1358 lines
59 KiB
Plaintext
1358 lines
59 KiB
Plaintext
![]() |
|
||
|
================================================
|
||
|
|
||
|
|
||
|
FICTION-ONLINE
|
||
|
|
||
|
An Internet Literary Magazine
|
||
|
Volume 4, Number 2
|
||
|
March-April, 1997
|
||
|
|
||
|
|
||
|
|
||
|
EDITOR'S NOTE:
|
||
|
|
||
|
FICTION-ONLINE is a literary magazine publishing
|
||
|
electronically through e-mail and the Internet on a bimonthly basis.
|
||
|
The contents include short stories, play scripts or excerpts, excerpts
|
||
|
of novels or serialized novels, and poems. Some contributors to the
|
||
|
magazine are members of the Northwest Fiction Group of
|
||
|
Washington, DC, a group affiliated with Washington Independent
|
||
|
Writers. However, the magazine is an independent entity and solicits
|
||
|
and publishes material from the public.
|
||
|
To subscribe or unsubscribe or for more information, please e-mail
|
||
|
a brief request to
|
||
|
ngwazi@clark.net
|
||
|
To submit manuscripts for consideration, please e-mail to the
|
||
|
same address, with the ms in ASCII format, if possible included as
|
||
|
part of the message itself, rather than as an attachment.
|
||
|
Back issues of the magazine may be obtained by e-mail from
|
||
|
the editor or by anonymous ftp (or gopher) from
|
||
|
ftp.etext.org
|
||
|
where issues are filed in the directory /pub/Zines/Fiction_Online.
|
||
|
This same directory may also be located with your browser at the
|
||
|
corresponding website
|
||
|
http://www.etext.org
|
||
|
|
||
|
The FICTION-ONLINE home page, courtesy of the Writer's
|
||
|
Center, Bethesda, Maryland, may be accessed at the following URL:
|
||
|
http://www.writer.org/folmag/topfollm.htm
|
||
|
|
||
|
COPYRIGHT NOTICE: The copyright for each piece of
|
||
|
material published is retained by its author. Each subscriber is
|
||
|
licensed to possess one electronic copy and to make one hard copy for
|
||
|
personal reading use only. All other rights, including rights to copy
|
||
|
or publish in whole or in part in any form or medium, to give readings
|
||
|
or to stage performances or filmings or video recording, or for any
|
||
|
other use not explicitly licensed, are reserved.
|
||
|
|
||
|
William Ramsay, Editor
|
||
|
|
||
|
=================================================
|
||
|
|
||
|
|
||
|
CONTENTS
|
||
|
|
||
|
Editor's Note
|
||
|
|
||
|
Contributors
|
||
|
|
||
|
"Garden Work," a poem
|
||
|
Jean Bower
|
||
|
|
||
|
"Berkshire Wedding," a short story
|
||
|
Judith Greenwood
|
||
|
|
||
|
"Miami Squeeze," an excerpt (chapter 1) from
|
||
|
the novel "Ay, chucho!"
|
||
|
William Ramsay
|
||
|
|
||
|
"Pride," a scene (#6) from the play, "Act of God"
|
||
|
Otho Eskin
|
||
|
|
||
|
=================================================
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
CONTRIBUTORS
|
||
|
|
||
|
|
||
|
JEAN BOWER is a Washington attorney, founder of a program for
|
||
|
legal assistance in child neglect cases, and a poet.
|
||
|
.
|
||
|
JUDITH GREENWOOD writes fiction and is an international
|
||
|
interior/garden designer and a West Virginia farmer, herpetophobe,
|
||
|
and close observer of local specimens of _Felis_ _concolor_. She
|
||
|
is the founder of the Northwest Fiction Group of Washington, DC.
|
||
|
|
||
|
OTHO ESKIN, former diplomat and consultant on international
|
||
|
affairs, has published short stories and has had numerous plays read
|
||
|
and produced in Washington, notably "Act of God." His play "Duet"
|
||
|
has been produced at the Elizabethan Theater at the Folger Library in
|
||
|
Washington, and is being performed with some regularity in theaters
|
||
|
in the United States, Europe, and Australia.
|
||
|
|
||
|
WILLIAM RAMSAY is a physicist and consultant on Third World
|
||
|
energy problems. He is also a writer and the coordinator of the
|
||
|
Northwest Fiction Group. "Sorry About the Cat," an evening of his
|
||
|
and Otho Eskin's short comic plays, was presented last fall at the
|
||
|
Writers Center in Bethesda, Maryland.
|
||
|
|
||
|
=================================================
|
||
|
|
||
|
GARDEN WORK
|
||
|
|
||
|
by Jean Bower
|
||
|
|
||
|
|
||
|
Tear up the chicory, lambs' tongue
|
||
|
clover, dandelion, grass,
|
||
|
those humble gifts that winter brought:
|
||
|
here's a new floribunda rose.
|
||
|
|
||
|
Over loam, spread carpets
|
||
|
of cocoa shells --
|
||
|
the chocolate scent will rise
|
||
|
with aromas
|
||
|
of the roses,
|
||
|
peonies, violets,
|
||
|
lilies of the valley
|
||
|
so all the senses
|
||
|
of delight surround,
|
||
|
|
||
|
and all above, around,
|
||
|
beneath us, beetles, worms,
|
||
|
bees, aphids, butterflies
|
||
|
eat the earth alive.
|
||
|
===========================================
|
||
|
|
||
|
Berkshire Wedding
|
||
|
|
||
|
by Judith Greenwood
|
||
|
|
||
|
|
||
|
Sun beamed through the oily glass of the church windows and
|
||
|
heated the women who stood before the preacher in their woolen
|
||
|
dresses. Emma didn't seem to notice, but Miranda saw wet stains had
|
||
|
gathered under Emma's arms and that her cheeks were ruddy. The
|
||
|
men gently strained against their neckcloths, too, and seemed doomed
|
||
|
to undo their careful tying. Emma would not wed in black, but she
|
||
|
could not wed in her favorite red. Her best dress for the next many
|
||
|
years would, therefore, be the deep violet of half mourning, a color
|
||
|
that the women of the Berkshire County had concurred would not be
|
||
|
offensive on the hurried bride of a newly orphaned bridegroom.
|
||
|
Perhaps next year Emma could replace the violet braids and piping
|
||
|
with a jolly plaid, Miranda thought, and be more pleased with her
|
||
|
wedding gown. And have a bonnet trimmed in the cheerful colors of
|
||
|
the new trims. Pastor Bridge went on in his clipped nasal tones,
|
||
|
admonishing the young couple to take care of not only their own good
|
||
|
characters, but to act against sin in the church community so as to
|
||
|
ensure that the moral fiber of all would shine whitely in this dark
|
||
|
world.
|
||
|
So much sin he found, Miranda thought. Where did he find
|
||
|
it? She knew no one who would dare to do any of the ugly things
|
||
|
called sin in the Bible, except perhaps coveting. Coveting was quiet
|
||
|
and private, not open to the censure and ostracism that come from
|
||
|
other sins. Of course many of the other sins arose from covetousness.
|
||
|
Theft, adultery, dishonoring a parent, swearing and blaspheming,
|
||
|
even murder might result from unbridled coveting, she supposed.
|
||
|
And, she knew, even she was open to a little coveting if Sara Brice or
|
||
|
Mildred Thorne had a new bonnet or were planning a trip to a
|
||
|
faraway place like Poughkeepsie or Boston. There was nothing in
|
||
|
this church that she coveted this day.
|
||
|
She would never covet solid, good Tom, and she was years
|
||
|
from wanting a marriage. She did not want a wedding dress in any
|
||
|
color, nor a wedding feast of stewed hens with preserved and dried
|
||
|
vegetables because it was too early in the season for the lovely new
|
||
|
fruits that July would bring. So for today, she was safe from sin.
|
||
|
Safe from the opportunity to sin, but apt to the fault of curiosity.
|
||
|
Where did Pastor Bridge find sin in this congregation? What
|
||
|
whispered confessions did he hear in the parlors of the county? What
|
||
|
subtle signs of depravity did he see with those eyes trained to see
|
||
|
blots on souls? When did the hardworking denizens of Berkshire
|
||
|
County have time to break the Commandments? Where would their
|
||
|
tired bodies find the vigor to expend on unnecessary activity? Surely
|
||
|
it was far easier and less tiring to be decent than to be evil and then to
|
||
|
conceal it?
|
||
|
The pastor wound down, seemed to struggle for something to
|
||
|
add, and then gave it up and proceeded to marry Emma and Tom.
|
||
|
Emma wavered a little on her feet when it was her turn to respond,
|
||
|
but recovered herself and made herself heard to at least the first two
|
||
|
or three rows of guests, thus making a wife of herself before God and
|
||
|
his congregation. Miranda was not sure whether God would keep an
|
||
|
eye on the new Mrs. Adams, but she was sure that the congregation
|
||
|
would. The guests rose to greet and surround the new couple as they
|
||
|
turned toward the door, but happily, it was a hot day and the
|
||
|
congregation did not delay their leaving by much. Miranda hung
|
||
|
back to allow the aisle to clear and to enjoy the brief cooling current
|
||
|
of air that came through the open doors. Yesterday she and Emma
|
||
|
had tied fern fronds to the pews, but they were limp now and would
|
||
|
soon shatter in the heat. The restrictions of a severe church tradition
|
||
|
had badly cramped the girls' longings to create a flowery paradise
|
||
|
such as they read of in ladies' magazines, but they had spent their
|
||
|
desires on Emma's home, where spirea and late white lilac hung over
|
||
|
and crowded the food-laden table. The flowers, they had teased
|
||
|
Emma's mother into allowing. They had not dared to ask for the
|
||
|
dancing they longed for, and in truth the barn was too busy a place to
|
||
|
clear in this season.
|
||
|
Miranda moved slowly down the aisle, imagining that she was
|
||
|
the bride, but it didn't feel right and she could not picture the man, a
|
||
|
tall man in black, who would wait at the altar for her. The dim foyer
|
||
|
was cool and she was tempted to stay and not to step out into the
|
||
|
brilliant afternoon. As she stepped onto the porch, a tall man in black
|
||
|
stepped to her side and she jumped in surprise.
|
||
|
"Oh, Pastor Bridge! I was woolgathering and you startled
|
||
|
me."
|
||
|
"Do you dream of your wedding day perhaps?"
|
||
|
Miranda shrugged. "It is not time for me, sir."
|
||
|
"But it cannot surely be so many years until you will wed. Do
|
||
|
you think Emma is too young for marriage?"
|
||
|
"I believe that for Emma this is the right time, but that it is not
|
||
|
for me."
|
||
|
"What age is a good one for a girl to marry, then? When will
|
||
|
you be opening your eyes to the hopeful young men?"
|
||
|
"Is there an age for this? I think there is not. I believe that a
|
||
|
girl must satisfy her curiosity for learning, understand what she is
|
||
|
capable of, and feel sure that she is prepared to take on the many
|
||
|
duties and serious responsibilities that may come with marriage. It
|
||
|
was not so many years ago that a girl was required only to do what
|
||
|
she saw her mother do when she married, but in the modern world
|
||
|
there are so many possibilities."
|
||
|
"And what is possible for a woman who does not marry?"
|
||
|
"I did not say that I would not marry, but a woman does not
|
||
|
cease to breathe if she does not. She might teach, or in a city she
|
||
|
would find other respectable work. Think how many women in our
|
||
|
own town stay at home to care for their parents and finally run a farm.
|
||
|
That surely is not a shameful life."
|
||
|
"But I do not believe you will choose any of those roads. I do
|
||
|
not believe that you will be allowed by the young men to live in that
|
||
|
fashion. Nor do I believe that you will choose to live so."
|
||
|
Miranda pondered this. If he could see hidden sins, could he
|
||
|
also see hidden longings? Was he suggesting impropriety in her
|
||
|
demeanor, or only a natural bent? "I think to marry one day when I
|
||
|
shall know how I wish to spend my life. For now, I am very taken up
|
||
|
by my studies, my determination to see something of this world, and
|
||
|
my heartfelt belief that I am not yet grown enough to be what I must
|
||
|
be to a husband. I should be reading when I ought to be cooking and
|
||
|
dreaming when I ought to be cleaning. A man would have every
|
||
|
reason to hate this in me, would he not?"
|
||
|
"Some men might forgive all of that for your sunny nature, but
|
||
|
if you feel that you are not ready for marriage, it is wise in you to
|
||
|
avoid it. Joy postponed is joy, nonetheless."
|
||
|
"I see my mother has waited for me, Pastor. Shall we not join
|
||
|
her and walk to Emma's party?"
|
||
|
Nedella Fairing stood like a tall shadow under the roadside
|
||
|
elms, waiting for her daughter. She did not move toward them as
|
||
|
they approached, but stood, unmoving, waiting for them to cover
|
||
|
every step of the space between them.
|
||
|
"Good afternoon, Mistress Fairing. Have you not enjoyed this
|
||
|
cheerful occasion after a spring filled with so much sadness?"
|
||
|
"As you say, Pastor Bridge. It is a relief to wish them well,
|
||
|
when pity has been the topic of so many meetings in this church. As
|
||
|
it must be a relief for you to set young people on a righteous path
|
||
|
instead of burying them."
|
||
|
The young minister blinked at the somber, black-clad woman.
|
||
|
"Yes. Shall we go and make such celebration as we may be allowed
|
||
|
in the circumstances?" He offered his arm to Mrs. Fairing, and they
|
||
|
proceeded at a stately pace. Miranda dropped back to follow her
|
||
|
mother, as seemed proper. She itched to run on ahead, as she might
|
||
|
have done a few years earlier, but knew her impatience would only
|
||
|
reward her with a lecture on temperate behavior when they went
|
||
|
home.
|
||
|
"Miranda, you must want to join your friend," Nedella said,
|
||
|
"why do you not run on ahead? I'm sure the pastor will not mind
|
||
|
keeping me company to the house. May I depend on your arm, sir?"
|
||
|
"Yes, of course, please depend on me. I quite forgot that
|
||
|
Miranda is the maid of honor and must be needed at Emma's home.
|
||
|
Do go on, Miranda."
|
||
|
Miranda ducked her head, hardly believing what she heard,
|
||
|
and then set off quickly to cover the half mile or so left to Emma's
|
||
|
house and the wedding feast.
|
||
|
She exchanged a dozen cheerful greetings with guests who
|
||
|
had sought shade on the porch, as she passed through and into the
|
||
|
party. It was her assigned duty to oversee the display of gifts in the
|
||
|
first floor chamber which had been cleared for the purpose. She
|
||
|
could appreciate the thought behind the practical and the exuberance
|
||
|
behind the frivolous. Although Emma would have everything left by
|
||
|
Tom's parents, it would be a pity if she hadn't the wherewithal to
|
||
|
make her home her own. There were embroideries, spools of tatted
|
||
|
lace, crocheted edgings that Emma could use to trim objects of her
|
||
|
own making, and a glorious entire bolt of printed cotton with a tiny
|
||
|
cherry in Emma's favorite red. This last was the inspired gift of a
|
||
|
group of ladies who had understood the difficulty of a young woman
|
||
|
moving into a house of mourning. But there were also hams and
|
||
|
preserves, new muslin sheets and a tiny iron spider that was just the
|
||
|
size for one or two eggs. Altogether it was a wonderful display, and
|
||
|
surprising in its sensitivity to Emma's position.
|
||
|
Miranda was relieved of her charge in order to get a plate of
|
||
|
dinner. Although the stewed hen was not as delicate and pretty as
|
||
|
young roasted fowl would have been, she had to admit that its flavor
|
||
|
was far richer and more savory. And the precious preserved
|
||
|
cranberries that Emma's Mamma had pulled out of her end-of-the-winter
|
||
|
cellar were supreme with it and allowed Miranda to forgive
|
||
|
the awful mashed Hubbard squash. There was a small salad of the
|
||
|
first lettuce leaves, but so little of it that the girls had agreed not to
|
||
|
take any of it, although they loved it so.
|
||
|
The wedding cake was a triumph, because Emma's family had
|
||
|
ordered currants and candied citrus peels from Boston, and Emma
|
||
|
had always had a light hand with a cake. She claimed it was because
|
||
|
she had haying muscles left over each year, and wasn't afraid to use
|
||
|
them to beat a batter until it screamed to be baked. Almost a half-year's
|
||
|
sugar was pummeled to an unparalleled fineness to make the
|
||
|
icing, and the butter and buttermilk had been beaten into it even
|
||
|
harder than the batter. The result was a creamy frost that resembled a
|
||
|
new snow. Altogether, they had much to be proud of. It was a relief
|
||
|
to feel that they had made something that satisfied Emma with its
|
||
|
festivity and had not, so far, offended any of the old biddies who
|
||
|
could trouble Emma with their gossip and harsh judgment.
|
||
|
She saw her mother lean to speak softly into Emma's ear.
|
||
|
Two wives now; one newly made and one widowed for four years and
|
||
|
still looking as if she were dyed black nearly to her skin. Emma's
|
||
|
mother stood just behind her daughter. It was the sight of the three of
|
||
|
them that startled Miranda into the discovery that her mother was not
|
||
|
old. She blushed at the thought, caught in her own prejudice. She
|
||
|
quickly added her own age, sixteen, to her mother's age when she
|
||
|
was born. Her mother was thirty-five and nearly as slender and
|
||
|
graceful at that age as Emma. She resembled, in fact, the bride much
|
||
|
more than she resembled the mother of the bride.
|
||
|
It was something, she promised herself, to ponder tonight
|
||
|
when she lay in bed before sleep. A fresh thought was always worth
|
||
|
turning over to see what one could make of it.
|
||
|
Late that night, with the whippoorwill calling from the fence
|
||
|
line and a cooler air current welcome over her arms, Miranda
|
||
|
couldn't decide whether to think about the wedding or her mother.
|
||
|
But there were thoughts connected to the wedding that were apt to
|
||
|
require more energy than the day past had left to her, so she decided
|
||
|
on her mother as subject to these nighttime meanderings.
|
||
|
She thought about how hard her mother worked, not only
|
||
|
overseeing the farm with one hired hand and extras at haying and
|
||
|
harvest, but joining the crews and quite able to do anything other than
|
||
|
the moving of great weights. She was better at driving the teams of
|
||
|
draft hoses than any of the men, offering only the gentlest spoken
|
||
|
suggestions to them and getting instant attention and obedience. She
|
||
|
surely needed Miranda much more than she got her, but insisted that
|
||
|
in their family women were educated to the limit of their abilities,
|
||
|
and that Miranda's work was to excel in her studies at normal school
|
||
|
during term. She accepted Miranda's help as a matter of course
|
||
|
during vacations and holidays, and made sure that Miranda
|
||
|
understood each of the farm and house chores, so that her skills grew
|
||
|
each year and one day could be hoped to equal her mother's.
|
||
|
Miranda was never as good with the horses as her mother, but
|
||
|
no one else she had ever seen was so skillful with creatures, either.
|
||
|
Ewes lambing under Nedella's care were not so foolish and panicky
|
||
|
and they rarely died or lost their lambs. Cows didn't kick their
|
||
|
milkers when Nedella was around, although they might be as
|
||
|
fractious as any other stock when she was absent. She had her own
|
||
|
language of humming and cluckings that animals seemed to
|
||
|
understand, and yet it did not sound so much like talk as to make her
|
||
|
seem foolish
|
||
|
Miranda also felt a connection with the creatures in the
|
||
|
farmyard, but had not her mother's skill, nor did she expect ever to
|
||
|
get it. On the other hand, although Nedella was a good cook,
|
||
|
Miranda was better. And although Nedella spun and wove and sewed
|
||
|
competently, Miranda always knew exactly what would turn a
|
||
|
garment or a curtain from a very nice thing into an enviably excellent
|
||
|
thing. Miranda had every hope that someday she would be as good a
|
||
|
woman as her mother, but different from her, too. Someday, that
|
||
|
was, when she should conquer her restless mind and soul. For now, it
|
||
|
was enough to have a mother she could trust absolutely, and whose
|
||
|
strength and wisdom and determination to form Miranda could be
|
||
|
relied upon when Miranda's own inclinations were toward the
|
||
|
unachievably romantic or ambitious.
|
||
|
It was for those reasons that Miranda was ashamed that she
|
||
|
had presumed that her mother was an old woman whose life and
|
||
|
whose expectations had only to do with her children. It would be
|
||
|
another twenty-five years or so, God willing, before her mother might
|
||
|
have difficulty going on as she had done for the past four. By then,
|
||
|
she would have men for sons, and with the clearing of more acreage,
|
||
|
it was possible that all three boys might stay on and make their lives
|
||
|
on the farm. But there would be no place for Miranda,
|
||
|
That had been explained when she left the village school.
|
||
|
"Your education will be your inheritance. During the time that you
|
||
|
continue to attend school, we will not expand the farm, but will use
|
||
|
what we earn to educate you. Then one day you will marry and enter
|
||
|
your husband's life. The farm will be for the boys," her mother said.
|
||
|
"If one of the boys decides to pursue a profession, I will make the
|
||
|
same arrangement for him.
|
||
|
Miranda never felt that she belonged on the farm after that
|
||
|
day. And now there was something new to add to her feelings. Her
|
||
|
mother was still young, vigorous and really quite handsome. If she
|
||
|
lived where there were more people, she might very well find another
|
||
|
husband, and even have more children. Or perhaps a local man
|
||
|
would become widowed, and it could happen even here. But upon
|
||
|
thinking hard, Miranda could not come up with a man she would like
|
||
|
for her mother, even if he were unmarried. With a sigh, she admitted
|
||
|
that it was unlikely that most girls could see a husband for her mother
|
||
|
in any array of ordinary men. She put away the sleepy thoughts with
|
||
|
resolve to remember from now on that her mother was a woman in
|
||
|
her own right, and not merely somebody's mother.
|
||
|
She woke with a sense of extraordinary well-being. It was
|
||
|
wonderful to actually live at home in the summer, so much better
|
||
|
than unpacking and repacking almost every week when school was in
|
||
|
term. She liked returning, she loved the familiarity of how the
|
||
|
dawning sun lay across the quilt on her bed. She loved the sound
|
||
|
Hiram made when he opened the creaking barn door every morning,
|
||
|
thus signaling that the day had begun. She loved the smell of the
|
||
|
house when she opened the door each Friday evening. It was a smell
|
||
|
as familiar as her own scent on her petticoats as she pulled them over
|
||
|
her head and her nightgown when she folded it to put it under her
|
||
|
pillow. Her own scent was impossible to unravel, but she could say
|
||
|
exactly what made up the scent of her mother's house. The first part
|
||
|
was whatever might be cooking. Then there was the smell of the
|
||
|
beeswax on the wide floor boards, the painted woodwork and the
|
||
|
furniture. There was always a hint of pennyroyal that was hidden
|
||
|
behind and under things to keep out ants and other insects. Now, in
|
||
|
the summer, the open windows added a whiff of manure from the
|
||
|
cows and horses, and a changing note of flowers, grass or hay,
|
||
|
depending on whether it was blooming time, cutting time or gathering
|
||
|
time. In the winter, there was sometimes a hint of woodsmoke if the
|
||
|
wind blew the wrong way. Her friends lived in houses that were
|
||
|
almost identical to Nedella Fairing's house, but when she spent the
|
||
|
night with one of them, Miranda knew the instant she woke up that
|
||
|
she was not at home because the smell was entirely different. Most
|
||
|
of the time she knew she no longer belonged there, but on the rare
|
||
|
occasion she found herself rooted and inseparable from the place, she
|
||
|
quickly reminded herself that she was now a visitor. She did that
|
||
|
now. It only required a mental shake to set herself right, because her
|
||
|
dreams of her future did not include staying on the farm or even in
|
||
|
Berkshire County, but in some unnamed but wonderful place, like
|
||
|
Boston or Baltimore, New York or New Orleans. The house she
|
||
|
wanted, the social occasions she dreamt to give or to attend, the
|
||
|
mysterious man in black she would marry, all of these were of a
|
||
|
scope that would not fit into the farm or even Pittsfield or North
|
||
|
Adams or Williamsport or Lenox. She had never been to a place that
|
||
|
would hold her dreams, but she knew that the place existed, it would
|
||
|
only require that she live a life that might take her there.
|
||
|
==========================================
|
||
|
|
||
|
MIAMI SQUEEZE
|
||
|
|
||
|
by William Ramsay
|
||
|
|
||
|
(Note: this is an excerpt, Chapter 1, from the novel "Ay, Chucho!")
|
||
|
|
||
|
|
||
|
This story is about me -- and my mistakes, and how I'm lucky to
|
||
|
be alive after my "vacation" in Cuba. But people are impressed by
|
||
|
big names, so I'm happy to mention that Fidel Castro plays an
|
||
|
important role in what happened to me in Havana. You may think
|
||
|
you know about him -- revolutionary turned ruthless dictator,
|
||
|
world-class speechmaker, hero to the Cuban proletariat. But boy, I
|
||
|
tell you, it's one thing to read about him and another to sit face to face
|
||
|
with him and to experience his overwhelming charisma while, at the
|
||
|
same time, you shake in your boots wondering if those lustrous brown
|
||
|
eyes of his are sizing you up for the firing squad at the nearest
|
||
|
_paredon_!
|
||
|
Me, I'm no Fidel, I'm merely Jesus ("Chucho") Revueltos Olivera,
|
||
|
"your servant," as we say in Spanish. To my _americano_ friends I'm
|
||
|
just plain vanilla Jesse Revueltos. I've been to college, South Dade
|
||
|
Community, where I majored in baseball, soccer, and playing
|
||
|
electronic keyboard weekends for "Enriquito's Hot Rockers" -- and
|
||
|
also the University of Miami, where I got more serious, learned
|
||
|
calculus and differential equations, and got my master's in E.E.
|
||
|
(Electrical Engineering). My family has been over here from the
|
||
|
Island since 1969, so, since it's now 1991 as I write this memoir and
|
||
|
I'm thirty, that _should_ mean I'm considerably more American than
|
||
|
Cuban. But I'm Cuban enough that Fidel could never have been a
|
||
|
hero to me. In the Miami I grew up in, there were only three political
|
||
|
views that it was safe for a Cuban to have: (1) right- wing, (2) very
|
||
|
right-wing, and (3) crazy-out-of-your mind extremism in the cause of
|
||
|
LIBERTY _for_ Cuba and _from_ that monster, Fidel Castro Ruz.
|
||
|
My heroes came from the movies. Errol Flynn, now that's somebody I
|
||
|
would like to have been. Remember "The Dawn Patrol," when Errol
|
||
|
Flynn salutes as he goes down in flames, and then the German ace
|
||
|
comes over the English air field and drops Errol Flynn's boots and
|
||
|
goggles over the side? I have a video library that takes up most of the
|
||
|
hall closet and a long bookshelf besides, and it's full of those old
|
||
|
movies from my father's time.
|
||
|
And take Douglas Fairbanks, Jr. One of the last films I saw in
|
||
|
Havana before our family left Havana was "The Prisoner of Zenda" --
|
||
|
and American oldies are still common in Cuba, where they don't get
|
||
|
the new films. Every time I see "Zenda" now on the VCR I remember
|
||
|
that first time and how I fidgeted in my seat trying to help Ronald
|
||
|
Colman escape from the castle. But at the same time, I wanted
|
||
|
Douglas Fairbanks, Jr., Count Rupert Hentzau, to win too -- he was
|
||
|
magnificent, swinging from ropes, lashing out with his saber, he was
|
||
|
too _alive_ to die.
|
||
|
Staying alive brings me to my own problem and how I got mixed
|
||
|
up with Fidel in person. I'm talking now about last year, in the spring
|
||
|
of 1990, about the start of the baseball and mosquito seasons in
|
||
|
Florida. The basic problem that I got into that spring was like Ronald
|
||
|
Colman's in the movie -- how to stay alive or at least out of jail. You
|
||
|
see, I owed this money. Well, owing money is normal, it's part of the
|
||
|
American dream -- in my part of Miami, the Cuban- American dream.
|
||
|
That's especially so for a small businessman like me. See, I own a
|
||
|
good-sized electronics sales and service shop in Little Havana, just a
|
||
|
couple of blocks off the famous Calle Ocho, the Cuban main drag. I
|
||
|
say "own," and I was -- am -- the owner, all 1500 square feet of
|
||
|
bulletin-board style shelving and red-tag sale stickers. But it isn't
|
||
|
easy getting started in business. My mother helped me out a little --
|
||
|
but she's always had most of her money tied up in real estate
|
||
|
investments. In fact, she's always been a little chary of both her
|
||
|
money and her time -- she couldn't manage to get to my college
|
||
|
graduation because of a closing on the sale of a shopping center. But
|
||
|
she did gift me with a violet tie with the Miami skyline superimposed
|
||
|
in orange for the occasion, so I'm not complaining. I mean,
|
||
|
understanding everyone's limitations is what you have to do in life,
|
||
|
right? Anyway, I needed more capital to buy the lease and the
|
||
|
equipment for my new business. The banks weren't much help. So it
|
||
|
was either taking a chance on some "unconventional" financing, or
|
||
|
else reconciling myself to my job as a salesman pounding the
|
||
|
pavements for some slavedriver like Ace Electronics Wholesalers.
|
||
|
Anyway, I went ahead and took a loan from some big men in what
|
||
|
they call along Calle Ocho "the Association." Consequently I ended
|
||
|
up with a group of silent partners who held a substantial "mortgage"
|
||
|
on the store.
|
||
|
Anyway, by last spring I was already big into VCR's, and recently
|
||
|
I had started into cellular phone sales and franchising too. Yes, well
|
||
|
there was the problem. The phone business requires a whopping big
|
||
|
investment, which really ate into my working capital, and then I
|
||
|
unexpectedly lost out on the award of a sub-franchise. Hell, suddenly
|
||
|
I couldn't pay the phone bill, so how could I keep up payments on the
|
||
|
"mortgage"? All at once my silent partners were not so tongue-tied.
|
||
|
They wanted their money. _Now_. I can get the money, I told them.
|
||
|
So get it, they said. As my mother's boy friend, "Uncle Paco," told
|
||
|
me, "They're plain men, they only understand demand accounts."
|
||
|
'Demand' -- spelled N-O-W.
|
||
|
That's how I got into the Fidel business. My money troubles. Just
|
||
|
because business is tricky and the laws discourage initiative in young
|
||
|
entrepreneurs -- Christ, and I do vote Republican, you know -- would
|
||
|
you think that somebody like me deserved to have my life get
|
||
|
completely screwed up? Would you imagine that I'd have to meet the
|
||
|
Monster in person, to shake his big, figuratively bloody paw? That I'd
|
||
|
find myself stuck as a one-man audience, my brain alternating
|
||
|
between terror and boredom, as the great Orator spouted off about
|
||
|
this and that and the other thing! _Ay ay ay_!
|
||
|
"Fidel, Fidel!" "Comandante!" I can still recall the shouts of
|
||
|
adulation that I used to hear as a boy in Havana, in the midst of the
|
||
|
crowds gathered around the TV set at the local CDR club -- me, a
|
||
|
little shrimp with big eyes and bigger ears. But by 1990, when I was
|
||
|
twenty-nine, it had been years since I had heard the name said with
|
||
|
anything but a sneer. In 1990, especially, everybody along Calle
|
||
|
Ocho was gung-ho for perestroika, hoping that the Cuban communists
|
||
|
would get perestroika'd out on their ass. Those crazy right-wing
|
||
|
bastards in the Alpha-66 group and the 2506 Brigade -- the Bay of
|
||
|
Pigs leftovers -- were still chafing at the bit to turn Cuba upside down
|
||
|
again and save _la Nacion_ for democracy. If they could have pulled
|
||
|
something like that off last spring, those crazy jerks, they would at
|
||
|
least have done my family -- and especially me, as it turned out -- a
|
||
|
good turn. Specifically, they would have saved my father's ass. You
|
||
|
see, my father didn't escape with us. We left shortly after he had been
|
||
|
arrested, and by 1990, he had been undergoing "reeducation" in one
|
||
|
or another of Fidel's prisons for over twenty years.
|
||
|
Anyway, I was going quietly out of my mind worrying about my
|
||
|
business, my debts, and the impatience of the Association, trying to
|
||
|
think of who I could borrow from, or where I could run to.
|
||
|
Meanwhile, my girl friend Amelia kept telling me I should go to the
|
||
|
police about the money and the threats. "Be firm, Jesus, stand up for
|
||
|
yourself." That's your typical lawyer for you! "Lie down and _die_
|
||
|
for yourself," she might as well have said. Police are fine in their
|
||
|
place, I'm all for them, but bringing them into my case would have
|
||
|
been like poking a stick in a hornet's nest. The Cuban mafia, the
|
||
|
Association -- "The Men" -- isn't a real mafia, they are much more
|
||
|
genteel than the Sicilian kind -- at least judging from the _italiano_
|
||
|
version I see in films like "The Godfather." But they _are_ men of a
|
||
|
firm and opinionated character. When they want something, they
|
||
|
want it, especially their money -- in this case, God help me, my
|
||
|
money:
|
||
|
Uncle Paco: Jesus, the Men trust you, they're your friends, they're
|
||
|
not upset. But you know, they say they're concerned about their
|
||
|
money. They told me you should have a plan.
|
||
|
Me: But I can work my way out of this, Paco.
|
||
|
Paco twirled at his gold chains, letting them clink about and slap
|
||
|
around on his oily brown chest: "Gee," he said, "you better not let it
|
||
|
slide too long, though."
|
||
|
Me: How long?
|
||
|
Paco (forehead wrinkled): Pretty damned soon, I guess.
|
||
|
Me: Oh God.
|
||
|
#
|
||
|
Amelia always knows how to dress, you've got to say that for her
|
||
|
-- she's a great girl, even if she's always telling me I should do this and
|
||
|
that and a couple of other things that I may not want to do. Peering
|
||
|
out through the convex peephole in the door to my apartment one day
|
||
|
last spring, I saw the distorted mop of curly brown hair ballooning
|
||
|
over the elegantly clothed torso that it couldn't be anybody but her.
|
||
|
As I opened the door, there she stood, one thin black eyebrow slightly
|
||
|
raised, one foot pointed sideways like a model's, the smile beginning
|
||
|
and then growing like an alley cat's grin.
|
||
|
"Hey!" I said. "How are you!"
|
||
|
"I'm O.K. But _you_, Chucho, you could be in better shape."
|
||
|
Always a wiseass -- I like that in a woman. It turned out that she was
|
||
|
talking about, not really me, but my mother and _her_ troubles.
|
||
|
"Everybody does it," _mamacita_ always said to me, talking about
|
||
|
cocaine snorting at her poker parties in friends' houses in Coral
|
||
|
Gables and Coconut Grove. "Everybody does it," but it was my
|
||
|
mother who had just recently gotten caught. At one of the "Tuesday
|
||
|
Tootsies" ladies' get-togethers, Lidia Gomez' estranged husband woke
|
||
|
up out of an alcoholic semi-coma and started taking swipes with his
|
||
|
gold Knights of Columbus ceremonial sword at the family photos and
|
||
|
the china and any furniture that happened to be in the way. The
|
||
|
police came, and in the melee the shit -- the coke -- hit that fan you
|
||
|
_gringos_ always talk about. And as a result, _mamacita_ was now
|
||
|
out on bail, thanks to Amelia, and facing arraignment on
|
||
|
misdemeanor possession.
|
||
|
"I could get her off with six months and $500," said Amelia.
|
||
|
"Shit!"
|
||
|
"It was a bad break."
|
||
|
"It's your brother's fault," I said. "Uncle Paco" wasn't a real
|
||
|
uncle, he was Amelia's older brother, and he was keeping steady company
|
||
|
with my mother, even though he was only thirty-seven and she was
|
||
|
forty-five.
|
||
|
Amelia scrunched up her nose and eyes as if someone had just let
|
||
|
a fart in an crowded elevator. "Paco doesn't use cocaine."
|
||
|
"No, he only supplies it."
|
||
|
"He does not. He's in waste disposal." On the last two words, her
|
||
|
alto voice rose weakly into a pained warble.
|
||
|
"He hangs out with garbage, that's for sure!"
|
||
|
Amelia looked thoughtful. I knew that she too worried about her
|
||
|
older brother, the pleats over his pockets that were all stretched out of
|
||
|
shape by wads of hundred dollar bills -- and all his stylishly idle
|
||
|
friends, their over-bright eyes, and their red, peeling nostrils.
|
||
|
"How is _mamacita_ taking it?"
|
||
|
"The police are being very unreasonable. Elena _told_ them she
|
||
|
was just celebrating selling a big commercial property."
|
||
|
"And I suppose she shot the commission on that new red slacks
|
||
|
outfit and a couple of ounces of white lady."
|
||
|
"If only your father were here."
|
||
|
"Yeah." We were sitting on the brand new black leather and
|
||
|
chrome sofa, and she put her soft little hand on the back of my neck.
|
||
|
Warm shivers. "My father. I guess," I said.
|
||
|
I had never been confident that I understood my father. I hadn't
|
||
|
seen him of course since I was eight, and I remembered mostly things
|
||
|
like his wire-rim glasses, always staring past my head instead of
|
||
|
looking into my eyes. The few letters we'd gotten from him from
|
||
|
Fidel's prisons read like a textbook example of how to write a formal
|
||
|
family letter -- except at the end there were always some spooky
|
||
|
phrases about the future of Socialist Man. You see, the odd thing
|
||
|
was, my father wasn't any right-wing _gusano_, he was a loyal
|
||
|
communist, at least in theory -- it was just in practice he hadn't always
|
||
|
been able to get along with Fidel. He believed in Marx instead of
|
||
|
only in Castro. Poor, naive _papacito_!
|
||
|
Amelia's hand stroking the soft hair at the back of my neck felt
|
||
|
better and better. I tried to insert my own hand into the small gap
|
||
|
between her starchy, close-fitting bodice and the smoothness of the
|
||
|
skin between her small plump breasts. She looked at me, surprised,
|
||
|
and gripped my fingers, halting me. She undid the buttons on her
|
||
|
blouse and guided my fingers all the way around her left breast, the
|
||
|
underside moist on my fingers. "Oh," she said in a loud whisper.
|
||
|
"Yes, 'oh!'" I said. "Is there time?"
|
||
|
"There's always time."
|
||
|
Amelia is a sound thinker on the things that really count in life.
|
||
|
The air conditioning felt cold on the backs of my arms as I got
|
||
|
undressed and into bed. But once I got myself positioned over her, I
|
||
|
had to reach back and struggle to pull the damned sheet off my legs --
|
||
|
the sweat was in pools on my back and especially on my butt,
|
||
|
dripping down along the thick body hairs that I hate but that Amelia
|
||
|
seems to like.
|
||
|
"Oh, Chucho," she said, gripping what a Romance novelist would
|
||
|
call my manhood.
|
||
|
No, stop!" I said.
|
||
|
"It feels so good."
|
||
|
"For God's sake, stop!"
|
||
|
"Ohhh."
|
||
|
Dammit, before I could do anything else, I came, all over her nice
|
||
|
white belly.
|
||
|
"Oh -- Chucho."
|
||
|
"Yeah, oh."
|
||
|
I collapsed, feeling myself falling into a coma-like drowse. But
|
||
|
then I felt my shoulder being shaken.
|
||
|
"Shiiiit, Chucho!" Amelia screeched out,
|
||
|
"What?" I said articulately.
|
||
|
"Don't you dare leave me this way."
|
||
|
I groaned. Insult to injury. My eyes not even open, I pulled
|
||
|
myself down, head between her legs, my tongue straining to its roots.
|
||
|
"Oh, that mustache of yours!" she cried, groaning. Sweat was pouring
|
||
|
down my forehead. It can be hard work being the perfect lover.
|
||
|
Then that sweet 'take-me' aroma of hers began to rouse me, and I felt
|
||
|
myself getting ready to give it another go, when she suddenly stopped
|
||
|
groaning and made three little yelps. "Oh, God," she said.
|
||
|
"Yeah," I said. I subtly began pressing my modest new hard-on
|
||
|
into the flesh of her thigh.
|
||
|
She wrinkled her nose again, pushed my dong away, lifted her
|
||
|
thigh away from me, pulled up the sheet, and lay there thinking. "Am
|
||
|
I going to get paid?"
|
||
|
Her face looked quite solemn and I smiled. "Why sure you are!" I
|
||
|
said. "You _earned_ it, darling. But suppose I'm the one that
|
||
|
deserves the fee?"
|
||
|
Some girls would have hit me with something. It's more Amelia's
|
||
|
style just to look at me and make a face to show that she knows it's a
|
||
|
joke, that I'm teasing her because she's always dutifully looking out
|
||
|
for financial interests of "the firm." And especially those of her boss,
|
||
|
the senior senior partner, old fatass O'Sullivan.
|
||
|
Turning serious, I said that of course she'd get paid back for my
|
||
|
mother's bail bond and that she'd also get her fee -- eventually. My
|
||
|
little hard-on was beginning to feel lonely and literally depressed.
|
||
|
"You know, I wouldn't care, but Mr. O'Sullivan..." My girlfriend,
|
||
|
as she was then, is a terrible idealist, for a lawyer to make money
|
||
|
seems to her to be almost a miscarriage of justice. Except that
|
||
|
somehow if someday she didn't get to be a senior partner herself, that
|
||
|
would be the worst miscarriage of all.
|
||
|
I told her that if I didn't get some money somewhere, to pay her
|
||
|
and especially to pay _them_, I wouldn't have much of anything to
|
||
|
worry about -- at least in this life. As I said this I could feel that
|
||
|
what Amelia calls her "little puppy dog" had slipped back into its lonesome
|
||
|
kennel.
|
||
|
"Too bad you can't get at your father's money."
|
||
|
"Yes, it sure is." An anomaly of my father's position was that in
|
||
|
'62, right after the Bay of Pigs (in Miami, we call it "Playa Giron"),
|
||
|
when he was on the staff at the Cuban delegation to the U.N. in New
|
||
|
York, he converted most of the foreign securities holdings of the
|
||
|
family into bearer bonds. The old man was scared shitless that the
|
||
|
counter-revolutionaries and the C.I.A. might soon succeed in taking
|
||
|
over Cuba, so he stuck the bonds in a safety deposit box in Manhattan
|
||
|
and prepaid the rent for fifty years, guarding them for "future
|
||
|
generations of free, socialist Cubans."
|
||
|
The bonds were still there. So there was "money in the family,"
|
||
|
all right. But Father had squirreled away the only key somewhere and
|
||
|
he himself was under lock and key in La Cabana prison in Havana.
|
||
|
So for my purposes, the money might as well have been sitting on the
|
||
|
moon, waiting for Neil Armstrong to drop back for a replay. Just the
|
||
|
night before, I had dropped off to sleep thinking about the bearer
|
||
|
bonds. The old man had been on the ball to keep the money so liquid
|
||
|
and easily transferable. Not his fault that it turned out that _he_
|
||
|
wasn't quite transferable enough. Anyway, I dreamed that my mother
|
||
|
had given birth to a very fat seagull, and that all the money was going
|
||
|
to go to the bird. For the birds is right. Then I woke up having to go
|
||
|
to the bathroom, thinking about the "mortgage," and wishing for thirty
|
||
|
seconds that I could go back to sleep and never wake up again.
|
||
|
So I didn't care much for Amelia's reminding me of the bonds.
|
||
|
Mystic millions, I called them. As she was getting out of the shower,
|
||
|
I was lying there feeling abandoned by her and by everyone. "I just
|
||
|
hope to hell you can represent _me_ on spec too," I said finally.
|
||
|
"Not 'spec,' 'contingency,' my curly-headed boy," she said and
|
||
|
went on to ask me why I would need representation. I reminded her
|
||
|
how critical my financial embarrassments with her brother's friends
|
||
|
had become. She asked whether they were going to break my legs. I
|
||
|
told her maybe, but more likely they'd do something like setting me
|
||
|
up, framing me with drugs or hot money and letting the cops think up
|
||
|
a suitable penalty for me. That way, I'm not injured, and I still have
|
||
|
all my faculties -- if not necessarily my freedom. And with the
|
||
|
continuing ability to someday, somehow, get together the funds to pay
|
||
|
back their loan -- plus interest. Failing that, they could simply ask me
|
||
|
to pay with my worthless hide.
|
||
|
"I wish Paco would get a steady job," she said.
|
||
|
"Paco! How about a steady job for me -- preferably in some
|
||
|
unobtrusive place like Timbuktu?" I said.
|
||
|
She leaned over to look in the mirror on the wall and worked to
|
||
|
smooth out her hair with the flattened palms of her hands. "Some of
|
||
|
the people Paquito hangs around do have bad reputations. People
|
||
|
around the courthouse talk. It's getting to be a problem, all right."
|
||
|
"Yeah, but how about me and my problem?"
|
||
|
Amelia gave me one of her frowning, earnest looks. "You know
|
||
|
what you need?"
|
||
|
"No" -- I bit. "What do I need?"
|
||
|
"Your father," she said. "You need his money -- and your mother
|
||
|
needs him."
|
||
|
"I'll call up Fidel and arrange it -- what the hell is his number
|
||
|
again?"
|
||
|
"My cousin says that Elena was never like this in the old days in
|
||
|
Havana."
|
||
|
It was true, I knew Mother needed a man to settle down with, not a
|
||
|
pea- brained playboy like Uncle Paco. And what better man than the
|
||
|
family hero, her martyred husband, my revered father?
|
||
|
Amelia started to put on her brassiere. Women in brassieres
|
||
|
always turn me on. "Don't leave yet!" I said. Fabricio was watching
|
||
|
the shop, I wouldn't have to get back there until six.
|
||
|
"Got to go, briefs to file."
|
||
|
"I'll volunteer to do some brief-filing of the third kind if you'll
|
||
|
stay and play some more."
|
||
|
"It would be wonderful," she said, pulling on her gray panty hose.
|
||
|
"Sure, let's give it another go."
|
||
|
"Oh Jesse, we've done that for today. I mean it would be
|
||
|
wonderful if we could only get your father out! How about Amnesty
|
||
|
International?"
|
||
|
As she picked up her handbag and started to leave, I told her we
|
||
|
have already tried that. It hadn't helped that Father was a left-winger
|
||
|
-- somehow people seemed to prefer rescuing rightists from leftist
|
||
|
jails and vice versa, not like from like.
|
||
|
I heard the door latch click behind Amelia and that's all I heard
|
||
|
for a while. I slept on, dreaming of a tiny fish leaping high out of the
|
||
|
Inland Waterway and landing gasping on the MacArthur Causeway.
|
||
|
The phone woke me up. A loud hoarse voice said hello and my
|
||
|
name. A shiver abruptly went over me -- "The Association"! But it
|
||
|
wasn't, it was just a stockbroker I didn't know. He wanted me to
|
||
|
invest my excess funds in a stock in an offshore investment company
|
||
|
in the Cayman Islands that was going to go public in London on
|
||
|
Monday and would surely triple in price by the end of the month.
|
||
|
Come on -- get serious!
|
||
|
Later, on my way over to the shop, I stopped for a newspaper.
|
||
|
Some guy in a _guayabera_ shirt was leaning against the front of the
|
||
|
cafe next door, smoking. I hate smoking, I always have. As I glanced
|
||
|
at him, his brown eyes stared at me. I averted my gaze. When I
|
||
|
looked back, he rolled his eyes upward -- I could see that they were
|
||
|
more green than brown. Then he stared again. I tried to stare him
|
||
|
down, but his eyes wouldn't leave mine alone. Finally I nodded at
|
||
|
him. He cast his eyes down and smiled, flicking his cigarette like
|
||
|
Peter Lorre in "Casablanca." I suddenly felt I had to pee like mad.
|
||
|
That night, at about 9:20, on the way back from the store after
|
||
|
closing out the cash registers and pulling the barred shutters over the
|
||
|
display windows, a car's lights swung into my rear view mirror. They
|
||
|
hung on and on, around every turn. Finally I stopped in the middle of
|
||
|
a block. The lights stopped far behind me. I started up again. The
|
||
|
lights resumed following. At the next intersection, I stopped and the
|
||
|
car with the lights pulled up beside me. A man in a wide-brimmed
|
||
|
Panama hat leaned out of the window and motioned to me with one
|
||
|
long index finger. I opened the window. In the yellowish glow from
|
||
|
the sodium vapor street lights I could see that his teeth were
|
||
|
gold-capped under the mustached lip.
|
||
|
"Do you know the way to Hialeah?"
|
||
|
"No," I said.
|
||
|
"Too bad, I like to know which way I'm headed."
|
||
|
"What?"
|
||
|
"You know how it is, don't you? Yeah, I can tell you do, Mr.
|
||
|
Revueltos."
|
||
|
I stared at him, he smiled, closed the window, and the car drove
|
||
|
off, his tail lights red, fading in and out inside the faint yellow tents
|
||
|
under the lamp posts, then reappearing bright in the receding
|
||
|
darkness.
|
||
|
The next day, I had a note (misspelled) from Uncle Paco saying
|
||
|
I'd better "regularise" my financial situation as soon as possible -- the
|
||
|
Association had emphasized that they were anticipating a severe cash
|
||
|
crunch. My cooperation would be greatly appreciated.
|
||
|
I had to do something. I didn't know what. But something. It was
|
||
|
desperation city!
|
||
|
-----------------------------------------------------------------------------------------
|
||
|
|
||
|
PRIDE
|
||
|
|
||
|
by Otho Eskin
|
||
|
|
||
|
(Note: This is scene 6 from the full-length play "Act of God")
|
||
|
|
||
|
|
||
|
Cast of Characters
|
||
|
|
||
|
JOHN An unemployed actor weak, shallow and self-absorbed.
|
||
|
|
||
|
SATAN
|
||
|
|
||
|
DAMIEN A priest.
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
|
||
|
AT RISE: JOHN is alone in his New York apartment.
|
||
|
|
||
|
|
||
|
JOHN
|
||
|
Now I ask you, can things get any worse than this? You bet they can.
|
||
|
I'm going to have to take strong action.
|
||
|
|
||
|
(The doorbell rings. JOHN opens the
|
||
|
door. Standing at the door is FATHER
|
||
|
DAMIEN. DAMIEN is a dignified,
|
||
|
elderly man, wearing a black topcoat
|
||
|
and a homburg hat and carrying a black
|
||
|
satchel.)
|
||
|
|
||
|
DAMIEN
|
||
|
Good evening. I am Father Damien.
|
||
|
|
||
|
JOHN
|
||
|
I'm John. Please come in.
|
||
|
|
||
|
(DAMIEN shivers as if suddenly very
|
||
|
cold.)
|
||
|
|
||
|
DAMIEN
|
||
|
It's awfully cold here. (DAMIEN pulls his collar close.) You said on
|
||
|
the phone you were in trouble. How may I help you, my son?
|
||
|
|
||
|
JOHN
|
||
|
Your ad in the Yellow Pages said you were a qualified exorcist.
|
||
|
|
||
|
DAMIEN
|
||
|
One of the few still practicing in the United States.
|
||
|
|
||
|
JOHN
|
||
|
Thank heavens I've finally found someone who can do something.
|
||
|
|
||
|
|
||
|
DAMIEN
|
||
|
What is your problem?
|
||
|
|
||
|
JOHN
|
||
|
Satan is here in my apartment. I conjured him...
|
||
|
|
||
|
DAMIEN
|
||
|
You did what?
|
||
|
|
||
|
JOHN
|
||
|
Father, you're my last hope. Can you help me get rid of Satan?
|
||
|
|
||
|
DAMIEN
|
||
|
Oh, dear, I hope you aren't counting on me too much. I mean, these
|
||
|
things are a bit tricky, you know.
|
||
|
|
||
|
JOHN
|
||
|
But you do know how to do it?
|
||
|
|
||
|
DAMIEN
|
||
|
That depends on how The Great Tempter has manifested himself.
|
||
|
Tell me, what are the signs? How does he...? How does he appear to
|
||
|
you?
|
||
|
|
||
|
JOHN
|
||
|
Actually, he looks a little like my brother-in-law from my first
|
||
|
marriage. He seems to appear differently to different people.
|
||
|
|
||
|
DAMIEN
|
||
|
Oh, my goodness, how exciting.
|
||
|
|
||
|
JOHN
|
||
|
It's not exciting at all. It's terrible. This thing is ruining my
|
||
|
life. I want you to get rid of him.
|
||
|
|
||
|
DAMIEN
|
||
|
I'll certainly give it a shot.
|
||
|
|
||
|
JOHN
|
||
|
(Doubtfully)
|
||
|
You have done this before?
|
||
|
|
||
|
DAMIEN
|
||
|
Of course. Many times.
|
||
|
|
||
|
JOHN
|
||
|
And you have seen the Devil? I mean, in person?
|
||
|
|
||
|
DAMIEN
|
||
|
Not exactly seen him. He's very sly.
|
||
|
|
||
|
JOHN
|
||
|
You do believe in the Devil? I suppose if you believe in God, then it's
|
||
|
easy to believe in the Devil.
|
||
|
|
||
|
DAMIEN
|
||
|
Actually, it's the other way around. It's the God bit I've always had
|
||
|
trouble with. In fact, it's only my conviction that Satan must exist
|
||
|
that has kept my faith alive. If it weren't for the Devil I would be in
|
||
|
despair. And to be honest, recently I've even had doubts about him.
|
||
|
|
||
|
JOHN
|
||
|
I think I've made a very serious mistake.
|
||
|
|
||
|
DAMIEN
|
||
|
This always happens. Every time. Please let me try.
|
||
|
|
||
|
JOHN
|
||
|
It's too dangerous.
|
||
|
|
||
|
DAMIEN
|
||
|
I know all about how it's done. I know all the rituals. I know all the
|
||
|
words. Please let me. I've been practicing all my life.
|
||
|
|
||
|
JOHN
|
||
|
OK. I'll give you a chance.
|
||
|
|
||
|
DAMIEN
|
||
|
Thank you. Thank you. Now where is he?
|
||
|
|
||
|
JOHN
|
||
|
Last time I saw him he was in the kitchen fixing a tuna melt.
|
||
|
|
||
|
DAMIEN
|
||
|
You must leave. Now. You'll be in the way here. Leave this to the
|
||
|
professionals.
|
||
|
|
||
|
JOHN
|
||
|
I suppose I could stay in the bedroom.
|
||
|
|
||
|
(DAMIEN pushes JOHN through the
|
||
|
bedroom door.)
|
||
|
|
||
|
DAMIEN
|
||
|
Go! Quickly!
|
||
|
|
||
|
(JOHN stops at the door to the
|
||
|
bedroom.)
|
||
|
|
||
|
JOHN
|
||
|
If you need me, just call.
|
||
|
|
||
|
(JOHN exits. FATHER DAMIEN
|
||
|
removes his coat and hat. HE wears a
|
||
|
clerical collar and a black cassock.
|
||
|
DAMIEN opens his satchel and takes
|
||
|
out two candles, a bell, and a cross. HE
|
||
|
places them on the table. Turning
|
||
|
toward the kitchen door, HE raises his
|
||
|
arms.)
|
||
|
|
||
|
DAMIEN
|
||
|
Come Satan, Spirit of Darkness, I cast thee out.
|
||
|
|
||
|
(The door to the kitchen opens and
|
||
|
SATAN appears, dressed in a white
|
||
|
laboratory smock, wearing glasses and a
|
||
|
red, plastic eye-shade and carrying a
|
||
|
clipboard. DAMIEN staggers back as if
|
||
|
struck by a force and covers his face
|
||
|
with his hands. Slowly HE lowers his
|
||
|
hands and looks at SATAN.)
|
||
|
|
||
|
DAMIEN
|
||
|
At last we meet face to face.
|
||
|
|
||
|
(DAMIEN picks up the cross, then
|
||
|
drops it as if it burned his hand.)
|
||
|
|
||
|
SATAN
|
||
|
Put away your toys, old man.
|
||
|
|
||
|
DAMIEN
|
||
|
I shall destroy you!
|
||
|
|
||
|
SATAN
|
||
|
Your weapons are useless against my power.
|
||
|
|
||
|
(DAMIEN raises the candlesticks, drops
|
||
|
them.)
|
||
|
|
||
|
SATAN
|
||
|
You cannot harm me. You have only the powers of magic and ritual
|
||
|
and faith in an age which has forgotten magic and trivializes ritual
|
||
|
and has no faith. Against you I summon the invincible forces of the
|
||
|
modern world the forces of science and reason.
|
||
|
|
||
|
DAMIEN
|
||
|
I exorcise thee, unclean Spirit...
|
||
|
|
||
|
SATAN
|
||
|
I deny thee with the powers of number...
|
||
|
|
||
|
DAMIEN
|
||
|
Tremble, O Satan...
|
||
|
|
||
|
SATAN
|
||
|
Take heed of the forces of relativity...
|
||
|
|
||
|
DAMIEN
|
||
|
...thou enemy of faith...
|
||
|
|
||
|
SATAN
|
||
|
...denier of electromagnetic mass...
|
||
|
|
||
|
DAMIEN
|
||
|
...thou foe of mankind...
|
||
|
|
||
|
SATAN
|
||
|
...blasphemer against particle-wave duality...
|
||
|
|
||
|
|
||
|
DAMIEN
|
||
|
...who has brought death into the world...
|
||
|
|
||
|
SATAN
|
||
|
...thou enemy of gluons and quarks...
|
||
|
|
||
|
DAMIEN
|
||
|
(His voice beginning to weaken)
|
||
|
...thou root of evil...
|
||
|
|
||
|
SATAN
|
||
|
...intermediate vector bosons...
|
||
|
|
||
|
DAMIEN
|
||
|
...the source of discord...
|
||
|
|
||
|
SATAN
|
||
|
...unified field theory...
|
||
|
|
||
|
DAMIEN
|
||
|
...envy...
|
||
|
|
||
|
SATAN
|
||
|
(Triumphant)
|
||
|
...space-time, null class.
|
||
|
|
||
|
(DAMIEN slumps into a chair.)
|
||
|
|
||
|
SATAN
|
||
|
(Bowing graciously)
|
||
|
My respects, Father Damien.
|
||
|
|
||
|
DAMIEN
|
||
|
You know me?
|
||
|
|
||
|
SATAN
|
||
|
I was present at your birth at Carney Hospital. I was your companion
|
||
|
at school. I was there at every temptation of the flesh. At every
|
||
|
anguish of the soul. At every moment of doubt. I have been with you
|
||
|
always.
|
||
|
|
||
|
|
||
|
DAMIEN
|
||
|
I recognize you now. Weren't you on the faculty at the seminary? You
|
||
|
taught homiletics and coached basketball.
|
||
|
|
||
|
SATAN
|
||
|
We are old friends, you and I.
|
||
|
|
||
|
DAMIEN
|
||
|
Then I am lost.
|
||
|
|
||
|
SATAN
|
||
|
No, Father, you are not yet lost. Your weapons are not entirely
|
||
|
without effect. I wonder whether the Church realizes that. I
|
||
|
understand the Archdiocese is embarrassed by your activities as an
|
||
|
exorcist.
|
||
|
|
||
|
DAMIEN
|
||
|
Father Flaherty has on several occasions suggested I discontinue the
|
||
|
practice.
|
||
|
|
||
|
SATAN
|
||
|
And why was that?
|
||
|
|
||
|
DAMIEN
|
||
|
He said exorcism is outmoded. He called it mumbo-jumbo. He thinks
|
||
|
the whole idea of the Devil is childish and should not be encouraged.
|
||
|
|
||
|
SATAN
|
||
|
Father Flaherty said that?
|
||
|
|
||
|
DAMIEN
|
||
|
He is a Jesuit and knows about these things. He says the concept of
|
||
|
the Devil should be treated as a metaphor for spiritual anomie and
|
||
|
human depersonalization in modern society.
|
||
|
|
||
|
SATAN
|
||
|
(Offended)
|
||
|
I'm a metaphor? I must have a talk with Bob Flaherty one day soon.
|
||
|
|
||
|
DAMIEN
|
||
|
What do you want of me?
|
||
|
|
||
|
SATAN
|
||
|
What do you want of me?
|
||
|
|
||
|
DAMIEN
|
||
|
Nothing, cursed being.
|
||
|
|
||
|
|
||
|
SATAN
|
||
|
Tell me, how are things at St. Matt's? I couldn't help noticing last
|
||
|
time I was there things looked a little run down.
|
||
|
|
||
|
DAMIEN
|
||
|
The congregation is not wealthy. They have little to share.
|
||
|
|
||
|
SATAN
|
||
|
It would be a shame to close St. Matt's down.
|
||
|
|
||
|
DAMIEN
|
||
|
What do you mean?
|
||
|
|
||
|
SATAN
|
||
|
The Archbishopric has a lot of doubt about the value of these
|
||
|
inner-city facilities.
|
||
|
|
||
|
DAMIEN
|
||
|
What can I do?
|
||
|
|
||
|
SATAN
|
||
|
You must cut costs and increase income.
|
||
|
|
||
|
DAMIEN
|
||
|
I don't know how.
|
||
|
|
||
|
SATAN
|
||
|
I will teach you, Father. I will show you how to use modern
|
||
|
technology. You need a personal computer to put your church on a
|
||
|
sound business footing.
|
||
|
|
||
|
DAMIEN
|
||
|
Oh dear.
|
||
|
|
||
|
SATAN
|
||
|
We'll need state of the art applications software. I have a full range of
|
||
|
attractive options designed to fit every possible need. (Refers to
|
||
|
clipboard) Here's a very popular number: Ecuservice. (Reflects) No.
|
||
|
On second thought I don't suppose that program would do at St.
|
||
|
Matt's. But it's a very hot item in some of the trendier suburbs.
|
||
|
(Glances again at his clipboard.) Here's one that would be perfect for
|
||
|
you: Romamode.
|
||
|
|
||
|
|
||
|
DAMIEN
|
||
|
I can't afford these things.
|
||
|
|
||
|
SATAN
|
||
|
Don't worry about that. We'll work out a delayed payment plan.
|
||
|
Your credit's good with me, Father.
|
||
|
|
||
|
DAMIEN
|
||
|
This doesn't sound right.
|
||
|
|
||
|
SATAN
|
||
|
With a high-speed modem, we can tie you into Internet so you can
|
||
|
access one of the many church bulletin boards. I recommend
|
||
|
Compugod.
|
||
|
|
||
|
DAMIEN
|
||
|
I don't think I need anything like that...
|
||
|
|
||
|
SATAN
|
||
|
Yes, you do. I'll create a World Wide Website for your church.
|
||
|
|
||
|
DAMIEN
|
||
|
Website?
|
||
|
|
||
|
SATAN
|
||
|
How do you think I do my business? You've got to put this church
|
||
|
into the black. Find your market niche and expand. Look at the
|
||
|
demographics. You need young people.
|
||
|
|
||
|
DAMIEN
|
||
|
Young people aren't interested in religion.
|
||
|
|
||
|
SATAN
|
||
|
Make them interested. Put video games in the vestry. Stereo speakers
|
||
|
throughout the nave. Rap concerts in Newman Hall. A head shop in
|
||
|
the rectory. Get the kids off the street and into church and you
|
||
|
increase your profit margin a thousand percent. With my help, you'll
|
||
|
pack them in. Just ask me and you can save St. Matt's. Who knows, it
|
||
|
may not be too late to think about a purple biretta for you.
|
||
|
|
||
|
(DAMIEN shrinks away from SATAN.)
|
||
|
|
||
|
DAMIEN
|
||
|
I want nothing for myself.
|
||
|
|
||
|
SATAN
|
||
|
Then think of your flock. Help them. It's right here for the asking.
|
||
|
|
||
|
DAMIEN
|
||
|
(Crying out in despair)
|
||
|
No! No!
|
||
|
|
||
|
(JOHN enters)
|
||
|
|
||
|
JOHN
|
||
|
What's going on here?
|
||
|
|
||
|
SATAN
|
||
|
(To DAMIEN)
|
||
|
Father, do you want to feed the poor? I can give you all the food you
|
||
|
want. Do you want to cure the sick? I will provide you with
|
||
|
medicines. Do you want better schools? The end of crime? They are
|
||
|
yours for the asking. You need have nothing to fear. You are a good
|
||
|
man, Father. Surely God would not condemn you for that. Surely
|
||
|
God will save you. Bow down, Father, and worship me and I will
|
||
|
give you all these things.
|
||
|
|
||
|
(DAMIEN sinks to his knees and covers
|
||
|
his head with his hands.
|
||
|
|
||
|
JOHN
|
||
|
(To SATAN)
|
||
|
How come you're still here?
|
||
|
|
||
|
SATAN
|
||
|
Get out of here. We're busy.
|
||
|
|
||
|
JOHN
|
||
|
(To DAMIEN)
|
||
|
Did something go wrong?
|
||
|
|
||
|
SATAN
|
||
|
Would you mind coming back another time?
|
||
|
|
||
|
|
||
|
DAMIEN
|
||
|
What have I done!?
|
||
|
|
||
|
SATAN
|
||
|
(To JOHN)
|
||
|
Get out! Get out! You're ruining everything
|
||
|
|
||
|
JOHN
|
||
|
I don't understand...
|
||
|
|
||
|
DAMIEN
|
||
|
I almost succumbed.
|
||
|
|
||
|
SATAN
|
||
|
All right no more Mr. Nice Guy.
|
||
|
|
||
|
(FATHER DAMIEN rushes to the
|
||
|
door.)
|
||
|
|
||
|
JOHN
|
||
|
I wish someone would tell me what's going on.
|
||
|
|
||
|
SATAN
|
||
|
You're getting to be a real pain.
|
||
|
|
||
|
(DAMIEN opens the door, stops and
|
||
|
looks back one final time as if
|
||
|
reconsidering.)
|
||
|
|
||
|
SATAN
|
||
|
(Hopefully)
|
||
|
Yes, Father?
|
||
|
|
||
|
DAMIEN
|
||
|
I want to thank you. You have given me back my faith. Bless you.
|
||
|
|
||
|
(SATAN staggers back as if struck)
|
||
|
|
||
|
SATAN
|
||
|
Get out of here!
|
||
|
|
||
|
DAMIEN
|
||
|
Bless you. Bless you.
|
||
|
|
||
|
(DAMIEN leaves. SATAN slumps onto he couch.)
|
||
|
|
||
|
SATAN
|
||
|
I was that close. I hope you're satisfied. You want to spend the rest of
|
||
|
your life in this fucking apartment?
|
||
|
|
||
|
JOHN
|
||
|
Of course not.
|
||
|
|
||
|
SATAN
|
||
|
Do you want to stay here with me forever? Never being able to go
|
||
|
out with your friends. Never being able to do what you want to.
|
||
|
Never to be alone. We might as well be married.
|
||
|
|
||
|
JOHN
|
||
|
I want to get out of here as much as you do. I'd do anything to break
|
||
|
the spell.
|
||
|
|
||
|
SATAN
|
||
|
Anything? There's one way. Only one way.
|
||
|
|
||
|
(JOHN backs away from SATAN,
|
||
|
shaking his head.)
|
||
|
|
||
|
JOHN
|
||
|
You mean...?
|
||
|
|
||
|
SATAN
|
||
|
It would be good for everyone. I'd get Maggie's soul. You'd get her
|
||
|
body. And we'd both be out of here.
|
||
|
|
||
|
JOHN
|
||
|
But what about Maggie?
|
||
|
|
||
|
|
||
|
SATAN
|
||
|
She'd get something too. She'd get something she prizes above all
|
||
|
else something only I can offer.
|
||
|
|
||
|
(SATAN picks up the phone and offers
|
||
|
it to JOHN.)
|
||
|
|
||
|
SATAN
|
||
|
Everyone wins. You'll see. Salvation is only a phone call away.
|
||
|
|
||
|
|
||
|
BLACKOUT
|
||
|
================================================
|
||
|
================================================
|