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. Cora, a news photographer Susan & Violet,#aude#ille Don Perico, a senator Doa Loleng, his wife Patsy, their daughter !lsa Montes & Charlie Dacanay,friends of o%a !oleng A Watch an Po#ice an

THE PEOPLE Candida and Paula Marasigan, Spinster daughters of on !oren"o artists Pepang, their elder married sister Manolo, their eldest brother Bitoy Camacho, a friend of the famil$ Tony Ja ier, a lodger at the Marasigan house Pete, a Sunday Magazine editor !ddie, a writer A !etecti"e Don "l aro & Doa #peng, hi$ %i&e Don Pepe Don Miguel & Doa $rene, hi$ %i&e Don "risteo

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(.* Bitoy% 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$$ and e&&ecti"e a$ the rea# thing-de o#i$hing en4$ o ent o& hi$tory and de"ouring hi$ onu ent$( The no)#e and e"er #oya# City had )eco e 7u$t another 7ung#e o& $#u $( And that i$ ho% o$t o& u$ re e )er the i /eria# city o& our &ather$' 3ut there %a$ one hou$e in thi$ $treet that ne"er )eca e a $#u , that re$i$ted the 7ung#e1 and re$i$ted it to the "ery end, &ighting $tu))orn#y to .ee/ it$e#& intact1 to .ee/ it$e#& indi"idua#( It &ina##y too. a g#o)a# %ar to de$troy that hou$e and the three /eo/#e %ho &ought &or it( Though they %ere de$troyed1 they %ere ne"er con+uered( They died %ith their hou$e1 and they died %ith their city-and ay)e it4$ 7u$t a$ %e## they did( They cou#d ha"e ne"er $ur"i"ed the de$truction o& the o#d Mani#a* Their hou$e $tood on thi$ corner o& Ca##e Rea#( Thi$ /iece o& %a##1 thi$ hea/ o& )ro.en $tone$ are a## that4$ #e&t o& it no%-the hou$e o& !on Lorenzo Mara$igan( Here it $tood-and here it ha$ )een $tanding &or generation$( Oh1 &ro the out$ide1 you %ou#d ha"e thought it 7u$t another $#u -tene ent( It #oo.ed #i.e a## o& the other hou$e$ on thi$ $treet-the roo& )#ac. %ith o$$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$$ a$ ?$ua#'9 our "oice$ %ere )ra"e and gay1 our heart$ %ere untrou)#ed( And )ecau$e %e &e#t $o $a&e1 )ecau$e %e &e#t $o con&ident( We de#i)erate#y tried to $care our$e#"e$( Re e )er a## tho$e grue$o e ru or$ %e .e/t $/reading= We en7oyed $hi"ering a$ %e to#d the 1 and %e en7oyed $hi"ering a$ %e #i$tened( It %a$ a## 7u$t a thri##ing ga e( We %ere $o/hi$ticated chi#dren /#aying %ith ra/e and urder1 and ha#& %i$hing it %a$ a## true( &'e places himself at stair2landing, as though he had )ust come up the stairs.* That Octo)er a&ternoon1 I had co e here %ith y head )uzzing %ith ru or$( Out there in the $treet1 /eo/#e %ere $to//ing each other to e@change inter/retation$ o& the #ate$t head#ine$( In the re$taurant$ and )ar)er $ho/$1 i#itary e@/ert$ %ere &ighting the %ar in Euro/e( And in a## the hou$e$ in a## the $treet$1 radio$ %ere $crea ing out the #ate$t )u##etin$( I &e#t e@cited-and I &e#t "ery /#ea$ed %ith y$e#& &or &ee#ing e@cited( I /ro"ed ho% in"o#"ed I %a$ in any ti e$, and ho% concerned1 ho% no)#y concerned I %a$ %ith the hu an condition( So1 I ca e u/ %ith tho$e $tair$ and I /au$ed here on the #anding and I #oo.ed at thi$ roo that I hadn4t $een $ince y )oyhood-and1 $udden#y1 a## the /eo/#e and a## the head#ine$ and a## the radio$ $to//ed $crea ing in y ear$( I $tood here-and the %ho#e %or#d had )eco e $i#ent( It %a$ a$toni$hing-and it %a$ $o high#y un/#ea$ant( The $i#ence o& the roo %a$ #i.e an in$u#t1 #i.e a $#a/ in the &ace( I &e#t $udden#y a$ha ed o& a## the no)#e e@cite ent I had )een en7oying $o uch( 3ut y ne@t &ee#ing %a$ o& )itter re$ent ent( I re$ented thi$ roo ( I hated tho$e o#d chair$ &or $tanding $o ca# #y( I %anted to %a#. right do%n again1 to #ea"e thi$ hou$e1 to run )ac. to the $treet-)ac. to the $crea ing /eo/#e and head#ine$ and radio$( 3ut I didn4t( I cou#dn4t( The $i#ence had e he#/#e$$( 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 $oung man on the stairwa$. Bitoy% 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.* Bitoy% 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 Bitoy% 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% &approaching him* So thin1 3itoy= And $o a#ready= 2ou cannot )e ore than t%enty( Bitoy% Candida% Ia t%enty-&i"e( any #ine$ on your &ace

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* Bitoy% Candida% Bitoy% Candida% Bitoy% Candida% Bitoy% 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$' Bitoy% Candida% any ore* Bitoy% And he ha$ not co e yet-your Prin$i/e de A$turia$= A#a$1 he ha$ not co e at a##' Not e"en on Friday e"ening$= And non o& our o#d &riend$ co e

Candida% Not e"en on Friday e"ening$( No ore 8tertu#ia$9 on Friday1 3itoy( We ha"e gi"en the u/( The o#d /eo/#e are dying o&&, and the young /eo/#e-you young /eo/#e1 3itoy-do not care to co e( &She turns her face towards doorwa$ 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( 2ou )ring )ac. e ory o& $uch ha//y day$( a.e e &ee# "ery

Bitoy% 2e$1 I .no%( <ou )ring the )ac. to e1 too-a## tho$e Friday e"ening$ I $/ent here %ith y &ather( Candida% &releasing his hands* 3ut ho% i$ it you re e )ered= 2ou %ere on#y a chi#d( Bitoy% 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% Ca acho' 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

&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= Bitoy% 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= Bitoy% Paula% and ta#.ed' 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

&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 ay I a$. dear $ir1 %hy you &ai#ed u$ #a$t Friday= Pau#a1 $o e )randy &or !on Ari$teo' y

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% 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-door' 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= Bitoy% $ a## roo ' Paula% Candida% Paula% Candida% Paula% &in the #oice often2$ears2old* Tita Pau#a1 Tita Pau#a-I %anna go to the Hu$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% Pa/a $aid %e %ere the /rettie$t gir# in a## the gathering'

Candida% Oh1 ye$ !oEa Irene-our /a/a acco /anied u$-and he %a$ the di$tingui$hed gent#e an /re$ent'

o$t

Bitoy% &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% /a/a' &)o$ousl$ e6cited, too* Here i$ /a/a1 !on A#"aro' !oEa Irene1 here i$

&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(e2belie#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$es and sees the 8O4T4AIT for the first time. Staring, he comes forward and stands behind the sisters, his face between their staring faces.* Bitoy% Candida% Bitoy% Paula% Bitoy% Candida% Bitoy% Candida% I$ 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

Bitoy% 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 &ather ean= &'e holds up a hand towards 8O4T4AIT.*

A young city* Paula% Bitoy% Candida% Bitoy% Paula% Bitoy% Paula%

an carrying an o#d

an on hi$ )ac.* and )ehind the 1 a )urning

The o#d

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(

Bitoy% &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% Bitoy% Candida% Bitoy% Candida% t%o head$( He ha$ /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

Bitoy% 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% 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(

Bitoy% 2e$1 ye$-)ut1 then1 %hy /aint hi $e#& a$ Aena$( Why /aint hi $e#& again$t the Tro7an War= Paula% &shrugging* We do not .no%(

Candida%

He did not te## u$(

Bitoy% !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$ing. She and 8aula e6changes glances.* Bitoy% &loo(ing up e6pectantl$* 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 $orry no% he e"er ca e( Bitoy% Candida% Bitoy% Candida% year$' &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

&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.* Bitoy% Pau#a1 %hat i$ the atter' What ha"e I done=

Paula% 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( Bitoy% 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.*

Bitoy%

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% cu/( Bitoy% )e going( Paula% Bitoy% Candida% non$en$e( &not loo(ing up* No1 $tay and ha"e $o e erienda( Pau#a1 get another u$t

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

ore

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

Candida% 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= Bitoy% Candida% Bitoy% Candida% Paula% Bitoy% Paula% Bitoy% Paula% 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=

Bitoy% &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$1 a #itt#e ore o& your e@ce##ent )randy( Candida% &offering him a cup of chocolate on a saucer* /#ea$ure$1 !on 3enito' With a thou$and

Paula% &wa#ing imaginar$ fan* Oh1 /#ea$e1 !on 3enito-/#a$e te## u$ a)out your $tudent day$ in Pari$' Bitoy% &rolling his e$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% Were they thri##ing= Were they /a$$ionate= Were they $ha e#e$$= Ah1 $/ea. no ore-$/ea. no ore' My head %hir#$1 y heart /ound$' I $ha## $%oon1 I $ha## $%oon' &She claps one hand to her brow, the other to her heart, and walt"es out of the room. ,andida and /ito$ burst into laughter. ,andida resumes beating chocolate.* Bitoy% Candida% Bitoy% &approaching table* I rea##y a "ery $orry1 Candida(

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 $trange %ay( Bitoy% Candida% Bitoy% Ho% do you It a.e$ 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 Bitoy% &)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$it hi ( &76it 8aula with tra$.* Bitoy% And ho% i$ he-your &ather-&ga"ing towards 8O4T4AIT*-!on Lorenzo e# agni&ico= Candida% Bitoy% Candida% Bitoy% Candida% Bitoy% Candida% Bitoy% &pouring a cup for herself* Oh1 +uite %e##( 3ut $o ething i$ the atter %ith hi =

&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=

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

No-than. Fod' And ho% i$ he no%=

Candida% He can o"e a)out-)ut he /re&er$ to $tay in )ed( !o you .no%1 3itoyhe ha$ not co e out o& hi$ roo &or a %ho#e year( &She suddenl$ presses her (nuc(les in her forehead.*

Oh1 %e )#a e our$e#"e$ &or %hat ha//ened' Bitoy% 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$.* Paula% once' Bitoy% Candida% Co e1 3itoy' Hurry' Pa/a i$ de#ighted' He )eg$ you to co e at &wal(ing to doorwa$* Than. you1 Pau#a( 3itoy-

&'e stops and loo( at her.* 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% hi or ta.e hi$ /hotogra/h( 2ou ha"e on#y co e to "i$it hi ( Bitoy% 2e$1 Candida(

&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=

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 oney right a%ay( They ha"e )een $aying that a## thi$ onth1 )ut they ne"er $end the oney( Paula% Candida% &bitterl$* Our dear )rother and $i$ter' Our dear )rother and $i$ter are deter ined that %e gi"e u/ thi$ hou$e(

Paula% 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 %i## die here' Candida% 3ut %hat i& they continue not to $end u$ re&u$e to $u//ort u$ any #onger= A## the$e )i##$* Paula% Candida% Paula% aid$* Candida% Paula% oney1 oney= What i& they &#at#y

&pensi#el$* There must )e $o ething %e can do' &leaning towards 8aula* Li$ten1 I ha"e $o e ne% idea$( &not pa$ing attention* 3ut %hat can %e do= We are t%o u$e#e$$ o#d &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 oney' a.e oney1

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.* Tony% Candida% Ah-ha1 erienda'

&#er$ old2maidish* Wi## you ha"e $o e choco#ate1 Mr( 0a"ier= 7u$t /aying &or

Tony% Tch-tch( That4$ )ad )u$ine$$1 #adie$( Re e )er: I4 roo %ithout )oard( Candida% our ta)#e( Tony% Candida%

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

Mr( 0a"ier1 will you ha"e $o e choco#ate=

Tony% &pic(ing up a biscuit and popping it into his mouth* 2e$1 than. you' &'e sees /ito$>s cup.@* Oh1 you had a "i$itor' Candida% An o#d &riend o& our$( Pau#a1 get another cu/(

Tony%

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$$ Pau#a( I can u$e thi$ cu/( I4 Candida% Tony% Candida% Tony% Paula% Candida% Tony% &griml$* Pau#a1 get another cu/( Or /erha/$1 you %ou#d #i.e to o&&er e $our cu/1 Mi$$ 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% Tony% &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 erienda'

Candida% Mr( 0a"ier1 %i## you /#ea$e co e )ac. here( There i$ $o ething %e ha"e to a$. you( Tony% Paula% Candida% &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( uch ti e( I4d

Tony% We##1 %hat i$ it= Co e on1 hurry u/( I ha"en4t got #i.e to #ie do%n a o ent )e&ore I go out again(

&'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$t-oh no1 nocertain#y not a /iani$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$$or$ to teach hi , he %ent to the right acade ie$, and he gi"e$ concert$ to the high $ociety da e$( Cu#ture-that4$ a /iani$t' Whi#e a /iano /#ayer-oh1 that4$ e( No)ody e"er taught e ho% to /#ay( I taught y$e#&-and I .no% I $tin.' &'e rises and thrusts his hands into his poc(ets.* A chea/ #itt#e "aude"i##e /iano-/#ayer( Three $ho%$ a day in a $tin.ing thirdc#a$$ 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$1 ha"e any idea %hat .ind o& #i&e I4"e had= Candida% Tony% We are not intere$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 in our hou$e1 it %a$ %ith /er i$$ion that you %ou#d /er it no ga )#ing1 no drin.ing1 and no %o en in your roo ( Tony% Candida% So %hat no%= 2ou ha"e )ro.en our ru#e$*

Tony% Candida% Tony% Candida% Tony%

3ut I don4t do

y ga )#ing here(

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% Tony% Candida% %o an( Tony% Candida% Tony% Candida% &not smiling* 2e$' 3ut %hen= La$t night1 Mr( 0a"ier1 y $i$ter and I heard you arri"ing %ith a

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=

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

Tony% &wide2e$ed* My dear #adie$1 you u$t ha"e )een drea ing' That %a$ a %onder&u#1 %onder&u# drea you had #a$t night-and I $ure hate to $/oi# your &un( So1 you #adie$ drea a)out e1 eh= Candida% Tony% 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 y $i$ter to get u/ and #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-

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$ $hirt* Tony% %a$ the dru It was a an4$ $hirt' And the an in$ide the $hirt %a$-uh-Oh ye$1 he er in our )and' He ca e a#ong %ith e #a$t night )ecau$e I had $o e

o& hi$ u$ic in y roo ( So he ca e u/, and I ga"e hi a%ay( And that4$ a## there i$ to that' Candida% Tony% Candida%

hi$

u$ic, and then he %ent

Are you te##ing the truth= &putting up his hand* The %ho#e truth and nothing )ut the truth( I %onder'

Paula% 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$ &ee#ing$' Tony% &instantl$ pit$ing himself* Oh no-%hy a/o#ogize to e= I4 ani a#' Ani a#$ ha"e no &ee#ing$' It i$ u$e#e$$ to treat the %ith decency' Candida% a/o#ogize( &stiffl$* Mr( 0a"ier1 i& %e had ade a 7u$t an

i$ta.e1 %e are $orry-and %e

Tony% &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. $o I don4t /o##ute the air &or nice /eo/#e' Candida% Tony% Mr( 0a"ier1 thi$ i$ not &unny at a##' 2ou )et it4$ not &unny' Ton$>s

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

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

&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 Not o& o$t horri)#e e ory o& y #i&e'G

ine' What are you doing here1 guy=

Bitoy% Tony% Bitoy% Tony% Bitoy%

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* Tony% Bitoy% Tony% hungry( Bitoy% u/= &contemptuousl$* A /air o& crazy da e$' &rather stiffl$* They are o#d &riend$ o& y &a i#y1 Tony( the ( They4re an-

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

&smilling in spite of mimself* Why1 ha"e they )een trying to eat you

Tony% 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 touch the Bitoy% So1 you a.e #o"e to the ' a.e #o"e to

Tony% Me= Ma.e #o"e to them= Pah' &'e spits.* I4d $ooner the 0one$ 3ridge' Nay-it4$ the that4$ crazy1 not e( Bitoy% It

u$t )e the /o"erty* I didn4t .no% they ha"e co e $o /oor*

Tony% Bitoy%

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

Tony% 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#( Bitoy% Tony% Bitoy% 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'

Tony% 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( Bitoy% <ou $ee "ery uch at ho e any%ay(

Tony% 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.* Bitoy% I& on#y %hat=

Tony% &coming downstage* See thi$ /ainting= We##1 I .no% an A erican %ho4$ %i##ing to /ay t%o thou$and do##ar$ &or it( !o##ar$1 ind you-not /e$o$( Bitoy% Tony% Bitoy% Tony% Bitoy% Tony% Bitoy% Tony% You, Tony= Sure- e( Thi$ 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$t do( And I hate it y$e#&' uch( e to /ut o"er the dea#1 $ee=

Bitoy%

Oh Lord-)ut %hy=

Tony% &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 itthen 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' Bitoy% Tony% Bitoy% Tony% Bitoy% 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=

Tony% 2e$1 ye$' Thi$ !on Lorenzo Mara$igan-thi$ great !on Lorenzo %ho ha$ $o uch /ride in thi$ head and nothing at a## in hi$ /oc.et$( He had you in hi$ roo 1 didn4t he= He ta#.ed to you1 didn4t he= Bitoy% Tony% roo ' Bitoy% He %a$ "ery &riend#y( I4"e )een #i"ing here &or onth$ and he ha$n4t once a$.ed e to hi$

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

Tony% 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' Bitoy% Tony% Bitoy% 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(

Tony% 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' Bitoy% Tony% Bitoy% Tony% Bitoy% 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 a.e the $e##=

Tony% 3e$ide$1 thi$ A erican ha$ /ro i$ed to /ay co i$$ion1 you .no%'

e a "ery hand$o e

&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.* Tony% Candida% Bitoy% #itt#e gir#( 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

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' Bitoy% Candida% Tony% 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( /#anning to-%e##-de"e#o/ it1 you .no%-to

Candida% &thoughtfull$* 2e$-)ut I a 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 oney= Tony% What1 indeed=

a.e

Bitoy% S/ea.ing o& oney1 Tony here te##$ %anted to )uy thi$ ne% /ainting o& your &ather4$( Tony% And he still %ant$ to )uy it( Candida% Tony%

e there i$ an A erican %ho

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(

Paula% We are "ery $orry1 Mr( 0a"ier( Our &ather /ainted that /icture "ery e$/ecia##y &or u$( We %i## ne"er $e## it( &Sound of (noc(ing downstairs.* Candida% Bitoy% Candida% Bitoy% Candida% Who can that )e= I thin. I .no%( 2our &riend$= 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.* Bitoy% &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 man2about2town. ,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% &leaning forward* Won4t you $it do%n= 3itoy te##$ u$ you ha"e a## co e to $ee our /ainting( !ddie% And to $ee the great /ainter1 too1 Mi$$ Mara$igan-i& /o$$i)#e(

Bitoy% He a$.ed

It4$ +uite i /o$$i)#e right no%1 Eddie( !on Lorenzo i$ ta.ing a na/( e to con"ey hi$ greeting$ and hi$ a/o#ogie$(

Candida% 2ou u$t e@cu$e y &ather( He i$ getting o#d-and you .no% ho% o#d /eo/#e are( They 7u$t %ant to $#ee/ and $#ee/ and not %ant to )e di$tur)ed( &She glances towards the table.* We %ere 7u$t ha"ing 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% Tony% Cora% Tony% Hi1 Tony( &loo(ing around* Hi1 Cora( &glancing round the room* I$ thi$ %here you #i"e no%= Dery e#egant1 don4t you thin.=

Cora% &fetching out her cigarettes* It #oo.$ rather tired to e( Can I $ o.e here-or %ou#d that o#d )ozo &nodding towards photograph o#er piano* dro/ do%n &ro the %a##= Tony% &sitting down on stool: his bac( against piano* Oh1 he4$ an o#d &riend o& ine( Here1 gi"e e one too( &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=

Tony% Cora% Pete% Cora% Pete% Cora% Bitoy% !ddie% Pete% !ddie% Cora% !ddie% Cora% !ddie% Bitoy% !ddie% Cora% Tony% Cora% Tony% Cora% 2ou are a Tony%

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 Hear that1 Eddie= No% you ca $ay that the e )er o& the /ro#etariat1 aren4t you1 Tony= What4$ that= e' e )er o& the /ro#etariat-

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% Bitoy%

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(

Cora% 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% !ddie% !ar#ing1 %ho $aid you e"er did= Co e on1 Pete-he#/ e out(

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

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* Bitoy% Pete% Bitoy% Pete% Cora% Bitoy% 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( en(

Pete% My dear )oy1 co /ared to the &unctiona# /er&ection o& the 6o#yno$ ad1 Miche#ange#o and Sha.e$/eare %ere a ateur$( Cora% Shut u/1 Pete( Fo on1 Eddie( 8Art ha$ &unction(9 No% %hat=

Pete% No% he u$t e /ha$ize the contra$t )et%een the %ea#th o& arti$tic ateria# #ying a## a)out u$ and the /o"erty o& the #oca# arti$t4$ i agination(

Cora% Pete%

Oh Chri$t- u$t I hear that again' Cora1 Cora-i agine )eing a critic and &ai#ing to $ay that-

Bitoy% &in moc(2oratorical manner* Out$ide are the $#u $ o& Tondo-and the )att#e&ie#d$ o& ChinaPete% &same manner* And %hat doe$ the arti$t do= Cora% Bitoy% Pete% &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##

Bitoy% And he ce#e)rate$ %ith e@aggerated de&iance "a#ue$ &ro content ha$ "ani$hed' Cora% Pa$t' He #oo.$ )ac. %ith no$ta#gic #onging to the

o$t /er&ect %or#d o& the

Pete% And he /aint$ thi$ atrociou$ /icture-the $ic.#y /roduct o& a decadent i agination' Cora% Pete% !ddie% O& a decadent bourgeois i agination1 Pete( O& a decadent )ourgeoi$ 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$$ion o& &orce$ %hich can ha"e )ut one-on#y one'-ine"ita)#e outco e( Cora% Bitoy% Pete% Bitoy% Cora% Pete% !ddie% Paradi$e' Hea"en it$e#&' No tyrant$1 no ca/ita#i$t$1 no $ocia# c#a$$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%*

Pete% !ddie%

What4$ %rong %ith it= We##1 a$ Cora $ay$-it4$ o#d hat, it4$ going out o& &a$hion(

Bitoy% 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 do-a#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% Bitoy% 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 $a e #anguage-or are you a&raid= Pete% Cora1 Cora1 you ere#y a%e and re"erence( Bitoy% Pete% Cora% 3e$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(

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

!ddie% ya/ &ro Cora%

And that4$ %hat a## our $ocia# con$ciou$ne$$ a ount$ to( 0u$t ya/-ya/a $a&e #iterary di$tance( 0u$t the ya/-ya/-ya/ o& #iterary &a$hion* In other %ord$-

BitoyHCora% &together* 0u$t ya/-ya/-ya/--Cora% Period( !ddie% Re e )er %hen a## the %or#d %ere di"ided )et%een the 3oo)$ 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$$1 %e %ere the Re"o#ution' !idn4t %e .no% a## a)out carte#$ and $tri.e$ and dia#ectic$' Cora% And i& %e ne"er did go to &ight in S/ain-%e##1 %e did go to tho$e Writer4$ Congre$$e$ in Ne% 2or.( !ddie% Pete% 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% One thing you can $ay &or u$ any%ay-%hen it co e$ to #iterary &a$hion$1 %e4re a#%ay$ right out in &rontPete% Cora% Bitoy% A#%ay$ right out in the &ie#d3eha"ing a$ the %ind )eha"e$( I %onder %hat the &a$hion %i## )e to orro%=

Cora% I ho/e it %on4t )e #o"ing tho$e /o#ite and $o heroic 0a/ane$e1 the cha /ion$ o& Orienta# dignity( Bitoy% Cora% Oh1 i /o$$i)#e' 3ecau$e the arine$ %i## .ee/ >e &#ying'

Bitoy% 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% to orro%' Pete% !ddie% Pete% Cora% Pete% !ddie% To he## %ith Cu#ture' To he## %ith Art' I ho/e the %ar )rea.$ out 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#'

PeteH!ddie% &)oining hands, prancing about* We are the ha//y1 ha//y )oy$1 %ho )id #one#y heart$ re7oice' Cora% !ddie% &dr$l$* Ha-ha-ha( There1 %e ade her #augh again'

Cora% Oh1 you &e##o%$ are &unny a## right( Praying &or a %ar-7u$t $o you %on4t ha"e to &ace u/ to that /icture( Pete% Cora% Eddie1 don4t %e %ant to &ace u/ to thi$ /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 an' Thin. o& %hat4$ ha//ening right no% in Eng#and' Thin. o& %hat4$ ha//ening right no% in China' &'e pauses.* Cora% !ddie% Fo on( Fo on %hat=

Cora% Fo on /i#ing u/ ore rea$on$ &or not #oo.ing at that /icture( Fo on 7u$ti&ying your$e#& &or running a%ay &ro it( Pete% No% %ait a inute( Why $hou#d %e )e a&raid o& thi$ /icture=

Cora% i /otent( Pete% Cora%

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

a.e$ u$ &ee# "ery )ogu$ and "ery

e &ee# anything o& the $ort'

&A pause, during which the$ all loo( at 8O4T4AIT.* Pete% No* No1 it doe$n4t a.e e &ee# anything o& the $ort' Who i$ thi$ !on Lorenzo that I $hou#d )e a&raid to &ace hi$ /ortrait= Cora% He i$ the creator1 %e are the counter&eiter$( 0udge ent co e out o& the Pa$t( He i$ the Ange# o&

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 e' I& there4$ anything %rong %ith e1*