, papa, papa-1 The$ hold the pose a moment longer. The 8O4T4AIT is hanging on the wall right in front of them: and as the$ become aware of it, the rapture fades from their faces, their bodies droop, their hands fall to their sides. The game is ended: the ma(e2 belie#e is o#er. The$ stand silent2blea(l$ staring up2two shabb$ old maids in a shabb$ old house. /ito$ is watching them from upstage. /ecoming aware of their fi6ed stare, he lifts his e$es and sees the 8O4T4AIT for the first time. Staring, he comes forward and stands behind the sisters, his face between their staring faces.* "ito#* Candida* "ito#* Paula* "ito#* Candida* "ito#* Candida* "ito#* &ather ean= I$ that it= &e6pressionless* 2e$( When did your &ather /aint it= A)out a year ago( &after a staring pause* What a $trange1 $trange /icture' !o you .no% %hat he ca##$ it= 2e$( 8RETRATO !EL ARTISTA COMO FILIPINO(9 2e$1 I .no%( 8A Portrait o& the Arti$t A$ Fi#i/ino(9 3ut %hy1 %hy= The $cene i$ not Fi#i/ino* What did your

&'e holds up a hand towards 8O4T4AIT.* A young Paula* "ito#* Candida* "ito#* Paula* "ito#* Paula* an carrying an o#d The o#d an on hi$ )ac.* and )ehind the 1 a )urning city*

an i$ our &ather(

2e$1 I recognize hi$ &ace* And the young an i$ our &ather a#$o-our &ather %hen he %a$ young(

&e6citedl$* Why1 ye$1 ye$' And the )urning city--The )urning city o& Troy( We##1 you .no% a## a)out it(

"ito#* &smiling* 2e$1 I .no% a## a)out it( Aena$ carrying hi$ &ather Anchi$e$ out o& Troy( And $our &ather ha$ /ainted hi $e#& )oth a$ Aena$ and Anchi$e$( Candida* "ito#* Candida* "ito#* Candida* He ha$ /ainted hi $e#& a$ he i$ no%-and a$ he u$ed to )e-in the /a$t( The e&&ect i$ rather &rightening* Oh1 do you &ee# it1 too= I &ee# a$ i& I %ere $eeing dou)#e( I $o eti e$ &ee# a$ i& that &igure u/ there %ere a on$ter-a an %ith t%o head$(

"ito#* 2e$1 8That $trange on$ter1 the Arti$t*9 3ut ho% ar"e##ou$ your &ather ha$ caught that c#ear1 /ure c#a$$ic $i /#icity' What &#o%ing #ine$1 %hat #u inou$ co#our$1 %hat a c#a and $/aciou$ at o$/here' One can a# o$t &ee# the $un

$hining and the $ea%ind$ )#o%ing' S/ace1 #ight1 c#ean#ine$$1 )eauty1 grace-and $udden#y1 there in the &oreground1 tho$e &rightening &ace$1 tho$e dar.#y $ i#ing &ace$-#i.e &ace$ in a irror* And )ehind the 1 in the di$tance1 the )urning to%er$ o& Troy(( My Fod1 thi$ i$ agni&icent' Thi$ i$ a a$ter/iece' &'e pauses and his rapturous faces becomes troubled.* 3ut %hy doe$ your &ather ca## it 8A Portrait o& the Arti$t a$ Fi#i/ino=9 Paula* Candida* Paula* "ito#* Paula* Candida* "ito#* We##-it i$ a /ortrait o& hi $e#& a&ter a##( A dou)#e /ortrait1 in &act( And he i$ an arti$t and a Fi#i/ino( 2e$1 ye$-)ut1 then1 %hy /aint hi $e#& a$ Aena$( Why /aint hi $e#& again$t the Tro7an War= &shrugging* We do not .no%( He did not te## u$( !o you .no%1 a "i$iting French an ha$ %ritten an enthu$ia$tic artic#e a)out thi$ /icture(

Candida* Oh ye$-he %a$ "ery nice1 that French an( He $aid he had #ong )een an ad irer o& y &ather( He %a$ thorough#y ac+uainted %ith y &ather4$ %or.( He had $een the in Madrid and 3arce#ona( And he /ro i$ed hi $e#&&She pauses. /ito$ has ta(en out a noteboo( and is )otting down what she is sa$ing. She and 8aula e6changes glances.* "ito#* &loo(ing up e6pectantl$* 2e$= He /ro i$ed hi $e#& %hat=

Candida* &dr$l$ continued* We##1 he /ro i$ed that i& e"er he &ound hi $e#& here in the Phi#i//ine$ he %ou#d try to #ocate &ather( So1 he ca e here1 and he $a% &ather1 and he $a% hi$ ne% /ainting1 and then he /u)#i$hed that artic#e( A$ I $aid1 he %a$ a "ery nice an-)ut %e are $orry no% he e"er ca e( "ito#* Candida* "ito#* Candida* &loo(ing up* Sorry= Te## e $o ething1 3itoy-are you a ne%$/a/er re/orter=

&after a moment>s hesitation* 2e$( 2e$1 I a ( &smiling* And that i$ %hy you ha"e co e to "i$it u$ a&ter a## the$e year$'

&Still smiling, she wal(s awa$. /ito$ loo(s blan(l$ after her. She goes to table and begins to beat the chocolate. /ito$ turns to 8aula.* "ito#* Paula* Pau#a1 %hat i$ the atter' What ha"e I done=

Oh1 nothing 3itoy( On#y1 %hen /eo/#e co e here no%1 it i$ not to "i$it u$1 )ut to $ee thi$ /icture(

"ito#* We##1 you ought to )e g#ad1 you ought to )e /roud' Peo/#e thought your &ather died a #ong ti e ago' No%1 a&ter a## the$e year$ o& $i#ence and o)$curity1 e"ery)ody i$ ta#.ing a)out hi ' The %ho#e country i$ agog that !on Lorenzo Mara$igan1 one o& the greate$ /ainter$ o& the Phi#i//ine$ and ri"a# o& 0uan Luna1 i$ not on#y a#i"e )ut ha"e actua##y /ainted another a$ter/iece in hi$ o#d age' Paula* &gentl$* My &ather /ainted thi$ /icture on#y &or u$-&or Candida and y$e#&( He ga"e it to u$ a$ a /re$ent, and &or a %ho#e year it ha$ hung there in /eace( No day /a$$e$ )ut %e u$t &ace a re/orter &ro the ne%$/a/er$ or a /hotogra/her &ro the agazine$ or a grou/ o& $tudent$ &ro the uni"er$itie$( And %e-&la$ing a hand on his shoulder*-%e do not #i.e it1 3itoy( &She turns awa$ and goes to table where she begins to prepare her father>s merienda on a tra$. Meanwhile, /ito$ stands where she has left him, staring at 8O4T4AIT. Then he poc(ets his noteboo( and goes towards table.* "ito#* Forgi"e e1 Candida( Forgi"e a1 Pau#a(

&8aula goes on arranging tra$: ,andida goes on beating chocolate.* We##* I $u//o$e I ought to go a%ay(

Candida* "ito#* Paula* "ito#* Candida* "ito#* Candida* "ito#* Candida* "ito#* Candida* "ito#* Candida* "ito#* Candida* Paula* "ito#* Paula* "ito#* Paula* "ito#*

&not loo(ing up* No1 $tay and ha"e $o e

erienda( Pau#a1 get another cu/( u$t )e going(

&as 8aula goes to doorwa$* P#ea$e do not )other1 Pau#a( I rea##y &pausing* Oh1 3itoy' There are $o e /eo/#e %aiting &or e(

&pouring chocolate into a cup* Sit do%n1 3itoy( And no

ore non$en$e( o ent(

The$e /eo/#e are %aiting 7u$t around the corner1 Candida1 and they %i## )e co ing here in a &loo(ing up* More /eo/#e &ro 2e$( Friend$ o& your$= We a## %or. &or the $a e co /any( the ne%$/a/er$=

I $ee( And )ecau$e you are a &riend o& the &a i#y1 they ha"e $ent you ahead to /re/are the %ay-i$ that it= E@act#y( &laighing* We##' 2ou are a $coundre#1 3itoy Ca acho' 3ut I %i## go right do%n and te## the Oh1 %hy not= &She shrugs.* Let the A&ter a##1 %e ha"e to accu$to 3ut I do not %ant the not to co e any ore( co e(

our$e#"e$1 you .no%(

to co e(

I thought you %anted u$ to )e g#ad a)out /eo/#e co ing( No( Then1 what do you %ant= &after a pause; parod$ing again a small bo$>s #oice* Oh Tita Pau#a1 I %anna go to the $ a## roo A

&The$ all laugh. /ito$ draws himself up and, one arm a(imbo, begins to pace the floor, twirling an imaginar$ moustache; 'is gruff #oice now parodies a gentleman from the old school.* Cara )a' The$e young /eo/#e no%aday$1 they are $o terri)#e1 no= Ho )re1 %hen I %a$ young1 in the day$ )e&ore the Re"o#ution-SeEorita1 i& you %i## )e $o graciou$1 a #itt#e ore o& your e@ce##ent )randy( Candida* Paula* "ito#* &offering him a cup of chocolate on a saucer* With a thou$and /#ea$ure$1 !on 3enito' &wa#ing imaginar$ fan* Oh1 /#ea$e1 !on 3enito-/#a$e te## u$ a)out your $tudent day$ in Pari$' &rolling his e$es at the ceiling* Ah1 Pari$' Pari$ in the o#d day$'

Candida* !oEa Irene1 co e +uic.' !oEa ?/eng1 hurry o"er here' !on 3enito i$ going to te## u$ a)out hi$ #o"e-a&&air$ %ith tho$e Pari$ian cocotte$' Paula* head %hir#$1 Were they thri##ing= Were they /a$$ionate= Were they $ha e#e$$= Ah1 $/ea. no y heart /ound$' I $ha## $%oon1 I $ha## $%oon' ore-$/ea. no ore' My

&She claps one hand to her brow, the other to her heart, and walt"es out of the room. ,andida and /ito$ burst into laughter. ,andida resumes beating chocolate.* "ito#* &approaching table* I rea##y a "ery $orry1 Candida(

Candida* "ito#*

Oh1 $it do%n1 3itoy1 and drin. our choco#ate( &sitting down* Ha"e /eo/#e )een annoying you=

Candida* We##1 you .no% ho% it i$-re/orter$1 /hotogra/her$1 /eo/#e %anting to ta#. to &ather-and they are o&&ended %hen he re&u$e$ to $ee the ( &She loo(s up towards 8O4T4AIT.* And you .no% %hat1 3itoy= That /icture a&&ect$ /eo/#e in a "ery $trange %ay( "ito#* Candida* "ito#* Ho% do you It a.e$ the ean= angry(

&also loo(ing towards 8O4T4AIT* It i$ rather enig atic1 you .no%(

Candida* We##1 %e e@/#ain-%e e@/#ain to e"ery)ody( We te## the : thi$ i$ Aena$1 and thi$ i$ hi$ &ather Anchi$e$( 3ut they 7u$t #oo. )#an.#y at u$( And then they a$.: Who i$ Aena$= Wa$ he a Fi#i/ino= &She laughs.* There %ere $o e /eo/#e here the other day-co e .ind o& ci"ic $ociety-and they %ere $hoc.ed to hear that %e had had thi$ /ainting &or a %ho#e year %ithout any)ody .no%ing it1 unti# the French an ca e a#ong( They %ere &uriou$ %ith Pau#a and e &or not te##ing e"ery)ody $ooner( One o& the -a $ a## an %ith )ig eye$-he /ointed a &inger right in y &ace and $aid to e in a "ery $o#e n "oice: 8Mi$$ Mara$igan1 I $ha## urge the go"ern ent to con&i$cate the /ainting right a%ay' 2ou and your $i$ter are un%orthy to /o$$e$$ it'9 "ito#* &)oining in her laughter* I )egin to $ee %hat you and Pau#a ha"e had to $u&&er( &8aula enters with e6tra cup.* Candida* Oh1 Pau#a and I do not ind rea##y( It i$ &ather %e %ant to $/are(

&She pic(s up tra$ and gi#es it to 8aula.* Here1 Pau#a( And te## &ather that the $on o& hi$ o#d &riend Ca acho ha$ co e to "i$it hi ( &76it 8aula with tra$.* "ito#* Candida* "ito#* Candida* "ito#* Candida* "ito#* Candida* "ito#* And ho% i$ he-your &ather-&ga"ing towards 8O4T4AIT*-!on Lorenzo e# &pouring a cup for herself* Oh1 +uite %e##( 3ut $o ething i$ the atter %ith hi = agni&ico=

&e#asi#el$* He had an accident( When= A)out a year ago( When he /ainted that /icture= A $hort ti e a&ter he &ini$hed /ainting it( What ha//ened= u$t ha"e )een

Candida* We do not +uite .no%( We did not $ee it ha//en1 and it ha//ened at night( We thin. he %a#.ing in hi$ $#ee/( And he* he &e## &ro the )a#cony in hi$ roo to the courtyard )e#o%( "ito#* Candida* "ito#* Candida* %ho#e year( &rising* Oh1 y Fod' !id he )rea. anything=

No-than. Fod' And ho% i$ he no%= He can o"e a)out-)ut he /re&er$ to $tay in )ed( !o you .no%1 3itoy-he ha$ not co e out o& hi$ roo &or a

&She suddenl$ presses her (nuc(les in her forehead.*

Oh1 %e )#a e our$e#"e$ &or %hat ha//ened' "ito#* Candida* 3ut %hy $hou#d you= It %a$ an accident( &after a pause* 2e$* 2e$1 it %a$ an accident(

&She pic(s up chocolate pot again and pours a cup for 8aula. /ito$ watches her in silence. 8aula appears )o$ousl$ in doorwa$.* Paula* "ito#* Candida* Co e1 3itoy' Hurry' Pa/a i$ de#ighted' He )eg$ you to co e at once' &wal(ing to doorwa$* Than. you1 Pau#a( 3itoy-

&'e stops and loo( at her.* hi 2ou %i## )e "ery care&u#1 3itoy= Re e )er: you are not a re/orter1 you are a &riend( 2ou ha"e not co e to inter"ie% or ta.e hi$ /hotogra/h( 2ou ha"e on#y co e to "i$it hi ( 2e$1 Candida(

"ito#*

&76eunt 8aula and /ito$. ,andida sits down and begins to eat. The da$>s mail is stac(ed on the table. She opens and glances through the letters as she eats. 8aula comes bac(.* Paula* &sitting down and sipping her chocolate* Father %a$ rea##y de#ighted( He e"en got out o& )ed to $ha.e hand$ %ith 3itoy( And they %ere ta#.ing "ery gai#y %hen I #e&t the ( Oh1 &ather i$ rea##y getting )etter1 Candida' !o you not thin. $o= &,andida does not answer. She ahs propped an elbow on the table and is staring at a letter, her head leaning on her hand. 8aula leans sidewa$s to loo( at letter* More )i##$1 Candida= Candida* &pic(ing up and dropping one b$ one the letters she has opened* The %ater )i##( The ga$ )i##( The doctor4$ )i##( And thi$-&wa#ing the letter she>s holding* -thi$ i$ the #ight )i##( Li$ten( &She reads.* 8We again %arn you that un#e$$ account$ are i ediate#y $ett#ed1 %e $ha## )e o)#iged to di$continue &urther $er"ice(9 And thi$ i$ the third %arning they had $ent( Paula* Ha"e you to#d Mano#o= oney right a%ay(

Candida* I ca##ed u/ Mano#o1 I ca##ed u/ Pe/ang-and they $aid: Oh1 ye$1 ye$-they %ou#d $end the They ha"e )een $aying that a## thi$ onth1 )ut they ne"er $end the oney( Paula* Candida* Paula* %i## die here' Candida* )i##$* Paula* Candida* &bitterl$* Our dear )rother and $i$ter' Our dear )rother and $i$ter are deter ined that %e gi"e u/ thi$ hou$e( We##1 they are not going to

a.e u$ do it( 2ou and I are going to $tay right here( We %ere )orn here and %e oney= What i& they &#at#y re&u$e to $u//ort u$ any #onger= A## the$e

3ut %hat i& they continue not to $end u$

&pensi#el$* There must )e $o ething %e can do' &leaning towards 8aula* Li$ten1 I ha"e $o e ne% idea$( aid$*

Paula* &not pa$ing attention* 3ut %hat can %e do= We are t%o u$e#e$$ o#d Candida* Paula* &rising and loo(ing about* Where i$ that ne%$/a/er= Oh1 I #ie a%a.e night a&ter night %ondering ho% %e can

a.e

oney1

oney1

oney'

Candida* &who has found newspaper and is standing b$ the table searching through the pages* Ah1 here it i$( No% #i$ten1 Pau#a( Li$ten to thi$( It $ay$ here- &She stops. /elow, in the street, the car is heard stopping. The sisters listen: then glance at each other. ,andida sighs, folds newspaper, places it on table, and sits down. 8aula pours herself more chocolate. 7nter Tony Javier, carr$ing boo(s and his coat in one hand. 'e glances towards the sisters, pushes the hat off his brow, and calls out; 0?ood afternoon, ladies-1 Then he opens the door at left and flings his coat, hat and boo(s inside. 'e pulls the door shut again and, smiling confidentl$, wal(s into the sala. Ton$ is about twent$2se#en, #er$ masculine, and sardonic. 'is shirt and tie are blissfull$ resplendent: his charm, howe#er, is more subtle2and he (nows it.*

%on#* Candida* %on#* Candida* %on#* Candida* %on#* "i$itor' Candida* %on#*

Ah-ha1

erienda'

&#er$ old2maidish* Wi## you ha"e $o e choco#ate1 Mr( 0a"ier= Tch-tch( That4$ )ad )u$ine$$1 #adie$( Re e )er: I4 7u$t /aying &or roo %ithout )oard(

&se#erel$* Mr( 0a"ier1 anyone %ho #i"e$ under our roo& i$ %e#co e to our ta)#e( 3ut are good anner$ good )u$ine$$=

Mr( 0a"ier1 will you ha"e $o e choco#ate= &pic(ing up a biscuit and popping it into his mouth* 2e$1 than. you' &'e sees /ito$>s cup.@* Oh1 you had a An o#d &riend o& our$( Pau#a1 get another cu/( Oh1 %hat &or=

&As 8aula rises, he reaches across the table and presses a hand on her shoulder. She starts and loo(s at him, not angr$ but wondering. 'e slowl$ withdraws his hand, their e$es interloc(ed.* P#ea$e do not )other1 Mi$$ Pau#a( I can u$e thi$ cu/( I4 Candida* %on#* Candida* %on#* Paula* Candida* %on#* &griml$* Pau#a1 get another cu/( Or /erha/$1 you %ou#d #i.e to o&&er e $our cu/1 Mi$$ Pau#a= not /articu#ar(

&her e$es still innocentl$ fascinated* My cu/= &8ic(ing up 8aula>s cup* !o you $ti## %ant thi$ choco#ate= &8aula sha(ing her head* No( &rising* Mr( 0a"ier1 I a$. you to /ut do%n that cu/ at once' &ignoring ,andida* Than. you1 Mi$$ Pau#a(

&'e lifts the cup abo#e his head.* To )etter )u$ine$$' &Then he throws his head bac( and slowl$, deliberatel$ drin(s his chocolate, the sisters staring at his throat in horror and fascination. Then he sets the cup down and smac(s his lips.* Candida* %on#* &coming to life* Mr( 0a"ier1 it i$ outrageou$&bowing* Per it e to o"e y indecent /er$on &ro your $ight(

&'e wal(s towards his room. The sisters e6change glances. 'e stops and loo(s bac(.* Oh-and than.$ a #ot &or the Candida* %on#* Paula* Candida* %on#* again( erienda'

Mr( 0a"ier1 %i## you /#ea$e co e )ac. here( There i$ $o ething %e ha"e to a$. you( &wal(ing bac(* O.ay1 $hoot( &3uic(l$ pic(ing up chocolate pot* I u$t ta.e thi$ out to the .itchen(

Put that do%n1 Pau#a( 2ou %i## $tay right here( We##1 %hat i$ it= Co e on1 hurry u/( I ha"en4t got uch ti e( I4d #i.e to #ie do%n a o ent )e&ore I go out

&'e $awns and stretches his arms: his brows dar(en with momentar$ irritation.*

Fod-I a

tired' I ne"er get any $#ee/ at a##'

&'e goes to table and pic(s up another biscuit.* Studying a## day1 %or.ing a## night' A )ition-hah' E"ery)ody ha$ it' &5ibbling the biscuit, he goes to a roc(ing chair and flops down.* Loo. at e-a chea/ #itt#e "aude"i##e /iano-/#ayer( Not a /iani$t-oh no1 no-certain#y not a /iani$t' Hey1 you .no% the di&&erence )et%een a /iani$t and a /iano /#ayer= I can te## you( A /iani$t i$ uh- a /iani$t i$- %e##-high)ro% $tu&&( Oh1 you .no%( He had /ro&e$$or$ to teach hi , he %ent to the right acade ie$, and he gi"e$ concert$ to the high $ociety da e$( Cu#ture-that4$ a /iani$t' Whi#e a /iano /#ayer-oh1 that4$ e( No)ody e"er taught e ho% to /#ay( I taught y$e#&-and I .no% I $tin.' &'e rises and thrusts his hands into his poc(ets.* A chea/ #itt#e "aude"i##e /iano-/#ayer( Three $ho%$ a day in a $tin.ing third-c#a$$ theatre( The audience $/it$ on your nec. and the /iano ratt#e$ #i.e an o#d can( And you ne"er .no% ho% #ong the 7o) %i## #a$t* &A pause, while he stares at the floor. Then he sighs deepl$ and shrugs.* So %hat do I do= So I get a )itiou$' So I te## y$e#& that I4 not going to )e 7u$t a /iano-/#ayer a## y #i&e( No1 $iree' I4 gonna )e a #a%yer-a )ig1 rich1 croo.ed #a%yer' So I4 going to $choo#-ye$1 $iree' Fo to $choo# a## day1 /#ay /iano a## night( What a #i&e' Oh %e##1 it u$ed to )e %or$e* &'e suddenl$ turns to the sisters=* Can you1 #adie$1 ha"e any idea %hat .ind o& #i&e I4"e had= Candida* %on#* We are not intere$ted in your /ri"ate #i&e( &loo(ing her in the e$e* Oh no=

&'er e$es falter, she loo(s awa$. 'e smiles.* Fod' 2ou #adie$ ought to )eCandida* &interrupting* Mr( 0a"ier1 %hen %e a##o%ed you to rent a roo %ou#d /er it no ga )#ing1 no drin.ing1 and no %o en in your roo ( %on#* Candida* %on#* Candida* %on#* Candida* %on#* So %hat no%= 2ou ha"e )ro.en our ru#e$* 3ut I don4t do y ga )#ing here( in our hou$e1 it %a$ %ith /er i$$ion that you

I %a$ not re&erring to ga )#ing( We##1 I )ring ho e a )eer no% and then( Nor to drin.ing either( &his e$es widening* Oh1 you ean-

&?rinning, he traces a woman>s form with his hands.* Candida* %on#* Candida* %on#* Candida* %on#* &not smiling* 2e$' 3ut %hen= La$t night1 Mr( 0a"ier1 y $i$ter and I heard you arri"ing %ith a %o an(

Ho#y co%1 %ere you still a%a.e %hen I arri"ed #a$t night= We ha//ened to )e $ti## a%a.e( &bashfull$ dropping his e$es* Were you* %aiting u/ &or e=

Candida*

Mr( 0a"ier1 did you or did you not )ring a %o an here #a$t night' you had

%on#* &wide2e$ed* My dear #adie$1 you u$t ha"e )een drea ing' That %a$ a %onder&u#1 %onder&u# drea #a$t night-and I $ure hate to $/oi# your &un( So1 you #adie$ drea a)out e1 eh= Candida* %on#* No1 %e %ere not drea ing-and ye$1 you had a %o an %ith you' 2e$1 you %ere drea ing-and no1 I did not ha"e a %o an %ith e'

Candida* Ho% can you ha"e the ner"e to #ie' I di$tinct#y heard a %o an #aughing-and $o1 I to#d #oo. out the %indo%( Fo on1 Pau#a-te## hi ( !id you $ee a %o an= Paula* Candida* &timidl$* We##* it* it ay ha"e )een a %o an-

y $i$ter to get u/ and

May ha"e )een-' I thought you $aid you were $ure you $a% one'

Paula* On#y )ecau$e $ou $aid you %ere $ure you heard one' 3ut it %a$ $o dar. rea##y-and a## I cou#d $ee %a$ $o ething %hite( It ay ha"e )een a %o an4$ dre$$-or it ay ha"e )een a an4$ $hirt* %on#* It was a an4$ $hirt' And the an in$ide the $hirt %a$-uh-Oh ye$1 he %a$ the dru er in our )and' He ca e a#ong %ith e #a$t night )ecau$e I had $o e o& hi$ u$ic in y roo ( So he ca e u/, and I ga"e hi hi$ u$ic, and then he %ent a%ay( And that4$ a## there i$ to that' Candida* %on#* Candida* Paula* &ee#ing$' Are you te##ing the truth= &putting up his hand* The %ho#e truth and nothing )ut the truth( I %onder' Oh Candida1 i& %e ha"e &a#$e#y accu$ed Mr( 0a"ier1 the #ea$t %e cou#d do no% i$ a/o#ogize &or ha"ing hurt hi$ e= I4 7u$t an ani a#' Ani a#$ ha"e no &ee#ing$' It i$

%on#* &instantl$ pit$ing himself* Oh no-%hy a/o#ogize to u$e#e$$ to treat the %ith decency' Candida* &stiffl$* Mr( 0a"ier1 i& %e had ade a

i$ta.e1 %e are $orry-and %e a/o#ogize(

%on#* &Ignoring her: la$ing on the miser$* 0u$t a /i#e o& tra$h* Rotten tra$h( Not e"en %orthy to )e $te//ed on-too $ic.ening1 too re/u#$i"e* 0u$t $o ething the gar)age co##ector ought to ta.e a%ay +uic. $o I don4t /o##ute the air &or nice /eo/#e' Candida* %on#* Mr( 0a"ier1 thi$ i$ not &unny at a##' 2ou )et it4$ not &unny'

'e stands scowling at her. /ito$ appears in doorwa$, carr$ing tra$. Ton$>s e6pression changes into surprise.* Why1 he##o there1 guy' "ito#* Hi1 Tony' Pau#a1 %here do I /ut thi$= e(

Paula* &approaching* Fi"e it to &She ta(es tra$ and e6its.* "ito#* %on#* Candida* "ito#* %on#* "ito#*

&wal(ing in* We##1 %e## Tony' Hi1 guy( !o you t%o .no% each other= We u$ed to %or. together( At the /ier$( &ma(ing a face* The o$t horri)#e e ory o& y #i&e'G

%on#* "ito#* %on#* "ito#* %on#* "ito#*

Not o&

ine' What are you doing here1 guy=

What are $ou doing here= I #i"e here( No' 2e$' See that roo o"er there= It4$ ine( For &i&teen /e$o$ a onth(

Candida1 are you ta.ing in )oarder$=

Candida* Oh1 you .no% ho% /oor %e are' Pau#a and I-%e thought %e %ou#d try running a )oarding hou$e( 3ut Mr( 0a"ier i$ our &ir$t-and $o &ar-our on#y cu$to er( &Offstage, 8aula is heard shouting 0,andida- ,andida-1 ,andida raises her #oice.* 2e$1 %hat i$ it1 Pau#a= &8aula appears in doorwa$, still carr$ing tra$.* Paula* Candida* Paula* Candida* Oh1 Candida1 a rat' A rat in the .itchen' &with a sha(e of the head* Oh Pau#a1 Pau#a' &pleadingl$* And $uch a )ig1 )ig rat, Candida' A## right1 I4 co ing( &To /ito$ and Ton$* E@cu$e e(

&76eunt 8aula and ,andida* %on#* "ito#* %on#* "ito#* %on#* touch the "ito#* %on#* crazy1 not "ito#* %on#* "ito#* e( It u$t )e the /o"erty* I didn4t .no% they ha"e co e $o /oor* &contemptuousl$* A /air o& crazy da e$' &rather stiffl$* They are o#d &riend$ o& y &a i#y1 Tony( the ( They4re an-hungry(

&carelessl$* We##1 you )etter $tay a%ay &ro

&smilling in spite of mimself* Why1 ha"e they )een trying to eat you u/= Ah1 they4re crazy( I& I 7u$t #oo. at the 1 they $tar $hi"ering( When I ta#. to the 1 they get a &e"er( And i& I So1 you a.e #o"e to the ' a.e #o"e to the 0one$ 3ridge' Nay-it4$ the that4$

Me= Ma.e #o"e to them= Pah' &'e spits.* I4d $ooner

Poor= They4re de$/erate' 3ut they $ti## ha"e a arried )rother and a arried $i$ter(

%on#* The )rother and $i$ter ha"e )een /aying a## the e@/en$e$-)ut it #oo.$ #i.e they don4t %ant any ore( They %ant to $e## thi$ hou$e and /ut the o#d an in a ho$/ita#( "ito#* %on#* "ito#* And %hat )eco e$ o& Pau#a and Candida= Candida goe$ to #i"e %ith the )rother1 Pau#a goe$ to #i"e %ith the $i$ter( Oh1 /oor Candida' Poor Pau#a' They %on4t #i.e that'

%on#* 2ou )et they don4t #i.e it' That4$ %hy they4re de$/erate( They4"e )een trying a## $ort$ o& crazy $che e$-#i.e trying to run a )oarding hou$e-hah' Who %ant$ to #i"e in a hou$e #i.e thi$= Oh1 Intra uro$ i$ &u## o& $tudent$ #oo.ing &or a /#ace to $#ee/ in( They co e here1 they ta.e one #oo.1 and they go a%ay &a$t' They4re $cared' They %ou#dn4t &ee# at ho e here(

"ito#*

<ou $ee

"ery

uch at ho e any%ay(

%on#* Oh1 I #i.e it here( I4 educating y$e#&1 you .no%( Pau#a and Candida1 they4"e )een trying to thro% e out-)ut they don4t dare( They need the oney too uch( 3e$ide$1 they #i.e ha"ing e around( Oh1 they4re crazy( Why1 they cou#d ha"e $o e )ig oney i& on#y&'e stops and loo(s towards 8O4T4AIT.* "ito#* %on#* &or it( !o##ar$1 "ito#* %on#* "ito#* %on#* "ito#* %on#* "ito#* %on#* "ito#* I& on#y %hat= &coming downstage* See thi$ /ainting= We##1 I .no% an A erican %ho4$ %i##ing to /ay t%o thou$and do##ar$ ind you-not /e$o$( You, Tony= Sure- e( Thi$ A erican1 he hired And no dice( Tho$e da e$ are crazy' May)e they #o"e thi$ /icture too Lo"e it= They hate it' Ho% do you .no%= Oh1 I 7u$t do( And I hate it Oh Lord-)ut %hy= y$e#&' uch( e to /ut o"er the dea#1 $ee=

%on#* &staring at 8O4T4AIT* The da n thing4$ a#%ay$ #oo.ing at e1 a#%ay$ #oo.ing do%n at e( E"ery ti e I co e into hi$ hou$e, e"ery ti e I co e u/ tho$e $tair$( Loo.ing at e1 #oo.ing do%n at e( And i& I turn around and &ace it-then it $ i#e$1 da n it' And i& I go into y roo and c#o$e the door1 I can $ti## &ee# it through the door1 and through the %a##$-#oo.ing at e1 $ i#ing at e' Oh1 I hate tho$e eye$1 I hate that $ i#e1 and I hate the %ho#e da n thing' "ito#* %on#* "ito#* %on#* "ito#* Oh co e1 co e Tony' It4$ on#y a /icture( It %on4t eat you u/( Who doe$ he thin. he i$= Who the he## doe$ he thin. he i$= Are you re&erring to the /ainting or the /ainter= 2ou %ere in hi$ roo right no%1 %eren4t you=

Are you $/ea.ing o& !on Lorenzo= uch /ride in thi$ head and nothing

%on#* 2e$1 ye$' Thi$ !on Lorenzo Mara$igan-thi$ great !on Lorenzo %ho ha$ $o at a## in hi$ /oc.et$( He had you in hi$ roo 1 didn4t he= He ta#.ed to you1 didn4t he= "ito#* %on#* "ito#* He %a$ "ery &riend#y( I4"e )een #i"ing here &or onth$ and he ha$n4t once a$.ed e to hi$ roo '

3ut he doe$n4t .no% you1 Tony(

%on#* So he4$ a great an( So he4$ a great /ainter( So he &ought in the Re"o#ution( And $o %hat= And %hat4$ that o#d Re"o#ution i$ to e= I %ent hungry and I got .ic.ed a)out 7u$t the $a e in $/ite o& that o#d Re"o#ution he4$ $o da n /roud o&' I don4t o%e hi any than.$' And %hat the he## i$ he no%= 0u$t a )eggar' That4$ %hat he i$ no%-7u$t a i$era)#e o#d )eggar' And he ha$ the ner"e to #oo. do%n on e' "ito#* %on#* "ito#* Ho% do you .no% he doe$= Oh1 I .no%( I4"e ta#.ed to hi ( I &orced And he thre% you out= y %ay into hi$ roo once(

%on#* Oh no1 no' He %a$ "ery courteou$1 "ery /o#ite( I %ent there to te## hi a)out thi$ A erican %anting to )uy thi$ /ainting &or t%o grand-and he #i$tened "ery courteou$#y1 he #i$tened "ery /o#ite#y( And he $aid he %a$ "ery $orry )ut it %a$ none o& hi$ )u$ine$$( He $aid: 8The /icture )e#ong$ to y daughter$1 it doe$ not )e#ong to e( I& anyone %ant$ to )uy it1 they %i## ha"e to ta#. to y daughter$(9 And then he a$.ed e to e@cu$e hi 1 he $aid he %anted to ta.e a na/-and I &ound y$e#& on y %ay out( Oh1 he thre% e out a## right-)ut "ery courteou$#y1 "ery /o#ite#y-the da n )eggar- 3ut he4$ going to /ay &or it' Oh1 I4## a.e hi /ay &or it' "ito#* %on#* "ito#* %on#* "ito#* %on#* Aren4t you )eing rather $i##y1 Tony= &grinning at 8O4T4AIT* And I .no% 7u$t %here it %i## hurt hi ' What ha$ the o#d an done to you=

Won4t hi$ heart )rea. %hen hi$ #o"ing daughter$ e## o&& thi$ /icture' Oh1 i$ that the rea$on %hy you4re $o eager to 3e$ide$1 thi$ A erican ha$ /ro i$ed to /ay a.e the $e##= i$$ion1 you .no%'

e a "ery hand$o e co

&7nter ,andida and 8aula. Ton$ turns awa$ from the 8O4T4AIT.* We##1 did you #adie$ catch the rat= Paula* &proudl$* Oh1 o& cour$e' My $i$ter ne"er &ai#$'

&She and ,andida begin to clear the table.* %on#* Candida* "ito#* She4$ the cha /ion rat-catcher1 eh= &modestl$* Oh no-7u$t an e@/ert( Candida ha$ )een the o&&icia# rat-catcher o& the &a i#y $ince $he %a$ a #itt#e gir#(

Paula* Oh1 e"en at night-e"en in the idd#e o& the night-i& any o& u$ heard a $+uea.1 %e %ou#d cry out: 8Candida1 a rat' Co e1 Candida-a rat'9 And Candida a#%ay$ %o.e u/( She %ou#d co e, %e %ou#d hear her /ro%#ing a)out1 /eering here1 /eering there, and then %e %ou#d hear a $udden da$h1 a )rie& $trugg#e1 a &aint $+uea.-and nothing ore-on#y Candida $#ee/i#y %a#.ing )ac. to her )ed( She a#%ay$ got the rat' "ito#* Candida* %on#* Candida* Ho% do you do it1 Candida= Oh1 I 7u$t $ee to ha"e a ta#ent &or it(

2our$ i$ a "ery $/ecia# ta#ent1 Mi$$ Candida( &thoughtfull$* 2e$-)ut I a /#anning to-%e##-de"e#o/ it1 you .no%-to de"e#o/ it &or ore genera# /ur/o$e$(

&Bitoy and Tony e6change blan( loo(s.* A&ter a##1 %hat i$ the /oint in ha"ing ta#ent i& you cannot u$e it to %on#* "ito#* &ather4$( %on#* Candida* %on#* Paula* What1 indeed= S/ea.ing o& oney1 Tony here te##$ e there i$ an A erican %ho %anted to )uy thi$ ne% /ainting o& your a.e oney=

And he still %ant$ to )uy it( We ha"e to#d Mr( 0a"ier again and again: the /icture i$ not &or $a#e( T%o thou$and do##ar$' That i$ not chic.en-&eed( We are "ery $orry1 Mr( 0a"ier( Our &ather /ainted that /icture "ery e$/ecia##y &or u$( We %i## ne"er $e## it(

&Sound of (noc(ing downstairs.* Candida* Who can that )e=

"ito#* Candida* "ito#* Candida*

I thin. I .no%( 2our &riend$= Sha## I te## the to go a%ay= to co e u/(

2ou don.ey' Te## the

&Bitoy goes to head of stairwa$. Tony wanders o#er to the piano, opens it, and runs his fingers o#er the (e$s, standing up.* "ito#* &at stairwa$* H1 &o#.$-co e on u/(

&7nter Pete, Eddie, and Cora. 8ete mloo(s rather rumpled and dishe#elled. 7ddie is immaculate, #er$ much the man2about2 town. ,ora wears slac(s, loo(s bored, and is carr$ing a flash2bulb camera. 8ete, 7ddie and ,ora are in their middle thirties. /ito$ turns to the sisters.* Candida1 Pau#a-the$e are the /eo/#e I to#d you a)out( &To the #isitors* Mi$$ Candida and Mi$$ Pau#a Mara$igan1 daughter$ o& !on Lorenzo( &,horus of 0'ello>s1 and 0?ood afternoon>s1 from the #isitors.* Candida* 'ddie* "ito#* hi$ a/o#ogie$( &leaning forward* Won4t you $it do%n= 3itoy te##$ u$ you ha"e a## co e to $ee our /ainting( And to $ee the great /ainter1 too1 Mi$$ Mara$igan-i& /o$$i)#e( It4$ +uite i /o$$i)#e right no%1 Eddie( !on Lorenzo i$ ta.ing a na/( He a$.ed e to con"ey hi$ greeting$ and

Candida* 2ou u$t e@cu$e $#ee/ and not %ant to )e di$tur)ed( &She glances towards the table.* We %ere 7u$t ha"ing

y &ather( He i$ getting o#d-and you .no% ho% o#d /eo/#e are( They 7u$t %ant to $#ee/ and

erienda( Wou#d any o& you care &or $o e choco#ate=

&,horus of 05o, than( $ou>s1 from the #isitors.* Then1 %i## you /#ea$e e@cu$e u$= The /ainting i$ right o"er there( 3itoy1 you %i## $ho% the = &She smiles and nods at #isitors and goes bac( to the table. Bitoy, Pete, and Eddie mo#e downstage and stand before 8O4T4AIT. Paula and Candida pic( up their tra$s and go out of the room. Cora par(s her camera on the sofa and wal(s o#er to the piano where Tony, obli#ious of the #isitors, has been idl$ pic(ing out a tune, still standing. The tune is 0Aereda Tropical.1* Cora* %on#* Cora* %on#* Hi1 Tony( &loo(ing around* Hi1 Cora( &glancing round the room* I$ thi$ %here you #i"e no%= Dery e#egant1 don4t you thin.= e( Can I $ o.e here-or %ou#d that o#d )ozo &nodding ine( Here1 gi"e e one too(

Cora* &fetching out her cigarettes* It #oo.$ rather tired to towards photograph o#er piano* dro/ do%n &ro the %a##= %on#*

&sitting down on stool: his bac( against piano* Oh1 he4$ an o#d &riend o&

&The$ light cigarettes. ,ora sits down on chair beside Ton$, facing audience.* Cora* &leaning sidewa$s towards Ton$ and gesturing with her head towards the group in front of 8O4T4AIT.* The Inte##igent$ia( S/eech#e$$ i$ ec$ta$y( &She raises her #oice and moc(ingl$ declaims;*

0Then I felt I li(e some watcher in the s(ies 9hen a new planet swims into his (en= Silent, upon a pea( in arien222 &After a pause* We##1 $/ea. u/ )oy$( Say $o ething( Or $hou#d I $end out &or $o e a$/irin= %on#* Cora* Pete* Cora* Pete* Cora* "ito#* 'ddie* Pete* 'ddie* Cora* 'ddie* Cora* 'ddie* "ito#* 'ddie* Cora* %on#* Cora* %on#* What do you thin. o& that /icture1 Cora= !on4t a$. 2e$1 Cora= We##1 %hat do you $ay1 Pete= I$ it Art-or i$ it )a#oney= Oh1 it4$ Art a## right-)ut I &ee# #i.e )ru$hing Oh1 good' Hooray &or Art' Ho% do you #i.e it1 Eddie= I don4t #i.e it at a##( We##1 %hat do you thin. o& it= My thought$ are un/rinta)#e( Oh Eddie1 I4 Ready1 Cora= &fetching out pencil and noteboo(* I4 No%1 #et a## your$1 $%eetheart( dying to hear the ' y teeth( e( I4 a##ergic to c#a$$ica# $tu&&( Hey1 Pete'

e $ee* What do %e $ay &ir$t=

We= <ou>re %riting thi$ &eature artic#e1 Eddie-not u$( 3ut %hat the de"i# can %e $ay a)out thi$ /icture= I4 %aiting1 geniu$(

0u$t $ay it ought to )e in the gar)age can1 guy( Oh1 Tony-don4t you #i.e it either= I #o"e it' It4$ %orth t%o thou$and do##ar$ to e' e )er o& the /ro#etariat- 2ou are a e )er o& the /ro#etariat1

Cora* Hear that1 Eddie= No% you ca $ay that the aren4t you1 Tony= %on#* What4$ that=

Cora* Oh ye$1 you are( Hey1 &e##o%-thi$ i$ Tony 0a"ier1 a darned good /iano-/#ayer( He and I gre% u/ a ong the $#u $ o& Tondo( And there you are1 Eddie' 2ou can )ring in the $#u $ o& Tondo 7u$t #i.e that( 'ddie* Pete* "ito#* Cora* Oh no-not again' Ho% can you %rite a)out Art and not )ring in the $#u $ o& Tondo= And the I"ory To%er( And the /ro#etariat( Li.e Tony here( And i& he $ay$ the /icture4$ %orth t%o thou$and do##ar$ to hi -

'ddie* I don4t care %hat he $ay$( Thi$ /icture4$ not %orth t%o cent$ to me( I don4t under$tand a## thi$ &u$$ a)out it( I don4t thin. it4$ %orth %riting a)out at a##( Oh1 %hy did I e"er #earn to %rite'

Cora*

!ar#ing1 %ho $aid you e"er did= e out(

'ddie* Co e on1 Pete-he#/ Pete* 'ddie* Cora* Pete*

It4$ ea$y a$ /ie1 Eddie( 0u$t )e angry %ith thi$ /icture, 7u$t /i#e on the $ocia#-con$ciou$ne$$( I4 $ic. o& %riting a)out $ocia#-con$ciou$ne$$'

And )e$ide$1 it4$ not &a$hiona)#e any ore( 2ou cou#d )egin %ith a /unch#ine: 8I& it4$ not Pro#etariat1 it4$ not Art(9

'ddie* Sure* Let e $ee* So ething #i.e thi$: 8A$ I a#%ay$ $ay1 Art i$ not autono ou$, Art $hou#d not $tand a#oo& &ro undane a&&air$, Art $hou#d )e $ocia##y $igni&icant, Art ha$ a &unction* "ito#* Pete* "ito#* Pete* Cora* "ito#* Pete* a ateur$( Cora* Li.e Li.e a.ing /eo/#e )ru$h their teeth= a.ing /eo/#e )ru$h their teeth(

Then1 !on Lorenzo i$ a high#y $ucce$$&u# arti$t( He ought to go and %or. &or 6o#yno$ Tooth/a$te( A$ I a#%ay$ $ay1 the rea# arti$t$ or our ti e are the ad"erti$ing Miche#ange#o /#u$ Sha.e$/eare e+ua#$ 6o#yno$ ad( My dear )oy1 co /ared to the &unctiona# /er&ection o& the 6o#yno$ ad1 Miche#ange#o and Sha.e$/eare %ere Shut u/1 Pete( Fo on1 Eddie( 8Art ha$ &unction(9 No% %hat= ateria# #ying a## a)out u$ and the /o"erty o& en(

Pete* No% he u$t e /ha$ize the contra$t )et%een the %ea#th o& arti$tic the #oca# arti$t4$ i agination( Cora* Pete* "ito#* Pete* Cora* "ito#* Pete* "ito#* Cora* Pete* Cora* Pete* 'ddie* Oh Chri$t- u$t I hear that again' Cora1 Cora-i agine )eing a critic and &ai#ing to $ay that-

&in moc(2oratorical manner* Out$ide are the $#u $ o& Tondo-and the )att#e&ie#d$ o& China&same manner* And %hat doe$ the arti$t do= &same manner* He drea $ a)out Aena$He drea $ a)out the Tro7an WarThe o$t hac.neyed the e in a## Art' %hich a## content ha$ "ani$hed'

And he ce#e)rate$ %ith e@aggerated de&iance "a#ue$ &ro He #oo.$ )ac. %ith no$ta#gic #onging to the

o$t /er&ect %or#d o& the Pa$t'

And he /aint$ thi$ atrociou$ /icture-the $ic.#y /roduct o& a decadent i agination' O& a decadent bourgeois i agination1 Pete( O& a decadent )ourgeoi$ i agination1 Cora' Wi## you idiot$ $to/ &oo#ing and #et e thin.'

Pete* 3ut %e4re not &oo#ing1 Eddie1 and you don4t ha"e to thin.' 2our artic#e /ractica##y %rite$ it$e#&( 0u$t co /are thi$ &wa#ing towards 8O4T4AIT* thi$ /iece o& tri/e %ith /ro#etariat art a$ a %ho#e( Pro#etariat Art-$o c#ean1 $o %ho#e$o e1 $o "igorou$1 in $/ite o& a## the "i#ene$$ and i$ery %ith %hich it dea#$1 )ecau$e it i$ re"o#utionary1 )ecau$e it i$ rea#i$tic1 )ecau$e it i$ dyna ic-the "anguard o& hu an /rogre$$1 the e@/re$$ion o& &orce$ %hich can ha"e )ut one-on#y one'-ine"ita)#e outco e( Cora* Paradi$e'

"ito#* Pete* "ito#* Cora* Pete* 'ddie* Pete* 'ddie*

Hea"en it$e#&' No tyrant$1 no ca/ita#i$t$1 no $ocia# c#a$$e$No ha#ito$i$ and no 3(O(' Freedo &ro 6o#yno$' Freedo &ro Li&e 3ouy'

And there you are1 Eddie-you4"e got a &ighting artic#e' Oh1 I don4t .no%1 I don4t .no%* What4$ %rong %ith it= We##1 a$ Cora $ay$-it4$ o#d hat, it4$ going out o& &a$hion(

"ito#* Ho% can #o"ing your &e##o% en e"er go out o& &a$hion= Pete* My dear )oy1 you u$t di$tingui$h )et%een doing a thing and %riting about it. We are a## %riter$ here, and it i$ our /ri"i#ege to %rite a)out thing$1 #i.e #o"ing one4$ &e##o% an1 or #i.e organizing the /ro#etariat( 3ut the .ind i& %riting %e doa#a$'-can go out o& &a$hion( Loo. at Eddie here( He $ay$ he i$ $ic. o& %riting a)out $ocia# con$ciou$ne$$-%hich doe$ not ean that he i$ $ic. o& $ocia# con$ciou$ne$$( Or doe$ it= 'ddie* Cora* "ito#* Pete* 'ddie* Cora* 'ddie* Cora* 'ddie* Oh1 no1 no( Ho% I #o"e the #o%er c#a$$e$' I& on#y they %ou#d u$e 6o#yno$And ta.e a )ath e"erydayAnd %ear a nec.tie and coat #i.e Eddie hereAnd )e a)#e to di$cour$e on Mar@i$ 3oy$1 )oy$-no )ic.ering( Cora2e$1 dar#ing= Shut u/( and Trot$.yi$ #i.e Pete here-

Cora* That4$ %hat I #i.e %ith Eddie( He .no%$ ho% to dea# %ith co on /eo/#e( And i& you #o"e the co on /eo/#e $o uch1 Eddie1 %e4"e got #ot$ and #ot$ o& the right %here %e %or.( They4re do%n a ong the achine$1 and they4re there e"eryday-right in the $a e )ui#ding %ith u$( They4re $ a## and they $ e## o& $%eat and they #i"e on &i$h( I4 $ur/ri$ed at your &e##o%$( Here4$ the /ro#etariat right under your no$e$1 day in and day out1 )ut I ne"er $ee you &e##o%$ going do%n to organize the -or to &raternize %ith the ( A$ a atter o& &act1 I ha"e noticed that you actua##y a#oid going do%n to the ( 2ou a#%ay$ $end $o e)ody e#$e to dea# %ith the ( No% %hy= !on4t they $/ea. the $a e #anguage-or are you a&raid= Pete* "ito#* Pete* Cora* Cora1 Cora1 you 3e$ide$1 it4$ $o i$7udge u$( What you ta.e &or &ear i$ not &ear at a##uch ea$ier to #o"e the /ro#etariat &ro a di$tance( ere#y a%e and re"erence(

A "ery $a&e di$tance( Fro the $ e## o& $%eat and &i$h( a $a&e #iterary di$tance( 0u$t

'ddie* And that4$ %hat a## our $ocia# con$ciou$ne$$ a ount$ to( 0u$t ya/-ya/-ya/ &ro the ya/-ya/-ya/ o& #iterary &a$hion* Cora* "ito#HCora* Cora* In other %ord$&together* 0u$t ya/-ya/-ya/--Period(

'ddie* Re e )er %hen a## the %or#d %ere di"ided )et%een the 3oo)$ and the 3right 2oung Peo/#e= 9e %ere the 3right 2oung Peo/#e1 and the 3oo)$ %ere a## tho$e #itt#e hic.$ and 3a))it$ %ho %eren4t reading Mr( Sinc#air Le%i$ and Mr( Menc.en and the )eauti&u# Mr( Ca)e##( Cora* Pete* And then1 $udden#y1 tho$e #itt#e hic.$ )eca e the Pro#etariat( 2e$-and e"ery)ody e#$e %ere 7u$t horrid )ourgeoi$ and reactionarie$(

'ddie* And o& cour$e we %ere the cha /ion$ o& the Pro#etariat1 we %ere the S/earhead o& Progre$$1 %e %ere the Re"o#ution' !idn4t %e .no% a## a)out carte#$ and $tri.e$ and dia#ectic$' Cora* 'ddie* Pete* And i& %e ne"er did go to &ight in S/ain-%e##1 %e did go to tho$e Writer4$ Congre$$e$ in Ne% 2or.( And no% %e4"e di"ided the %or#d into Fa$ci$t$ and Men o& Food Wi##( Our$e#"e$ )eing the Men o& Food Wi##(

Cora* And Pin. i$ no #onger the &a$hiona)#e co#or( We4re no% %earing the /atriotic red-%hite-and-)#ue( It4$ no #onger $ art to )e a &e##o%-tra"e#er( We4"e a## )eco e Fourth-o&-0u#y orator$( 'ddie* Pete* Cora* "ito#* Cora* "ito#* Cora* One thing you can $ay &or u$ any%ay-%hen it co e$ to #iterary &a$hion$1 %e4re a#%ay$ right out in &rontA#%ay$ right out in the &ie#d3eha"ing a$ the %ind )eha"e$( I %onder %hat the &a$hion %i## )e to orro%= I ho/e it %on4t )e #o"ing tho$e /o#ite and $o heroic 0a/ane$e1 the cha /ion$ o& Orienta# dignity( Oh1 i /o$$i)#e' 3ecau$e the arine$ %i## .ee/ >e &#ying'

"ito#* 3ecau$e our &a$hion$ are a#%ay$ ade in A erica-and i agine the co rade$ in A erica $tarting a &a$hion to #o"e the 0a/$' Oh1 there4$ going to )e a %ar1 &e##o%$-there4$ going to )e a %ar' And a#a$ &or Cu#ture1 a#a$ &or Art' 'ddie* Pete* 'ddie* Pete* Cora* Pete* 'ddie* PeteH'ddie* Cora* 'ddie* Cora* Pete* Cora* To he## %ith Cu#ture' To he## %ith Art' I ho/e the %ar )rea.$ out to orro%' I ho/e it )rea.$ out tonight' A rea##y )ig1 )#oody1 )#a$ting %ar that )#o%$ u/ e"erything' The )igger the )etter' 2ou &e##o%$ Eddie1 %e a.e e #augh(

a.e her #augh'

&in falsetto* We4re Po##yanna1 the F#ad Fir#' &)oining hands, prancing about* We are the ha//y1 ha//y )oy$1 %ho )id #one#y heart$ re7oice' &dr$l$* Ha-ha-ha( There1 %e ade her #augh again'

Oh1 you &e##o%$ are &unny a## right( Praying &or a %ar-7u$t $o you %on4t ha"e to &ace u/ to that /icture( Eddie1 don4t %e %ant to &ace u/ to thi$ /icture= No1 you4re a&raid(

'ddie* &in earnest* To he## %ith that /icture' With a )ig %ar a)out to )#o% u$ u/ any o ent1 %ho %ant$ to )other a)out /icture$= The ti e$ %e #i"e in are 7u$t too tre endou$ to %a$te on /retty "i$ion$ o& /oet$ and arti$t$' O"er in Euro/e1 young en are dying )y the thou$and$ right thi$ "ery o ent' The &uture o& !e ocracy and o& the hu an race it$e#& i$ in /eri#'

And you %ant u$ to $tand here and %re$t#e %ith one #itt#e /ainting )y one #itt#e Eng#and' Thin. o& %hat4$ ha//ening right no% in China' &'e pauses.* Cora* 'ddie* Cora* Pete* Cora* Pete* Cora* Fo on( Fo on %hat= Fo on /i#ing u/ No% %ait a

an' Thin. o& %hat4$ ha//ening right no% in

ore rea$on$ &or not #oo.ing at that /icture( Fo on 7u$ti&ying your$e#& &or running a%ay &ro

it(

inute( Why $hou#d %e )e a&raid o& thi$ /icture= a.e$ u$ &ee# "ery )ogu$ and "ery i /otent(

3ecau$e it i$ a %or. o& art-and it a## It doe$n4t Oh no= a.e

e &ee# anything o& the $ort'

&A pause, during which the$ all loo( at 8O4T4AIT.* Pete* hi$ /ortrait= Cora* No* No1 it doe$n4t a.e e &ee# anything o& the $ort' Who i$ thi$ !on Lorenzo that I $hou#d )e a&raid to &ace

He i$ the creator1 %e are the counter&eiter$( He i$ the Ange# o& 0udge ent co e out o& the Pa$t( e' I&

Pete* We##1 I4 the Pre$ent-and I re&u$e to )e 7udged )y the Pa$t' It i$ the Pa$t rather that ha$ to )e 7udged )y there4$ anything %rong %ith e1*