Elaine Romero

UNDERCURRENTS

(A small, rural adobe house.  Strips of cloth hang from a light on the ceiling into a metal tub filled with water.  A stepladder and a table stand next to it.  A fan sits on a nightstand next to a bed.  Two candles surround it.  They are not lit.  A white comforter covers the bed.  The room has a Mexican folk flair with a cross covered with milagros next to the doorway, a picture of the Virgen de Guadalupe on the wall, and statues of saints, such as Santo Niño de Atocha, Saint Jude and the Infant of Prague, scattered around the room.  There is an altar set up in a nicho on one wall that is filled with colored votive candles, a bottle of holy water, pictures of family members, and folded pieces of paper—handwritten petitions to God.  A screen door hangs to one side.
Lights up.  A Chicana in her mid-twenties, ADELA, lies on top of the table.  She is sweating and fanning herself.  A pair of scissors sits next to her on the table, as well as some partially ripped sheets.)

ADELA.  It's hot, Abuela.  I bet you can feel it all the way up in heaven because heat rises.  That's what Fernando says.  But he doesn't know everything.  Rip up the sheets like the pioneers—that's what you always said.  Then, set them in the water.  Let the water crawl up from the current below the earth.  “The sheets will cool off the whole house, m’ijita.  That's how the pioneers used to do it.  They knew how to survive out here.  In the desert.”  Did you blow out the electricity just to get rid of him?  Did you blow out the electricity with the breath of God?
(She crosses to the sheets, arms outstretched.  She grabs the sheets and begins to wrap herself in them, refreshed.)
(Beat)  I thought I was going to die.  You know when it gets hot like that?  When it's hard to breathe.  When it feels dangerous to live here.  In the desert.  And I get so scared.  On days like this.  With the electricity out.  And no one here, except the dead.  Is it a beautiful night?  Is it one of those nights we'd watch together?  When the stars are so sharp they cut through your eyes?  He wants me to leave with him.  To move far away.  He says that I don't belong here.  He says the wiring in this house is bad—that it isn't safe—I could have a fire.  He wants me to move with him.  He says—
(A knock at the door.)
It didn't work!
(Another knock)
The lights didn't come on.  (No answer)  Fernando?
(ADELA unlocks the door.  She does not unlock the screen door behind it. 
ENRIQUE stands on the other side of the door.)

ENRIQUE.  Adela?  Come on, let me in.
(She doesn't.)

ADELA.  (Alarmed)  Who is it?

ENRIQUE.  Me. 

ADELA. I don't know you.  Go now, somebody's coming any minute.

ENRIQUE.  I'm somebody.

ADELA.  Really, who are you?

ENRIQUE.  Nobody.  If you don't know me, I'm nobody.

ADELA.  You're not funny.

ENRIQUE.  Adela, for Christsakes.

ADELA.  We don't have anything to say to each other.

ENRIQUE.  Say my name if you know me so well.

ADELA.  Enrique.  There, I said it.

ENRIQUE.  Aren't you gonna let me in?

ADELA.  Again?

ENRIQUE.  What're you saying?

ADELA.  You can't come in.  The electricity is out. The fuse went bad.  Someone had to go replace it.

ENRIQUE.  I guess, we'll just have to talk in the dark.

ADELA.  I guess, we'll just have to not talk at all.

ENRIQUE.  Aren't you glad I'm here?

ADELA.  It's not a good time.

ENRIQUE.  I drove straight here.  From there.  From where I was.

ADELA.  I'm impressed.

ENRIQUE.  It took me four days.  I didn't rest.  I knew where I was going.  Straight here.  Straight to you.

ADELA.  I can't do this.

ENRIQUE.  I came here for a reason.

ADELA.  Just remember me the way I was.  Trust me on this, Enrique.  You don't want to see me.

ENRIQUE.  I know what I want.

ADELA.  It's not like you think.

ENRIQUE.  How is it?

ADELA.  Different.  Changed.  Ruined.

ENRIQUE.  Are you pregnant?

ADELA.  No.

ENRIQUE.  It's okay if you are.

ADELA.  I'm not pregnant.  Go visit your family.  I’m sure they’ve missed you, too.

ENRIQUE.  We've got a lot to say to each other.

ADELA.  Like what?

ENRIQUE.  About the past.  The present.  Our future.

ADELA.  Oh yeah?

ENRIQUE.  I want you back.

ADELA.  That's the funniest thing I've heard since, "We should see other people, babe."

ENRIQUE.  Don't hold that against me.

ADELA.  It's been too long.

ENRIQUE.  It's been awhile.

ADELA.  It's been four and a half years.  I counted.  I wasn’t dead, so why’d you ignore me like that?  (Quickly)  I’m not getting into this.  Good-bye, Enrique.

ENRIQUE.  Time escaped me.  I admit that.  But you didn't.  You held on to me.  You never let go.

ADELA.  It's not like you remember.  Me holding on.  You running away.  I let you go.

ENRIQUE.  But . . .

ADELA.  I can't erase the past like you can.  It's not so easy for me.  I remember everything.  Details.  Me crying and you looking at me with that cold stare like you couldn’t touch my feelings even if you crawled inside my body.

ENRIQUE.  Why are you making this so hard?  Dwelling on things like that.

ADELA.  That was the last time I saw you or heard your voice, so that’s what stuck in my mind.

ENRIQUE.  You want to know what I remember?  Making love to you—the softest skin in the world, and eyes that could pierce right through you like they knew your truth better than you.  Someone who knew me and wouldn’t let me forget who I was, and sometimes, who I wasn’t.

ADELA.  It was never judgment.

ENRIQUE.  It felt like it sometimes.  But I deserved it, so it’s okay.

ADELA.  This isn't fair.  You can't do this to me.

ENRIQUE.  Have you forgot who I am?

ADELA.  You arrogant son-of-a-bitch, you’re not that thing anymore.  You’re not him.

ENRIQUE.  I'm Enrique.

ADELA.  Sometimes, words like that, people’s names, are just sounds that fall out of someone’s mouth onto the ground and disappear.  They’re meaningless.

ENRIQUE.  You erase me.

ADELA.  Maybe someday we can talk, but not now. 

ENRIQUE.  There are things that you don't know.

ADELA.  There are things you don't know, too.  Big things.

ENRIQUE.  It's gonna take some time.

ADELA.  If I said I loved you, would you leave me alone?

ENRIQUE.  Yes.

ADELA.  So, all you want is reassurance before you go along your merry way?  The security of knowing your first love will never forget?

ENRIQUE.  That’s not it.

ADELA.  Look, I don't know what kind of elaborate fantasy you concocted while you were away at sea, but I'm not starring in it.

ENRIQUE.  Why not?

ADELA.  This is silly.  There are other people involved.

ENRIQUE.  Other people, or another guy?  (No response.)  He's not me.  He'll never be.  It won't be the same.

ADELA.  He was present, like in school, when you raise your hand and you’re there.

ENRIQUE.  Don't you want what we had?

ADELA.  You gave up what we had, Don Amnesia.

ENRIQUE.  You've got to look inside your heart and remember the good times.  Look inside.  What do you see?

ADELA.  Good-bye.

ENRIQUE.  Just take a peek.  (No response.)  Are you looking?  Tell me what you see, and I'll go.

ADELA.  Stop talking about seeing.

ENRIQUE.  Just look inside.

ADELA.  I can’t.

ENRIQUE.  You'll let me in again.  You will.

ADELA.  I'm strong.

ENRIQUE.  I know I screwed up.

ADELA.  Did you just admit something?

ENRIQUE.  I'm trying to be real here.

ADELA.  I waited.

ENRIQUE.  I knew you would.

ENRIQUE.  What happened to “I’ll love you” for the rest of my life?

ADELA.  I will.

ENRIQUE.  But you won’t be with me again because of what?  (No response.)  Don’t worry, I know.

ADELA.  Know what?

ENRIQUE.  I saw him.

ADELA.  Who?

ENRIQUE.  Your other guy.  I drove by him on the way over here.  He looked . . . distressed.

ADELA.  He was just trying to take care of me.

ENRIQUE.  It looked like he was doing a handsome job of it, too.

ADELA.  Don't make fun of him.

ENRIQUE.  He looked like a real pendejo, but that doesn't mean he isn't nice.

ADELA.  I like him.

ENRIQUE.  I gotta say, he was sort of an insult to my good looks.

ADELA.  I don't care about looks.

ENRIQUE.  Sure, you do.

ADELA.  It's what's inside that counts, you ego-maniac.

ENRIQUE.  Open the door.  I feel like I’m in a confessional and I should be saying an Act of Contrition at the end.

ADELA.  You got your truth.  Now go.

ENRIQUE.  I want to see your face.  Just a glance, and I'll be outta here.  That's all I want.
(ADELA almost shuts the door, but doesn't.  She has her back to him.)

ADELA.  A glance?

ENRIQUE.  I drove all the way from North Carolina to see your face.  I was stationed out there.  And it was the Army, not the Navy.

ADELA.  I know.  The Army—your big adventure.

ENRIQUE.  I wanted to see the world.  You can't hold that against me.

ADELA.  You had your glance, now get lost.

ENRIQUE.  Let me see your nose, your cheeks, your eyes . . . that guy I saw out there.  He's not right for you.  I could tell the second I saw him.

ADELA.  You can't tell.

ENRIQUE.  Just give me another chance.  I'm not the same kid who left here.

ADELA.  You don't understand what's happened here.

ENRIQUE.  Because you won't let me.

ADELA.  Because I can't let you.

ENRIQUE.  Look me in the eye.  When you look at me, you'll know the truth.  You know what they say.  They say that when you look at a person, you know if they're right for you.  Instantly, you just know.  It's magic.

ADELA.  You want magic?

ENRIQUE.  I want one look.

ADELA.  It's not so easy.  To let you in here to look.  To look and to judge.

ENRIQUE. Remember, our promise?

ADELA.  You can't hold that against me.

ENRIQUE.  Remember?

ADELA.  Yes.

ENRIQUE.  Keep it, Adela.
(A moment, Adela opens the screen door.  He rushes up to her.  He holds a bottle of champagne.)
Adela.
(He hugs her.  She doesn't respond.  He steps back.  She stares at him off center.  He looks at her, sees no response.  He realizes she is blind.)

ADELA.  There's your magic.

ENRIQUE.  Adela?

ADELA.  I'm sorry that was mean.

ENRIQUE.  I . . .

ADELA.  You should have left when I told you.

ENRIQUE.  I'm sorry.  No one said anything.  I--

ADELA.  You should have left.  I wanted to believe everything you were saying.  That you knew I couldn’t see, and you didn't mind.  You can leave if you want.  You didn't know who you were talking to.
(Enrique stands up, looks at the door, looks at her.)

ENRIQUE.  You're still you, right?

ADELA.  I'm sorry.  I know this must be an awful shock.  I just didn't want to say those words.

ENRIQUE.  When did this happen?

ADELA.  I can't talk about it.  I want to, but--

ENRIQUE.  Okay.  I've missed you.

ADELA.  Stop trying to be nice.

ENRIQUE.  It hasn't been like that.  Not with anyone since.

ADELA.  But . . .

ENRIQUE.  I came here to say something.  Let me say it.

ADELA.  I thought you just wanted one glance?

ENRIQUE.  I lied.

ADELA.  Leave before you break my heart.

ENRIQUE.  I wouldn't do that.  I learned.

ADELA.  I'm protecting you.  Can't you see that?  You don't want this.  This is not easy to live with.  I loved you, too.  It wasn't all one-sided.  I'm not a cold person.  But I know you, Enrique.  This isn't something you can handle.

ENRIQUE.  I know what I can take.

ADELA.  Last time, you left over nothing.

ENRIQUE.  I was wrong.  I admit it.

ADELA.  Think about this.  Give yourself a couple of minutes and think about it.

ENRIQUE.  You're beautiful.

ADELA.  I'm blind.
(She turns away from his voice.)

ENRIQUE. (Beat)  It was there.  It was a sad kind of magic, but it was still there.

ADELA.  But I can't see you.  How can I tell if you're the right one?  (Beat)  You're staring.

ENRIQUE.  Sorry.

ADELA.  There's no place for you anymore, okay?

ENRIQUE.  If that other guy didn't exist, would you say that?

ADELA.  He does.  Exist.  And I love him.

ENRIQUE.  Pretend he didn't.

ADELA.  I don't pretend anymore.  My imagination's all dried up.  I used to believe, like you.  In fantasies.  In dreams.  And love.

ENRIQUE.  I thought you loved him.

ADELA.  It's a practical kind of love.

ENRIQUE.  You gave up.  It's true, isn't it?

ADELA.  This isn't simple.  This isn't something you solve by just being the toughest guy on the block.  Not seeing is something I've got to face everyday, and it's for life.  That's not something a lot of men can deal with.

ENRIQUE.  I still love you.

ADELA.  You don't know me anymore.

ENRIQUE.  I know you better than that guy out there.  A person like that can't know your heart.

ADELA.  You stopped knowing me four and a half years ago.  That was your choice.  Live with it.

ENRIQUE.  Quit harping on the four and a half years, it's only been four years even.  (Adela laughs.)  God, you're just as beautiful as I remember.

ADELA.  Abuelita died.  I guess, you didn’t know that either.  See, there's a lot that you just don't know.

ENRIQUE.  I didn’t.  I'm sorry.

ADELA.  It seems like she was just in the kitchen this morning, making tortillas, humming to herself.  (Pats her hands)  Oh, forget it.  Just leave.

ENRIQUE.  Always at the church, praying to the saints, lighting green candles to San Judas Tadeo, the patron saint of lost causes.  She thought he could help your grandfather to make some extra money, so he could buy her a—what was it she wanted?

ADELA.  A washer.

ENRIQUE.  That’s right.

ADELA.  I miss her.

ENRIQUE.  She was the best cook.

ADELA.  She was good.

ENRIQUE.  The best.

ADELA.  You know they're lost now.  Her recipes.  My sisters and I.  None of us can make a decent mincemeat empanada.

ENRIQUE.  Those were great.  At Christmas.

ADELA.  And you should see my tortillas.  They look like maps of the United States.

ENRIQUE.  My mom can teach you how to make them.

ADELA. (Beat)  They wouldn't be abuelita's tortillas.

ENRIQUE.  No.

ADELA.  The food's just a thing.  We're losing everything.  We're losing who we are.  Without her, we all blend in.

ENRIQUE.  She's still with you.  You know that.

ADELA.  Yeah, there's a presence, a feeling, a communication, but it doesn't tell me how to make an empanada.  (Beat) I wish I could see you.

ENRIQUE.  So do I.

ADELA.  My abuelita understood the hard things.  Like when I lost my eyes.  She'd touch me.  With those little hands—cracked, wrinkled, loving.  The same hands that made tortillas at five o'clock every morning.  On my face.  Stroking my hair.  They weren't afraid to touch me.

ENRIQUE.  What about your guy?  He must touch you.
(Enrique puts his arms around her.)

ADELA.  It's not the same.
(He strokes her hair.)
You're not the same either.
(She moves away.)
Sometimes, she's the only image left in my mind.

ENRIQUE.  And me?

ADELA.  You're a voice.  But I can see her so clearly.  Every detail.  When I talk to her, I see who I'm talking to.  And when we talk, it's not with words really.  We use words, but it goes deeper than sound, it's heart to heart, no, soul to soul.

ENRIQUE.  Aren't I an image in your mind?

ADELA.  You're more like a nightmare in my mind.

ENRIQUE.  Don't you remember the good things, Adela?

ADELA.  I forgot everything about us.

ENRIQUE.  Sure, you did.
(He kisses her gently on the cheek.  She backs away from him.)

ADELA.  Just don't try to kiss me again.

ENRIQUE.  I'm crossing my hands.

ADELA.  We can talk.  For a little.  I like hearing your voice.  You sound different.

ENRIQUE.  It's called puberty, but thanks.

ADELA.  My abuelo had a beautiful base voice like that.  He used to talk on the radio.  (Imitating him)  Compañeros y Compañeras, buenas noches.  Welcome to rrrrrradio bilingüe.  Now there was someone who knew how to roll an “r.”  Me and my sisters used to imitate him and see who could hold their “r” the longest.  He used to stick his finger in our mouths to try to help us.
(She laughs at the memory, gets serious.)
He built this place, you know.  They all used to fill this house with their voices.  I remember those days a lot now.  The house filled with people.  Everyone fighting over abuelita's tortillas and sopaipillas, and the honey spilled all over the table and mixed with the red chile.  It's funny how sometimes when you're happy, you just don't know it until it's gone.

ENRIQUE.  Good memories?

ADELA.  Yes.  (Laughs to herself.)  God, am I getting sentimental? 
(She brushes away a slight tear.)

ENRIQUE.  No.  I understand.  I used to think I could leave here.  Leave this little town.  Then, I started missing everything.  The land, the language, the food.  That stuff goes a lot deeper than you think.

ADELA.  It goes really deep.

ENRIQUE.  It's like imbedded in your soul.

ADELA. (Adela laughs.)  That's right.  That's what it's like.  Like when you tried to change your name to Rick.

ENRIQUE. (As in don’t bring that up.)  Hey.

ADELA. (Continuing)  And your mother called you RRRRiiiiick, and all the neighbor kids thought she was saying leak ‘cause she couldn’t pronounce it in English.  (Adela laughs.)  And you tried, Ricky, too, but leaky sounded even worse.  But you never tried Henry.

ENRIQUE.  No, I never did.  Rick sounded more American.

ADELA. Henry sounds more classic American.  Like Henry Ford.  Or Henry Fonda.  You could have won an Oscar.

ENRIQUE.  I just didn’t have the vision that you have.
(He takes her hand for just a moment.  She gets caught up in the moment, but releases her hand.)
We still do understand each other.

ADELA.  We understand each other’s past.

ENRIQUE.  It’s more than that.  I saw the whole world, Adela.  Well, most of it.  It all makes this place look pretty good.

ADELA.  This place isn't the same.

ENRIQUE.  Sure, it is.  I bought one of Mrs. Sanchez's green corn tamales on my way into town.  There she was.  Right behind the meat counter.  Like she'd been there twenty-five years.

ADELA.  On the outside it's the same.

ENRIQUE.  This place is like history preserved.  Do you think people here even know it’s become part of the United States?

ADELA.  You can't come home, Enrique.

ENRIQUE.  I'm home now, and I love it.

ADELA.  For one week?  Two?

ENRIQUE.  I know where I belong now.  You can’t take that from me.

ADELA.  You’re persistent.

ENRIQUE.  You’re creative.  I've been trying to figure out your sculpture here—with the sheets.

ADELA.  It’s not a sculpture.  They’re just rags.  Like for rag curls.  Like abuelita used to put in my hair.  I remember herripping the sheets that were on her bed the night before just so I could look beautiful for mass on Sunday.  (Beat)  But it's just a cooler—an old-fashioned air conditioner.

ENRIQUE.  Pretty smart.

ADELA.  Doesn't work so well, does it?

ENRIQUE.  You tried.

ADELA.  Bring me the candles on my nightstand.  And some matches.  Bring them here.
(He does.  He gives them to her.)
That's right.  Lots of candles.
(She puts the candles around the metal tub.)
Maybe it is cooler down here.
(She begins trying to light the matches.)

ENRIQUE.  Here, let me.

ADELA.  Thanks.
(He lights them.  Adela leans down toward them.)
I like the light.  Come here.  I want to see you.  I can still see shadows, you know.
(He touches her face.)

ENRIQUE.  What really happened to your eyes, Adela?
(She pushes his hand away.)
If you want to talk about it.

ADELA.  I had an operation.

ENRIQUE.  Uh huh.

ADELA.  It didn't work.  I'm trying not to think about it.

ENRIQUE.  Can you have another . . .

ADELA.  Chance?  No.

ENRIQUE.  I'm sorry.

ADELA.  No regrets.

ENRIQUE.  You still have the prettiest eyes.

ADELA.  That's what abuelita always said.  (Self-consciously) I keep talking about her.  It's not that I'm not over it.  I'm over it.

ENRIQUE.  I'm sure you are.  She was right though.  About your eyes.  I can see things in them.  I can see you and me dancing.

ADELA.  You cannot.

ENRIQUE. (Pretending)  Ouch.  You stepped on my foot.

ADELA.  There's nothing there.

ENRIQUE.  There's our past together.  Watch.  We're dancing.  There are people all around us, but we feel like we're alone.  You put your arms around me.  You hold me so tight I could burst.  You look up to catch my eye.  You dive inside me. 

ADELA.  Stop.

ENRIQUE.  You trust me with your life.

ADELA.  I trusted you with my life.

ENRIQUE.  You'd do anything for me.

ADELA.  I would have done anything for you.

ENRIQUE.  You're beautiful.  And I love you.
(He touches her face, and she touches his face.)

ADELA.  Stop.  I said, stop.

ENRIQUE.  I said, I love you.

ADELA.  You said that before.

ENRIQUE.  I meant it every time.
(She rubs her hand over his face.)

ADELA.  Ouch.  Whiskers.

ENRIQUE.  A little late in arriving, but they're there.
(They kiss.  He uncorks the champagne bottle.)

ADELA.  What’s that?
(The lights come up.)
The lights.  Fernando must have . . .
(Enrique looks at the door.)

ENRIQUE.  I should leave.

ADELA.  But when will you . . .

ENRIQUE.  He's coming.

(FERNANDO knocks on the door.  He leans against the locked screen door.  Everything about him is deliriously happy.)

FERNANDO (O.S.).  Adela.  (No answer)  Adela.

ADELA.  Yeah.

FERNANDO (O.S.).  Open up or I'm coming in.

ADELA.  One minute.
(She pushes Enrique on the arm.  He looks around.  There's no place to go.  Enrique throws part of a sheet over the champagne.)

FERNANDO (O.S.).  Hurry up, I've got a wonderful surprise for you.

ADELA.  A surprise?

FERNANDO (O.S.).  You're gonna love it.

ADELA.  I am?

FERNANDO (O.S.).  What's taking you so long?

ADELA.  Nothing.  Just a sec.

FERNANDO (O.S.).  This is one of the best days of my life.

ADELA.  Really?

FERNANDO (O.S.).  Something wonderful happened.

ADELA.  While you were at the store?

FERNANDO (O.S.).  Aren't you gonna let me in?

ADELA.  In a second.
(Adela moves slowly to the door, opens it.)

FERNANDO (O.S.).  Hurry up.
(Fernando enters, hugging her.  He holds a bouquet of flowers.)
Let's get married.

ADELA.  But.

FERNANDO (O.S.).  I don't want to put it off anymore.(When he looks up, he notices Enrique.  Fernando lets go of Adela, steps back, betrayed.) Who the hell?

ENRIQUE.  You know there's something about women.  They're always more affectionate when their boyfriend's gone.

ADELA. (To Enrique)  Cool it.

ENRIQUE.  You shouldn't leave her alone like that. (Fernando approaches Enrique.) Hey, just kidding, man.

FERNANDO.  Who is this guy?

ENRIQUE.  A friend.

FERNANDO.  I get it.  A friend.

ADELA.  That's right.

ENRIQUE.  Got a problem, buddy?

FERNANDO.  The lights in this house were off, but next door and next to that, they were on.  Interesting phenomenon, huh?

ENRIQUE.  A college graduate.

FERNANDO.  It seems that someone, some kids, stole the good fuse out of the fuse box and put in a blown one instead.

ENRIQUE.  Some people.

FERNANDO.  You don't happen to know who those children might have been, do you?

ENRIQUE.  Boys will be boys. (Enrique hands Fernando the fuses.  Adela remains unaware.)

FERNANDO.  You think it's funny to leave her without electricity?

ENRIQUE.  Lighten up.

FERNANDO.  I think it's time to send the entertainment home.

ADELA.  What do you care?

FERNANDO.  I care about who comes in here when I'm not around to look out for you.

ADELA.  I can take care of myself.  It’s my house.  I decide who stays and who leaves.

FERNANDO.  We can talk about this later.

ADELA.  Let's talk about it now.

ENRIQUE.  Let's.

FERNANDO.  Shut up.

ENRIQUE.  I used to fight with girls, then I learned something.  The guy never wins.  The guy's a cabrón for trying.  It's the truth, man.

FERNANDO.  Who is this clown?

ENRIQUE.  Slow, aren't we?

ADELA.  Relax.

ENRIQUE.  Yeah, take some Ex-lax and sit down.

FERNANDO.  I don't like it when you play games with me, Adele.

ENRIQUE. (To Fernando)  Adele?  Oh aren't we high class Mexicans with something important to say?

ADELA.  Okay, Enrique, enough.

FERNANDO.  (To Adela)  Enrique?

ENRIQUE.  Ricky to you.

FERNANDO.  (To Enrique)  You're obnoxious.

ADELA.  Okay, Fernando.

ENRIQUE.  Hey, Adela, this guy's got a calculator in his pocket.

FERNANDO.  I'm an engineer, do you mind?

ENRIQUE.  If you like math, that's your problem.

FERNANDO.  (To Adela)  Where'd you find this character?

ADELA.  I know him.  Leave, if you want.

FERNANDO.  Who said anything about leaving?

ENRIQUE.  Neither of us said anything, but we've both been thinking it since you-- (popped in the door)

FERNANDO.  (Simultaneously)  I'm not the one who's leaving.

ADELA.  Suit yourself.

ENRIQUE.  Don't look at me.

FERNANDO.  Don't look at me either.
(They look at each other, making macho postures silently, so Adela won’t know what they are doing.)
Adele, come on.  I built you that fence out there to keep strangers out.  I made this place more bearable for you.
 (Enrique raises his eyes to the word "bearable.")
You're not just going to kick me out.

ADELA.  Let's just all three sit here.

FERNANDO.  Great.

ENRIQUE.  Okay.

FERNANDO.  We're sitting.

ADELA.  Yeah.

ENRIQUE.  Hot as hell out there, isn't it?

FERNANDO.  So, you invite this low-life over the second we have a fight.  It wasn't even a fight.  You don't even know what a fight is.  You didn't understand what I was trying to tell you.

ENRIQUE.  What'd you do, man?

FERNANDO.  It's none of your business.  (Sarcastically)  Man.

ENRIQUE.  It sure is.  If it frees up Adela.

FERNANDO.  I said, it's none of your business.

ENRIQUE.  I wouldn't want to get between the two of you.

ADELA.  Enrique!
(Enrique turns his back to them.)

FERNANDO.  You're treating him like he's your best friend or something?

ADELA.  We go back a ways, okay?  You wouldn't have met him.  He left way before you ever moved to Arizona, so don't worry about him.

FERNANDO.  Okay.

ADELA.  You could have stayed when the lights went out.

FERNANDO.  You'd rather just sit around in the dark?

ENRIQUE.  Lay off.

ADELA.  I don't like you just taking off like that in the middle of a conversation.

FERNANDO.  I told you where I was going.

ENRIQUE.  I hate to interrupt these . . . domestic disturbances, but . . .

ADELA. (To Fernando)  You left everything hanging.  I hate that.

FERNANDO.  What'd I do now?

ADELA.  Coming back here and proposing to me.  That totally ignores what I had to say.

FERNANDO.  Could we be alone for a minute?

ENRIQUE.  Or you could leave.  Six of one, half dozen of the other.

FERNANDO.  Where'd you come from?

ENRIQUE.  (Beat)  I'm a homeboy, actually.  A rare exception.  To the rule, you know.  Most people aren't from here. Most of them come here to melt, but not me, I was born melted.  I was a marshmallow over a fire long before you ever showed up.

FERNANDO.  What the hell are you talking about?

ENRIQUE.  Stuff you don't get.

FERNANDO.  What are you her ex-boyfriend or something?

ADELA.  We don't need to talk about this.

ENRIQUE.  He wants to know.

FERNANDO. (To Adela)  Is this the guy?  You didn’t say anything about him coming to town.  I thought that was over.

ENRIQUE.  I’m a surprise.

ADELA.  Do I need to get permission?

FERNANDO.  Adela.

ADELA.  I had a life before I met you.  Men used to come here in droves.  They used to line up in front of the doorway and beat each other up over me.

FERNANDO.  Adela.

ADELA.  I haven't always been blind, you know.  Men used to want me.

FERNANDO.  I accepted you when nobody else would.  When we first met because you were lost in the city, and I offered to be your eyes.  I think that makes me special.

ENRIQUE.  Some girls are just lucky, I guess.

FERNANDO.  I think you should keep your big nose out of it.

ENRIQUE.  I think you should look in the mirror and die.

ADELA.  You can never be my eyes.  No one can.

FERNANDO.  I can’t believe you expect me to put up with this.

ADELA. (To Fernando)  He's an old friend.  I haven't seen him in a long time, okay?

FERNANDO.  I don't want all these different guys coming around.
(Enrique starts to look for the "different guys.")
Not with you here alone.  It's not right.  I mean, it looks like a some kind of séance in here.  It looks like you're getting ready to--

ENRIQUE.  Screw like bunnies?
(Adela looks pissed.  She didn’t need that.  Fernando takes a defensive posture.)

ADELA.  He's just talking.  We weren't gonna do anything.  He’s just gonna say smart ass stuff until you lay off him.
(Fernando uncovers the champagne bottle.)

FERNANDO.  What's with the champagne?
(Adela turns her head away, guilty.)
I'd say he had something in mind.

ENRIQUE.  No, not me.  You're what they call an idea man.  A man filled with ideas.  That's what they call them outthere in the big world, in the big city.  (Beat)  Where do you come from?  Not here.  Somewhere else.  The land before time.  The land of idea men.

FERNANDO.  I've lived here long enough.

ENRIQUE.  I was in the Army, but it doesn't make me a tank.

ADELA.  Fernando, why don't you go get us something to eat?

FERNANDO.  Get this asshole out of here.  Immediately.

ADELA.  Okay, it's a bad idea.

ENRIQUE.  I'd say, Califas, if I had to guess.  Is that right?  California.

ADELA.  You always know everything.

ENRIQUE.  What'd you get stuck on the freeway and never find your way home?  Move here on your way to T.J.?
(Adela crosses to the fan, turns it on.)

FERNANDO.  (To Adela)  What are you doing?

ADELA.  Cooling things off.

FERNANDO.  Why don't you turn on the swamp cooler?

ADELA.  I'm tired of listening to it.  This works great, my grandmother always . . .

FERNANDO.  Would you stop obsessing on your grandmother?

ADELA.  What do you know about my abuela?

ENRIQUE.  Maybe she doesn't want to forget her.

FERNANDO.  You stay out of it.

ADELA.  You never even knew her.

ENRIQUE.  I did.  I knew your abuela, huh?  Ever since I was a little vato.

FERNANDO.  It's just not healthy.

ADELA.  Not healthy?

FERNANDO.  I mean, to be talking to her all the time like she’s still in the room.  It’s eerie.

ADELA.  I feel her presence.  That’s why I talk to her.  It’s not like I don’t feel anything first.  I’m not crazy.

ENRIQUE.  Who's it gonna hurt?

FERNANDO.  I said, stay out of it.

ADELA.  What's not healthy is acting like she never existed.  To erase her like you seem to want to do.

FERNANDO.  I just want you to get on with your life.  I want to see you get better.

ADELA.  I'm not going to do that without her.

(Adela reaches for the fan, starts plugging it into the wall.)

ENRIQUE.  She looks fine to me.

FERNANDO.  Don't play sensitive with me, macho guy.  Don't think that I don't know why you're here.

(Adela turns on the fan.)

ADELA.  That's better.

FERNANDO & ENRIQUE.  What?

ADELA.  It's cooler.  With the fan.

FERNANDO.  Oh.

ADELA.  You two ought to enjoy it.  Cool down.

ENRIQUE.  Cool as a cucumber.  That's me.

FERNANDO.  Doesn't he get on your nerves?

ADELA. (To Fernando)  Take a break.

ENRIQUE.  Yeah, take a breather.  Have some ice tea, chill out.

ADELA.  It's the hottest day of the summer, remember?

FERNANDO.  That's practically all I thought about when I was looking for that three hundred year-old fuse.

ENRIQUE.  Forgive and forget.  Just some advice you don't have to follow.

FERNANDO.  Look it, buddy.

ENRIQUE.  I'm looking, honest, but I don't see nothing.  Except a big zit that looks like it's gonna erupt.

FERNANDO.  Hey.

ENRIQUE.  I'm just saying be honest with the woman.  Sounds like you've been acting like you're good-looking or something.

ADELA. Don't try so hard.

FERNANDO.  No matter what you say, I'm not leaving.  Sorry to disappoint you, man.

ADELA.  Get out, Fernando.

FERNANDO.  Jesus, you're going to kick me out because of this character?

ENRIQUE.  I was her first boyfriend.  I think that gives me home field advantage.

ADELA.  You, too.

ENRIQUE.  What'd I do?

FERNANDO. You don't belong here anymore and you know it.

ENRIQUE.  (To Adela)  You choose.

ADELA.  I'm not choosing anything.  Both of you just get out of here.

FERNANDO. Is this the guy that made you scared of men?

ENRIQUE.  Yeah, right.

FERNANDO. It's true, Mr. Sensitivo.  She hadn't been with anybody for about three years when I met her.

ENRIQUE.  Well, maybe that's what she told you.

ADELA.  It's true.

ENRIQUE.  No.

ADELA.  I told you I waited and I did.

FERNANDO. I think you did her enough damage for one lifetime, okay?

ENRIQUE.  You're so full of it.

FERNANDO. Truth stings, doesn’t it?

ENRIQUE.  You tell me, Adela.  Is it true?  (No response.)

FERNANDO. She’d never hurt your feelings, but it is.  (Short beat)  I think it's time for you to go home.

ENRIQUE.  (To Adela)  You want me to leave?

ADELA.  I wish you two would stop fighting.  Give me some peace.

ENRIQUE.  You really want me to leave?

ADELA.  You might as well.  You're very good at it.

ENRIQUE.  Is that it?

ADELA.  Yeah, that’s it.  That’s how I honestly feel.

ENRIQUE.  Because of him?

ADELA.  Because of me.  Because of you.  Because of everybody, Enrique.

ENRIQUE.  Okay, I'm going then.  But only because you want me to.

FERNANDO.  (Sarcastically)  Have a safe ride home.

ENRIQUE.  Be nice to her.

FERNANDO.  Always am.  Adios.

ENRIQUE.  (To Adela)  A promise forgotten is a person erased.
(Enrique exits.)

FERNANDO.  What the hell is this?

ADELA.  Nothing.

FERNANDO.  What's he talking about?

ADELA.  We were just kids.

FERNANDO.  Sure.

ADELA.  Just leave.

FERNANDO.  Why?

ADELA.  I'm sick of men.

FERNANDO.  I'll forget you said that.

ADELA.  Don't.

FERNANDO. C'mon, he's gone now.  And I'm here.
(Adela lightens up as Fernando draws close to her.  There is still some attraction here.)

ADELA.  I know.
(Fernando tries to kiss her.)
Not now.

FERNANDO. I can put this all aside if you can.  See, it's all in the past.

ADELA.  Really?

FERNANDO. Let's have some champagne.

ADELA.  No, thanks.

FERNANDO. When I came in here, you looked like you wanted champagne.  What's going on, Adele?

ADELA.  Why'd you run him out like that?

FERNANDO. Me—run him out?  I think you told him off pretty good, and he deserved it.  That’s a joke him coming back like that and expecting you to run off with him into the sunset or wherever.

ADELA.  Don’t criticize him.

FERNANDO. C'mon, Adele.  The guy's a pest.

ADELA.  He wasn't hurting anything.

FERNANDO. He's an immature jerk.

ADELA.  That's just because you made him mad.

FERNANDO. Me?  This guy showing up doesn't change anything.  It doesn't change how I feel about you.  Now, come on.  You were just telling me the other day how much you like having me around as a . . .

ADELA.  Permanent fixture.

FERNANDO. Yes, a permanent fixture.  Home at six on the dot every night.  You like that.

ADELA. (Conceding)  I do.  You’re reliable.

FERNANDO. So, put this silly guy out of your mind and let's focus on the future.

ADELA.  What do you mean?

FERNANDO. About our plans.

ADELA.  Fernando.

FERNANDO. Yes.

ADELA.  Right now?

FERNANDO.  It’s as good a time as any.

ADELA.  Fernando, there are a lot of things we need to work out first.

FERNANDO.  I came here with a ring in my back pocket ready to propose.  And then, the Ex-Boyfriend From Hell chimed in.

ADELA.  I'm sorry.  He just showed up.

FERNANDO. I mean, the guy thinks he’s God’s gift to women.  Like you’re going to drop your whole life just to be with him.  (Beat)  Let's just go back to where we were, Adele.  I know you thought I was trying to break up with you today.

ADELA.  When you told me to dive in or dive out?

FERNANDO. Yes.

ADELA.  I’m not even sure what that means.  I hope you don’t mind that I didn’t answer.

FERNANDO.  (Laughs at himself)  I know.  I get enthusiastic.

ADELA.  You can be so demanding.

FERNANDO. All it really meant is that I love you.

ADELA.  Then, you should have just said that.

FERNANDO.  Would you accept it if I did?

ADELA.  Don’t put me on the spot.

FERNANDO.  What’d he do to you?  Before—we had a problem, we worked through it.  What’s going on?  You told me you were over him.

ADELA.  He’s gone now.  Everything’s gonna be fine.

FERNANDO.  If you weren’t over him, you shouldn’t have gotten involved with me.

ADELA.  I’m over him.

FERNANDO.  You’re not acting like it.  You’re acting strange.

ADELA.  Fernando, you’ve been here for me.  It saved my life.  I didn’t know how to handle things alone.

FERNANDO.  Now you’re saying you don’t need me?

ADELA.  If you’re looking for a wife, I don’t know that I can oblige.

FERNANDO.  Adela, you love me.  I know you do.

ADELA.  You know more than me.  I don’t know who I love.  Do I have to love somebody?

FERNANDO.  You love me.  This guy’s got you a little confused.  But I know guys like that, they come on all strong, but it doesn’t last.  They don’t know how to mean it.  They just show up and stir things up, and then their gone again.  I’m not letting something like that break us up.  Don’t let that happen.

ADELA.  I know what you’re saying.

(Fernando pecks Adela on the cheek.)

FERNANDO. Good.
(Fernando touches Adela more.)
Move with me to the place I have in mind.  You won't be disappointed.

ADELA.  I—(can’t)

FERNANDO. I was there today and I could just see you there.

ADELA.  Really?

FERNANDO.  Right there. (He puts his arms around her as he describes the house, wooing her.) In this little spot in the sun on the wooden bench by the bay window.  Just sitting there without a care in the world.  In our house. (Adela breaks away from his embrace.)

ADELA.  Where is this infamous house?

FERNANDO.  Where I was looking before.

ADELA.  I told you, I don't want to live out there.

FERNANDO.  It's a nice neighborhood.  You said you’d consider going.

ADELA.  I thought about it.  I like where I am.

FERNANDO.  I worry about you alone out here.

ADELA.  I’m safe here.  I know this house inside and out.  And my memories are here.

FERNANDO.  You're memories aren't going to disappear.

ADELA.  My family.  I can still see my family here.  All sitting around the kitchen table, each trying to talk louder than the other.  It’s so real when I see them like that.
(She rubs her hand as if she can feel them touching her.)

FERNANDO.  I happen to think they might have wanted you to have a better life.  A bigger world.

ADELA.  My world is big.

FERNANDO.  Your family isn’t here anymore.

ADELA.  They’re here if I want them to be here.

FERNANDO.  There’s a fine line between imagination and mental illness.  Just make sure you don’t cross it.

ADELA.  I’ll pay close attention.

FERNANDO.  I didn’t mean that.

ADELA. (Beat)  I'm talking about my eyes.  I still have eyes here.  In my mind.  I know where I am.  Do you know how important that is?  It's like I can still see here.  Every room, the hallways, the cactus outside my window.

FERNANDO.  Do you think you've already experienced everything?  That everything that you can have in life is stored in your head?

ADELA.  Why do you want to live way over there anyway?

FERNANDO.  I like it.

ADELA.  I don’t like it.

FERNANDO.  I could never commute from this far away.

ADELA.  Because it would be inconvenient?

FERNANDO.  Yes, it would be very inconvenient.

ADELA.  It would be inconvenient for me to be over there.

FERNANDO.  It's not that heritage thing, is it?

ADELA.  Yes, it's the heritage thing.

FERNANDO.  This is America.  The great melting pot.

ADELA.  You seem too eager to melt.

FERNANDO.  America's filled with all kinds of people.

ADELA.  I don't want to just melt away.  I want to be more solid than that.  I care about the past.  My ancestors.  Our family stories passed down by mouth but never written down.  Our land that goes back more generations than anybody can remember.  The wooden cross in the backyard where they buried my great-great grandfather.  Planting flowers there every year.  That’s what makes me strong.

FERNANDO.  Do I make you feel strong?  (No response.)  Well, do I?

ADELA.  I have a place in a long, long legacy.  When God looks down on me, he sees hundreds of people behind me.  I’m not just some insignificant woman living alone in an adobe house in the desert.

FERNANDO.  Did I call you insignificant?

ADELA.  I mean, that job you have in the city.  That doesn’t fit with you living out here with me.

FERNANDO.  That’s what I’m saying, but I have to work.  I have to take care of you.

ADELA.  Hey, I take care of me.

FERNANDO.  We'd be together in the evenings.

ADELA.  And I’d be alone all day in some strange place.

FERNANDO.  Well, you’d have to get used to it.  There's so much out there that I want to share with you.  Life can be so much easier than this.  I want you to have a taste of that.

ADELA.  (Firmly)  I can't live over there.

FERNANDO.  You can't just cut yourself off like this forever.  I don't get it.  I thought we were building something.  Let's keep going.  Let's not stop now.

ADELA. (Beat)  My grandfather built this place.  Right over an old family house that had burned down.  He put his soul into the bricks.  That means a lot more than fancy modern conveniences.

FERNANDO.  So, you're gonna live alone in this little place 'til you die?  (Beat)  You were just telling me how lonely you get out here.  I could spend more time with you because it’s so much closer to work.  We could take walks together in the evenings.  It could be really nice.

ADELA.  Really?

FERNANDO.  Sure.  We could go out all the time.  I'm not asking anything of you.

ADELA.  You’re asking me to leave.

FERNANDO.  I know that if you knew what it's going to be like, you'd come.  It's got a great outside deck.

ADELA.  It sounds like somebody's dream house the way you talk about it.

FERNANDO.  It is.  It's my dream for you.

ADELA.  Really?

FERNANDO.  And the house is bright inside.  It has a million windows and lots of light.  You'll be able to see a lot better there.  More shadows.  Everything about it is perfect.

ADELA.  How can you be so sure?

FERNANDO.  I'm very sure.  You know why?

ADELA.  No.

FERNANDO. 'Cause I already bought it.

ADELA.  What?

FERNANDO.  Happy anniversary.

ADELA.  One minute.  It's not our anniversary.

FERNANDO.  A whole year and a half.

ADELA.  But when did you?

FERNANDO.  I called to find out when I was out getting the fuse, and they told me they took my offer.

ADELA.  You shouldn't have done that without asking me.  Come on, Fernando, don't make me feel trapped about it.  You should have let me go there first.

FERNANDO.  Oh, it's not to make you feel trapped.

ADELA.  I have a house.  I have a place.  I love it here.

FERNANDO.  You're stuck here.

ADELA.  Most days I feel really happy.

FERNANDO.  Okay.

ADELA.  At home.

FERNANDO.  And I feel really at home with you.  That's why when this deal came by I just couldn't say no.

ADELA.  But you bought us a house without asking me first.  Why'd you do that?  That's crazy.

FERNANDO.  'Cause I'm in love?  I don't know.  Hey, it's not as bad as it sounds.

ADELA.  That's a big decision.  And to leave me out of it.

FERNANDO. I had to get it when I did.  Somebody else wanted it, too.

ADELA.  I've never even been there.

FERNANDO.  I'm sorry.  I thought it didn't matter.

ADELA.  Why?  Because I can't see.  I'm blind so my opinion doesn't matter.

FERNANDO. That's not it.

ADELA. (Sarcastically)  Right.

FERNANDO. I wanted to surprise you.

ADELA.  You surprise a girl with flowers.  With a box of candy.  Not a house.  Not when she's not even sure how she feels about you.

FERNANDO.  I thought we were sure.

ADELA.  That's because you've been listening to Fernando too much.

FERNANDO.  I thought that being in love might change things for you.  (No response)  You do still love me, don't you?

ADELA.  (Beat)  I'm not sure.

FERNANDO.  You were yesterday.

ADELA.  I haven't been sure for a long time.

FERNANDO. I thought everything was going pretty well.  I mean, this Enrique character came in here and messed everything up.

ADELA.  Don't blame him.  If things were that easily messed up, it makes you wonder.  Why don't you go home now?  Get some sleep.

FERNANDO.  We've invested a lot in each other.  A lot of time.

ADELA.  I know and I'm sorry.

FERNANDO.  What are you saying?

ADELA.  I can't go with you.

FERNANDO.  Just not now . . . or never?

ADELA.  (Beat)  You're not right for me.

FERNANDO. Of course, I'm right.  What kind of bullshit is this?

ADELA.  No.  It's like you've always asked too much, just a little bit more than I was willing to give.  Like you measured and tried to see if you could get me to change.

FERNANDO.  What am I asking?  I'm offering you everything.

ADELA.  See, you don't even know when you do it.  I can't live like you want to, so forget about us.

FERNANDO.  I'm trying to do what’s right.  Just this one thing.  For me.

ADELA.  No.
(Adela crosses her arms stubbornly.)
I won't go.  No matter how much we talk.  Please don't try to make me leave.

FERNANDO.  Everybody needs someone.  Don't cheat yourself.
(After a beat, Fernando exits, slamming the door, pissed.  Adela returns to the stripped sheets.  She rubs them on her face.  After a moment, she looks up to the heavens, upset.)

ADELA.  He wasn't right for me.  You wouldn't have liked him.  He was too proud.  Too full of himself.  If I went there, to that house where he wanted to live, would you have still heard me there?  With those people?  With their noise?  You've always been here.  In this house.  Where you lived.  You can't leave this house.  You don't want to.  You're afraid when you leave here.  When you don't have the familiar things around you—-the furniture where Papi put it.  The candles in the drawer next to your bed.  (Beat; hushed)  You're lost when you're away from here.  Me, too.  Just like you.  The two of us.  But it's nice here.  Lovely.  The way you left it to me.  Familiar.  You'll never be a stranger here.  Never be afraid to come home.
(A knock at the door.)
Go away.

ENRIQUE (O.S).  It's Enrique.
(Adela crosses to the door, opens it.  Enrique enters.)

ADELA.  I thought you left.

ENRIQUE.  ¿Dónde está Fernando?
ADELA.  He doesn't like people moving in on his territory.

ENRIQUE.  Is it still his territory?

ADELA.  You shouldn't have showed up like that today.  You proved your point.  You ran him off.

ENRIQUE.  I wasn't trying to prove anything.

ADELA.  Then, why'd you act that way around him?  It's like you were a kid again.

ENRIQUE.  I don't know.

ADELA.  It was embarrassing.

ENRIQUE.  You could have stopped me.

ADELA.  Right.

ENRIQUE.  You could have if you wanted.  You could always change me.

ADELA.  You sit there and you lie straight to my face.  I'm not taking that anymore.

ENRIQUE.  Look, I can leave if this isn't working.  I can walk into town.

ADELA.  Do what you want to.

ENRIQUE.  What's wrong?

ADELA.  It's just Fernando.

ENRIQUE.  He's not good for you.  Look, I could tell the second I saw him like I said.

ADELA.  What about you?  I get the feeling like you really thought I was supposed to wait.

ENRIQUE.  Don't think about him anymore.

ADELA.  It's easier when you don't think about the person.  Like when you take off for years without even a postcard.

ENRIQUE.  I want to stay with you now.

ADELA.  I can't have you back.  Not like this.

ENRIQUE.  Because of that pendejo?

ADELA.  Enrique.

ENRIQUE.  Adela, there are better looking guys.  I mean, have you ever seen him?

ADELA.  No.

ENRIQUE.  I'm much better looking.

ADELA.  I'm sure you are.

ENRIQUE.  I don't look like I used to.  The Army works you hard.  I've got muscles now.

ADELA.  I felt.  You should re-enlist.

ENRIQUE.  I'd rather be here with you.

ADELA.  Right.

ENRIQUE.  I would.

ADELA.  You never could stay with one woman.  Men either fool around or they don't.  They can't change that.

ENRIQUE.  I was a kid back then.  It's different now.

ADELA.  Running off with that blonde girl.  Did she really make you happy?  With her clothes from the mall and her baloney sandwiches with mayonnaise and French’s mustard?

ENRIQUE.  That was ages ago.

ADELA.  I know Fernando loves me.

ENRIQUE.  I love you.  I never forgot you.  The whole time I was in the Army I thought about you, coming home to where you were.  Living in your adobe house with chiles growing in the back next to that old family grave.  The way those dark gray clouds would burst into thunderstorms overhead and wash out your whole backyard and we’d find your little cosas back there, like the dolls you buried when you were a little girl, and miniature plastic animals and things.  You were never ashamed to share them with me—all your hidden treasures.
(Enrique’s memory has drawn her in, but she breaks away from its hold on her.)

ADELA.  (Beat)  Why didn’t you write me if you thought of me so much?

ENRIQUE.  You got me through.  You were always strong for me.

ADELA.  Just forget me.

ENRIQUE.  Why?
ADELA.  I think it would be better for both of us.

ENRIQUE.  You don't understand.  I had to see you.  I was losing you . . . in my mind—your presence.  I started thinking I was lost to you, as lost as a bit of dust that you swept out of your house.  Maybe you'd swept me out too when I wasn't looking.

ADELA.  That wasn’t me.  That was your image of me.  And when you saw me like that, when I was the perfect woman inside your head, could I see?

ENRIQUE.  The details don’t matter.

ADELA.  It’s not a detail.  It’s my life.  From that day forward.  Forever.  Like a marriage.  Unbreakable.   Like a pact with God.  (Beat)  There is no me left, okay?  There’s no one to come back here and claim.  You two come in here and both take a little bit of me and a little bit more.  You guys leave me alone here with little bits of myself scattered all over the room.

ENRIQUE.  You got me through a lot.  Even when I didn't see you.  We had an understanding.  Unspoken.  Heart to heart.  Didn't you feel it?

ADELA.  Enrique, you . . .

ENRIQUE.  You talked to me.  In my head.  Just like your abuela talks to you.  You’d say all sorts of sweet things and encourage me, and look up at me and smile the way you like to do.  I’d feel your hair and face in my hands and hear your laughter when I was lying alone in my bunk at night.  I’d stare at your picture all the time.  Every night.  And when I was confused, you’d make sense of everything for me.  You would always explain in a really calm way.  About being from here.  About what it was to be us.  Trying to fit in somehow in the outside world, trying to sneak by without being noticed, without being caught.  Trying to look over it when you’re not being treated right.  Trying to let it slide off your back when you’re so pissed you want to kill somebody.  You’d listen to that.  To my struggles.  Injustices as I’d call them.  You’d tell me, “They don’t know what they’re doing--they just don’t understand.”  And you’d do things about it.  To make me feel better.  You’d say rosaries and novenas for me.  You’d place my picture on your altar, so the light from the candles would make me strong.  And you’d surround them with little milagros, por mi corázon y mis ojos, y mi alma.  So every part of me could be well and whole.  And you’d write little notes, pleading to God to look after me—telling him the little things you would give up that week if only he would keep me in his care.  So many candles you’d light for me.  To St. Jude, to San Martin de Porres, and to the Virgen de Guadalupe.  You’d promise me she was going to get me through.  You’d send her out into the night looking for me, and she would seek me out like a hound, like La Llorona by the river wash looking for her children,only she was doing good.   And when I’d fall asleep, on those ice cold nights, the Virgin would send me the scent of roses in winter just because you’d asked her to, and I’d feel that sharp oval light around her prick my skin when she got close to me.  I felt it transform me until I was different, until I was made of light, and I could be strong again.  You did all that.  And then it all stopped.  I had to come here to make sure it wasn’t true—that you hadn’t withdrawn your love—that I still have it—that I still carry you inside my heart like a milagro made of gold.

ADELA.  That’s really beautiful.

ENRIQUE.  It’s the most real thing I’ve ever felt—it’s the truest part of me, and it’s yours.  We should try again.  We shouldn't give up.  We have something so huge it cannot be contained by this earth.

ADELA.  They’re lovely.  Your thoughts.  Your images of me.

ENRIQUE.  They are.

ADELA.  They’re lovely, but they’re not real.

ENRIQUE.  You did those things.  I know you did.

ADELA.  How?

ENRIQUE.  I sense things now.  And I find out later than I’ve been right.  I trust that more than what you say, or what you’re scared to say, or too frightened to admit.

ADELA.  (Beat)  You’re right.  I’m all those things.

ENRIQUE.  I know what you did on my behalf.  I know you.  Just tell me that it’s true.

ADELA.  You do know me.  You know me better than anyone else on this whole earth.  Somehow you found a way to curve your eyes around the world and watch me.  I did all those things.  Everything you said.  It’s magic, I guess.

ENRIQUE.  I knew you did!

ADELA.  Especially the milagros.  See the store didn’t have a miracle charm in the shape of a soul.  I made that one up myself.  I saw myself look inside your body, and I touched tu alma, and there it was, not square, nor round, just a funny little shape—that was your soul.  So I made it look like that.

ENRIQUE.  I’m so glad we’re together again.

(Adela backs off.)

ADELA.  You sensing me, you seeing me, it doesn’t solve everything, Enrique.  It doesn’t take away the ache I feel inside me.

ENRIQUE.  Why not?

ADELA.  You don't remember what happened to me—that part of me I just can’t get back even though you make me want to.  I haven’t wanted that in so long.

ENRIQUE.  I remember everything about us.

ADELA.  You don't.

ENRIQUE.  What don't I remember?

ADELA.  The most important thing.

ENRIQUE.  I proposed to you?

ADELA.  When you said that, it was a joke.

ENRIQUE.  It was much more than that.

ADELA.  I know.

ENRIQUE.  I had nothing to give you at the time.  I didn’t know myself.

ADELA. That’s not why I can’t go back.

ENRIQUE.  Then, why not?

ADELA.  You made me afraid of my heart.

ENRIQUE.  What about our promise?  No matter how much we changed, we would always be the same to each other.  Always love each other.  That promise.

ADELA.  You only give your heart once.

ENRIQUE.  You're breaking our promise?  If you’re breaking it, I want you to tell me.

ADELA.  I think it was already broken.  I’ve never been able to control my heart.  It just spins off on its own and does whatever it wants.  I try to beat the little sucker into submission, but it won’t do what I say.  Silly heart.

ENRIQUE.  I see.

ADELA.  You have such beautiful thoughts.

ENRIQUE.  Well, you inspired them.

ADELA.  That makes me happy.

ENRIQUE.  I’m glad.

ADELA.  Good-bye.

ENRIQUE.  I may come back again.  I can't promise you I won't.

ADELA.  Please, no promises.

ENRIQUE.  All right.

ADELA.  It's better that way.

ENRIQUE.  Okay.

ADELA.  I'm not gonna be with anybody right now.

ENRIQUE.  If that's what you want.

ADELA.  I just want to be alone here in my house.  With my family.  That's what I want.

ENRIQUE.  Why?

ADELA.  Just accept that that's what I need.

ENRIQUE.  Why are you so afraid?

ADELA.  It's not just fear.  It's courage, too, understand?

ENRIQUE.  No.

ADELA.  I’m my own person, Enrique.  I look inside my body now all day long and I know who I am.

ENRIQUE.  I’ll never understand.  I really felt it.

ADELA. (Emphatic)  I know.  I know.  Good-bye. (Adela sighs as Enrique hesitates and then exits, hurt.  Adela stretches her arms out from her sides.  She seems to be gaining strength from something outside of herself.)
There are voices in these walls.  They talk to me.  They keep me company.  And they don't ask for everything.  They don't demand.  See, there's an ocean under this house.  My abuelo found a seashell when he was building it, and he says that he found an ocean under there.  With waves of our past, our family.  All of them asleep in the ocean, under the earth.  And on a very hot day like today there is an undercurrent that sweeps under the desert, collecting all the debris, and all of their bones, and memories.  And it keeps sweeping, as it collects them, all of my people.  And when I set up the rags, they crawl.  They crawl up from the water, and they come to me.  They come to me in the water.  And their voices are very clear.  And the people are very strong.  Much stronger than I remember.  And they tell me that they love me, and they make me strong, too.
(Adela sits in her bed under her comforter.)
The current's powerful tonight.  The laughing, the gossip, the singing.  Abuela, I can hear you all.  And you can hear me.  Really loud.  And strong.  Independent.  The way you'd dream me if you thought of me in your sleep.  The gift you'd give me if you could find your way to my hand.  I'll join you in the current . . . in the water someday.  Sure.   I'll be with you again.  I know it's not forever.  This space between you and me.  But I want you to look down.  From heaven.  And watch me walk.  Because I'm doing really well on my own.
(Blackout.)