The Masquerade Party by Benjamín GAVARRE

 

The Masquerade Party

by Benjamín GAVARRE

Cast:

• GEORGE (the Actor)
• BO (the Balloonman)
• GEROME
• VERONIQUE
• THE MOTHER
• THE FATHER

---

The stage is a large room, a little bit theater, a little bit dressing room, a little bit apartment. It is above all the place where our character, the Actor, lives; although his name, his true, his other name, is George.

He is “alone” in extreme intimacy. He will, however, interact with certain characters born of memory, or of his imagination. As the play begins, the Actor is in a state of high activity: he chooses his favorite music; then goes to a coat rack and tries on different disguises (a laborer, a lawyer, a traffic cop, a sword-and-armor hero, Romeo...), but he can’t get dressed by himself. So he takes Bo-the Balloonman out of a huge trunk. Bo helps him put on the cape, or places the helmet or the mortarboard on his head. With each disguise, George models in front of a full-length mirror, but none of them convince him. He finally chooses a disguise: he will be a college student in a sweater, a crest, long pants, loafers, and a backpack. He looks to Bo-the Balloonman for approval, but Bo only watches him mockingly, silently.

The Actor smiles at his final image. It is a smile that suddenly turns into laughter. Then comes silence. He knows exactly what he has to do: he rushes to a corner where a sign reads: tortuous hiding place... He takes out a pistol. He forces the bewildered Bo offstage, then goes to the mirror and points it at his temple...

He fires three shots at his reflected image and shouts:

GEORGE.— Enough!

Bo-the Balloonman springs surprisingly out of the trunk and shows the audience a clapperboard on which we read:

THE SUICIDE!!!

Then, after clapping the board, he says with brilliance:

BO.— The suicide! Scene three of act V... Romeo and Juliet?... No! But, anyway: Let's start!

And he gets back into his trunk.

The doorbell rings. The Actor runs to it, but at that moment the phone rings: he decides to go to the phone first.

GEORGE.— Hello? One moment, please!

He leaves the phone off the hook and goes to the door; he opens it and discovers that no one is there. Confused, he closes it and runs back to the phone.

GEORGE.— Who is it? (No one answers on the other end of the line.) Hello? (Silence.) What, you’re not going to answer? It's you again. You're the Mute. Or Muta. Well, my dear, whoever you are: I recommend you go see a good ENT doctor. Maybe then you'll stop bothering me. (And very annoyed, he hangs up the receiver.)

For a few moments, he stares into space. Then he takes the receiver and anxiously dials a number. He waits. Someone answers on the other end of the line and the Actor hangs up with a mixture of fear and shame. He breathes, stares into space again and redials the same number. He waits. They answer on the other side: he hangs up hastily. Bo emerges from the trunk and looks at him with suspicion...

BO.— They don't answer?

GEORGE.— Yes, they always answer, but me?... I get all tongue-tied... Numb with nerves.

BO.— Yes, those mutes! Unbearable, right?

GEORGE.— They should lock them up.

BO.— Us?

GEORGE.— Lock us up if you want; it doesn't matter. But you know what? I'm going to invite them. I'm going to invite them to my birthday party.

BO.— Do you think they'll remember you?

GEORGE.— (Ignoring him) Only two guests: Veronique and Gerome; Gerome and Veronique... Do you get it?

BO.— No!

GEORGE.— They're even alike in name. Don't you think it's ridiculous?... (He grabs his head) Oh, this damn migraine again! And it had to hurt me precisely today! (Suddenly without pain, he looks at Bo with paranoia.) I know... but you don't have to look at me like that. Okay, you're right: I'm always looking for excuses. But this time I'm really going to talk to them. (Bo picks up the phone and dials Veronique and Gerome's number.) You don't believe me, do you? Well, watch how I talk to them... (Bo hands him the receiver and George, while waiting for them to answer, says...) Don't you dare call me a hypochondriac again, because I'm not. Hello!... Veronique?! (Very nervous) Guess who!... George. What do you say I invite you to a party?... Tell Gerome too... But of course, I'm serious... It's a costume party... I just thought of it... My birthday? No, of course not. You would have remembered, wouldn't you?... Oh, you did? Right! Thanks for calling... What? No, I know I'm the one who called you, of course; but thanks anyway. Ugh, so persistent! Okay, pass him to me... Gerome?... Master, what a disaster!... What?... Yes, I'm so happy... I was telling Veronique about a party... Yes, a costume party... No; cake if you want, but I hate balloons... Well, I don't know, I've never liked them... What did you say? Ahmmh, early! Does nine o'clock sound good?... Nine-thirty... Yes?... Okay, pass her to me... Whatever you want, Vero... A mummy? Well, that's great... Yes?... Me too, yes... Perfect... Bye... See you... Ten-thirty, yes... Ciao!

He hangs up the phone, beaming. Bo mocks him.

BO.— Uh-huh, yeah... uh-huh, yeah, right. Uh-huh?... yeah.

GEORGE.— (Happily) I can't believe it. I'm alive. Alive! (Proudly) And they're coming. At nine, at nine on the dot. Do you realize? I'm alive!

BO.— Congratulations... And what are you going to do with all that vibrant vitality?

GEORGE.— (Without losing heart) I have a future, will. I'm almost famous. Today is my birthday. I have health, strength, memory, understanding: perfect conditions.

BO.— Wow, you're amazing! Why don't we get married?

GEORGE.— So you don't believe me? (He stares at him.) I know what you're thinking: George is going to try again. That's what you think, isn't it? Answer me!

BO.— What?

GEORGE.— Suicide. Call it what it is.

BO.— You're taking yourself too seriously!

GEORGE.— What?... What's this about!

BO.— (He gives him a balloon.) You are under arrest. Come with me.

GEORGE.— Oh?... Thanks, but I'm fine like this.

BO.— Follow me.

GEORGE.— How dare you! I'm not a criminal!

BO.— That doesn't matter. You feel guilty, don't you?

GEORGE.— Yes. I mean: No! What would I have to feel guilty about? I just want to feel good.

BO.— How original. So you're not guilty of anything.

GEORGE.— No, absolutely not.

BO.— And yet, everything you say or do will be used...

GEORGE.— Against me, yes. But is this a nightmare?

BO.— Maybe. And maybe everything you say or do doesn't matter to anyone, not even to yourself...

GEORGE.— That's not possible... Or is it?

BO.— I don't know; but the thing is, you have to come with me.

GEORGE.— I have to? What if I escape?

BO.— That would be your decision... your choice.

GEORGE.— Are you sure?

BO.— No.

GEORGE.— (He looks for different exits.) And where's the exit?

BO.— Through the door, of course, but only a few, very few, are used to escaping through the door.

GEORGE.— (Thoughtfully) Right... What confusion! (He says goodbye to Bo.) Thanks, it's been... like a pleasure.

BO.— It was nothing.

GEORGE.— Ah... If they ask for me... Tell them I had a commitment.

BO.— And that you weren't able to say goodbye to anyone...

GEORGE.— That I had to leave. That's all.

The Actor goes to the door: he finds it closed. He goes to the full-length mirror: he passes through it. He realizes that he is in the same space. He passes through the door-mirror again and again.

GEORGE.— Well, after all: who wants to know what's outside? Outside is as abstract as the concept Inside. Inside and Outside related to what? Whose premises are... (He grabs his head. Bo serves him a glass of water.) Whose main premises are, ahmmm... (He takes the glass of water and looks gratefully at Bo.) Thanks. (He drinks it.) You're... almost an angel. You know? I have an appointment at eight.

BO.— (Affirming) A very important appointment.

GEORGE.— Very important. It's a costume party.

BO.— (Mischievously) And your friends are coming.

GEORGE.— My old friends, yes... And when they arrive...

BO.— Always and When they arrive.

GEORGE.— When they arrive...

The siren of a patrol car or ambulance is heard. Gerome enters dressed as a boy scout. His shirt is stained with blood.

GEROME.— I told you, George. I told you we couldn't go on with so much luck. Where were you? Why did you leave me alone? They got me, George. They grabbed me, four of them, and they didn't have pity. They caught me, as you say. On the way out, as always.

BO.— Knock his teeth out; hurry up, they're going to see us; get out of the way, it's my turn! (He acts without Gerome paying any attention.)

GEROME.— No, it was not a fight between gentlemen, great heroes, no. They grabbed me, four of them. They covered me with kicks and complicit shouts.

BO.— Knock his teeth out; hurry up, they're going to see us; get out of the way, it's my turn!

GEORGE.— That happened a long time ago... And me?

GEROME.— Where were you!

BO.— You fell asleep.

GEORGE.— Asleep?... Am I asleep?

GEROME.— No one told me. It all happened just like that, on the way out, as always. I started walking without waiting for you.

GEORGE.— I fell asleep.

GEROME.— They grabbed me, seven of them?

BO.— A nightmare.

GEORGE.— A slap of helmets and batons, of calibers and patrol cars. And me? Where was I?

BO.— Snoring. You were dreaming about the police.

GEORGE.— They broke your eyes.

GEROME.— They tore my life out.

BO.— I knew it. A nightmare.

GEROME.— They left me lying in the street, massacred.

GEORGE.— Damn police!

GEROME.— Are you crazy? What police! It was Jáuregui and the others! It was the guys from third grade B!

BO.— Knock his teeth out; hurry up, they're going to see us; get out of the way, it's my turn!

GEROME.— And you, where were you? Why didn't you go to school.

GEORGE.— Me? (Sleepily) Was I asleep?

GEROME.— What are you saying!

An alarm sounds. Bo blindfolds Gerome. George puts a pistol to his temple. A relentless interrogation begins.

GEORGE.— What is your last wish?

GEROME.— Stop bothering me!

GEORGE.— Did you fail?

GEROME.— Yes, it was your fault.

GEORGE.— In Math?

GEROME.— Yes, it was your fault.

GEORGE.— Always my fault... What is your last wish?

GEROME.— Am I going to die?

GEORGE.— Do you want poison?

GEROME.— Haven't you seen the others?

GEORGE.— The others?

GEROME.— The others.

BO.— What is that?

GEORGE.— The others?

GEROME.— The others.

BO.— Theotherstheotherstheothers...

GEORGE.— What is that?

GEROME.— I don't know. A word?

BO.— And what does it mean?

GEROME.— I don't know. Not anymore.

GEORGE.— Do you want poison?

GEROME.— I knew it.

GEORGE.— Poison?

GEROME.— A glass of water.

Bo offers him a metal cup.

GEROME.— Thanks... And?... What have you been up to? What does the Theater say?

GEORGE.— I'm rehearsing my new... it happened in front of the mirror... Suicide!

GEROME.— Oh, yeah... they told me you were rehearsing Romeo and Juliet. But that was last year, right?

GEORGE.— (He takes the cup from him and performs a fragment of his version of Romeo) Juliet, why are you still so beautiful? Your eyes sparkle. I will die with you. (He kisses the cup) Come, rough and conquering poison. My body, tired of fighting with life... wants to lose itself in the abyss. Let's toast.

THE ACTOR FALLS DEAD. GEROME APPLAUDS.

GEROME.— Bravo! Genius, master! (They hug) But don't do it again, it's bad luck.

GEORGE.— Commit suicide in front of the mirror?

GEROME.— They say your soul gets trapped inside.

GEORGE.— I'd better commit suicide somewhere else.

BO.— The most vital game is approaching!

GEROME.— What if I kill you instead?

GEORGE.— (Excitedly) Abruptly!

GEROME.— (Happily) Remember?...

GEORGE.— Sudden death, yes!

GEROME.— What's more important? The rules of the game...?

GEROME.— Or the game without rules!

GEORGE.— The game of the broken rule!

GEROME.— Article mortis!

BO.— Mortis mortibus!

ALL.— SUDDEN DEATH!

THE ACTOR TAKES THE PISTOL AND FIRES THREE SHOTS AT GEROME, WHO FALLS. THE ACTOR TRIES TO REVIVE HIM.

GEORGE.— Gerome! Gerome, wake up! They just killed the Math teacher!

GEROME.— (He gets up surprisingly) No, George, no. The Math teacher was not murdered. He just threw himself off. He broke into pieces; it was in the newspaper. Everyone knows.

ALL.— HE COMMITTED SUICIDE!

GEROME.— (He adopts the attitude of a Math teacher.) Let's see, students, let's look. Today we will analyze the Theory of Suicide. Axiom A... (To the Actor) You there. Say Ahh please.

GEORGE and BO.— Aggh, gahhh, guihuu, gaiiuuu...

GEROME.— Enough! The difference lies in whether the subject takes himself too seriously or not. We have the suicide of Romeo. The slow but approaching, which is a variant of sudden death.

GEORGE and BO.— Gauuu, gauiii, gaushhh, shiuuuuu, aghh.

GEROME.— (To the Actor) What is your name, young man?

GEORGE.— George.

GEROME.— George! (He looks at him intently) You and I will solve the following equation together. Lie on the floor. Raise that arm. (The Actor raises, for example, his left arm) Not that arm! The other one! (The Actor raises his right arm.) No, not that one! Raise that exact arm and not the other. (The Actor, confused, raises one arm and then the other.) Raise it!... Very good. Now, you are going to receive a small gift. (He gives him a rose. Bo runs for a bouquet of black roses and places them around the Actor's body.) Repeat after me.

The Actor repeats each verse as Gerome covers him with a black cloth. Bo is Gerome's accomplice in this kind of ceremony. After each line, the characters make a sound with their feet or arms.

THE ACTOR AND GEROME.—

DEAD I AM (sound of feet stomping)

DEAD WITHOUT DUST (sound of hands clapping)

DEAD WITHOUT SALT (sound of feet stomping)

WITH TEETH AND WITH HAIR (sound of hands clapping)

DEAD I AM (sound of feet stomping)

NAKED (sound of hands clapping)

I ALONE (sound of feet stomping)

AND WITHOUT SHOES (sound of hands clapping)

GEORGE.— (Groans) Maestro, may I go to the bathroom?!

GEROME.— (He continues with his "lecture") Silence. Let's solve the following unknown together: Chapter one: You are in your house; alone and distressed. Chapter two: You run out into the street. You go down the subway stairs. You see the train coming. You decide. The train gets closer, it gets closer faster and faster. You are ready. You see the immense train coming... And at that precise moment!...

GEORGE.— How stupid!

GEROME.— Why are you laughing?

GEORGE.— At the Math teacher. It's that thing about committing suicide on the subway... “Please do not commit suicide on the subway, think of the time of the OTHERS!”

GEROME.— (Icy) Can I ask you a favor?

GEORGE.— What does your EMINENCE desire?

GEROME.— Could you lend me your phone? It's an urgent call.

GEORGE.— Of course not... (He gives in.) Okay. Go ahead.

Gerome dials an endless phone number. Bo and the Actor play an unusual card game.

GEROME.— Garbage, everything is garbage. I'm fed up. One day I found myself talking to an unbearable clown. Who changed? I'm not going back. I'm not going to play anymore.

BO.— Checkmate.

GEORGE.— And that? What kind of a stupid game is this?

BO.— A stupid game with no rules.

GEROME.— It looks like your phone is disconnected. I'll call from a payphone. I hope you don't mind.

GEORGE.— No. Anyway, I was going to...

BO.— Shoot myself.

GEORGE.— Take a bath. I was going to kill myself by going to the bathroom when you arrived... So, if you'll excuse me...

GEROME.— Of course.

BO.— Besides, Veronique will be here soon.

GEORGE.— Besides, Veronique will be here soon.

GEROME.— Who?

GEORGE.— Veronique. Do you know her?

GEROME.— It's getting late. I'll talk to you later.

GEORGE.— Goodbye. Take care, if you can.

Gerome leaves the stage. A thunderous car crash is heard. Shouts and sirens. Veronique enters tempestuously. She is carrying a store bag.

VERONIQUE.— Ugh... I'm dead! (She falls down dead. She gets up surprisingly.) The traffic...! It's awful! But what a face. You look like you've been beaten up. By the way, I just ran into your psychiatrist in the elevator. What a guy! (Bo gives her a glass of water.) He just was here, right? It shows. What did he come for? (She drinks the glass of water while watching the Actor.) That's why you have that face... But sit down, my love; you're very pale.

GEORGE.— And you? How have you been?

VERONIQUE.— Look what I bought you! (She pulls a huge book out of the store bag.) They just published it. The translation is garbage, but the illustrations are dreamy. It also tells you everything you need to know in twenty-nine lessons.

GEORGE.— Veronique, how the hell have you been!

Veronique drops the book. Bo picks it up and reads it placidly.

VERONIQUE.—(Shaken) Good? Is everything good?

GEORGE.— Do you need help?

VERONIQUE.— I am strong.

GEORGE.— Why are your eyes sad?

VERONIQUE.— I am the owner of my own actions. I never have been a child.

Bo sits in a chair and eats popcorn.

GEORGE.— Remember, yesterday, when we were alone.

VERONIQUE.— Yesterday?... Who wants to talk about that?

GEORGE.— I do.

BO.— Loneliness! The movie!

VERONIQUE.— Yesterday... I was alone. I bought a lemon lollipop at the corner store.

BO.— Loneliness! A movie!, but what a movie!

GEORGE.— It was hot yesterday. I took off my shirt and my shoes. I drank a glass of water.

Bo wets them with a watering can and walks around with an open umbrella.

VERONIQUE.— I like to buy lemon lollipops. I like the empty feeling in my stomach when I feel lonely, sitting on some bench in the park, watching people pass by.

BO.— Get to know the moving story of Veronique: a mere mortal in search of Love.

VERONIQUE.— Will you come? Will you come to me, knight of the strong arms?

BO.— She doesn't know that soon he will come to her, to her melancholy loneliness: The Man!

VERONIQUE.— A knight with warm skin. Beautiful and strong.

GEORGE.— And they told me: When you are big you will be vigorous and bold. But I'm not blue, I never was, and much less a prince.

BO.— And it happened. The Man and the Woman met. Don't miss it. Loneliness. Check your movie schedule.

VERONIQUE.— Did it happen like in the Theater, like in the Movies?

GEORGE.— Yes, something like that... of course.

BO.— At least it happened at the movies.

VERONIQUE.— I saw you. You had also chosen your seat.

GEORGE.— Are you suggesting I was a nuisance?

VERONIQUE.— I confirm it. You were a nuisance.

GEORGE.— It was to get your attention.

VERONIQUE.— I have to say you succeeded. I never saw the movie.

BO.— Loneliness!

GEORGE.— You didn't see it!?

VERONIQUE.— Neither did you.

GEORGE.— They kicked you out of the theater!

VERONIQUE.— And you came out after me...

GEORGE.— I'm not vain, but you came out after me, crying.

VERONIQUE.— I'm not going to argue. In the street, it was like a fairy tale. Like a...

GEORGE.— A musical!? No, don't you dare, please!

VERONIQUE.— I remember I was Ginger Rogers and you... you were... Fred Astaire.

GEORGE.— She said it... She said it!

Musical comedy music plays.

VERONIQUE.— Hello, good legs.

GEORGE.— Hello! Good afternoon.

BO.— Would you like to go somewhere where we're alone?

VERONIQUE.— Can I ask you a question? What did you say your name was?

GEORGE.— George. My name was George. I'm talented and an actor. I'll give you my card later.

VERONIQUE.— Yes, but what do you do for work?

BO.— Enough! Silence!

Music and choreography abruptly cease. Veronique falls to the ground, dead.

GEORGE.— What's going on!?

BO.— It's terrible... the worst happened before breakfast. Wake up your wife.

GEORGE.— But we just met!

BO.— You didn't live together? You LIVE together... for now.

GEORGE.— You insist!

BO.— Uh-huh! Yeah.

GEORGE.— Well, we want it in bed, please.

BO.— Are you dreaming?

GEORGE.— (Disturbed) What!?

BO.— It doesn't matter. I'll see what I can do for you.

BO EXITS THE STAGE.

GEORGE.— Veronique? Are you asleep?

VERONIQUE.— George?

GEORGE.— Yes.

VERONIQUE.— Don't go... Life is too big.

GEORGE.— Don't worry. I'll take care of you.

VERONIQUE.— (She pushes him away.) You're wrong, George. I don't like to be taken care of. Don't touch me.

GEORGE.— You're a child.

VERONIQUE.— I'm a woman. (She walks away to the mirror and brushes her hair.)

Bo enters with an empty tray.

BO.— Tell me, sir. Do you love her?

GEORGE.— Yes.

BO.— And her?

GEORGE.— Veronique is selfish.

VERONIQUE.— Time passed and I began to remember that desire to love him. I confused myself with myself. I confused my will to love with the beloved himself. I was in love with the image that I myself wanted to create. (She looks impassively at the Actor.)

BO.— The truth is simpler and less complicated: Veronique is incapable of giving love and, above all, is incapable of receiving it.

GEORGE.— Don't you think it's time for us to have a baby? It would be sensational, don't you think? (Given Veronique's eloquent look.) No, right? It's not a brilliant idea.

VERONIQUE.— (As if she were alone.) George is deaf. I'm leaving.

GEORGE.— With whom, Veronique?

VERONIQUE.— I'm leaving, George; just leaving.

GEORGE.— Are you looking for a hero of a thousand battles?

VERONIQUE.— Goodbye, George.

GEORGE.— A fantastic hero. He will kill the dragon. He will build a castle for you.

VERONIQUE.— You're an idiot. You're never going to change. (She leaves the stage furiously.)

GEORGE.— He will build you a tower and you will silently love him. A perfect story for you, Veronique; for you, so lonely.

---

Bo-the Balloonman enters. He has a mysterious paper bag with him.

BO.— We've been studying you, we've been exciting you, we've been lubricating you. It contains it, it calms it down, it mediates it, it accompanies it, it doesn't leave it alone. You don't try, you don't perform, you have nothing to, you just have to. You're inert, you let go, you rock. Without commitment, without effort and without maneuvers... Take it!

GEORGE.— And how much is it?!

BO.— Are you really interested?

GEORGE.— Yes, of course, very!

BO.— No. Excuse me, but we can't sell it to you.

GEORGE.— (Indignant) Why not?!

BO.— It's dangerous. (He hugs him.) You know. You know that it's no use to know and much less to criticize. At least here.

GEORGE.— Know what, criticize what? And what do you mean by here?

BO.— To criticize, to know. It's useless. Like psychoanalysis.

GEORGE.— Hey no! No one's going to come here and give me speeches!

BO.— I told you myself, not here. What? Are you mad now?

GEORGE.— No, of course not. (He thinks.) Listen...

BO.— Yes?

GEORGE.— Couldn't you sell me just a little?

BO.— I'm sorry, sir, but it's prohibited. At least during business hours.

GEORGE.— And why business hours?

BO.— Working hours. Didn't you have to go to work?

GEORGE.— Oh, the interview! How awful!

The Actor tidies up the "apartment" very quickly. He pushes the Balloonman offstage as if he were a piece of furniture. He combs his hair and runs to the door. At that moment the phone rings: he decides to go to the phone.

GEORGE.— (He answers his cell phone with a voice note.) Hello! Sorry, I can't talk right now, can you leave a message? (Static is the only response). (To the static Bo who has returned) I don't want balloons! (Aggressive) Did you hear me? I don't want balloons! (To himself) I've never liked balloons. (He runs furiously after Bo, who flees in a panic, leaving the door open.) (To the phone) Hello! Sorry, I can barely hear you. Yes?... Is that you, Mommy?! Mommy, my dear; what a surprise! Thanks for calling... Don't tell me, you don't know how old I'm turning?... (Bo enters and stealthily places dozens of balloons all over the stage.) Why didn't you call me collect?... No, I never insulted you. Besides, that was last year... Yes, before your accident... Was my picture in it?... Well, maybe it's because I'm young, don't you think?... Well, still, yes... Shakespeare... Romeo... That I play Romeo... Of course it's important! I wish you could come see it... Well, yes; I imagine in your condition... That I'm what?!... (Bo gets so excited with his "balloon arrangement" that he exposes his little trick. The Actor seems to be planning an attack strategy.) Excuse me for a moment, okay, Mommy?... I won't be long... Yes, I know it's long distance, but I won't be long... Yes, I won't be long, okay... (He runs like a madman after Bo, but he manages to escape. He locks the door and "continues" his phone conversation.) Hello!... (Furious) No, sir; you have the wrong number!... No sir, I have not received any advance payment!... My last name is not Incháustegui!... What contract?! Are you crazy?!... Then sue me if you can!... What?!... Look, my name is not Romero, I'm not renting anything, and... Listen, you don't have to insult me... Montague?... Well, you must be the stupid one and I don't have to tell you my last name... Who?... Oh really? Well, you can go and call your mother! Hello? Hello! (Darkness. When the lights turn on, the Actor remains motionless next to the phone.) (Absentmindedly) How awful, the interview! (Again in darkness. When the lights turn on, the Actor is in front of the mirror, without strength.) How awful, the interview!

A slow blues is heard. The Actor puts on dark glasses and strikes poses as if modeling for a camera. In the background of the stage, we see an elevator arrive. It opens and the Parents-Reporters appear, dressed in 1940s clothes.

THE MOTHER.— Do you rent it furnished or unfurnished?

GEORGE.— Excuse me...

THE FATHER.— (Looking at the Actor and then at the apartment) It's horrible.

THE MOTHER.— Of course it's horrible, that's why they're asking fifty thousand. (To the Actor) We saw the ad, young man. If you leave us the furniture, we'll offer you ninety thousand.

GEORGE.— Ma'am, there seems to be a mistake.

THE FATHER.— Don't bother. We're looking for something better. (To the Mother) Let's go.

THE MOTHER.— (To the Father) No, George, look... it's fine. We'll remove some furniture, paint, carpet, and add some plants... (To the Actor) I'll offer you forty thousand. Can you move out tomorrow?

THE FATHER.— It's horrible. Definitely horrible. Don't worry. Someone will take it.

THE MOTHER.— Your apartment is very nice, young man; but we're looking for something better. Don't despair.

The Actor seems to accompany them to the elevator door, but the Parents suddenly push him in. They confirm that the elevator is on another floor and take over the apartment. The light changes to a sunny day. The Mother spreads a tablecloth on the floor for a picnic. The Actor descends holding on to a rope.

THE MOTHER.— (A bright red ball emerges from her womb. Both parents interact with it or with the Actor, as if it were a single entity.) Look at him, George. He's your son.

THE FATHER.— So today is this wretch's birthday. And how old is he, huh?

THE MOTHER.— He's an actor, George... I think he was in a play by... Cervantes. It was in the newspaper.

THE FATHER.— And what was he in it for?

THE MOTHER.— Romeo, I think... But look at him, look how thin he is. And that face. He's probably suffering from insomnia, like you, George.

THE FATHER.— He's a little thin... well, because he's thin.

GEORGE.— Mommy, dear Daddy. I'm sitting in your womb; everything is calm and warm. I hear a little tam tam, bubble and red... Tam tam...

The Parents engage in a game that is both childish and sexual. The Actor becomes a hindering element in the situation.

THE FATHER.— Twenty-five fifty, number twenty-six.

THE MOTHER.— With one, with two, with three: I turn away from you and leave you at six.

GEORGE.— Daddy, dear Daddy. Why is everything the way it is? Mommy!

THE MOTHER.— (She briefly responds to her son's call.) Run, fly, jump. Let's see if they don't assault you, let's see if you don't kill yourself.

THE FATHER.— Get out! (He kisses the Mother.)

GEORGE.— Like a fish, Mommy! Am I doing it right? (He clings to his parents' legs.)

THE FATHER.— (Annoyed, he throws the "little one" with a loud kick in the butt.) I ask for heaven and earth... (Then, he gives him "advice") Run on top, run below, brake backwards, climb the stairs, jump down, now don't jump, stay seated... Jump! Jump!!! (The Actor jumps and remains motionless on the floor.) That's it.

THE MOTHER.— (She apparently comforts him. She covers him with the tablecloth.) With one, with two, with three. If I catch you, you go to sleep.

GEORGE.— (To the Father) Are you leaving again, Daddy? Have a good trip!

THE MOTHER.— Columbus passed by here and took a plane instead. (They take a "trip" around the stage.)

GEORGE.— (He plays alone.) Two little steps, two. Am I doing it right? No, not you. You less. Two and two is three. Am I doing it right? No, not you.

THE PARENTS RETURN FROM THE "TRIP".

THE MOTHER.— (To the Actor) A little smile, two, three little smiles.

THE FATHER.— Laugh, you wretch. Let's see a little smile... I'm going to break your teeth!

THE MOTHER.— What are you laughing at, you little imbecile? Let's see a little smile. But what a fool! (She flirts with the Father.) Runs, hollows out, jumps and comes out?...

THE FATHER.— Do you want me to answer backwards? (They continue the sexual game in an "instant bed".)

GEORGE.— I'm flying, I'm breathing. (He gets into bed.) Are you asleep, Daddy? Are you not going to hit me today? (He gets out of bed.) My parents don't hit me! Then why does it hurt so much?

The Parents put down the sheet and pay full attention to the Actor.

THE FATHER.— What do you mean it hurts! Explain yourself!

THE MOTHER.— Let him be. Let him get used to it.

THE FATHER.— And then he'll blame us? No way!

THE MOTHER.— Blame?... Blame for what?

GEORGE.— (His Father leads him to the mirror and washes his ears.) I have my mother's nose and my uncle's ears. The shoulders and feet are mine.

THE MOTHER.— (Moved) Look at him, George; he's your son!

THE FATHER.— (Grumpy) And yours too.

THE MOTHER.— I'm a mother!

THE FATHER.— And so what? I'm the father! And so what?

THE MOTHER.— It's not the same.

THE FATHER.— Who says?!

THE MOTHER.— Stop being a pain!

GEORGE.— (He suddenly regains his true age.) Good afternoon.

THE PARENTS.— Good afternoon!

GEORGE.— Are you my parents?

THE FATHER.— Everything seems to indicate so, yes!

THE MOTHER.— It seems there is no doubt, no!

GEORGE.— Besides, my parents are dead, they died a long time ago... Who are you trying to fool?

THE MOTHER.— (To the Father) It's our last chance... (To the Actor) Georgie, son. Your father and I have a surprise for you.

GEORGE.— Really?

THE FATHER.— Your mommy and I are going on a trip.

THE MOTHER.— It's a very long trip, yes... Very, very long.

THE FATHER.— But you shouldn't worry, Georgie. In the end you will reach the goal that we all long for.

THE MOTHER.— If you need anything, don't even think about us.

THE FATHER.— Behave as best you can.

GEORGE.— (He says goodbye.) Thank you, sirs. It was very nice to meet you, have a good trip... (The Parents leave with the elevator.) Have fun... (He thinks.) Thanks? (And he shrugs.)

---

The Actor, very happy, puts on some music. He's calm for the first time and breathes like he's in a Zen meditation. The music is beautiful, and the actor makes comical gestures of breath control and relaxation. Suddenly, the sound begins to fail, and a mix of an alarm siren and cheerful music can be heard. BO enters, dressed as a Jester, dancing very comically. The Actor looks at him with annoyance.

BO.— Come, night; come, Romeo. You who are the day in the midst of this night. Do you like the costume I chose for your party?

JORGE.— I don't like your ridiculous clothes, and I don't like you. Do you realize how immature you look?

BO.— I realize that I'm the most immature part of... JORGE, right? Being an adult takes a lot of time. And the fact that you are one doesn't mean you aren't one.

JORGE.— Get out!

BO.— Don't get angry, just look at the face you're going to use to greet your guests...

JORGE.— What, already?!

BO.— Look out the window.

The siren intensifies and links with a distorted wedding march. Bo disappears. A window descends. The Actor peeks out and waves. We see Veronique and Gerome approaching, disguised as newlyweds.

JORGE.— It's here!

The Bride, mounted on Gerome's shoulders, drags a huge veil that reaches Bo's hands. The Actor places the door-mirror on the floor and waits. The Newlyweds enter, profoundly ignoring George, who charmingly approaches them to greet them. Everyone freezes in a wedding composition. Bo takes a photo of the group and then one of the audience.

BO.— Smile! It's the only remedy. Welcome! I could say that I am happy with your presence tonight, but it doesn't matter. This is the masquerade party!... Welcome!

He takes another photo and everyone unfreezes.

GEORGE.— (To the couple) But why didn't you tell me? When did it happen?

VERONIQUE.— A natural event. Everything in its place.

BO.— The final question: Do you accept to unite your lives for all possible centuries?

THE COUPLE.— Yes!

BO.— So be it then. Now... I pronounce you. Kiss!

The couple kisses.

GEORGE.— But how inconsiderate! Why didn't you tell me?

GEROME.— We didn't have your address!

VERONIQUE.— Or your phone number!

GEROME.— They told us you were angry with us!

VERONIQUE.— That you had gone on a trip!

THE COUPLE.— They told us you were dead!

Darkness. When the lights turn on again, the Actor places the door-mirror in front of the Newlyweds, who charmingly pass through it.

BO.— Let's start!

GEORGE.— (Happily) I'm so glad you came! What do you want to drink?

BO.— The usual is over.

GEROME.— (He hugs and kisses the Actor.) George, congratulations! You haven't changed at all!

VERONIQUE.— (She also hugs and kisses him.) You look exactly the same. Congratulations!

GEORGE.— Thanks for coming to my birthday party!

GEROME.— Is it your birthday? I didn't know.

GEORGE.— It doesn't matter. Anyway, my birthday has already passed, because today is (He checks Gerome's watch) Monday.

GEROME.— You're wrong, Georgie. Today is Tuesday.

GEORGE.— No. It's past midnight. Today is Monday.

BO.— Strictly speaking, of course. Today is Monday.

GEROME.— Today is Tuesday.

VERONIQUE.— Oh, Gerome! Today is Monday.

GEROME.— Yesterday was Monday. The wedding was on Sunday night, and we went on our honeymoon on Monday. Logically, today is Tuesday.

BO.— How romantic! So you're in love.

VERONIQUE.— In love for two.

GEORGE.— On your honeymoon? What are you doing here?

VERONIQUE.— We took a plane non-stop. We had a fatally forced stopover... Well then, today is Tuesday.

GEROME.— (Affectionately) See, Georgie? Day before yesterday, Sunday, was your birthday! Let me give you a hug! (He walks away and dances with Veronique.)

GEORGE.— Thanks!?

BO.— (He hugs the Actor.) I'm so sorry.

GEROME.— Let the newlyweds dance!

The sound of a plane in flight is heard. The Actor is enveloped with Bo in the bride's huge veil. The couple stops dancing.

VERONIQUE.— It's a shame, George, but we're in a hurry.

GEROME.— We're leaving now, Georgie.

GEORGE.— It can't be, we just started!

VERONIQUE.— We were invited to a costume party at George's house.

GEROME.— Do you remember George? The actor!

THE COUPLE.— George! Georgie!! GEORGEEE!!!

The phone rings insistently. The lighting changes and we see Veronique and Gerome's house just as they are making the final preparations for their wedding.

BO.— (He hands the phone to Veronique.) It's for you.

VERONIQUE.— Something awful just happened, I'm sure!

GEROME.— They're going to hang up if you don't answer.

VERONIQUE.— It's horrible, someone just died!

GEROME.— You must have dreamed it.

VERONIQUE.— Gerome! It's a warning! A man looks in the mirror. He has a...

GEROME.— A pistol!

VERONIQUE.— Yes... a vision: the man points at his image; a dry scream and without anyone getting in the way... Death arrives.

BO.— (He takes the phone from Veronique and gives it to Gerome.) Is it for you?

GEROME.— Death?

BO.— If you don't answer, he'll get mad.

VERONIQUE.— (She takes the receiver again.) Who is it?

BO.— Guess who?

VERONIQUE.— It's possible... How have you been?

GEROME.— Who is it?

BO.— I hope I'm not being a nuisance.

VERONIQUE.— A party?

BO.— Tonight, tell Gerome too.

VERONIQUE.— It's George.

GEROME.— It can't be... But George is dead!

VERONIQUE.— Well, he says he's inviting us to his house tonight.

GEROME.— We can't.

VERONIQUE.— Of course we can't... What if we invite him?

GEROME.— He'll ruin the wedding. He's capable of getting up on the pulpit and officiating mass.

VERONIQUE.— It's a shame he did that. It was in very poor taste. Better hang up on him.

GEROME.— Yes.

Darkness. When the light comes on, we see a plane with an operable door and windows. Bo waits by the door to receive the tickets. Veronique and Gerome, between kisses and suitcases, are about to board the plane. The Actor wakes up, and very happily goes to the newlyweds and says...

GEORGE.— Hey, do you like my costume... (The couple "enters" the "plane".) Hey!

BO.— Don't bother them, don't you see they're on their honeymoon?

GEORGE.— Will you leave me alone!? (Gerome and Veronique look out the windows.) Hey, do you like my costume?

VERONIQUE.— Yes, George... very original.

GEROME.— Why don't you go play for a while?

BO.— I told you so.

The sound of the plane taking off is heard. Bo sits down in one of the windows. The Actor plays like a child with a model airplane.

GEROME.— Did you see George? I always knew that the day would come when... poor thing.

VERONIQUE.— I never imagined that George would go to the extreme of... taking his own life.

BO.— The barbarian took his life, can you believe it.

GEROME.— Everyone knows. He committed suicide, right, Vero?

VERONIQUE.— Of course he committed suicide. Or didn't he?

BO.— So what?

GEROME.— I say... He did, didn't he?

VERONIQUE.— Oh, I'm not clear on that anymore...

GEROME.— Hey, George...

VERONIQUE.— George!

ALL.— GEORGEEE!

DARKNESS. THEN, ONLY A TOP LIGHT ON THE ACTOR.

GEORGE.— George? The other day I was talking to him and he told me that I was dead, that I had shot myself. That's why I told him: you're wrong, I'm not dead. I only imagined that if I tried to commit suicide... they, the others, would think that I was dead. It wasn't true. I didn't die, but they thought I did. The truth, George, is that they are the ones who died. They went to the Old World... Or do you say the Other World? Well, I don't know entirely, George... I swear I no longer know if I thought it or if it's true... Did they die? Huh, George? They went far from this world. Or... what do you say? Old or other?... World, yes, but I don't know anymore, I don't know anything anymore, Georgie.

The stage lights up. Veronique, Gerome and Bo surround the Actor. The plane has left the stage.

VERONIQUE.— To the Other World, George... An accident. But don't tell me you didn't know?

GEORGE.— No, not really.

VERONIQUE.— It was awful, you can imagine.

GEROME.— A mechanical failure; about ten thousand feet high. The plane came down. Bang!

VERONIQUE.— But what world do you live in, George, if everyone knows... it was in the newspaper.

BO.— He doesn't buy the newspaper.

GEORGE.— Why don't you shut up and serve dinner... Are you staying?

BO.— What would the sirs like to order?

VERONIQUE.— An appetizer!

GEROME.— Make it two!

BO.— Two honeymoon appetizers coming up... And you, what are you going to have?

GEORGE.— How dare you use "you"? Say "sir," please... set the table and bring me...

BO.— An appetizer, Sir, Please! Coming right up!

The Actor and his guests remain standing and stare into space, or at the "ceiling," or wherever they can; tense, because of the sudden silence.

GEROME.— (Breaking the silence) Veronique, did you know that George and I have known each other since we were (He points to a very small height with his fingers) this big?... Childhood friends, yes...

VERONIQUE.— What do you think?

GEROME.— Had I already told you?

BO.— George told him.

GEORGE.— I told him.

VERONIQUE.— He told me.

BO.— What questions, Gerome... George and Veronique lived together.

GEORGE.— A long time ago; right, Veronique?

VERONIQUE.— (Looking at him intently) Poor George... I remember his gaze very well: distant, absent, obsessive...

BO.— And that's when you started to notice that curious attitude... How, how would you describe it?

VERONIQUE.— Unusual?

GEROME.— Extravagant?

VERONIQUE.— Very unheard of!

GEROME.— Inadmissible!

VERONIQUE.— The psychoanalysts got bored, his psychiatrist changed professions... do you remember, Georgie? I think he started selling Bibles. Hey George, but then why did that happen...

GEORGE.— What, Vero?

VERONIQUE.— The suicide. You committed suicide, right?

GEORGE.— Oh, Vero... you must have dreamed it.

GEROME.— No, George... I also knew... you shot yourself.

GEORGE.— (Disturbed) You must have dreamed it, I'm sure.

GEROME.— Right.

Awkward silence.

VERONIQUE.— And...?

GEROME.— And...?

GEORGE.— And...? And then what, he he? (Everyone laughs or tries to.)

VERONIQUE.— And... You're still in the Theater, George?

GEORGE.— Yes, of course; see if you can come see me. These are the last performances.

VERONIQUE.— But we already know the play, George: Romeo and Juliet, right?

GEORGE.— It's not the same.

GEROME.— What's the difference?

DARKNESS. THEN, WE ONLY SEE THE ACTOR ON A SWING.

GEORGE.— From time to time I wake up without knowing what's going on. I'm not really sure if what I'm living is an invention, or a dream, or a memory. Sometimes life passes by while I drink coffee, slowly... But in an instant everything gets confused and I find myself amazed, simply drinking coffee. I discover that it's me; that I'm alive. (He gets off the swing and watches it disappear.)

Light. Bo enters, throwing streamers and confetti.

BO.— Did someone say coffee? We have coffee or dessert, which do you prefer?

VERONIQUE.— I think we'd better go.

GEROME.— Yes, we have to get up early tomorrow.

GEORGE.— Tomorrow? But you guys were...

VERONIQUE.— Dead, George, you say dead. I never thought it would be so difficult.

GEROME.— You have no idea all the things we have left to do: paperwork and more paperwork.

VERONIQUE.— Goodbye, George, I'm glad to know you're doing well.

GEORGE.— Thanks for coming.

GEROME.— I wish we could visit you again.

VERONIQUE.— It's a shame that's impossible.

BO.— And you haven't given him his gift.

GEROME.— It's not supposed to be mandatory. Besides, your birthday was... on Tuesday?

GEORGE.— Of course it's not mandatory. I have something much better than a gift.

GEROME.— Something better than a gift? That can't be.

GEORGE.— Yes. I have a... It's something like... Do you want to see it?

BO.— Don't tell me you remembered, George. You're finally going to release your... your something like... Congratulations!

GEORGE.— I'll show it to you right now. (He starts looking.) Where could it be?

GEROME.— We're in a hurry.

VERONIQUE.— Goodbye, George. We can't stay any longer.

BO.— But how can you, you're not going to stay and see your, your something like...?

THE COUPLE.— Something like what?!

GEORGE.— It must be somewhere. I can't have lost it.

The light intensity decreases. The Actor looks with a flashlight. The Couple follows him, intrigued. Bo watches with amusement. The Couple separates from the Actor and heads for the exit. Bo gets in their way and blinds them with a camera flash. The light suddenly reaches its maximum intensity.

BO.— Excuse me, did you lose something?

THE COUPLE.— Us?

BO.— You were leaving. See you later.

GEORGE.— What's going on!

BO.— They want to escape, they want to steal your... your something like...

VERONIQUE.— Listen, don't be impertinent!

GEORGE.— So it was you! Where did you hide it?!

GEROME.— What are you talking about, George?

BO.— Give it back!

VERONIQUE.— Do you... need it?

BO.— Me?... Of course... That's none of your business.

VERONIQUE.— Aha!... Don't look for it anymore, George, I know who has it.

GEROME.— Here he is...

VERONIQUE.— The culprit.

GEORGE.— How could I not have thought of that before. It had to have been you. Where is it?

BO.— Don't you remember? You never liked it, you locked it up yourself, Georgie... Are you going to let it out?

The Couple tries to leave.

GEORGE.— I locked it up?... Yes, that could be true. But it just happened, without me realizing it. (Stopping the couple.) Are you going to leave without seeing it?

BO.— Are you going to let it out?

GEROME.— Is it alive?!

The Actor goes to the trunk and hugs it affectionately.

GEORGE.— Of course it's still alive.

VERONIQUE.— I have a bad feeling. It must be something awful.

GEROME.— Let's go, please!

VERONIQUE.— I'm not going to spend my life as a ghost.

GEROME.— You're right; I lost my mind.

VERONIQUE.— Goodbye, George!

GEROME.— We're running out of time!

The Couple is illuminated by a top light that slowly fades.

BO.— Don't leave without meeting it, come closer.

GEORGE.— (He hugs the trunk.) I have to admit that sometimes it likes to explode. That's why it was locked up, out of pure fear of the world, out of pure fear of growing and growing without knowing how to do it without bursting or losing its original shape.

BO.— Release it now.

GEORGE.— Wait. I want to prepare myself well because its visit will be very brief. We will see it fly away, master of its own flight for the first time. Go ahead, get out of there, get out now!

The Actor opens the lid of the trunk… From the bottom we see a beautiful and simple balloon emerge.

GEORGE.— My me without disguises. My birth. My something like...

(Holding the balloon, he goes with a serene calm to the door-mirror. Before reaching it, he stops for a moment and looks at the audience. His face shows a mixture of sadness and a strange peace.)

GEORGE.— Thanks. To everyone.

(Slowly, he crosses the threshold of the door-mirror. The light on him fades completely. The balloon is left floating for a moment in the center of the stage.)

BO.— (He looks at the balloon. For the first time, his mockery fades, and a deep weariness is reflected in his voice.) Sometimes, the best disguise is simply to disappear.

(Bo looks at the empty trunk, then at the mirror without a reflection. Finally, with a sigh, he slowly goes to the door-mirror. He stops, makes a small bow to the audience and crosses it too. The stage is empty. Only the mirror, from which an intense light comes, the trunk, and the insistent sound of a phone battery that has run out.)

 

Total darkness.

 

End of play.