Out of the Wings

A paso lento (2007), Gracia Morales Ortiz

Slow Walk : SCENE ONE: IN THE PARK (1998) , SCENE TWO: A SPECIAL OCCASION (1995) , SCENE FIVE: EARLY MORNING (1997) , SCENE 8: IN THE PARK II (1998)

Slow Walk, translated by Gwynneth Dowling

SCENE ONE: IN THE PARK (1998)

Context:

This is the first time we meet Pedro (here called Old Man). A young woman has approached him, concerned about his safety. Pedro denies he is the man she is looking for, angry at being disturbed.

Sample text

OLD MAN:: I just don’t understand why everyone’s so frightened of leaving old people on their own.
WOMAN:: Well …
OLD MAN:: It’s always the same – Grandad wants to go out, but someone has to go with him. His daughter or one of the grandkids. Trailing him along by the elbow. Like he’s an invalid.
WOMAN:: They’re only trying to help.
OLD MAN:: Listen here, little lady. I may be 72 years old but I can still do things without other people…
WOMAN: (Making up her mind.): Your family is worried, Pedro, sir. Your daughter … she doesn’t deserve to be …
OLD MAN:: I’ve already told you my name’s Benito, for God’s sake! And stop with all this ‘sir’ business – I’m not that old. So, what’s the story with this Pedro you’re confusing me with?
WOMAN:: Well, he left home at 8 a.m. this morning and he still hasn’t come back.
OLD MAN:: And?
WOMAN:: He got out while everyone was asleep.
OLD MAN:: ‘Got out’. What a horrible expression. It’s not as if he’s a prisoner.
WOMAN:: His family’s out looking for him. They’re very worried. They’ve been round the hospitals and …
OLD MAN:: What an overreaction! Just because old Grandad went for a walk?
WOMAN:: It’s just that Pedro … Pedro’s been having problems with his eyesight for some time now.
OLD MAN:: So?
WOMAN:: Well he might have had a fall or been knocked down.
OLD MAN:: Just because he doesn’t see very well doesn’t make him an idiot. Especially if he’s familiar with the city.
WOMAN:: I know. But, if anything happens to him …
OLD MAN:: If anything happens to him, if anything happens to him. He’s probably got a good reason – this Pedro who ‘got out’ of his house. Don’t you think? Maybe … maybe he left deliberately without being noticed because he wanted some privacy. We old people have issues too, you know.

Copyright

The above sample taken from the translation Slow Walk by Gwynneth Dowling is licensed under a Creative Commons License.

SCENE TWO: A SPECIAL OCCASION (1995)

Context:

Pedro and Carmen are putting away dishes after their Golden Wedding anniversary. They are observed by their younger selves, Photo Pedro and Photo Carmen.

Sample text

PHOTO PEDRO:: We’re so good together.
PHOTO CARMEN:: Yes.
PHOTO PEDRO:: Sleeping in each other’s arms,
PHOTO CARMEN:: … making the bed together,
PHOTO PEDRO:: … you on one side, me on the other,
PHOTO CARMEN:: … walks in the evening.
CARMEN:: Okay, that’s done. Come on, give me a hand. (He gives her his hand. She gets down slowly.)
PHOTO CARMEN:: I’ll go before you.
PHOTO PEDRO:: What?
CARMEN:: Pedro … (She’s about to fall.)
PEDRO: (Holding her.): Are you okay?
CARMEN:: A little dizzy spell.
PEDRO:: Sit down.
PHOTO CARMEN:: I’m already starting to feel ill, although he hasn’t noticed yet.
PHOTO PEDRO:: But, you’re younger than me. And you’ve never smoked, or … No, no it’s not fair. It should be me who …
PHOTO CARMEN:: These things have nothing to do with maths.
PEDRO:: Would you like some water, or …?
CARMEN:: No, no. I’m fine. It was just with getting down …
PHOTO PEDRO:: When?
PHOTO CARMEN:: Within a year and … eight months.
PHOTO PEDRO:: Just a year and … But, how will I …?
PEDRO:: What did I tell you, standing up there.
CARMEN:: It’s already passing. Don’t worry.
PHOTO PEDRO:: Without you … How will I?
PHOTO CARMEN:: You will.

Copyright

The above sample taken from the translation Slow Walk by Gwynneth Dowling is licensed under a Creative Commons License.

SCENE FIVE: EARLY MORNING (1997)

Context:

Carmen is unconscious and bedridden, cared for by her daughter Inés. This time period crosses with an earlier time, when Young Carmen cared for Inés as a tiny baby.

Sample text

YOUNG CARMEN:: You want me to tell you a story, don’t you? You love that. Sucking dummies while mummy tells you story. Okay. Once upon a time there was a little girl called Inés. Inés, like you. And she was very little and very sweet, like you.
CARMEN:: Eh? What was that? Is someone there?
YOUNG CARMEN:: Inés wakes a lot during the night. Any little noise wakes her, or else when her dummy falls out. Then her mummy, who’s called Carmen like me, her mummy comes running to see what’s wrong and she stays with her a little while. Until she goes back to sleep.
CARMEN:: I thought I heard … Is it daylight? Is it dinner time already? I’m still not hungry, I don’t think that ...
YOUNG CARMEN:: It doesn’t matter if it’s three in the morning or whether or not she’s tired. Her mummy always comes. And do you know why? Because Inés is the most important thing she has. More important than anything else in the world, believe me.
CARMEN:: When it’s dinner time you’ll come in and you’ll say, ‘Hello mum, how are you today?’ You always say hello even though you don’t know if I can hear you …
YOUNG CARMEN:: That’s why her mummy looks after her so carefully: she gives her a bottle every four hours, changes her nappy, puts lotion on her. And before she bathes her she checks that the water is just right. Like this, with her elbow.
CARMEN:: You sit me up a little and feed me baby food – spoonful after spoonful. Whether I’m hungry or not …

Copyright

The above sample taken from the translation Slow Walk by Gwynneth Dowling is licensed under a Creative Commons License.

SCENE 8: IN THE PARK II (1998)

Context:

This is very near the end of the play. The action returns to the park in 1998. Pedro has met two of his former neighbours, Miriam and Luis, who have started arguing in front of him.

Sample text

PEDRO: (Interrupting them. They have almost forgotten he is there.): Do you know what day it is today?
LUIS: (Surprised by the question.): What day? It’s February ninth, isn’t it?
PEDRO:: Today… today’s the anniversary of the day Carmen and I first met.
LUIS: (Confused.): I see …
PEDRO:: This is the first time I’ve spent it without her. After 53 years.
LUIS:: Of course. I get it now. (To MIRIAM.) Didn’t I tell you there was something else bothering him?
PEDRO: (Very calmly, without being aggressive.): And the truth is that on a day like today the last thing I want to do is listen to you two arguing. Don’t get me wrong, I like you both. It’s nothing personal, it’s just that I can’t put up with you today. So, please, why don’t you go back to your living room and argue there. Argue quietly, if possible, so as not to disturb your neighbours.; MIRIAM and LUIS stand mute for a minute, unable to react to PEDRO’s words.
LUIS:: Did you hear what he …?
MIRIAM:: Come on. Let’s go.
LUIS:: Who does he think he is? Nobody talks to me …
MIRIAM:: Leave it, Luis!
LUIS:: But did you hear what he …? Just because he’s old doesn’t give him the right to … (Threateningly to PEDRO.) I’m calling Inés and I’m going to tell her all about this. Something’s wrong with him, it’s not normal to …
MIRIAM:: Come on, Luis, the kids are waiting for us.; They leave, with LUIS still glaring at PEDRO as he goes. PEDRO sits down again with his bunch of flowers. Alone once more on stage, he rearranges his suit a little and starts humming the song he and Carmen danced to earlier in the play.; CARMEN enters a moment later. She goes to PEDRO’s side and takes his hand.
PEDRO: (Smiling, but not looking at her.): I was starting to think you weren’t coming. These flowers are for you.
CARMEN:: I wasn’t able to bring you anything …
PEDRO:: It doesn’t matter. (Pause.) They’ve sold our flat.
CARMEN:: Yes.
PEDRO:: I’ve missed you so much.
CARMEN:: I know… But you have to go on.
PEDRO:: Go on? But … How will I?
CARMEN:: You’re alive, Pedro. You’re still alive.
PEDRO:: But without you, Carmen. Without you, how will I?
CARMEN:: You will.

Copyright