Locale : The room of Beatriz. There is a pantry or cupboard
BEATRIZ and INEZ enter
INEZ: Ma'am, you seem quite sad. BEATRIZ: I'm upset by the misfortune I've had. Don't I have plenty of reason? Paternal displeasure, brought on by treason, has caused the calumnies, despite my careful incorruptibility. He believes I paid heed to love talk and letters I received, that I gave a man favors, when he came through open dormers, that his touch so clouded my senses my honor's been routed, in spite of being scrupulous. No such thought, however nebulous, ever dared to cross my mind. As a consequence I have retired to this melancholic place where the sun never shows his face, to this lugubrious sphere where, unsure of the death I fear, I abide, in manner unobtrusive, negating the facts in order to live. The sun, that golden Narcissus, from the first refulgent moments of dawn to night's paroxysmic cold won't see my face, however bold, since it can never penetrate these fortified walls, the disjunctive state that hides my honor defiled. Let tears run free, though they be styled to respond to another's sin, not mine as it appears to have been. Inez, haven't I complained in language plain and sedate? If my father could only hear me now he'd be pleased at my progress, I vow. INEZ: Very pleased, I'm sure, but you did use some unusual words. BEATRIZ: I did? Tell me which. INEZ: I heard "lugubrious" and "melancholy," "refulgent," "paternal," "scrupulous," "paroxysmic," "Narcissus," and "nebulous." The others I can't even remember. BEATRIZ: Such vacuousity renders my mind asunder! Aren't these common expressions regularly used by any man or woman? Right now, I make a promise that every expression in my service will, in spite of Saturn, be vile clog rather than tragic cothurn. INEZ: You are getting better, I see. BEATRIZ: And you, if ever you hear me speak such words as are denied to an uneducated women, as hard as I try, give me a yank on the sleeve. INEZ: I'll take that job and I'll guarantee to let you know if you fail.
DOÑA LEONOR, DON ALONSO, and MOSCATEL enter. LEONOR and ALONSO speak to one side
LEONOR: There's Beatriz, and since you came to create a diversion by courting her. I'll be your protection. So you can safely talk, Don Juan and I will take a walk. But we'll stay close by here so nobody else can even come near.
LEONOR leaves
ALONSO: (Why is my love so reticent since, in truth, it's only pretense?) INEZ: What is this, Moscatel? MOSCATEL: The medicine, since she's all set. INEZ: What are you doing here? MOSCATEL: Protection for you, Inez, my dear. I don't dare let you be near my master unless I am too.
DOÑA BEATRIZ sees DON ALONSO
BEATRIZ: Who's there? INEZ: Some man who dared to sneak into this room. I'm scared. BEATRIZ: A man in my cubicular field? What are you doing? INEZ: Pulling your sleeve. BEATRIZ: Stop acting like a dope. That's only for when we're alone.
ALONSO: Beautiful Beatriz, don't employ your anger uselessly, allowing your endless wisdom that rosebud prison to flee. Take pity. You should listen without becoming too angry, since cruelty isn't always an inborn property of beauty. BEATRIZ: Is that antonomasy I hear? INEZ: (That's two pulls on the sleeve.)
BEATRIZ: Enough of that, Inez. You daring cavalier,... It was intrepid of you to enter this cloister here where the sun hardly dares enter, perhaps out of fear, without citing the excuse of bringing daylight near. Only then does it dare come into the presence of a peer. What spirit of audacity or treachery brought you here?
INEZ: (Now the fun can really begin.) MOSCATEL: (He's pulling his stuff on her.) ALONSO: Sweet, enlightened Beatriz, enigmatic and yet tender, speaker of great thoughts, and cerebral among thinkers, it is I who, after two years as sunflower to your beauty solar, am as delighted by your presence as in your absence out of temper. The distance that stands between mournful death and joyous birth is equal to that present as you can or can't be observed.
INEZ: (Attention there, ladies. Between loving and lying, where does the real truth hide if this is something he's faking?)
ALONSO: The cause of today's foolishness is that yesterday your father found this servant of mine who brought you a letter. In view of the obligation I felt in the matter, and fear that you were in danger, when I saw my chance, I entered.
BEATRIZ: Don't go on. Stop it please. It's important for me to know, no matter how great the risk, what letter or servant are those about whom you are speaking. ALONSO: The servant is here below. The letter is the one Leonor, opened, even though it was yours. INEZ: I didn't give it to her; she took it, as you know. BEATRIZ: That servant was yours? ALONSO: He was. BEATRIZ: And the letter? ALONSO: It also. BEATRIZ: Intended for me? ALONSO: It was. BEATRIZ: I don't doubt it, since I know you as the slayer of my peace. The homicidal, tyrannical blow you dealt aroused scruples about my honor. Please go.
Turn back, turn back and leave. Be merciful and courteous; because you will cause my death if my sister should ever see us. Her vile mendacity of yesterday will be seen today as action veracious.
INEZ: (How easily she has believed what he said and I affirmed!) MOSCATEL: (That it's simple to fool a woman is something we've just confirmed.) BEATRIZ: Don't expect a greater victory over my vanity that to discern my eyes spilling over with tears because of your intrusive efforts.
It's often true that a man can cause a woman to cry whether she wishes or not, whether or not she tries; tears are not an infallible sign of a love that's fine. Get out. ALONSO: (But by now I want to give this love a try. If I don't find an answer for her, I think I'll go out of my mind.)
BEATRIZ: Please don't disturb this house more than you have already. It's enough that you came here, and I listened concupiscently.
INEZ pulls insistently at BEATRIZ's sleeve
Don't do that. Leave me alone! For God's sake, stop pulling at me. Are you trying to cripple my arm by behaving so compulsively?
ALONSO: As a truly humble lover, like a planet reflecting the sun, I know how to keep my distance. Once you know of my love, my courteous obedience... BEATRIZ: Goodby, your meaning I fathom.
DON ALONSO speaks to MOSCATEL
ALONSO: That wasn't a bad beginning. MOSCATEL: But it didn't end up so well. Somebody's coming. INEZ: Oh, madam, don't let him go. BEATRIZ: Why? Pray tell. INEZ: Leonor, Don Juan, and your father are talking outside. MOSCATEL: (Not a friend, only enemies, can be found there among the three of them.)
BEATRIZ: A climacteric day for me, if they should happen to see you. It seems that heaven is disposed to corroborate the evidence too, proving the charges against me of things I have yet to do. You can't get out that way without bringing on my doom; and that door over there leads to my father's room. If they should decide to enter, I must find a way to hide you.
ALONSO: Is this a play by Calderón? Do we really have to have a hidden lover in act two, or a woman who wears a mask? Me? Do I have to hide? BEATRIZ: That's what my honor demands. MOSCATEL: Inez, this is all a sad joke. INEZ: Moscatel, it isn't that bad.
BEATRIZ: Because of you... ALONSO: Good God! You're taking this measure causing me such trouble after giving so little pleasure. BEATRIZ: Why the procrastination? ALONSO: Why? I await your disclosure of the site of concealment. INEZ: There's no place better than the china closet. BEATRIZ: Well said. ALONSO: Don't I make a pretty treasure, a teacup or vase to be hidden away in some lady's cupboard?
BEATRIZ: You must. INEZ: Get in. ALONSO: Impossible, unless you have a shoehorn.
To MOSCATEL
INEZ: You too. MOSCATEL: You mean we ride double, like on a rented horse?
As the door is closed, the sound of breaking glass is heard
INEZ: Look out! Don't break the glass.
DON PEDRO, DON JUAN, and DOÑA LEONOR enter
PEDRO: Let's have some light in here. JUAN: (God help me! What'll I do if Don Alonso should appear? As far as I know, that room has no other way out. I fear I've got my friend in trouble. What if he's still here?
If Don Pedro does find him, I've got to remedy the situation.) LEONOR: (I wish I had never attempted such wicked retaliation. What began as a simple joke has achieved substantiation.
PEDRO: If you please, Don Juan, tell me what time you usually go home. JUAN: Quite early. (I take it he means I should take the hint and go. and I must, although it seems I'm leaving my friend Alonso in a good bit of trouble. I can't stay here, and so, I'll have to wait outside whether I'm needed or no.)
Good night. PEDRO: Good-by. Inez, get a candle to show him out. JUAN: Are you leaving again so soon? PEDRO: (I know what I have to find out.)
As INEZ shows him out, DON PEDRO accompanies them
LEONOR: (I wish I knew where Beatriz put him so he couldn't be found. I don't see him around here.) BEATRIZ: (Too many reasons to doubt a man I don't even know! I hope Inez can get him out.)
DON PEDRO and INEZ return with the light
PEDRO: Bring that light with you, Inez. LEONOR: They'll surely find him in that room. PEDRO: And you two come with me, I have something to say to you.
At this the tinkling of glass is heard from the closet, but INEZ quickly drops the candlestick
What was that? INEZ: I just dropped the candle. PEDRO: Watch what you do Inez. Pay attention. INEZ: Yes, sir.
DON PEDRO and DOÑA LEONOR exit to his room
BEATRIZ: Inez, that goes for me, too. Now that my father's gone, quickly open up for those two. Get them out of here now. See what there is you can do so Leonor will never know. INEZ: She'll never find out. But you, tell me how it's to be done if the chances are all too few.
Your father went down with Don Juan not only to show his courtesy but also to lock the doors. BEATRIZ: I don't care how, you see, just get them out of here now.
BEATRIZ exits
INEZ: I guess it is all up to me.
INEZ opens the closet
You two well pressed gentlemen can come out now, but quickly.
DON ALONSO and MOSCATEL enter
ALONSO: God help me, you smelly rogue, I'd kill you if it were up to me. MOSCATEL: There was nothing I could do. If I broke anything bodily I'm sure it was only some wind. INEZ: Come with me. ALONSO: Inez, my sweet, if this trouble were all for you, it was worth it, but definitely. MOSCATEL: I wish you wouldn't say that, but you are in the mood, I see. ALONSO: I can't take any more. You go. Let us make use of the opportunity. Let me embrace you. MOSCATEL: Oh, damn! Inez, the lamb, has come to feel what it is like to be chased. At last the world has come to see a wolf in the arms of a lamb. INEZ: Let's get out of here quickly. ALONSO: Who's keeping you? INEZ: Although my master has used his key to lock the door, you can both get out through here, easily, over the balcony. Quiet now! Jump down onto the street. ALONSO: Do we have to do that, Inez? After the closet, a balcony? INEZ: Indeed you must. MOSCATEL: Is it high, Inez? You can tell me. INEZ: Only one floor up. Go now. ALONSO: I could break a leg, but I'm ready. You men who fall in love take your warning from me. If such things happen to a man who doesn't care what love can be, it could certainly happen to you. God damn those who won't stay free.
END OF ACT II
Facilitado por Vern G. Williamsen y J T Abraham