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IF THE BOOK IS UNDER COPYRIGHT IN YOUR COUNTRY, DO NOT DOWNLOAD OR REDISTRIBUTE THIS FILE. _Title:_ Night Over Taos _Date of first publication:_ 1932 _Author:_ Maxwell Anderson (1888-1959) _Illustrator:_ Robert Edmond Jones (1887–1954) _Date first posted:_ April 20, 2026 _Date last updated:_ April 20, 2026 Faded Page eBook # 20260441 This eBook was produced by: Mardi Desjardins, Cindy Beyer & the online Distributed Proofreaders Canada team at https://www.pgdpcanada.net This file was produced from images generously made available by Internet Archive. [Cover Illustration] =NIGHT OVER TAOS= [Illustration: Setting for _Night over Taos_ by Robert Edmond Jones. 1932] NIGHT OVER TAOS _A Play in Three Acts_ BY MAXWELL ANDERSON [Illustration] _SAMUEL FRENCH_ _New York_ _Los Angeles_ _SAMUEL FRENCH LTD. London_ _1935_ Copyright 1932, by Maxwell Anderson _MANUFACTURED IN THE UNITED STATES OF AMERICA_ _BY THE VAIL-BALLOU PRESS, INC., BINGHAMTON, N. Y._ _Night Over Taos_ was presented by the GROUP THEATRE, INC., at the 48th Street Theatre, New York, on the night of March 9, 1932, with the following cast: Indian Slave....................... Played by _Robert Lewis_ Dona Vera.......................... “ “ _Mary Morris_ Valeria............................ “ “ _Virginia Farmer_ Maria.............................. “ “ _Paula Miller_ Raquel............................. “ “ _Margaret Barker_ Conchita........................... “ “ _Gertrude Maynard_ Nuna............................... “ “ _Phoebe Brand_ Lita............................... “ “ _Eunice Stoddard_ Carlotta........................... “ “ _Dorothy Patten_ Cristina........................... “ “ _Sylvia Feningston_ Graso.............................. “ “ _Friendly Ford_ Dona Josefa........................ “ “ _Stella Adler_ Father Martinez.................... “ “ _Morris Carnovsky_ Diana.............................. “ “ _Ruth Nelson_ Diego.............................. “ “ _Harry Bellaver_ Federico........................... “ “ _Franchot Tone_ Narciso............................ “ “ _Herbert Ratner_ Captain............................ “ “ _Art Smith_ Don Hermano........................ “ “ _Lewis Leverett_ Don Miguel......................... “ “ _Sanford Meisner_ Felipe............................. “ “ _Walter Coy_ Santos............................. “ “ _Gerrit Kraber_ Pablo Montoya...................... “ “ _J. Edward Bromberg_ Andres............................. “ “ _Clement Wilenchick_ Don Fernando....................... “ “ _Luther Adler_ Don Mario.......................... “ “ _Philip Robinson_ Mateo.............................. “ “ _Clifford Odets_ 1st Trapper........................ “ “ _William Challee_ 2nd Trapper........................ “ “ _Grover Burgess_ Peons.............................. “ “ _Sylvia Hoffman_ _Byron McGrath_ _Burgess Meredith_ _Robert Porter_ Production directed by Lee Strasberg. The play is laid in Taos, New Mexico, in 1847. Act I The great hall of the Montoya hacienda. Night. Act II The same. An hour later. Act III The same. A few minutes later. =ACT ONE= ACT ONE Scene: _The great hall in the residence of_ Pablo Montoya _at Taos, New Mexico, in the year 1847_. _The room is long and low, its adobe walls white-washed to the beamed ceiling and covered with red tapestries to a height of four or five feet. A long table, homemade, as is all the furniture, occupies the center, flanked with benches and chairs. There is a large fireplace at the right and an entrance to the inner rooms behind it. At the left a gigantic entrance door with small altars on either side. Candles burn before both. At the rear are three small and low windows, sunk deep in the four-foot wall and not glazed, but covered with translucent parchment. A large hourglass sits on a stand near the fireplace. It is evening and dark save for candle light._ _A number of women and young girls, two or three of whom have been setting the table, are weeping quietly while they exchange news in awed voices. Those who were supposed to be carrying in dishes have set down their trays. An Indian_ Slave _has been cleaning ashes from the fireplace into a wooden bowl_. Donna Veri, _an old woman, has turned from giving him directions to listen to the women_. MARIA And Estevan, too, is dead? NUNA I don’t know. He didn’t say. MARIA Yes, dead. I knew it. LITA Yes, dead. I knew it. RAQUEL Who told you this? NUNA Santos. Graso heard him. CARLOTTA But is Taos defeated? CRISTINA Defeated? How could Taos be defeated? LITA Yes. How could it be? NUNA He didn’t say that . . . [Graso, _an old peon, enters_.] GRASO Someone must speak to Donna Josefa . . . MARIA Graso! What was this news? CRISTINA Graso . . . [_The Indian goes out with the ashes._] GRASO Someone must speak to Donna Josefa at once. Santos, the coward, brings word and runs away! He will not come in! No, he must leave it to me! RAQUEL But what has happened? [_A wailing song is heard from without._] GRASO Mind you, it comes from Santos, not from me. Santos said there was a great battle, and General Montoya taken prisoner, and a great trampling and running in the snow . . . for, you see, it snowed there in the pass where they were . . . CRISTINA General Montoya taken! . . . GRASO It’s not my news . . . it’s Santos brings it . . . and you must tell Donna Josefa. . . . Run in and tell her, Maria. MARIA No, no, not I. RAQUEL Conchita will go. Run in, Conchita, and tell her. Conchita But what shall I tell her? CRISTINA That there’s been a battle, and Graso is here. . . . GRASO No . . . say nothing about me. [Conchita _goes out_.] RAQUEL Graso . . . what more did he say? GRASO No more. . . . RAQUEL Yes yes . . . there was something about Pedros! GRASO Who would believe a great liar like that when he says General Montoya is taken prisoner by gringos . . . and if we cannot believe him in regard to the one thing is it likely he spoke truth in respect to the other? RAQUEL Graso, for the love of our mother, is my Pedros killed? GRASO Pedros? RAQUEL Yes, Pedros! For God’s love, say! GRASO What you have heard. RAQUEL He’s dead! GRASO If one wishes to believe a great liar. MARIA And Estevan? GRASO Why, as to Estevan, no . . . I heard nothing. [_He turns._] CRISTINA Graso, look at me . . . speak not what we wish, but what is true. LITA Is it Americans we fight with, Maria? MARIA Be quiet! Yes, Americans. GRASO You must repeat the message to Donna Josefa . . . and tell her it is lies . . . only she must hear it. . . . [_He goes to the door._] VERI Stay and tell her yourself! GRASO I . . . I bring no news! [Conchita _returns_.] CONCHITA Donna Josefa wishes to see Graso! CRISTINA Graso . . . GRASO Have I prophecy? . . . I know no more! Tell her I had gone! [_He goes out._] CRISTINA Nunita! NUNA I don’t know, Cristina. CRISTINA No one will tell me, I see. I must find him myself. CARLOTTA Where is Santos? NUNA He went on down to the village. RAQUEL But if Montoya’s prisoner, then they’re all taken prisoner, or dead! CARLOTTA We’ll go after him. CRISTINA Yes. [_They go toward the door._] VERI How they weep, the little fat-brains! How they drip! Tender hearts, broken hearts! CONCHITA And why not, then? Is it any time for laughing? VERI Don’t spit at me, little brimstone image. I know them and their race. They’ve no sooner one man killed over them than they’ve crawled under another, and more likely than not an Americano! More than once I’ve wondered whether the pure blood of Spain is more likely to turn dark with Indian or white with the northerners. CRISTINA We haven’t all traveled your path, Veri. LITA You hear that, Veri? You hear? VERI You’ve been more places than the stations of the cross, little lambs of God! CARLOTTA Let her talk. [_She starts to go._] VERI Only take care Mateo doesn’t come home at the wrong moment, Carlotta. CARLOTTA What do you mean? VERI Nothing. CARLOTTA If you mean . . . VERI I do mean! And why not? Let the conquerors conquer! Only I’ve never had a gringo under my skirts, chiquita. NUNA Come, mother, let her alone. CARLOTTA But she lies! VERI Was there not one tall hunter from the north who escaped when they killed the governor? CRISTINA Come, Carlotta, nobody believes her. CARLOTTA It’s all lies, lies, lies . . . VERI I won’t say a word, I promise you. NUNA [_Aghast_] She’s . . . she’s wicked. She’s as wicked as she is dirty. VERI All I say is you’ve been more places than the stations of the cross . . . [Donna Josefa _enters_.] . . . and little brimstone here is the fruit of one of your trips! And Nuna is another! JOSEFA What is all this noise? Why are you in the hall at this hour? RAQUEL Forgive us, Donna Josefa. We followed Nunita in because she brought news of the battle. JOSEFA What news? [_There is silence._] What news? Nuna? NUNA It was Graso that brought it, Donna Josefa. JOSEFA Yes . . . but . . . what was it? And where is Graso? NUNA It seems they both ran, Donna Josefa, both sides. And it was fought in darkness and there was snow falling on the mountain, so that nothing is sure. JOSEFA Is that all? Come . . . what else? [_Another pause._] RAQUEL It is said that a number of the men of Taos have been killed, Donna Josefa, and a number taken prisoner, among them General Montoya himself . . . but we know this to be untrue. JOSEFA How do you know it to be untrue? RAQUEL We cannot believe that, if you please. LITA Did you know that we fight with Americanos, Donna Josefa? It’s true. Just now they told me. JOSEFA Nuna, who brought this news? NUNA Santos. JOSEFA Bring him to me. NUNA He has gone to the village. JOSEFA Bring him . . . have him found. And stop that music. Tell them to take their wailing further away. Out now, all of you. [_All go except_ Veri _and_ Josefa.] VERI Well, if it be so you’re at least rid of him before you have to take second place in his house. The gringos spare no prisoners. JOSEFA Take out your ashes and beware you don’t spill them! VERI In all humility, yes, madonna. JOSEFA What were you saying to the women? VERI I was only reminding them, since they are so young and so fat-brained, that the women of a country never change, Donna Josefa. Lo, if a mare but answer the bit softly and remember her paces, what matters a change of riders now and then? JOSEFA Empty your ashes. VERI Oh, it was nothing about madonna . . . not the lightest word. JOSEFA You have spoken too many covert insults about me, Veri. I’m not compelled to hear them. VERI No, truly? I was once in a position to repel insults myself, dear lady. I was his first love . . . his second bore him two sons . . . you are the third . . . and a fourth trembles now into his waiting arms. Bear insults, Josefa! You will yet bear ashes like myself and Diana will give you orders. JOSEFA When I live to take her orders! VERI That was what I said! But I lived . . . and I took orders . . . even from you! [Father Martinez _has entered from within_.] JOSEFA [_Pointing_] Quick! [Veri _goes through the outer door_.] MARTINEZ Good evening, Donna Josefa. JOSEFA Good evening, father. I was not aware that we had a guest. MARTINEZ I have only now come up the path . . . and I heard the women crying. . . . JOSEFA There’s news of a battle . . . MARTINEZ Yes. Rumors have reached the village. JOSEFA A soldier was here . . . Santos. MARTINEZ He’s below now . . . with a crowd around him. JOSEFA It’s his story? That Pablo’s a prisoner? MARTINEZ His among others. JOSEFA Do you believe it? MARTINEZ Remember this was a battle fought at night and in great confusion. Those who ran away would need a good story to tell. JOSEFA Yes . . . but it shakes one . . . it might happen. MARTINEZ Don’t let their hysteria take hold on you. The peons are a credulous lot and their wives are worse. They believe the worst to avert misfortune. There’ll be better news tonight. JOSEFA God send it soon. MARTINEZ Pablo Montoya is an old hand at mountain warfare. He’s never been defeated or even checked. He’s not the man to be beaten in a first skirmish, nor to be taken prisoner at any time. JOSEFA But suppose it were worse than that? What happens to you . . . or me . . . or to this house? MARTINEZ Worse than that? Worse than prisoner? Ask what would happen to Taos . . . and New Mexico? We are the farthest arm of an old civilization here. . . . We are rich, and there are great houses on our hills. . . . But there has been only one man of all the ricos who dared face the north and fight it. And that is your husband. He must return. JOSEFA And he will? MARTINEZ Yes . . . and he will. JOSEFA Only . . . you say that out of a great need to have it so. MARTINEZ Perhaps. JOSEFA And there’s something else behind it. MARTINEZ No. JOSEFA Yes. You don’t trust me. You know that if Pablo were dead there’d be some power in my hands. And you want to know what I’d do with it. MARTINEZ Would you answer such a question? JOSEFA Not till I know what power I’ll have. MARTINEZ Let us be honest. It has occurred to you as well as to me that if Pablo were dead on the mountain, Federico would inherit his place and his power. Also that you are not much older than Federico . . . and he looks on you with friendly eyes. JOSEFA [_Angry_] If you were not a priest! MARTINEZ Forget who I am! When things happen one faces them! You are Pablo’s wife and Federico is his son. Nevertheless, if Pablo’s dead you’ll go to Federico. . . . JOSEFA You should have thought of that before you encouraged Pablo to set a new wife over me! MARTINEZ But I haven’t, Josefa! JOSEFA You knew of it! He wouldn’t go about it without telling you! It’s like him to pick out a slave I gave orders to, and plan to make her mistress over me! MARTINEZ But I had no part in it. He will do as he pleases in this as in other things. If any man could influence him I might . . . but it was hopeless. JOSEFA Did you try? MARTINEZ I did. Not so much for you, it may be, but to keep his weakness from the world. When we all depend so heavily on one man it’s dangerous to allow laughter at him. And after all, he’s sixty . . . she’s not yet twenty. No matter how much power a man wields they always laugh a little at that . . . in corners. . . . JOSEFA I had my laugh . . . but it was a bitter one. MARTINEZ His father was lord of life and death before him, and he’s been a god so long here in the valley that he thinks he’s a god in fact. That’s his strength, too, though it sometimes makes him a fool. JOSEFA I hate him! Hate him! MARTINEZ Well . . . that part of it’s done. If he lives he’s earned your hatred. But if he’s dead, what are we to do, Josefa? JOSEFA It’s not for me to decide. MARTINEZ Federico will decide it. Help me with that, Josefa! We cannot retreat . . . must not be defeated. Help me to hold Federico to what his father would have done! JOSEFA Father, if Pablo Montoya is dead on the mountain, it won’t matter much who rules in Taos . . . or who influences the ruler! Federico could never hold back the Americanos. It’s senseless to think so. MARTINEZ Montoya’s son— JOSEFA And don’t be misled about me! Much as I hate Montoya, I hate the Americanos more! May he live to kill them! I’ll be a slave in his house if I must, with his new woman over me . . . but may he live to kill them! Does that answer you? MARTINEZ Josefa . . . [Diana, _a girl of eighteen, comes in, finds that she is intruding, and goes on toward the outer door_.] DIANA I’m sorry. I thought I heard someone calling. Was there news . . . of the battle? JOSEFA No. Nothing. DIANA Oh. [_She goes on._] MARTINEZ There have been conflicting reports, Diana, but nothing we can count on. DIANA Thank you, father. [_She goes out._] JOSEFA There walks his new lady, a skin with ten years less wear . . . and that’s all she has. MARTINEZ I’ve always thought her a gentle child. JOSEFA Does a woman tempt without intending it? She’ll be fat, though, fat before I am, and uglier when she’s forty than I’ll be at fifty. MARTINEZ And less faithful. He may discover that— JOSEFA That she loves Felipe? MARTINEZ You know that, too? JOSEFA Only that I’ve seen it in their eyes! MARTINEZ Felipe is his heart’s darling, his stainless son. And Felipe loves the girl he intends to marry. I think this may make the marriage more than doubtful. JOSEFA No. He’d kill Felipe. MARTINEZ He’d be in no mood for marrying. [_There is a sudden loud cry outside from the crowd of peons, then a silence followed by a babble of voices._ Diego, _a peon, enters_.] DIEGO Don Federico is returning! MARTINEZ Federico! DIEGO His troop is climbing the trail! MARTINEZ We’ll know from him. DIEGO Excuse me, father! Excuse me, madonna. [_She runs out._] MARTINEZ But you spoke truth concerning Pablo? You’d rather take a lower place in his household than see him defeated? JOSEFA If I can bear it! If I find I can bear it! MARTINEZ Then remember this, Donna Josefa: if he has been defeated, and we are never to see him again, we must still go on without him. Federico will have to step into his place. Whatever has happened, help me to keep up Federico’s courage. JOSEFA I’ll do what I can. [Federico _enters with_ Two Soldiers _and many women and peons listening for news_. Diana _slips in among them. The men are dressed in black buckskin, with silver buttons. Serapes are thrown over the soldiers’ shoulders._ Federico’s _hunting-shirt, however, is of white buckskin, the mark of the men of the_ Montoya _family_.] FEDERICO Greetings, Donna Josefa . . . greetings, father! We’re back from the wars! Clear out of here, you trash! Nobody’s killed so far as I know, I tell you . . . They ran like hell, the pack of them . . . they never Got close enough to get killed! Get out! Get out! [_The crowd clears out, the soldiers with them._ Diana _goes toward the inner door_.] Are we alone? The news is bad enough In conscience. My father’s dead. He was cut off At the pass by a posse of trappers. We tried to reach him But they were all massacred there. Keep this from the peons Till something’s decided. They may take to the hills If they hear of it. MARTINEZ And so . . . Montoya’s dead . . . FEDERICO We waited as long as there seemed any chance . . . But these trappers take scalps like Indians; they wouldn’t neglect A trophy like Pablo Montoya’s. MARTINEZ And how are we left? FEDERICO We’re left as we always were . . . hanging on by our eye-lids. They met us with five hundred men . . . we had, Say, fifteen hundred. They were trappers with rifles And a few troops . . . they’ve sworn to get revenge For the massacre at Taos. The man who ordered The American governor killed brought this on us And we’ll all pay for it . . . the ones who’ve paid already, They’re the lucky ones. MARTINEZ You were defeated? FEDERICO God love you! What do you expect? Fifteen hundred with spears And bows and arrows, and a few old-fashioned muskets Go out to meet troops from the north, and trappers who hunt For a living! Is it likely we’d win? If it hadn’t been dark With a heavy snow falling, just when it bothered them most They’d be here now in possession, and we’d be hidden Somewhere in the rocks with the catamounts. MARTINEZ And why? If I may ask, are they not here, these victors? FEDERICO Because the snow sent them back. They hadn’t counted On two feet of snow in the trail, and they returned To reorganize for the weather. But not for us, Let me assure you. We didn’t hinder them. MARTINEZ There’s only one pass. You met them there? FEDERICO Holy father, What’s a pass to a trapper? They went around it, behind it Under it, any way but through it . . . the troops Tried a charge at the summit, and a few were killed, But that was their only error. JOSEFA What can we do? FEDERICO Before they break through and exterminate us all To pay us out in kind, someone who can speak Had better speak for the valley, and speak quickly While there’s still time to negotiate. MARTINEZ Never. FEDERICO Well, Perhaps you want to die, but I don’t. Not yet. The United States has formally taken over This region of ours, and sent a governor . . . We killed him and killed every northerner we could find Along with him in Taos. Now vengeance may be Delayed sometimes . . . bad weather can block the roads And even cool the blood, but a governor Was killed, and that’s a first-rate challenge to The northerners’ sovereignty! MARTINEZ It was meant to be. FEDERICO Exactly . . . and it was . . . and they’ll roll down On us, like the mills of God. It may take time, But it’s sure as that . . . New Mexico is lost To Spain and to Mexico, and to you and me. It’s as sure as death . . . and the only thing we can hope To save out of it is our lives . . . if we’re in time. . . . MARTINEZ You are the elder son Of Pablo Montoya, Federico . . . it will be presumed That you speak for Taos and New Mexico In your father’s absence . . . but before you speak Give me a word with you in private. FEDERICO Surely . . . Any number. MARTINEZ Now? FEDERICO When I’ve disposed My troops and given a few last orders. Then I shall be at your service. Give me this room alone A little while, Josefa. JOSEFA Very well. [Martinez _and_ Diana _go out_.] FEDERICO I shan’t need you, Narciso: Tell the men To meet at dawn at the church for a muster call. Till then they can sleep. NARCISO Yes, captain. FEDERICO And, on your way, Send in the prisoner to me. [Narciso _goes out_.] JOSEFA I give you welcome, And my love, Federico. FEDERICO Thank you, Josefa. JOSEFA No more? FEDERICO This is desperate business. I have no time. JOSEFA We have this moment. FEDERICO When I’m trying to snatch Some safety from the wreck . . . bear this in mind, We must not be seen together. JOSEFA When have I Forgotten that? FEDERICO Also it’s necessary For both of us to forget whatever’s past Between you and me. JOSEFA And why? FEDERICO Because, for one thing, You are my father’s wife. JOSEFA You thought little of that A day or two ago. And if, as you say, Pablo is dead, there’s less reason to think of it now. What are you trying to think yourself into? What wrong Have I done, that wasn’t done me first? A woman Has a right to any revenge she can take! FEDERICO That’s true. Take any revenge you can, then. But not with me. JOSEFA Why, yes . . . I see it. You’re to be in power here . . . And I’m not chosen. Not now. Who is it, then? Who is it? FEDERICO No one. JOSEFA Diana? I think it is. She’s snared you too. I’ve seen you look after her . . . FEDERICO It’s no one. JOSEFA It is Diana. May she burn In hell, and all three with her! FEDERICO Will you go now? [_An_ Officer, _dressed as a trapper is brought to the door by_ Two Soldiers.] Leave him alone with me. [Josefa _goes within. The_ Two Soldiers _go through the outside door, closing it_. Federico _closes the door behind_ Josefa.] The devil’s in these priests, And the women, too. What happened at the pass? OFFICER It worked as planned. FEDERICO And my father . . . ? OFFICER It’s pretty certain. There was nobody left alive there. FEDERICO You do your work thoroughly. OFFICER You weren’t Exactly in this for his health, were you? Be thankful He’s out of your way. He’d put you out of his Fast enough. FEDERICO I know that. It can’t be helped. I’ll have to go through with it. OFFICER Good. What is it you want? FEDERICO I want to govern Taos . . . with your guarantee. OFFICER You have little to offer. FEDERICO I’ve already given More than you’ll find it easy to repay. You’d have walked into the old man’s trap, and your nose Would be two feet under snow if I hadn’t stopped you. Do you find that little? OFFICER No. But that’s done . . . that’s past. We did win, and I think You’ll agree the war’s over. FEDERICO And that’s what a word of honor means to Americanos! The war’s over, And whatever you promised is wiped out. OFFICER I don’t say that . . . But I do say, don’t ask too much, don’t hope To get all your father had and our guarantee Behind you to keep it. No one can guarantee You’ll keep your job if you muff it, also my powers Are limited here. I’ll be doing well for you If I save your property for you, and that of your friends. Or even part of it. FEDERICO Be on your way then! If that’s how much you trust me, and all you’re trusted At home, I’ve no more to say! OFFICER There’s no use being touchy And turning Castilian on me at this stage. I can use you and you can use me, but kindly Don’t ask too much . . . or you’ll ask more than I’ve got And you’ll get nothing. This is the way we stand: Taos has been defeated, and Taos is due To be ground under. You murdered our governor And very likely you’ll have to produce a scape-goat To stand the gaff for that. But when that’s over We’ll want somebody in power here that understands The peons and the ricos . . . and you could have it And keep your father’s property to boot If you’re willing to take orders, and keep order among Your aristocratic friends. FEDERICO Oh, I’m to take orders. OFFICER You’re damn right you’ll take orders! You’ll be glad Of the chance to live unmolested on your land. You’ve had it soft here, you and your class. Your peons Jump when you speak. The king of Spain couldn’t ask More than your father got in the way of service. But that’s all past. Times change. But I’ll save your ranch, And my price for this is exactly half your holdings. FEDERICO Half my land? OFFICER I could take all, but I leave you half of it, Being generous to a fault. FEDERICO A Yankee peddler . . . That’s what I have to deal with! OFFICER I could make it Two-thirds, now I’ve been insulted, but I won’t, I’ll stick to half. FEDERICO And I’d live neighbor to you And see you lining your nest with what you’ve stolen. No, by God, I can’t do that! OFFICER I have no more desire to live next door To you than you to me. I won’t live here. I’ll put an agent in charge. FEDERICO Why, then, I’ll take it. . . . Provided I don’t have to see you again. OFFICER Good. Then . . . You’ll be willing to sign this paper before I go. FEDERICO [_Reading it_] No, I will not. This takes the house from me. OFFICER Sign it, my good lad, sign it . . . and I’ll try hard To save the estate from appropriation by The new governor. Your father was a rebel Against our government, and his land’s forfeit . . . yes, All of it . . . but I think I can save it. FEDERICO [_He sits down and signs the paper_] If I’d known what this would come to you could all be damned. And I’d go with you, before I’d touch this! OFFICER I swear I’ve done you a favor. One more thing. . . . I want a map of this place. FEDERICO What place? OFFICER The estate. . . . I want to know what I’ve got. It’s a peddler’s notion . . . But I want to see it. FEDERICO There is none. OFFICER Draw one then. . . . I want to see it. [Federico _goes to a case near the fireplace, takes out papers and brings a map. The_ Officer _looks at it_.] How many acres in all? FEDERICO Eighteen thousand. OFFICER Why, that’s enough for both, Plenty for both. I’ll take this with me, and have A copy made. FEDERICO I may need it. OFFICER I’ll bring it back, Or another just as good, showing your half. You see I’m a man of my word. I stick to half. Do you want the place you’re offered? FEDERICO I’ll take it. OFFICER Remember This is no child’s play. If you show any sign Of treachery . . . and you’ll be watched . . . you go By a quick route. You won’t be popular With the new citizens you’ll have. FEDERICO I know. . . . And better than you can tell me, what’s left to me, And what my place will be. OFFICER Get the ricos out then. . . . See to it there’s no resistance, or not enough To make us trouble, and I’ll do my part. . . . FEDERICO Well, I’ll do mine. You’ll find me here alone when you march on Taos. OFFICER Goodnight, then. FEDERICO Goodnight. [_He leads to the inner door._] Go this way. The small door there sharp to your right. It leads to an alley-way, and that will take you To a little gate. Open it. There’s a path Straight down the hill. [_The_ Officer _goes out_. Federico _returns to the table. The women have begun their wailing song again outside._ Federico _listens for a moment, then makes a gesture of impatience and strikes a bell_. Graso _enters_.] GRASO Yes, senor. FEDERICO Tell them to take that tune of theirs further away. What’s the matter with them now? GRASO Some of your men, senor, brought confirmation of deaths, and the women are mourning. FEDERICO They’ll have to do their mourning outside the plaza tonight. I’ve heard too much of it. Tell them that. GRASO Yes, senor. Also Don Hermano and Don Miguel have returned and wish to speak with you. FEDERICO Let them come in. [Graso _goes out_. Father Martinez _enters from within_.] MARTINEZ We’ve seen many torches across the valley, Federico. They were near Don Hermano’s hacienda. FEDERICO He’s here, And Don Miguel with him. MARTINEZ Good. They may perhaps help me With what I wanted to say. I wanted to see you Before you were committed to a course Toward the Americanos. FEDERICO It doesn’t follow, you know, That because I’m my father’s son, I’ll do as he did, Or that his friends will be mine. MARTINEZ I have no wish To be an inherited friend. But if we can help each other, why not? FEDERICO I doubt That you can help me. If, in any way, I can help you . . . why, speak. [Don Hermano _and_ Don Miguel _enter. They are ricos, proudly dressed._] HERMANO You’re here before us, Don Federico. FEDERICO You’re welcome, Don Hermano, And you, Don Miguel. [_They embrace._] MIGUEL Thank you. Now, God be praised. There’s one Montoya here! HERMANO No word of your father? FEDERICO None. MIGUEL Nor of Felipe? FEDERICO Yes, he was seen After the battle. HERMANO He’ll be with us then, And that will help. Good evening, father. MARTINEZ Good evening, Don Hermano . . . and to you, Don Miguel . . . I saw the lights around your gates and found them Most reassuring. [_They bow to_ Martinez, _who returns the salutation_.] MIGUEL It was reassuring to be there . . . And to find I had some neighbors left. MARTINEZ You led your men home with you? MIGUEL What remained of them. There were some missing. Hermano overtook me And brought me along. . . . We mean to see this through. HERMANO Whatever we do we must do together now. . . . MARTINEZ I knew we could count on you. HERMANO And whatever has happened To Pablo Montoya . . . we pledge ourselves, and I think We can pledge all the ricos that return, To stay with you to the end. MIGUEL It’s touch and go; We must face that, for Montoya was our man. . . . But if there’s still Federico to lead them, and they Aren’t given a moment to think, or consult their wives, We can herd them into one last dash, and catch The Americans off their guard. FEDERICO It might be done. HERMANO Can you think of a better way? FEDERICO I can think of nothing That won’t be fatal in the end. HERMANO You’d surrender? FEDERICO No. What good would it do to surrender? We’re under death sentence . . . All of us if we stay here. MARTINEZ Suppose your father Were now alive, what plan would he follow? FEDERICO If you Are fortunate enough to know, why answer? MARTINEZ The Yankees Are on the way back to Santa Fe. They find it Rather hard going. They’ll be camped tonight Not far from where you met them. At the pass. They’ll be cold and sleep sound, and keep a poor guard, Not having much discipline. They’re at your mercy. Your father’d be there before morning. FEDERICO And suppose we slaughtered four Or five hundred, and the rest got away To tell the story, well, then, what have we gained? Only another massacre to set Against our names and rouse the Americans. MARTINEZ They wouldn’t march so readily this way Next time, if they left five hundred men on the hills. FEDERICO Are you honest in this, and crazy, or cunning and sane? You have a brain, you must know, if you lie awake And think in the night, that we can’t win over a nation. We’re a broken end of an empire here, cut off And dying. . . . Mexico’s a republic, and we’re Disowned at Mexico City. The United States Has men and arms and armies. Do you want to die? Have you set your heart on dying? MARTINEZ No. FEDERICO Well, then You must be cunning . . . you must see your way To send me against the north to wreak your vengeance While you escape, and let the rest of us pay. My father’s paid already. . . . MARTINEZ Your father needed No urging. FEDERICO Then you’re innocent of his death. But it’s still true that you knew when he went That it was hopeless . . . you knew when the massacre Was planned that it would all turn out as it has. . . . You knew they’d send an army against us then And we couldn’t stop it. . . . MARTINEZ It seems to have stopped. . . . FEDERICO Not for long! If it took them a hundred years they’d have to wipe out The blood that was spilled here. . . . MARTINEZ Are you so sure The north will beat us? FEDERICO I wish I were as sure Of living through the next year, as I am of that. Beat us? Our hundreds against their millions? Our muskets against their rifles! Beat us! MARTINEZ When Your father was alive, would you have dared To tell him that? FEDERICO What’s that to do with it? MARTINEZ This: the reason you couldn’t tell him then Was that it wasn’t true then. While he was alive We couldn’t be conquered. Yes, while there was one In this whole region that would not bow, they were helpless To set up their sovereignty—here. FEDERICO They set it up. MARTINEZ And he tore it down! The strength Of a state is not in its numbers but in faith. I have seen your father stand at the plaza gate And look out over the valley . . . and every peon Looking up from the fields, and every neighbor On the adjoining hills, knew while he stood there, Stood firm and would not falter, their world was safe; The rulers to the north Knew that, and when they had to make a gesture, Urged on by those behind, they made it slyly, Reluctantly and in fear! This governor They sent out over us, he was a man of straw Set up to try the wind and see how much We could be made to endure. We endured nothing. Pablo Montoya turned on them. They died Before an order was issued. FEDERICO And Pablo Montoya Is also dead. MARTINEZ Even so, they’ve retreated. Even so, I feel all about us still the spirit Of Pablo Montoya. His courage Is over us like a mantle, and it falls Inevitably to your shoulders. FEDERICO No. MARTINEZ But it does! Take up the lance he dropped, call on us to follow. . . . Believe in us and our cause and the great days We’ve lived through in the past, and this enemy You think so well of dissolves to a rabble before you And lets you through! The man who is his son Has greatness in him! Wherever he went He carried with him the center of an age, The center of a culture, and people’s hearts Clung to him like vines to rock! You, too, are this man . . . His other self, his heir . . . all eyes are on you. . . . When you are in your house the people will say . . . He is in his house, we are secure . . . he thinks for us. . . . We can sleep tonight. When you ride on a journey The people’s gaze will go with you anxiously . . . And scan the horizon for your return! But beware, If you betray this. FEDERICO Yes . . . he was such a man . . . And I might be. [_He rises._] Even tonight, even now, I could strike at them. . . . MIGUEL You could do more than strike. You could finish them . . . make an end to them. FEDERICO No. [_The thought of his bargain has come back on him._] HERMANO Think . . . Think what we have to lose. Nowhere on this earth Will we find a life like ours, or ever again Live as we live here. Ours is a little clan. But we stem from a great nation; this is worth defending From gringos who have nothing. FEDERICO Is he padre or wizard . . . To turn the truth inside out? We’re struck to the heart, And the wound’s mortal. It’s too late for courage. You know it as well as I. MIGUEL Too late! We’ve fought One indecisive battle! FEDERICO Too late because We’re out of fashion! Our guns are out of fashion, Also our speech and our customs and our blood. They’re the new race with the new weapons! MIGUEL We must fight them or die. FEDERICO We can retreat. HERMANO And abandon Taos to them? MARTINEZ Is that your counsel . . . To abandon Taos? FEDERICO I can think of nothing better. MIGUEL I believe you mean this. FEDERICO I do. [_A pause._] MIGUEL Why, then, let’s go. I had some hope when I came here. FEDERICO Don’t think I’m happy To say this to you. I like it no more than you do. HERMANO No . . . but to leave our houses, our flocks, to turn The peons adrift. . . . I’d rather make a stand And die for it. And you would! FEDERICO No. I would not. MIGUEL Will you go now? HERMANO Yes. Goodnight, Don Federico. FEDERICO Goodnight, Don Hermano. Goodnight, Don Miguel. MIGUEL Goodnight. FEDERICO What are your plans? HERMANO I have none. We’ll need No plans for what’s left to do. [Don Hermano _and_ Don Miguel _go out_.] MARTINEZ And what are yours? If I may ask. FEDERICO To salvage what I can carry. MARTINEZ What can one carry that’s of any value? What we have is Taos. Losing our city, We have nothing left. . . . [Nuna _comes to the door, bringing_ Santos.] FEDERICO If you’ll pardon me, I have much to do. NUNA Is Donna Josefa here? FEDERICO [_Stepping toward the inner door_] What do you want? NUNA [_Frightened_] She sent me for Santos. FEDERICO Must you track through the hall? [_He goes through the inner door._] NUNA She was here . . . she sent . . . He’s angry at me. MARTINEZ She may have sent you, dear child, but you are obviously not wanted now. Nor I either, you might add. . . . Come along, and bring Santos with you. [_He goes through the outer door._ Diana _enters from within_.] NUNA Senorita! DIANA Yes. NUNA Is Donna Josefa within? DIANA I don’t know. NUNA She sent me. . . . I was to bring old Santos. . . . DIANA Nunita, tell me . . . can you be true . . . and silent? NUNA Yes, senorita. . . . DIANA Could you be a friend to me? NUNA But I am a servant. . . . I’ll be your servant. DIANA No . . . it’s more than that. If I ask you a question, you’ll never tell that I asked it? NUNA Never. DIANA Then . . . tell me. . . . Is Senor Felipe alive? NUNA Yes, senorita, they think so. DIANA But they’re not certain? NUNA No. DIANA He’d be back if he were alive . . . don’t they say that? . . . I thought I heard them say that, from a window. . . . NUNA He’s late coming, but that might be. Santos? DIANA No . . . no! NUNA I’ll be careful. Santos . . . [Santos _comes forward_.] SANTOS Yes, Nunita. NUNA Did anyone go back along the pass to look at the faces of the slain? SANTOS No, no, it was dangerous. You could not. NUNA But if any were wounded . . . they would be cared for? SANTOS Girl, how can I tell? . . . Am I not brought here to speak with the Donna Josefa? NUNA You speak with Senorita Diana, pig, and she is even greater than Donna Josefa! SANTOS Is she indeed? I did not know. [_He takes off his cap._] NUNA The senorita wishes to know if the wounded of Taos will be cared for. SANTOS Ah, that is with God! NUNA One can see that it is not with Santos. SANTOS But senorita! NUNA Would you go back along that trail for her? SANTOS But when one has escaped by miracle with his life would he tempt the good God by returning? NUNA Our Santos is afraid . . . afraid of Americanos! SANTOS No. . . . No! Who would be afraid of Americanos? They are a small and weak nation, compared with the people of Taos . . . but they have rifles, and rifles are deadly. NUNA Then that’s all, Santos. . . . SANTOS But the Donna Josefa . . . NUNA She won’t see you today. SANTOS If I have incurred displeasure . . . DIANA No . . . no . . . only that’s all now. [Santos _withdraws, cringing_.] NUNA But I would go. DIANA Where? NUNA Back along the trail. DIANA We’d never find it. . . . You’d go with me? NUNA Yes. DIANA We’d never find it. NUNA No, it’s true. We wouldn’t. It’s dark and cold . . . and a long way. DIANA Only . . . there are men lying there at this moment. NUNA You love him? DIANA No! . . . say nothing of this! . . . run away! . . . Oh, Nuna, Nuna. . . . I can’t talk to you . . . nor to anyone . . . but you know what hangs over me. NUNA I know. We have all heard. DIANA And what do the women say? NUNA They say you’re lucky mostly. DIANA He may be dead. NUNA They say he is . . . and they say Felipe’s alive. DIANA Oh, God . . . if that could be true! [Veri _enters carrying linen through_.] VERI You’re wanted, Nuna. [_She goes up to_ Diana.] And this is the piece of flesh he had in his eye. This is his dish. [_She pulls_ Diana’s _shawl away from her breast_.] Curds and cream for the old goat! NUNA Let her alone! [_She drags_ Veri _away_.] VERI From what I hear he’ll keep warm with the jackals tonight . . . not with my lady. DIANA What have you against me, Veri? VERI That he should want you . . . that’s all! NUNA You’d better go make those beds! VERI Before God, this one’s putting on airs now . . . and she’s pretty, too. She’ll be marrying Don Federico and running the house. Well . . . when it happens remember I spat on you once . . . pht! [_She goes in._ Nuna _is grave for a moment, then is unable to restrain a smile_.] NUNA Forgive me. [_A loud clear voice is heard outside calling a name, “Felipe!”._] MARTINEZ [_Outside_] Now God be praised . . . Felipe! It is Felipe! FELIPE [_Outside_] Good evening, father. It’s Felipe. You’re not mistaken. MARTINEZ [_Outside_] Wounded? FELIPE [_Outside_] Enough to hurt. That’s all. [Diana _sits_.] MARTINEZ [_Outside_] Let me see. FELIPE [_Outside_] I’m well. MARTINEZ [_Outside_] You come late. [Felipe _and_ Martinez _enter_.] FELIPE I went back over the ground to look for my father; We found some dead and some dying; on both sides . . . But not the man we were looking for. [Nuna _goes out backwards, all eyes_.] MARTINEZ He was gone. FELIPE He must be dead, or wounded too badly to answer. We called his name . . . and I got this scratch for my pains. Some of the trappers shot at us from the rocks, Where they’d taken shelter. It’s a moonless night, And the snow fell so fast the bodies were covered Before we reached them. And yet I can’t believe He’s there among them. MARTINEZ I hope not! FELIPE I hope not. Good evening, senorita. DIANA Good evening, senor. FELIPE Federico’s returned? DIANA Yes, unwounded. FELIPE I must speak to him. I came upon real panic in the village. They’ve heard of my father’s death, but they’re not mourning. They’ve put away their guitars, and the burros Are loaded for a flight to the mountains. Look, from that window. You can see the lights of lanterns in the street Gathering like fireflies. When these people are silent They’re badly frightened. MARTINEZ Federico’s here. I’ll tell him you’ve come. [_He goes within._] FELIPE Diana. DIANA Yes. Yes, senor. FELIPE I break a bond with myself when I speak to you Alone. I’ve sworn I would not. DIANA Yes . . . I’ve known it. FELIPE But now we have only a moment, and whether we’ll ever Be given another . . . [_He breaks off._] Should my father not return You’ll have enemies here. . . . DIANA Yes. FELIPE Count on me to help you In any way I can. DIANA Then . . . he won’t return? FELIPE I did what I could to find him. If he were alive It seems there’d have been some trace . . . or a hint somewhere. Yet in my heart I think he lives. DIANA And I . . . I think so. FELIPE Why, Diana? DIANA Because I fear it. FELIPE I’m sorry . . . I fear . . . the other. DIANA If he Had failed to see me, I could have loved him too. FELIPE What plans we can make for you should be made at once. I think they’ll lay this valley desolate. . . . The Americans . . . and those of us whose lot Is cast with Taos will go with our city. But you Have northern blood in your veins . . . you came here by chance, A prisoner . . . and there’s no reason why you should add One life more to the slaughter. There must be some way To send you where you’ll be safe, and can find friends Before the worst happens. That much I can do. DIANA Do you want me away? FELIPE I want you to be safe. DIANA And you stay here to be killed? FELIPE That’s the price one pays For being a Montoya in Taos. There’s no such reason Why you should remain. . . . Diana . . . if this were said . . . This that’s between us . . . if it were ever in words You’d be mine in my heart . . . not his . . . I’d go mad To take you in my arms . . . and it would be madness. . . . Because I’d want him dead . . . my father . . . the man I’ve loved and honored above all others . . . and still Do love and honor. DIANA If you must die with Taos . . . Felipe, Felipe! FELIPE Try not to say it! DIANA Then I . . . I must die here too. FELIPE So long as one loves In silence it can be borne . . . as much as before My father stands between us. DIANA Not if he’s dead! FELIPE But he’s not . . . I feel it and know it. He’ll be here And take you from me. And how can I bear that now, Now that I know? I should have left this house And stayed away till it all burned out . . . but that Was impossible . . . so I lived here, and loved you more And fought against it. But always when I saw you It’s been the same. DIANA I’m glad. FELIPE We know it now. We must be content with that. DIANA But don’t ask me to go. FELIPE You’re the one thing in my world I can save out of it, and I must save it. You’d be A needless sacrifice. DIANA It’s all needless, Felipe, Needless and useless for you as well as for me. You must not die, Felipe. FELIPE But there’s one thing A man can’t do . . . DIANA What is it? FELIPE Desert in danger. I’m my father’s son, Diana. We have a strict code. I can’t break with it, nor with him. I’m a Spaniard, And I honor my line and my name. DIANA But if all here Are to die? FELIPE Yes, even if he Were dead, and I knew it, I couldn’t leave Taos. Not If I were to keep respect for myself and believe Myself worth saving. But I could wish I’d been born In the north like you! . . . Then I’d say, let all the rest Go where they like . . . let Taos and the Rio Grande Dissolve like a mist and leave me fatherless Alone by a strange river . . . if you’d come with me! In the north no questions are asked; a man and a maid May come and go as they like. We could make our own kingdom Somewhere among them. DIANA And this defeat could mean freedom! FELIPE Yes. DIANA Felipe! FELIPE Yes? DIANA To think and act . . . To love as one wills . . . to speak and walk like a queen Freely in a free land . . . to love where we love And no one to forbid us. Why, that’s no kingdom, Felipe, it’s heaven! FELIPE Heaven we can never have. DIANA Are those the ways of the north? FELIPE Yes. DIANA And young And old go their own paths, and no one is bound To love except from his heart? FELIPE Yes. DIANA If these are my people, And their blood is mine, and their ways are better than these, Could you not live by them? FELIPE No. DIANA He’s dead, Felipe. And all this is dead around us . . . dead or dying . . . He would have taken me from you when I loved you. . . . Would still if he were here! FELIPE If Taos is dying Put your love elsewhere, Diana, for I’m part of Taos . . . And my blood’s strong in me. You look abroad and see The earth as a maze of many roads and cities, All open to you . . . and yours to choose . . . but I Am born to one world, and share its destiny Whether it’s good or bad. If my father’s dead I still belong to Taos. It’s not a choice. It’s the only thing I can do. DIANA Then I have no choice. I’ll stay here with you. FELIPE You’d do that . . . to be near me? DIANA I have no more choice than you. FELIPE Diana, if I put my arms once round you, I’ll lose all sense Of what I have to do . . . [_He goes to her and takes her in his arms._] And so I lose it. DIANA There’s someone watching. [_She draws away from him._ Federico, Josefa _and_ Martinez _enter from within_.] JOSEFA Give them your blessing, father. She takes them all . . . Our chaste Diana! Father, sons, Holy Ghost. . . . FEDERICO Be silent! Greetings, Felipe. FELIPE Greetings, brother. FEDERICO You’re wounded. FELIPE It’s not a wound. It’s not that much. [_The brothers embrace._] FEDERICO Well . . . we’ve come out of this. FELIPE In some fashion or other. FEDERICO Yes . . . not too luckily . . . Not with our father gone. FELIPE I looked for him. FEDERICO It was useless? FELIPE No one had seen him. No one knew what had happened to him. And still I’m certain somehow he is alive. FEDERICO If he were alive we’d have heard from him. We’ll have to get on without him. FELIPE If he were dead The world would be one thing . . . but if he returns Something quite different. Whatever plans we make Must fit with both. FEDERICO My plans do fit with both. [Narciso _enters with a_ Soldier.] NARCISO Don Federico, pardon me . . . I think you’re needed Below . . . they’re panic-stricken, both men and women. . . . FELIPE When I came through the village the peons were packing And ready to leave for the range. You must make some announcement Or they’ll walk out from under us. Just now it looks Like the flight into Egypt down there . . . on a vast scale. . . . Only the Josephs are mounted on the donkeys And the Marys are walking behind. FEDERICO There’s no danger tonight, Go down and quiet them, Narciso. Tell them I’ll give them a leader, and let them go before morning. NARCISO They won’t believe me. The town’s a caravan. FEDERICO Wait then. I’ll go down and talk to them. FELIPE You’ll give them A leader . . . and let them go? FEDERICO I mean to stay here With a few friends who’ve made their minds up to it. . . . And stand the attack when it comes. They’ll over-run us, Of course, but someone must stay behind to delay them, And to wait for Pablo. He might come. The peons And those who wish to live are to take the trail And make their escape. I give you charge of that. FELIPE You ask me to lead them? FEDERICO Yes. FELIPE That’s a hard sentence . . . To lead a retreat from Taos at a time When men are needed here. FEDERICO Brother, men are needed Most, where they’ll do most good. If we all stay The siege might be prolonged, but it would end Exactly the same way. You’re younger than I am And it’s better that you should live and use what talents You have to find new lands for the citizens And slaves who are driven out. FELIPE This may be necessary . . . But not till we know what’s happened to our father. FEDERICO You’ll wait till morning, and then set out. FELIPE I don’t like it. It’s a coward’s job. If the peons must stampede, Let them go. The fight’s as much mine as yours. FEDERICO Brother, if we had one chance of holding out, I’d say try it . . . all of us . . . but since it’s hopeless Before we start, I forbid it. It’s noble to die, No doubt, when you have a noble cause to die for, But when you have no cause, when your cause is lost, The fewer lives lost the better. FELIPE I don’t like the role you Cast me for. Lead the retreat yourself, And leave me in Taos. FEDERICO No. FELIPE But I can say no As well as you, Federico. I won’t go. FEDERICO I’ve made it a command. FELIPE I don’t understand you, Federico. It’s not like you to insist so firmly on dying . . . Forgive me for saying so. FEDERICO Don’t puzzle about it. I have my reasons for wanting you out of the house, And our father would have them if he were here. You say he’s alive and will return. If he does He’ll ask for Diana. I’d rather not have to tell him To look for her with you. FELIPE And that’s your reason? MARTINEZ These orders of yours fit oddly with what you told me A while ago, Federico. You said, I believe, That others might die if they cared to, defending Taos, But you’d rather not. FEDERICO It may be I’ve changed my mind. MARTINEZ I don’t think so. I think as Felipe does That there’s something odd about it. FEDERICO By God, he’ll go, Or I won’t answer for him! FELIPE This is strange talk For a brother, Federico. FEDERICO And you have strange manners With the woman betrothed to your father! You’re to go And Diana stays here. FELIPE And now I quite understand you. You mean to make peace and save what’s left for yourself. . . . FEDERICO You’re a little mad, I think, to make such a charge, Mad with love, no doubt. Diana belongs To Pablo Montoya, and he may return! Meanwhile, to guard her honor, the least I can ask Is that you take the road. JOSEFA He lies, Felipe. He’s done all this for Diana. Now strike at me! But it’s the truth! FELIPE You hear? FEDERICO Are we to listen To women? My charge against you is just, and you Retort with another. It’s you who’ve been traitorous. . . . But I’ve given you a chance for life. Will you take command Of the expedition to the south, as I’ve ordered you, Or are you an enemy? FELIPE I don’t trust you. FEDERICO Arrest him. . . . Arrest him, Narciso. MARTINEZ You anticipate a little, Federico. You’re not yet master here. FEDERICO You’ll wait A long time for another. Arrest him! MARTINEZ Narciso! Mind what you do! FEDERICO If you ask for it I’ll find A way to quiet you, too! I need no priest’s leave For taking what I want. If I remain Your master here, Diana is mine to give And I take her for myself. FELIPE Yes? FEDERICO Let her learn to love Where she finds it necessary. As things stand you’ve nothing To offer her, and I have! [Narciso _approaches_ Felipe.] FELIPE [_Brushing him aside_] May God pardon me. [_He draws his sword._] FEDERICO Lay your hands on him! FELIPE Give me fair play! You’re not my father’s son. . . . I won’t believe it! [Federico _draws_.] FEDERICO Let him alone, then! I warn you! You’re a novice at this business! I’ve made you an offer, And you’d be wise to take it! FELIPE I’ll take nothing! [_The swords clash._ Martinez _leaps between them, catches the blades under his arm and breaks_ Federico’s _sharp off_. Federico _drops the useless weapon and draws his dagger_. Felipe _tosses his sword back over his shoulder and draws his dagger also. They manoeuver for position slowly and silently._] FEDERICO Narciso! NARCISO Yes! [_He draws his sword and springs to_ Federico’s _side_. Felipe _stoops and picks up his sword. There is a sudden sharp shout in unison from a distance_: “Montoya! Pablo Montoya!” _After a pause this is repeated_: “Montoya! Pablo Montoya!”] MARTINEZ That comes from the village! Wait! FEDERICO What are they saying? The Crowd Montoya! Pablo Montoya! MARTINEZ They’re calling Pablo Montoya! JOSEFA He’s returned! FELIPE Yes. He’s returned. DIANA [_At the window_] They’re coming up from the village . . . along the road. [_She looks at_ Felipe, _and he at her. There is a silence, then_ The Crowd _can be heard singing_.] FEDERICO If he has come back we’ll say no more about this. [Felipe _looks at him without answering_.] You’ve made a groundless charge against me, Felipe, And I was angry. But I’m willing to forget it If you are. FELIPE What do you think it matters to me Who you’ve betrayed or when? [_He goes quickly to_ Diana _and bends over her_.] MARTINEZ We shall all do well, I think, to forget whatever passed in this room. [_The singing becomes audible again as_ The Crowd _rounds a corner of the hills, and a patter of feet is heard_. Conchita _comes in hurriedly_.] CONCHITA [_Breathless_] It’s . . . he’s come! MARTINEZ Yes . . . we’re waiting for him. [_The singing stops and nothing is heard save the trampling of feet._ Two _or_ Three Women _come to the door and edge in silently. They are followed by_ Boys _and_ Men. _The stage is filled, all looking back at the doorway as they pause._ Pablo Montoya _enters, a solid, burning-eyed man of sixty, his hair gray, his face intent. He stops to take in the room, then comes to the center._ Others _enter behind him_. Montoya’s _glance lights up as he sees_ Felipe. _He lays a hand on his arm and then turns toward_ Federico _to greet him also. But he stops when he notices the broken sword._] MONTOYA Whose sword was that? FEDERICO Mine, Pablo. MONTOYA Take it up! It offends me! If swords must be broken Let them break in a gringo’s throat, against the bone, Not in our houses! [Federico _picks up the sword_. Montoya _looks round the room again_.] Men of Taos, I have come home, and I bring Only a doubtful victory. Women of Taos, What victory we have, little though it is, Has saved us from slavery, and those we must thank for that Lie now on the mountains. They chose rather to die Than live not free. First, let us mourn for them. Mourn with me, women of Taos. They were my friends, And your heart-break’s mine. But our mourning must be brief, And forgotten in anger. Let the women go out. All save Diana. [_The women go._] This was no defeat! We were betrayed at the pass, Betrayed from within. If that were not so We’d have spilled them like water, and not one death Would have been needed! HERMANO Betrayed! MONTOYA Just that! I went back over their march. They’d followed the trail Through every pass till they came to the one where we waited. . . . And then they went round to attack our flank! They knew Where we were waiting for them! I read the story There in the snow. It was plain. And somewhere among us Some Indian-livered dog-spawn crouches that traded Our plans to the north! Yes, by our God, and I’ll find him Before this night’s out! If he stands here and hears me Let him breathe deep, and taste the air! It’s good, This mountain air . . . and it’s the last he’ll have! It happens I’ve taken an opportune prisoner or so, And I know how to make them talk! We’ll have that vengeance Before we strike again! HERMANO We attack tomorrow? MONTOYA This was no victory for the Americans, Remember! They had our plans . . . they attacked from the flank! Where they knew we were unprepared. And they came to punish The people of Taos. Instead we’ve crippled them And sent them limping home! Punish Taos! They go back To Santa Fe without seeing Taos! They left Their own dead too on the mountain, and they’ll look twice Before they leap at our throats again! Why, look . . . This was no defeat . . . but a victory that will lead To victory again! They’ll never touch Taos. . . . They’ll never push us back . . . no . . . rather we Will push them out of Santa Fe, and northward Back to their English mothers! We’ll pledge to that. Let each man pour himself a glass of wine, And fill it full, for we drink death to the Yankees! [_The men fill their glasses._] But before we drink we must know what more we drink to. My ears are good. I have heard it said here and there That Spain is old and I am old, and the dogs Of the north will have their day. Do you believe this? [_There is a slight pause, then a murmur of_ “no, no,” “no, no.”] And if you did what place would you have in the world? None. You’d be the dogs of slaves, you’d be The slaves of dogs. We come of an old, proud race, From that part of the earth where the blood runs hot, and the hearts Of men are resentful of insult. We are either lords And masters of ourselves, or else we die. And who are these conquerors who intend to take Our places and our rights? For this is our place, We wrought it out of a desert, built it up To beauty and use; we live here well, we have Customs and arts and wisdom handed down To us through centuries. They would break this up, And scatter it, these tricksters from the north. They come here penniless, homeless, living with squaws For women, vagabond barbarians, with hardly A language, no laws, no loyalty . . . traders . . . whatever They have they’ll sell . . . behind each other’s backs They’ve sold me a thousand rifles! And I have them! And when next we fight you’ll use them. [_The men lean forward._] And are these the men To lop off an arm of Spain? Oh, brothers in blood, If you are proud, take pride now in what we are! It is said that Spain has abandoned us here, that we live Cut off from allegiance . . . under an ancient banner That’s lost its meaning . . . but Spain has never gone back! It’s now three long centuries since Cortes led His hundreds into Mexico. Had you listened Then, you’d have heard Spain’s enemies whispering. . . . She spreads too far, her power will weaken soon. . . . We’ll wait . . . then strike! They waited a hundred years. . . . Then struck at Brazil! Two hundred years ago, That was! And Spain roused and shook them off, and ran The Dutch from her colonies, and invaded Flanders And wrote on their doors with blood! And if you had listened Behind those doors you’d have heard them whispering again: Wait! Spain is old . . . she has endured too long. . . . We’ll strike a little later! And they did wait. Two hundred years they waited before Napoleon Dared cross the border, and lost Europe crossing it! And again they say Spain is old . . . she’s ruled too long, These stragglers from the north! She has ruled so long That they are a race of children . . . and their plans Are a child’s plans, playing with sticks and mud. We have never Gone back, our people . . . we never will! We’ll push These scavengers north, these eaters of dirt . . . we’ll thrust them North to the Lakes, take the St. Lawrence from them, And leave them the eastern seaboard only so long As they can hold it! That is what we drink to! Who drinks with me? [_The men are motionless for a moment, then come forward to fill the glasses._] There is a play that we perform at New Year’s . . . In which the men of Taos, retaliating Against the Comanches, don Comanche war-paint, Trail feathers in their hair, and charge like Indians, And return victorious. And there’s a final scene That shows a silent field, with fallen men. I was a young man then but I fought in that battle, And others who fought there are still here. It’s grown To be a legend . . . but it was more than legend. Out to the east a hundred miles there lies A ring of bones still whitening in the wind Where you can count them. Seven hundred men And not one left alive. The Comanche nation Never struck back. It was never a nation again. Tomorrow the Americanos camp at Cordova. They won’t get farther. And before they wake we surround them, This time with rifles, and a hundred years from now Our children’s children, passing through that valley, Will count the white-picked skeletons and remember Who turned the Americans. If any pause, Thinking this is not without risk, some will die, why true, But it’s death if we wait for them here! We struck them first, And we’ll not be forgiven! If any man say in his heart: I have too much to lose, I dare not die, Let him remember this is my wedding night, I go from a bride’s arms to battle. No man risks more. Who drinks with me? [_Each man lifts his glass. Suddenly they give a thunderous cry_: “Montoya! Pablo Montoya!” _They raise the glasses to their lips._] CURTAIN =ACT TWO= ACT TWO Scene: _The same room a little later the same evening. The men have eaten and drunk and the remains of the food are on the table. A stack of long-barrelled rifles has been placed at the outer door, and the guests are beginning to file out toward them._ A Few Women, _among them_ Raquel, _come in to clear away_. Diana _is not in the room_. Martinez _is seated, waiting_. MONTOYA Let each man take his rifle as he goes. I take mine now. [_He does so._] Sleep as long as you like tonight, as long as you can tomorrow. At sundown we start for Cordova, and it would be well to be fresh when we arrive. We should have drunk deeper if it were not for that, for the laws of the church run backward for me this evening, and I am to be married at midnight. All those of noble blood will return at that hour for the wedding. Goodnight to the rest. THE MEN [_As they go out_] Goodnight, Don Pablo. MONTOYA Goodnight, and sleep sound. [_He turns toward an inner door and the assembly is dispersing quietly. A woman’s voice is heard calling outside._] THE VOICE Don Pablo! Don Pablo! Let me come in! [Montoya _pauses and the others listen_.] Don Pablo! MONTOYA Let her in. THE VOICE In the name of God, justice! He’s killed my daughter! [A Middle-Aged Woman _enters, the men standing aside. She is followed by a_ Soldier _who leads_ Mateo, _a Spaniard, the latter wearing a bandage round his head_. Nuna _comes in after them_.] THE WOMAN Don Pablo . . . will you hear me? MONTOYA What is it, Valeria? VALERIA My daughter’s murdered! MONTOYA By whom? VALERIA Carlotta’s murdered! Mateo killed her! MONTOYA Mateo? MATEO Why, yes. I killed her. MONTOYA Why? MATEO For no reason. MONTOYA Answer me. MATEO Why does a man kill a woman? Let the others answer! VALERIA He had no reason! He came home and greeted us . . . and then he went to her room and strangled her! MONTOYA Mateo? MATEO That is so. MONTOYA You’re ready to die for it? MATEO I have no defence. Do what you like with me. MONTOYA Who knows what lies behind it? Come . . . there are women here. What was the cause? [_There is no answer._] Maria? MARIA Don Pablo . . . she was Mateo’s wife. MONTOYA Mateo won’t touch you. What gossip have you heard? MARIA Don Pablo . . . [_She pauses._] MONTOYA Yes? MARIA At the time of the massacre one gringo escaped. It was supposed he carried news to the north. MONTOYA We know that. MARIA It is said Carlotta warned him. MONTOYA Nothing more? There should be more than that. MARIA Nothing more was certain. CRISTINA [_Under her breath_] It was certain enough. MONTOYA Cristina? CRISTINA She brought all this on us. And she deserved it. NUNA They lied about her . . . lied! MONTOYA Be quiet, Nunita! How? What have you known? CRISTINA I’ve heard her talk. MONTOYA What did she say? CRISTINA She came to the market one day not long since, when Mateo had beaten her . . . and said she’d have her satisfaction. MONTOYA Well? CRISTINA She said that she had borne bastards to Mateo in the past and would bear him bastards again. She said that the men of the north thought all women angels and treated them so, but the Spaniards believed all women devils and therefore made devils of them . . . NUNA [_Whispering_] Lies, lies! MONTOYA That was all? CRISTINA No. We taxed her with knowing too well how the northerners treated a woman . . . and she said we would all bed with northerners before the year was out, and be glad of the change. MONTOYA Who else heard this? CRISTINA Raquel. MONTOYA Raquel? RAQUEL It was what she said. I heard it. MONTOYA Nunita . . . she was your mother. What judgment shall I lay upon Mateo? NUNA They lied about her, always! MONTOYA And shall Mateo be punished? I make you judge of this. What you say shall be carried out. Does he live or die? NUNA You make me the judge? MONTOYA Yes. NUNA Then kill him! . . . No, no . . . it was true . . . Oh, God, now I know it was true about her! Let him go! . . . Let me go now! MONTOYA Yes, go, Nunita. [Nuna _goes out_.] And you, Mateo, take your rifle from the stand. You are no less one of us than before. If my wife had done as yours or spoken as yours did, I’d use the same measures. Let those women beware whose eyes have wandered. Wait! What was the name of the man who escaped through Carlotta? CRISTINA They called him Captain Molyneaux. MONTOYA We were betrayed then. And through Carlotta. Mateo, there was more reason than you knew for what you’ve done. It was Carlotta’s doing that we were surprised at the pass. The blood of every man killed was on her head. We were beaten by treachery, not by the north! By God, it’s true! HERMANO It is true! And you were right! MIGUEL You knew this all the while. MONTOYA We’ve put our finger on the traitor, Miguel! And we know there was a traitor . . . and by that same token we know the next time we meet them will be another story. HERMANO She may have had an accomplice. MONTOYA There’s no doubt of it. And we must find him, too. That’s what I want to do now. HERMANO We’ll leave you, then. MONTOYA But I’ll see you? [_He gives his hands to_ Miguel _and_ Hermano.] HERMANO Yes. MONTOYA And you, Don Miguel . . . and Don Fernando? DON FERNANDO Within the hour? MONTOYA Near midnight. Don Miguel Expect us, Don Pablo. [_The ricos go out, leaving_ Montoya, Martinez, Andros, Felipe, Federico, Maria _and_ Raquel. Montoya _sits, seeming weary. The women continue clearing the table._] FELIPE Pablo, you ate nothing. I watched you. Be mortal for a few minutes, now . . . and touch some meat and wine. [_He offers a plate._] MONTOYA No, no. Let the others eat. I think more clearly without it. Wait . . . lest it should be said that I have refused you anything . . . [_He takes a morsel of meat with his fingers and washes it down with a gulp of wine._] No more. FELIPE Come now. I was famished. You’re still hungry. MONTOYA Not when I’m about to fight, Felipe. Have the sons of Montoya never felt it . . . a fever in the liver so devouring that food is impure? No, no . . . you’re young. There’s an ancient belief that wisdom comes with age, and the twenties are the time of passion. It’s for that reason they choose old men as judges . . . men who will have outworn the lusts of flesh and blood and be willing to rule impartially over the sins of youth. But all this is a fallacy. For wisdom and justice we must depend on the young; for madness in devotion to a cause, for all madness, you must go among their elders. FEDERICO You say this to reprove us. MONTOYA Tonight let us have no reproof among the Montoyas. No. I said it in excuse for you both, Federico. When a man is first a man a little fire is kindled in him for his race and his cause. If he is a man worthy the name he blows this fire to a flame . . . and it burns up in him to a conflagration. It burns in me now so white-hot and steady that I look at my hand in wonder seeing that it doesn’t tremble . . . there’s such a roaring of living fire inside, such a war of seething heat that sweeps my brain and nerves. It’s a thought for your state should you ever govern, Felipe. Make no old men judges. ANDROS General Montoya . . . MONTOYA Wait. Make the old men soldiers. Old men are swift, violent, crafty, lecherous, unscrupulous in winning, relentless in defeat, putting their cause before their affections. Young men are much too tender, much too true. When I was lost on the hills tonight, and some thought me dead, I was hidden in a cave with three companions, because the rifles of the trappers had swept the trail. And I heard a voice calling my name. Up and down the pass it went, calling my name. It was your voice, my son, and you were risking your life needlessly. Had I tried to reach you I should have been killed, and I lay there, nursing my wrath at the enemy, knowing when next we met them our rifles would outnumber theirs. Had I been young as you I would have tried to warn you and been slain for my trouble. And I learned then that in a battle youth is too tender and too true. You should have known that if I were dead it would do me no harm to lie a night in the snow, that if I were alive I would find my way alone. FELIPE And if you were wounded? MONTOYA Then better one wounded than two. But if you dream I might hold this against you, my Felipe, you are wrong. You are a kind and loving son. Only, when you are older, as old as Federico, you will not take these chances. Federico is already wiser. He came home, and he was here before you. FEDERICO I’m not good at riddles. Am I to gather that I’ve displeased you, sir? MONTOYA I am never displeased by superior wisdom. With what could I be dissatisfied, Federico? [_He lays a hand each on his sons’ shoulders._] These are tall brothers, in every way worthy. Go, and make yourselves ready for the wedding. Lie down if you are weary. It will not be for an hour yet. Tomorrow, too, you can rest . . . we won’t start till evening. And whatever happens, this has been true . . . that I have been proud of you both, and have trusted you. That I have looked forward to an old age which you would lighten, one on either side. [_He turns._ Felipe _and_ Federico _start to go_. Raquel _suddenly throws herself at_ Felipe’s _feet_. Josefa _enters and stands near the door_.] FELIPE What is it? Who is this? RAQUEL Ask him for me, in God’s mercy. Ask him. FELIPE Who are you? [_He raises her face with his hand._] It’s Raquel. What shall I ask him? RAQUEL Only ask him, and let him say. FELIPE About Pedros? RAQUEL [_In agony_] Yes. [Felipe _turns to_ Montoya.] MONTOYA Pedros? You’ve had no news? RAQUEL Nothing. MONTOYA Federico, he was your officer. FEDERICO He hasn’t returned. I know nothing further about him. RAQUEL Pablo Montoya, you know. I can take your word. [Federico _goes out_. Josefa _looks at him. He avoids her eyes._] MONTOYA I should say that Pedros would be alive. Yes . . . if I know Pedros. RAQUEL Then he is. [_She rises_] Thank you, senor. [_She goes out, and the other servants follow her._] MONTOYA Andros? [Felipe _goes_.] ANDROS You wanted me? MONTOYA Bring me the three prisoners. ANDROS Yes, Don Pablo. [_He goes._ Josefa _comes forward_.] JOSEFA If I can be of use, Pablo, only let me know what you would like to have and it will be done. There may be preparations no one else could make so well as I. [_He is silent._] I am no longer angry, Pablo. You will do as you will . . . and I shall consider it just. Even this wedding . . . I will help with it if I can. It is your house. The women in it are yours. . . . If I rebelled at first, you must forgive that. It has not been easy, but I accept it now. MONTOYA There will be no preparations. One thing you can do. Tell Diana that I wish to see her. JOSEFA Yes, Pablo. [_She goes out._] MONTOYA What devil has poured his unction on that bitch? She wish me well? There’s something in this house . . . I knew it when I came in . . . there’s some snake’s purpose Under this crawling. Federico, too. He looked at me smiling, but there was that in his eyes That wished someone dead and damned. Have you talked to him . . . Or to her? What have they said? MARTINEZ Nothing that’s secret. MONTOYA Meaning you won’t tell me. Because you think It’s better I shouldn’t know. But, by God, I will. MARTINEZ You imagine this! MONTOYA Friend, I imagine nothing. I see and act. I’ve seen two things that I’ll find the bottom of Before tomorrow. . . . I saw that I was betrayed At the pass by someone within my ranks . . . and I saw When I came home . . . that it was only my coming That balked another betrayal! MARTINEZ As to the pass, I know nothing of it . . . if we were betrayed God help you find the traitor . . . but for the other . . . MONTOYA The other I’m sure of. If Federico glanced About him like Felipe, and took my hand With the same pressure . . . but no, his conscience eats Into his brain . . . and he crawls, and Josefa crawls . . . Felipe’s done nothing he regrets. His eyes Look back at you clear as a lake. And I think I know What’s bitten Federico. He’s looked too long At Diana, and wants her. And that explains Josefa. I’ve watched her with Federico. She’s willing that I Should marry Diana and cut Federico off From hope of her. And now I have one son. One son only. MARTINEZ Pablo, when a man grown gray Loves a young girl, he peoples the wind with rivals. But even if this were true of Federico, Isn’t it natural enough? If she should love him Could she be blamed? I could swear it isn’t true, But if it were . . . MONTOYA He’s a man, I believe! Son or not, My path has never been crossed! I’d cut him down Like cactus! MARTINEZ Pablo, youth turns to youth Inevitably as water seeks a level. MONTOYA And a son to a father’s wife when she’s young? MARTINEZ She’s not Your wife yet! MONTOYA She will be. MARTINEZ At our age men may have lust, but the day of love Is over with us. A woman as young as Diana Wants more than desire. MONTOYA Why, then, you know more than I do, About women’s needs, my priest. So far as I’ve known What they want’s desire, and when they get it they’re happy, And also they’re in love. I’ve heard these lectures From churchmen on the subject of lust. But I know And you know, too, there’s nothing a man’s more proud of Than his lust for a woman, and nothing a woman prizes More highly in a man. Since before the beginning Of knowledge women have given where gifts were required. A woman goes to the stronger, as land and nations Go to the stronger. There’s not one title to land Or possession in any empire that isn’t based On a thousand murders . . . not one life in a nation That wasn’t nursed in a thousand conquered women! MARTINEZ You are the people’s idol, Pablo. They look On you to free them, and keep them free. This marriage Detracts from you a little. It’s something to smile at When they meet to gossip. MONTOYA Let them laugh if they like. They won’t laugh in my face! The drivelling bastards . . . You saw how they climbed on their asses and made for the hills When they thought I was done for! No village of half-wits will set My laws for me! I take the woman I choose, And God can’t help him who gets in my way! MARTINEZ God won’t help him Who gets in the way of what’s coming. MONTOYA Of what that’s coming? MARTINEZ The times are changing. Mexico’s a republic. The English to the north broke from their kings. We’re here Like a little island of empire, and on all sides The people have a share in what happens. MONTOYA And that’s what you’ve meant By your printing press . . . and your teaching the peons to read! Do you want a republic here? MARTINEZ I want to save What we have, Pablo. They’re not all peons. They look To the north and south, my friend, and take stock of themselves, A little, and wonder why one class of men, Or one man out of that class, has it all his own way In the province of Taos. MONTOYA If so, it’s because you’ve taught them To think they can think. MARTINEZ Not so. It came without asking, Like an infection. There’s only one cure for it, And that’s to seem to offer them from within What’s offered them outside. Give them books and schools, And the franchise if they want it. MONTOYA You’re my friend, José, And have been, but this difference between us Is deep as hell, and as wide. You fight the north Because you want to keep your place. In your heart You want what the north wants! But I fight the north Because I despise what it stands for! Why should they think About government, these peons? They’re happier With someone thinking for them! Why should the young Take rank above their elders? MARTINEZ We must give them the shadow Or they’ll want the substance. MONTOYA Begin to make concessions And they turn to a mob and tear you to pieces! Show them You’re afraid of them, and they’re wolves! But let them see That you’re the better man and they’re sheep, and your dogs Can herd them without fences! . . . And shall women choose men? Are they so much wiser? All your reforms fall in With this plague from the north that enfeebles us! God’s name, I think you mean well! You’ve been my friend, but what You teach is poison to me! MARTINEZ An enlightened people Could be ruled more simply . . . MONTOYA All rule is based on fear . . . On fear and love . . . but when they know too much They neither fear you nor love you! Teach them too much And you tear your empire down, and what you have left Is what there was before there were empires! This Is all your progress . . . and they won’t thank you for it. Nor will the women. They don’t want freedom! But they’ll take it, And laugh at you for giving it! [_The_ Trapper _and_ Two Other Prisoners _are brought in guarded_.] MARTINEZ Then the marriage goes forward? MONTOYA Must we have this again? [Martinez _bows and goes out_.] [_To the_ 1st Trapper.] What is your name? 1ST TRAPPER Senor, I have no intention Of telling you my name nor anything else. If you insist on one I’ll give you the wrong one. MONTOYA Good, you have spirit. You’re the leader then. That’s what I wanted to know. Your name, sir. 2ND TRAPPER James. MONTOYA What kind of name is that? 2ND TRAPPER If you want my full name It’s Humphrey James. MONTOYA Were you at the pass tonight? 2ND TRAPPER Yes. I was there. MONTOYA Have you searched them? ANDROS We took their arms. That’s all there was. MONTOYA Let me see them. [_An armful of weapons is brought forward._] And who are you? 3RD TRAPPER I’m a prospector. I wasn’t with the others. MONTOYA So this one’s a coward. [_He turns to the weapons._] Whose dagger is this? ANDROS [_Pointing to the_ 3rd Trapper] It was his. MONTOYA And now I know you’re a liar. I know this dagger. Where did you get it? 3RD TRAPPER I bought it . . . In Santa Fe. MONTOYA [_To himself_] This dagger belonged to Pedros . . . And I heard Pedros’ voice after the battle. He was alive then. There could hardly be two like this. It’s impossible. This one’s a coward and liar. And Pedros is dead. Search them again. Take off That hunting-shirt. [_To the_ 1st Trapper.] 1ST TRAPPER I think not. MONTOYA Take it off him! [_The guards peel the shirt from the_ 1st Trapper.] Toss it here. [_They toss it to his feet. He touches it with his foot._] Put it on. Must I bring it to you? [_The_ 1st Trapper _takes up his shirt_.] Search the next. [_They search the_ 3rd Trapper.] Take that shirt off him. [_The shirt is tossed to him. He examines it with his foot._] Look through it. There’s a paper in it. [Andros _rips the shirt with a knife and takes out a map, which he hands to_ Montoya.] By God, I was right! They’ve been in my house. They were leaving here when we met them. Where did you get this? 3RD TRAPPER I didn’t know it was there! MONTOYA [_Taking up the man’s dagger_] Where did this come from? This is Pedros’ dagger. Do you want to die the way he did? 3RD TRAPPER He gave it to me. MONTOYA Who? 3RD TRAPPER [_Indicating_ 1st Trapper] He did. MONTOYA What’s his name? 3RD TRAPPER Captain Molyneaux. MONTOYA What else did he give you? 3RD TRAPPER Nothing. MONTOYA Did he tell you Why you were to carry this? Quick . . . speak. 3RD TRAPPER No, senor. MONTOYA Were you in this house? 3RD TRAPPER No. MONTOYA Tell me, senor Captain, Who gave you this map? [_The_ Officer _smiles without reply_.] You are all three to die, You know . . . unless there is one of you who is willing To tell more about this. OFFICER We’ll die anyway, boys, So keep your mouths shut. MONTOYA Even to an enemy I keep my word. [_To the_ 3rd Trapper.] Do you want to live or not? 3RD TRAPPER The Captain was in the house. He brought two papers . . . And gave one to me to carry, and one to him . . . And we went separate ways. MONTOYA Search this man again. 2ND TRAPPER Search me all you like. There was a paper, But you won’t find it. I burned it. [Andros _searches the_ 2nd Trapper.] ANDROS There’s nothing on him. It’s true he burned something. MONTOYA When? ANDROS Outside in the jail. MONTOYA You sons of fools! ANDROS He threw it on the fire. MONTOYA What was in that paper? 3RD TRAPPER Senor, I don’t know. . . . MONTOYA But you have an idea. . . . Come, we shall get along, we two. I promise you, You’ll live, and I don’t lie. 3RD TRAPPER They were talking about A settlement . . . the captain was going to arrange Not to destroy the town . . . because he owned it. MONTOYA Not to destroy Taos? 3RD TRAPPER Yes, senor, because This house was his. MONTOYA And who had signed that paper? 3RD TRAPPER Senor, I don’t know . . . and that’s the truth. MONTOYA [_To the_ Officer] Someone had signed away this house to you, And in return you were to pacify The officials at Santa Fe. OFFICER The lad’s a fool, Don Pablo. He’ll tell you anything you ask for, He’s making this up to save his hide. MONTOYA With whom Did you make this agreement? OFFICER If you want a story from me I can tell one fast enough. I negotiated With a priest called Martinez. MONTOYA That is a lie. . . . Go on. If you tell enough lies I’ll know the truth. OFFICER Senor Montoya, I know the fix I’m in As well as you can tell me. You’re a hard man, But I never met a Spaniard harder than I am. . . . And you won’t frighten me. The worst you can do Is kill me or torture me. Well, the Indians tried that, And they know the game, but I kept my mouth shut. You Can say or do what you will, I give no one away. . . . And I tell nothing. But if you have the time I’d like to speak a word about this business, Quite without malice. MONTOYA Good. You wish to advise me. Proceed. Advise. OFFICER You’ve killed the governor And a number of our citizens. Now, by what right The government at Washington first laid hold Of New Mexico I don’t know. So far as I see This land belonged to you Spaniards, but you were adrift From Mexico . . . and you’re not protected by Spain. . . . There’s nobody helping you but yourselves. Whatever Your rights may be you’ll lose. The government sent A force to put you down, and it had to go back. It wasn’t sufficient. Well, they’ll send another . . . And if necessary another . . . they’ll send an army If they find they have to . . . and the more you resist The worse it’ll be. Taos will be destroyed, With every man, woman and child, if you hold out, And there’s no point in it. It’s a fertile valley, And a handsome town, and it’s rich. If you were willing To lay down your arms, and concede some part of the place To American ownership, you could keep the rest And the war would be over . . . and a lot of lives saved, too. If it goes on it’s plain murder. MONTOYA [_To_ 3rd Trapper] One more question. Where did you get this dagger? 3RD TRAPPER He let me have it. [_Indicating the_ Officer.] MONTOYA You took it off a corpse? 3RD TRAPPER Yes. MONTOYA Then who killed him? 3RD TRAPPER Killed himself. MONTOYA More lies? 3RD TRAPPER No, no, it’s true . . . he killed himself! MONTOYA Pedros killed himself? 3RD TRAPPER I don’t know his name . . . He brought a message to the captain before the battle . . . And afterward, after the battle, he came again, And pretended he had a message, only this time He tried to kill the captain. He had no message This time. It was a ruse. They took him out To shoot him, but he was too quick for them. MONTOYA What did he say? Remember what he said. 3RD TRAPPER When? MONTOYA Any time . . . Whatever he said. 3RD TRAPPER I wasn’t near enough The first time he was there, but afterward, After the battle, when he’d drawn his knife on the captain And we were taking him out, he said he’d thought He was bringing a message to mislead us, but then He found he’d betrayed his own people, so he came back To kill Captain Molyneaux. He called that back To the captain when we were taking him away, And then he killed himself. MONTOYA Pedros was true then . . . Captain Molyneaux, will you tell me the name Of the man who betrayed me? OFFICER No. MONTOYA You can have your life, I have no interest in taking it. OFFICER No. MONTOYA And whether You tell me or not I’ll find it out. OFFICER I say no! And no’s my answer! MONTOYA This is strange behavior For a man about to die. Are there other gringos As stubborn as you? CAPTAIN Well, get it over with! If you think I’m stubborn you’ve got a lot to learn! You’re used to peons and Indians! MONTOYA You prize your stiff neck More than your life, it seems! You’re proud of that, And in your country it may be that the dogs Are better than their masters . . . but not here! Here you bend your neck or you don’t live long. Goodnight to you. [_He goes to_ Andros _and they speak a few words_.] 3RD TRAPPER Senor! Your promise! Senor! MONTOYA You may live, But it’s no compliment. Send in Narciso, I saw him outside. [_The prisoners are led out._ Narciso _enters_.] Narciso, Raquel has asked me For word of Pedros. Was Pedros lost? NARCISO I don’t know, Don Pablo. MONTOYA But he’s not here. NARCISO No. MONTOYA And I’m quite certain I heard his voice after the battle. He was, I think, Federico’s officer? NARCISO Yes. MONTOYA You’ve taken his place? NARCISO Yes. MONTOYA When were you appointed? NARCISO An hour ago, Or a little more. MONTOYA Narciso, I’m sorry to say this, But there’s something strange about Pedros’ disappearance, And it reflects on you. NARCISO Pablo, I’m also sorry. MONTOYA And that’s all? NARCISO Why . . . no. Pablo, perhaps I know Where Pedros is, but it’s something I’d keep from saying As long as I could. MONTOYA Where is he? NARCISO I think he crossed The line to the Americans. MONTOYA Why do you think so? NARCISO He quarrelled with Federico after the battle And set off across country alone. [_There is a long pause._] MONTOYA With Federico. And what was said In this quarrel with Federico? NARCISO I don’t know that. I didn’t hear it . . . but they were very angry And almost came to blows. I heard the noise. MONTOYA You heard not one word from this quarrel? NARCISO Let me remember . . . No . . . not a word. I couldn’t make out at the time What they were incensed about. [Diana _comes to the door. She has changed her dress._] MONTOYA Come in, Diana. That will do, Narciso. Your name is cleared. But send Federico to me. Tell him I wish To lay our plans for Cordova. [Narciso _goes out_. Montoya _takes up the map and puts it in its place. The dagger he puts in his belt. He brings out a casket and sets it on the table._] This is a holiday dress. You are ready? DIANA Yes. MONTOYA It becomes you. I wish a man might look Behind a woman’s eyes, Diana, and see What lies there. You veil your eyes from me. DIANA Now? [_She looks at him._] MONTOYA Even now. DIANA I’m sorry. MONTOYA No, don’t be sorry, but this is a world No man can trust much, even at best . . . and when He gives his name to a woman, he must know as near As he can how much he can trust her. Those closest to us Have most to betray. I’ve been betrayed tonight . . . Virtue’s gone out of me, and out of this house. Let me see your eyes again. Diana? DIANA Yes? MONTOYA What can you say? DIANA I don’t know. MONTOYA Are you afraid? DIANA Yes. MONTOYA Afraid of Pablo Montoya? DIANA Yes. MONTOYA Is it because I’m older than you . . . and have power? DIANA Yes. MONTOYA Yes, perhaps. Let me see your eyes again. I think that’s what it is. . . . This dress becomes you. Whatever you wear looks its best on you, Diana. That’s why I want you to wear a few jewels tonight That haven’t been worn since this house was built. They are waiting For someone to wear them who’d be worthy of them. [_He takes out a tiara._] Take down your hair. [_She loosens her hair._] This is to be your own . . . And it’s a dowry to be proud of. [_He fastens it on her._] No matter What the future may bring for me or you . . . Keep it for your fortune. DIANA I do thank you. MONTOYA Thank me better. Have you no better thanks? DIANA Yes. MONTOYA Take my hands. Kiss me. [_She does so._] If I have sensed What happiness lay in you . . . I was wrong . . . you are richer, Sweeter than I could know. Let me look at you . . . I want to see what bride it is I take Before the others are here. This is your hair. This is your hand. You stand thus. Now Could you kiss me, and kiss me as a lover kisses? DIANA Yes. Must it be tonight? MONTOYA You are a gentle girl, Diana. Perhaps One takes advantage of that, and assumes that you Will understand what’s strange, forgive what’s left out In the way of courtesy. DIANA It’s not that. MONTOYA For the rest, You have known a long while what was destined for you. You came here a captive child, with other captives, And played at my feet as a child, and, watching you, And weary of tongues and unfaith, and women who seem To love where they hate, I lost myself in dreaming Of a child-wife, who would love where she seemed to love And give herself purely. You grew in beauty, too . . . Grew maiden-like, flower-like, woman-like, and still kept Your candid eyes that never lied, and I knew If you were mine, you’d be wholly mine. I could rest In that. You come of an alien race, somewhere From the north . . . I’ve lost trace of where, but a woman’s mind And heart are in her eyes . . . and you could be trusted. And so I told you of this, and you were troubled As a maiden is . . . but I wanted the world to know Where I had chosen, and wanted to prepare you Softly as might be. If I come suddenly now To fulfill my promise, it’s not as I would have had it, But we run risk of death tomorrow, and I Should not be willing to die before I’d tasted For once, this one happiness. Am I forgiven Now, for my abruptness? DIANA I’ve made myself ready. MONTOYA There are two kinds of happiness, to win In battle, because that makes you one with those Who are your people, and to share a love With one who loves you . . . because then, for an instant A man is not alone. But when one shares Himself and all he has and then discovers Too late, that he was mocked, and the woman mocked him, There’s no such loneliness on earth. I’ve loved And given, but without return. Always I’ve known Too late that I was alone. DIANA Could that have been . . . Don Pablo, because you demanded . . . instead of asking . . . Because you took as your right, whatever you wanted, Instead of wooing for it? MONTOYA But not with you! With you I have been gentle . . . Only give me all Your faith, and you shall have mine! Will you give me that? DIANA I have no wish to rule . . . ! I don’t care for that! Let me live where I can, Humbly, anywhere . . . and marry humbly And be forgotten! You have many things In your life! I could be forgotten! MONTOYA You said you would give me What you could. DIANA Yes. MONTOYA I won’t ask more than that. You are a child still, and I seem grim to you And you’re afraid. But as for running from me And hiding from the world, and marrying humbly . . . That you don’t mean. DIANA Oh, yes. MONTOYA There was never a woman Worthy to be a woman, who wouldn’t choose A man she could honor rather than a handsome face Growing on a peon. Yes, a woman will take One-tenth of a man she can honor, and share him with others Rather than breed with his servants. You, too, will know that When you are older . . . and love me, and be proud. DIANA I thought I could bear it. But I can’t! Pablo Montoya, Have pity! You are great! You won’t need me. Oh, for God’s love, Have pity on me! MONTOYA Child, I love you. If you Had ever been in love you would know there was one thing A love cannot do. It cannot let go. DIANA But I could. If I were in love I could take all my life in my hands And give it to him I loved, and turn away And never see him if he asked it! MONTOYA Yes, But you are a woman. And something in what you say Teaches me you are more of a woman than you could be If your heart were empty. Who do you love? DIANA No one! MONTOYA You love my son! I had evidence of this before But I wouldn’t believe it. When Josefa came to me Smiling, to hurry the wedding, I knew it then. She wishes you married to me. What has there been Between you and Federico? DIANA Federico! Nothing. MONTOYA No . . . But there would have been had I not interrupted it By returning awkwardly. You’ve been untrue Already to me at heart. You’re like the others, A woman, inconstant, deserving of no better Than the others, and giving no better. But know this about him . . . If there were no other reason that he should die He’d die for this, but there are other reasons. He’s sold us out here, or tried to, and he fought Against us at the pass, like the whelp he is, And my nest shall be cleaned of him! I loved him well . . . Stood ready to share my name and fortune with him, And he sneaks like a jackal in his father’s house, Stealing his wife and his place, surrendering To thieves that he might share! Go, and be ready . . . But guard yourself . . . for I know you now . . . Look not To right or left from me. For I swear to you That if the son I love were to lift his hand Toward yours, he’d die . . . and as for Federico . . . Count him dead. Go! Why should you look on my torment? [Diana _goes out. The village is heard singing far-off the same song with which they welcomed_ Montoya _back. He sits listening._ Federico _comes to the door_.] FEDERICO Their spirits have come back. You hear them? MONTOYA Yes. They’ll follow tomorrow, and gladly too, If we can keep them singing. FEDERICO They sing enough. Too much sometimes. MONTOYA Is there something on your heart, Federico? FEDERICO No. I think not. MONTOYA You start queerly Sometimes, as if the opening of a door Might bring ill-fortune. As if something lurked In corners here. FEDERICO It may be I’m not so easy When things are happening, as I will be later When I’ve seen more. MONTOYA Are you clear enough in your mind To lead one section of the attack tomorrow Without failing me? FEDERICO I think so. What are the plans? MONTOYA If we can time ourselves to reach Cordova Just before dawn, before the horses wake To graze, we’ll find the troops camped in the valley Along the stream. They’ll have to take the trail That brings them there . . . and they’ll stop there, for the water Is hard to reach further on. If we attack From one side or the other, they’ll have the trail Before them, and they’ll escape, or most of them . . . But if we make a division of our forces . . . Attack with half the rifles on this side And meanwhile plant an ambush on the other Where they’ll run into it unprepared, we’ll have them As neatly bottled as could be wished. Now I Can’t be on both sides of the camp. If you Will lead one-half our men around Cordova And wait where the gulch is narrow, our campaign’s planned And we can sleep tonight. FEDERICO That’s excellent. It’s almost certain victory. MONTOYA More than that, It may be that not one will get away. That’s what I want . . . to take them by surprise, And leave not one alive. FEDERICO That’s possible, But not too likely . . . they can climb like goats . . . These hunters. Some would escape. MONTOYA Which would you choose . . . To make the first attack at this side, or lead The detachment round for the ambush? FEDERICO Let me have The post of danger. I’ll go on ahead And wait for them where it’s narrow. MONTOYA And you’re sure You can hold them there? FEDERICO Trust me. MONTOYA Your officer . . . Narciso, is it? FEDERICO Yes. MONTOYA I could wish it were Pedros. We lost our best man in Pedros. FEDERICO He was hardy. MONTOYA And faithful, too. One could trust him always. I wonder at his being killed. I could have sworn I heard his voice after the battle, among your men As plainly as yours now. FEDERICO You heard his voice? MONTOYA It must have been an illusion. Such things do happen . . . Voices come back from the dead . . . to testify Or complain, perhaps, if their owners died unhappy. And this is strange . . . I took this dagger from A trapper prisoner. Was that Pedros’ dagger? FEDERICO I think it was. From a trapper? MONTOYA Yes. FEDERICO That’s like them . . . To rifle the bodies. MONTOYA Well . . . Narciso will do . . . But don’t depend on him too much. FEDERICO I’ll see To every order myself. And let me thank you For laying this trust on me. MONTOYA I think you’ll be worthy Of the trust I give you. Federico, It’s been borne in on me of late that I’ve taken Too much to myself, and allowed no scope for the play Of younger minds and hands. The estate is large And I’ve kept too much to myself in its supervision . . . I can’t do everything well. If I should give you Half share in the ranch, would you stay here with me and keep it As jealously as I have? FEDERICO I would indeed. [_A marriage song begins outside._] But this . . . you don’t mean this? MONTOYA Why, indeed I do. I do mean it. And lest we let it go And you think it out of mind, let us get the map And make our choices. FEDERICO Let it go till later. MONTOYA No, bring it . . . bring the map. FEDERICO I can’t accept it Till you’ve had time to think. I’ve thought a whole life-time! [_A pause._] FEDERICO After we meet them tomorrow. [_He turns._] MONTOYA Very well. We’ll let it go till later. [Federico _starts to go_.] No, wait, Good God, let’s settle this little matter! We’ll have The map! [_He goes to chest and brings it out._] Four thousand acres this side of the river, And fourteen thousand in the flat, beyond. It’s enough To make a Yankee covetous, I admit. [Federico, _terrified, is rooted where he stands_.] But is that reason enough to cause a Montoya, An elder son, trusted, acknowledged heir, To draw a line down the center, and auction off His father and his brother, and a whole village To keep his skin from danger? [Martinez, Felipe, Diana _and_ Josefa _come in_.] MARTINEZ This is the time you set, Is it not, Pablo? [_The marriage song comes nearer._] MONTOYA Why yes, it is time. Come in . . . Come in, Felipe! Come in all of you And watch his face while I read him a history Of what he’s done! Look at him! [_The_ Nobles _of the village, four or five in number, enter with their wives. They are ushered in by_ Nuna, _who goes out at once_.] FEDERICO What do you mean? What have I done? MONTOYA Be patient. I’ll tell you. This map Has a line drawn across it . . . a line dividing Your share from the man you sold out to . . . you were to get Immunity to live here for that share! Look at this dagger, too! Look hard at it And let nothing show in your face when you remember Whose dagger it was, and how much a better man Pedros was than you are! Pedros is dead. He killed himself when he knew what you were about And what he’d helped you with. It was Pedros who carried The word to the other side to avoid the pass And strike us on the flank. And the man who sent him Was Federico. FELIPE It was true then? FEDERICO Someone has lied To you about this. [_There is a volley outside, then two more in quick succession._] MONTOYA Someone told me the truth, And that’s his reward for it. The Yankee trader Who traded with you is dead. Look, look, Felipe . . . That was my eldest . . . that one there with the face That twitches . . . but the deed is cancelled now. The party of the second part is dead, And the party of the first part’s dying. [Andros _and_ Narciso _enter_.] FEDERICO But it was annulled when you came back! And think . . . You hadn’t returned . . . it was supposed you were lost, And I knew no other way to save our lives And the lives in the village . . . was it treasonous To take command when I thought I must? MONTOYA Look, Felipe . . . Whatever love or promises I gave him . . . Whatever was his as my eldest son, is yours, Stand at my shoulder now . . . let me believe One can trust a son . . . this is not easy, to send A son to death. I’ll try to forget that he’s lived And remember only Felipe. Why, look, he’s not And never was a Montoya. . . . See, he crawls . . . Crawls again! FEDERICO I think you’re wrong! MONTOYA That’s better . . . Stand up and fight me, at least. If I must kill you At least die like a man! FELIPE Perhaps he’s not So much to blame as you think. MONTOYA I know the story From beginning to end. It was his plot that brought us Defeat on the mountain. Even then he was in touch With the northerners . . . and even then he was wooing The woman I’d chosen to marry. Weren’t there enough half-breeds To help you populate the valley, that you Must approach my woman, and win her over to you And away from me? [_To_ Diana.] How proud of your choice are you now . . . Now that you know him? FEDERICO I won Diana from you? MONTOYA Yes . . . that too. FEDERICO You fool! It was Felipe. She loves Felipe now! MONTOYA Yes, tell your tales . . . Lie out of it if you can. JOSEFA It’s true, Don Pablo . . . She loves Felipe! MONTOYA And you, too, have your reasons For wanting me to think so! [_To_ Andros.] Take out Federico And chain him at the plaza gate, let him feel What it’s like to hang in irons before we hang him The last time for the buzzards! [Andros _and_ Narciso _start to lead_ Federico _out_.] FELIPE You won’t do that! MONTOYA By God, I will! He could hang a thousand years, and it wouldn’t pay me For what he’s done! FELIPE But I say you won’t! MONTOYA Why not? FELIPE He’s your son . . . my brother . . . you can’t stake him out Like a bear to be tortured . . . ! MONTOYA Only I will! MARTINEZ Don Pablo . . . ! MONTOYA Get on with him! Get him out before this knife Of Pedros’ finds a home in him! MARTINEZ Don Pablo! [_They take_ Federico _out_.] MONTOYA Damn you! One thing I could bear . . . that he’d betray me . . . I’d swallow that . . . I’d have let him live . . . a coward . . . But the other I won’t take! JOSEFA Then why do you send The wrong man out to be chained? MONTOYA You fiend . . . be quiet! . . . Felipe! This is not true? [_A pause._] FELIPE It’s true that I love Diana. I can’t deny that. MONTOYA And she loves you. [Felipe _is silent_.] You do love him? DIANA No, no . . . I swear it . . . There’s been nothing, nothing . . . MONTOYA And you’ve been willing To let Federico suffer . . . DIANA Oh, Pablo, believe me . . . I’ll be a true wife to you. [_She goes to him._] I’ll be true and faithful, And do all you can ask. [_She kneels._] Forgive me if I Have been silent when I might have spoken, or seemed To turn away when you came to me. It’s true I’m young, and you are older . . . and I’ve been frightened . . . That I couldn’t help . . . but I’ll be kinder And give you all you ask . . . MONTOYA Do you love Felipe? [_She is silent. There is the beginning of a babble of voices outside that increases in volume slowly._] MONTOYA Speak! Do you love Felipe? DIANA But it’s not his fault! I loved him first, and he never spoke to me . . . And there’s been no crime . . . no touch . . . JOSEFA She lies . . . we found them together . . . In each other’s arms! DIANA Only when you were lost And hadn’t returned! Punish me, Pablo. Felipe Is your son . . . and wouldn’t dishonor you! MONTOYA I’m blessed With dutiful sons, it seems. They think of me only . . . And of my wife! [_The voices outside are louder._] DIANA Pablo . . . MONTOYA Be silent! You’ll drive me To something I must keep my hands from, pleading . . . Are you so hot for him? MARTINEZ This is not more or less Than you could hope for, Pablo. Since it comes now Before this marriage, it won’t come later on. If you’d been married, every year that went by Would have brought it nearer, inevitably. Somewhere, Some time, she would have loved and been loved where her youth Was certain to lead her . . . MONTOYA What are you mumbling? MARTINEZ I say There’s no crime in it except your own. MONTOYA You knew this! MARTINEZ It was certain to come. [_There is a shout outside. It trails off into single voices, indistinctly heard_: “What does he say?” “They’ve sworn to destroy the village!” “Three hundred thousand men!” “He talked with the northerners.” “Will you listen to him or his father?” “He’s a Montoya, as much as Don Pablo!” “I say, loose him!” “Let him go!” “Damn you, come no nearer!” _There is silence, then_ Federico _is heard as if a door had been opened in the passage_.] FEDERICO [_Outside_] You have seen a village When it was in ruins . . . no life, the people living Somewhere in the hills! . . . But this will be worse . . . they’re in thousands, These Americans . . . they’ll come like locusts . . . flies . . . They’ll come when you least expect it . . . not one escapes . . . And they could be placated . . . my father’s mad . . . Crazy . . . he wants to die . . . wants you all to die . . . And you’ve been fools and followed him because He gave you rifles! . . . Why, if he gave you war-paint Like the Indians you’d do as well! [_The crowd breaks into a louder babble._] [Andros _enters_.] ANDROS I’m sorry, Don Pablo, But I think you should interfere before your soldiers Listen to more of it. Federico’s surrounded By a great crowd at the gate . . . and when they asked him How he came there, he told them that he had arranged A peace with the north which you had repudiated . . . Also that you intend to execute him To keep this knowledge from them. MONTOYA Say that again. ANDROS Federico’s spreading sedition at the gate. They’ve all surrounded him because of his chains, And he tells them they can never win against The English of the north . . . many believe him . . . Or at any rate, they’re shaken. MONTOYA You will stay here And wait for me . . . all save Andros. [Montoya _and_ Andros _go out. Soon afterward the noise of the crowd is suddenly hushed._] DIANA Felipe . . . you . . . Go quickly . . . I won’t see you . . . but I’ll love you . . . Go . . . the other door . . . FELIPE You must think lightly Of me, Diana. Would I go, and leave you? DIANA Felipe . . . FELIPE Will you come with me? DIANA If we were caught You would be killed . . . FELIPE But we wouldn’t be caught . . . DIANA Yes . . . yes . . . there’s only a moment, Felipe . . . you waste Your whole life waiting . . . ! FELIPE Come then . . . DIANA And bring your death on you? You’ll die if you stay here now . . . you’ll die if I go Along with you . . . but you alone could escape . . . He’ll let you go if I’m here . . . but if I were with you He’d never forgive you, and he’d never give up Till he’d hunted us down! MARTINEZ All this is true, Felipe . . . Be off, and swiftly . . . and I’ll tell him I advised it. MONTOYA [_Outside_] Stand back from him! Stand back! DIANA Quick! Now, Felipe! Oh, God, will you wait for him . . . Till he comes back? You must live. . . . If he should kill you And I were to blame, how could I live? [_There is a great shriek from the crowd . . . then silence and one voice._] THE VOICE Don Pablo! Don Pablo! Your son! [_There is complete silence, then the steps of_ Montoya _returning slowly in the corridor. He comes to the door and enters, his head bowed, the dagger in his hand. As he comes to the center a great splash of scarlet is seen to have appeared on the front of his white hunting-shirt._ Nuna _and_ Raquel _appear silently in the doorway, a few_ Others _behind them_. Raquel’s _face is a tragic mask_. Montoya _stands with bowed head for a moment, then tosses the dagger to the center of the table, where it sticks trembling, and turns his eyes toward_ Felipe.] CURTAIN =ACT THREE= ACT THREE Scene: _The same. The act opens some minutes after the close of Act II._ Felipe _and_ Diana _are guarded and about to be led out_. Montoya _stands near the table, breathing as though he had come through a scene of violent altercation_. Martinez _faces him, evidently his antagonist. The_ Ricos _have drawn nearer. The rear door is open and_ Many People _have collected silently to listen, unnoticed by the_ Ricos. MONTOYA [_To_ Martinez] I say he dies! [_There is a slight gasp and motion among the people._ Montoya _notices them_.] Andros, clear out those slaves! ANDROS Out that way, Narciso. Take them with you. [_The crowd murmurs._] SANTOS What’s he done? GRASO He’s done nothing. DIEGO [_Loudly_] Pablo, what’s the charge against Felipe? We want to know. ANDROS Are you going? [_The crowd is put out and the door closed. Only_ Raquel _and_ Cristina, _who were making preparations_ _for the marriage, remain behind_.] MONTOYA [_Quietly, to_ Martinez] I say he dies. [_To_ Felipe.] A woman hated me once And tried to poison me. It happens it was your mother, Yours and Federico’s. She had loved me at first And borne me two sons, but she grew to hate me then As fiercely as she’d loved. I knew this. She tried To hide it with soft words, but one night at supper She turned her back for a moment, pouring my wine, And then set a glass for me, and one for herself. I looked in her eyes, and changed the goblets, and drank, And she took the challenge and drank . . . she was no coward . . . And died before my eyes. I have this poison Of hers. It’s quick and painless, and stops the heart. I found it, and still keep it. There’s enough left To end her generation! You were all three traitors, All three in different ways. It’s fitting to end it With her own potion. And go on alone. Take them out. [Diana _and_ Felipe _are led out_. Montoya _faces_ Martinez.] In the future, Father Martinez, Remember that your business is with the church. Your authority stops there! MARTINEZ What you do tonight Concerns not you alone, but all Taos. I plead For our city . . . not for the church, not for myself . . . And I say call back Felipe! MONTOYA Have I lived so long That I hear a priest give me orders? MARTINEZ Things are not as they were! From now on you’ll listen to more than yourself! MONTOYA You heard What was charged against Federico, heard his reply! I heard it . . . and rather than any other hand Should be lifted against him, I killed him. He was my son. His life was mine. It’s not what a man would choose . . . To strike down his own son . . . MARTINEZ No man has challenged The death of Federico! But to kill Felipe Endangers us all! MONTOYA He also is my son, And his life’s mine! MARTINEZ Then the north does win! MONTOYA It wins if he lives! MARTINEZ Whether he’s guilty or not To kill him means we’re beaten. You’d never gather Your army round you tomorrow. There’d be no army; Your leadership depends on the trust they have In your strength and wisdom. If you execute Felipe They’ll no longer respect you. The news will spread That Pablo Montoya’s raving in his house And murdering his sons. Can you command them With that in their minds? MONTOYA Is this happening to me . . . to Pablo Montoya, To hear this mouthing! Not since I was a man Has my rule in this house been questioned . . . nor in this city! Am I likely to accept it now? MARTINEZ I remind you only To think of Taos first . . . MONTOYA The north wins in Felipe If he has his way! When sons turn against their fathers And get their will by it, all our rule goes down And order with it. Our state’s built on that . . . but no more . . . Not if Felipe can defy me, and keep What he got by defiance! You fool, the north itself Attacks us from within, and if it conquers In Taos, what will it matter if Taos is taken And conquered from the outside? MARTINEZ Don Miguel . . . Hermano . . . You must see this! MIGUEL Martinez, in these days An anarchy drifts down from the north upon us, Even here where we guard ourselves, and some give credit To new strange gods, and deny our ancient customs. The rights of the old, the rights of fathers give way To the rights of sons. Children look up with envy At family possessions, and snatch when they can; And some say, “Good. Let the old men look to themselves.” And some say justice should be dealt by the rabble On young and old, on rich and poor alike. So thought Federico. You see where it led him. You see where it leads us all. HERMANO I have a house Of my own, and I have sons, and I’d rather they gave No orders to me. FERNANDO Nor I. MARTINEZ There have been two things I wanted . . . that we might save the house of Montoya, And that we should save Taos. Perhaps we can’t have both. In that case it’s best to save Taos. Pablo Montoya Can sign his own death warrant, and yours, Don Miguel, And every Rico’s, but not mine, and not The city’s. FERNANDO You’re one of us, Martinez, you Will go as we all go! MARTINEZ No. FERNANDO From the very beginning You sat in our councils. MARTINEZ We part over this! MONTOYA Let him go. CRISTINA [_Whispering_] Now, Raquel. RAQUEL Don Pablo! MONTOYA [_Without looking at her_] What is it? RAQUEL I’m only A woman, Don Pablo . . . but I’ve lost a husband . . . I’ve lost Pedros, and he was true to you When others failed you. Remember that and forgive me . . . MONTOYA Forgive you what? RAQUEL For saying this: Felipe Must not die, Don Pablo! Whatever he’s done He must not! [Montoya _is silent, looking at_ Martinez.] JOSEFA You’ve been dismissed! Is once not enough? [Raquel _and_ Cristina _go out_.] HERMANO What do you mean to do? Where will you go? MARTINEZ I go with your peons outside . . . and ask what they ask! They’re right this time, and you’re wrong . . . and they have the power To say what you must do! MONTOYA Let him go! MARTINEZ I followed Pablo Montoya, believing that through his strength And leadership we dared take up the challenge The north threw down. I believed there was a chance Of making this province too costly for them. But when Montoya tosses his leadership away And tears his house down quarrelling with his son It’s time to think of my people. MONTOYA Your people? MARTINEZ Yes, mine! They’re no longer yours! You abandon them to keep Your pride! We all know what hangs over us! We’re at war with a nation that outnumbers Our little state by millions! This counter-stroke You’ve planned might make them wary, hold them off . . . Make them regret what they’ve started! But fail in that, Lose the next battle, lose the people’s confidence, And your history’s ended! Kill Felipe, and you do fail . . . Keep him with you, and you may win! MONTOYA [_Coldly_] Think more clearly, Martinez. Suppose Felipe lived, and lived in my house. She would be Felipe’s or mine. Suppose she were mine, And I knew she had loved Felipe. Is that a thing A man can bear? Or suppose I gave her up, As I might, and she were Felipe’s, and lived with him Here in my house. Is that a thing a man could Bear, and live? Not I. MARTINEZ The city of Taos Will live on, then, and the church . . . and I myself . . . But this is the end of the ricos. FERNANDO You intend to betray us? MARTINEZ What could I betray? They know who leads here And who’s committed with him. I’m no friend to The north, and I’ll never be . . . but I can live with it If I have to . . . and so can the peons! Go fight your battle, And when you’re broken, I’ll gather what’s left of our city And we’ll live here as we can! But, good God, what’s a woman To weigh one way or another when the question’s only How to save the house of Montoya, and saving that, Save all of you? HERMANO And why should our winning or losing Depend on Felipe? He’s but one man among us And a young soldier . . . MARTINEZ You haven’t seen that yet? That Montoya no longer governs Taos? . . . That you . . . All of you . . . hold your places here only so long As the peons think you worth fighting for? You heard What Raquel said . . . Felipe must not die! You thought nothing of it. She was only a woman . . . Unworthy to give you counsel, but she spoke for all Taos . . . And all Taos waits at your gate to hear the answer . . . MONTOYA They heard my answer! MIGUEL Pablo, there’s truth in this. MONTOYA [_To_ Martinez] I think you’d rather the ricos Were gone, and the town was yours to rule as you pleased, Federico-fashion! MARTINEZ Have you known me so long, Pablo . . . and you can believe that? HERMANO It’s true, if Felipe Could live, Don Pablo . . . MONTOYA Am I alone among you? Fernando? FERNANDO Speak to Felipe, Don Pablo. Too much Depends on this. MONTOYA I am alone. FERNANDO It’s true They govern us now. If they find us unworthy to die for, Why should they die for us? And they won’t do it. MIGUEL No. [Montoya _regards his guests silently, making up his mind_.] JOSEFA How can you ask it of him? How can you dare To ask this of Montoya? MONTOYA Be silent. JOSEFA I know When to be silent. I’ve hated him in my time, And also I’ve loved him . . . but there’s not a man among you, And not one outside, with half his strength or courage . . . And yet you dare ask him to humble himself before His people and his son! MONTOYA Every man asks What he must to save himself. Well . . . I can give up To Felipe . . . to save the city. I’ve lived enough To face that much. I’d rather Felipe lived. This is no longer my city, but Felipe’s. Arrange it as best you can. I leave this to you, Hermano. Call him in. [_He turns slowly and goes out._] HERMANO [_To_ Andros] Bring Diana first. [Andros _goes out and returns with_ Diana.] You must not be frightened, Diana. Stand here . . . and let me ask you only Two or three questions. You’re not to be punished, neither You nor Felipe. It’s not a thing forgiven Easily, that you’ve forgotten a pledge Sworn to Montoya, but there’s nothing for us to do But erase what’s happened. Can you forget Felipe Utterly, Diana? DIANA No. HERMANO But you Will promise to be a true wife to Pablo Montoya In word and deed? [_There is no answer._] You must answer yes to that Or we can’t save him. DIANA Yes. HERMANO And whatever has passed between you and Felipe Is cancelled and ended? DIANA Yes. HERMANO Why, see now, the world Is yours again to live in. This is not so bad, You’ll find . . . to trade a first maiden inclination For a whole world. Let us have Felipe, Andros. [Andros _goes out_.] You need not stand now, Diana. That’s the last question, And Felipe’s to live. [_She sits._] MARTINEZ Are you so sure of that? Montoya meant to give Diana up To Felipe. He said as much. Do you mean by these questions That Diana goes to Pablo? HERMANO I do mean that. And why not? What we want is to save Felipe . . . Does it matter how? MARTINEZ Diana will promise whatever She must to help him . . . but he won’t surrender her . . . He’ll choose to die . . . HERMANO I think not. MARTINEZ He’ll choose to die . . . And you’ll be driven to threaten him. If he still Refuses . . . HERMANO He won’t refuse. [Felipe _is brought in_.] Felipe, it’s been decided That we must go back to where we were . . . blot out What was said here . . . and what led to it. If we do that Our lives can go on as before . . . if not, this night Will leave terrible scars on all of us. What we could do To palliate your offense, we’ve done, and will do, Not only for your sake, but for your father, And the name you bear in this province. If you will promise To put Diana out of your mind . . . why then Nothing will be held against you. I’m delegated To put this to the question. Answer wisely, and keep Your place in our hearts and our city. You’ll do this? FELIPE Yes, if I can. HERMANO Then first . . . FERNANDO Ask him first what there’s been Between him and Diana. FELIPE Senors, if my father Questions me I’ll answer whatever he asks. Let him ask me himself. HERMANO He left this to us. FELIPE As to Diana . . . I knew she was my father’s . . . But I did love her . . . and do. HERMANO She loves you? FELIPE Yes. HERMANO But you’re willing to relinquish her? FELIPE I am a prisoner, Don Hermano. Why should I be asked To relinquish Diana willingly, when you know You can compel me to do whatever you like? [Montoya _re-enters and waits in the rear_.] FERNANDO Because you must live! And your father and you must both live, And live here in this house! She will be his wife! Say something that will make us understand That this sickly love is ended, before it ends Our hopes in you! FELIPE How can a man promise that? FERNANDO He can promise whatever he has to! FELIPE I have no heart To oppose my father. . . . FERNANDO Then why do you oppose him? That’s what you’re doing. We ask only your promise! FELIPE [_Impatient_] I give it! MONTOYA Never mind his promise . . . I ask No promise from him, nor from her. I have this to say, Which I should have said before. Let the north come down. . . . And all the devils to fight on its side. . . . Let the peons Yell at my gate till they’re speechless. . . . Let all of you Warn me as you have . . . this is still my place And my house and my city! Let him promise or not As he likes, he’ll do what’s required of him while he’s here, And Diana likewise! Let the north come down! I’ll be as I’ve always been . . . and live as I’ve lived. . . . And fight as I’ve fought . . . ! Let Felipe live! You might Have spared your promise. I meant to let you live, Promise or not. . . . [_He turns._] FELIPE Pablo, let me speak to you! MONTOYA Why, speak. FELIPE I? MONTOYA Yes. FELIPE You’ve forgotten my name then, Pablo? MONTOYA What do you want to say? FELIPE Why have we grown So far apart? When I looked for you on the mountain . . . I loved Diana then. . . . MONTOYA You looked for me hoping You’d never find me. FELIPE Pablo . . . MONTOYA Are you afraid? Another Federico? FELIPE We were always friends, Pablo . . . even tonight . . . tonight in this room, And though I seem to blame for what’s come between us, I can’t help trying to tell you . . . that I’m sorry. . . . And I wish we could be as we were. . . . MONTOYA He is a coward. FELIPE And I’m no coward! I tell you that when I sought you on the mountain I sought you because I loved you! I sought you as you Might have looked for me if I’d been lost! If I’d found you Dying there in the snow I’d have given my life To save you! Yet I knew then that I loved Diana. . . . And more than I loved you . . . and that if you lived You’d keep her from me! . . . It was you who were wronged By my loving her . . . not I . . . but I never chose it! Never in my life have I wanted to hurt you Or thwart your wishes! Only, now, since we’re caught In this thing together, and neither can help it, why Are you suddenly a stranger? MONTOYA Because I know What happens when two men meet face to face And want the same woman! Brothers they may be, Or father and son, but they hate each other! You Both hate and defy me. FELIPE Pablo, does what I say Sound like defiance? MONTOYA I have no more desire than you For a feud between us. I loved you as you loved me. I want to love you now. But there’s no tie Between two men that holds when both of them love A woman, and one has her. This will happen to us. . . . Be sure of it. It happens now in your eyes. You wished me dead in the snow. You tried not to wish it, But you wished me dead. FELIPE It’s true. I tried not to wish it, But I did wish you dead. HERMANO He’s given his word, Don Pablo, and he’ll keep it. Give him your hand. He’s a better son than you think. Let it go at that. MONTOYA [_Turning away_] Yes. Let it go. FELIPE And I’d rather not give my hand, And rather it didn’t end this way. My father Has an instinct in such matters. MIGUEL What do you mean? FELIPE I’m a son of Taos. I’ve been loyal to Taos, And its ways are deep in my blood, but still it’s true That I’m a rebel at heart. Somewhere within me Something cries out: Let us go! Let us be free To choose our own lives! Sometime, if you let me live, It will be the worse for Taos that I’m alive. . . . HERMANO Damn you, be still! FELIPE No . . . I tell you my father Makes no mistakes in such matters! I’d be a traitor To my house and my cause if I lived. I tell you that To save you from it! MIGUEL Do you want to talk yourself Into dying quickly? FELIPE It may be a better death Than I’d have later, better than I think’s likely To come your way, Don Miguel . . . or any of you! I don’t know when it will come . . . you’ll have victories, Perhaps, for a while, but before they’re through with you The armies of the north will crush you in And drive a last few of you to this crag to die And keep you here till it’s ended! Till it’s all ended, The last of Taos, the last of Spanish power North of Mexico city! FERNANDO And you’re for the north, That’s what you mean? FELIPE How could I be for the north When all my people, all my friends, and my life Are rooted in Taos? I’ve fought on your side and mine, And I’d do it again . . . but still I’m not so blind But what I can see that if the laws of the north Were to judge between us, my father would be in the wrong, And I’d be held right! And it would be just! But here A girl goes where she’s sent by her father, and when She’s chosen, by an old man who can pay for her Or who has her at his mercy, she’s his, and a slave, And all the women are slaves here! (That’s why you can’t trust them!) And the men are slaves! Yes, I am myself no better Than a peon, nor any of you! I’ve earned the right To say this. I’ll die for it! [Diana _rises_. Montoya _turns on_ Felipe.] MONTOYA When a woman once bears a bastard She’ll bear more than one, count on it! Federico’s mother Was also yours, and all three hated me, And all three tried to betray me! You think I don’t dare To send you after them . . . you think we’ll pick Some justification for you, and cover it over Because you’re only half guilty. If you were a man Worth saving you’d be one thing or the other. This Is too cowardly to be treason! Half-coward, half-traitor, More snake-like, more deadly, more to be despised Than Federico himself. You’ve chosen sides Against a man who can take a handful and make it An army by what he dares! They’ll come to me . . . Come fawning to me, they’ll crowd under my banner And fight against their own, these northerners, When they know the man I am! You should have known it, And you’ve failed as a man and my son! Hermano! HERMANO Felipe! Do you want to drag us all down? FELIPE Let him free Diana To make her choice! And remember that Federico Was right about the north! [_A silence._] HERMANO Are we in accord in this? [Miguel _and_ Fernando _assent silently_. Hermano _turns to_ Montoya.] MONTOYA Leave them to me. [_The stage empties of all save_ Montoya, Felipe _and_ Diana.] Why, yes, Diana may choose. Do you choose Felipe . . . or me? DIANA To go with Felipe. MONTOYA You know what it means? DIANA Yes. FELIPE There’s no question of that. MONTOYA She’ll choose for herself. FELIPE Diana! DIANA Would you have me live . . . And live on after you, a slave? They say I’m a northerner by birth! A woman of the north Chooses the man she’ll follow! I have my own right To choose to die! MONTOYA And since you choose Felipe . . . I was a traitor to myself to want you With your northern blood and face. It’s just as well. [_He sets out a carafe and glasses._] It’s fitting to end it With her own potion . . . and go on alone. [_He pours two glasses and takes out a little phial._] Drink quickly! Let me see the last of her spawn Put under ground! Take with you my own treachery to myself. . . . This woman that stands here . . . and let me go out alone To face my world again! [_He lifts the phial, but instead of pouring it in the glasses, holds it in his hand._] Wait, wait, I’d forgotten! [_He sits._] There’s something I’d forgotten. It was a dream. Is this a dream that we were standing here And I had sentenced Felipe? I’ve dreamed it before. There’s something unreal about it. Don’t drink, I said, It may be poisoned! [_He starts up._] Do you know what’s true? I’m old and alone, and my people fall away, And the race is old and nerveless. The village is eaten With doubt of me and my purpose. They’re all decayed Under the skin. They bloom like health, but they’re rotten And dying out. Why should they fight the north? They’d rather surrender, and live here under Martinez. . . . And so would Felipe. I killed Federico, but that Was a last effort, desperate. No strength. Till now I thought I was young. I’ve always been young, The first man in the field . . . in any assembly First there too. To youth and strength belong The whole of the earth, and I’ve believed them mine Because I was strongest. The eagle lives long, but at last He grows old, his sight is dimmed, he misses His stroke, and goes hungry on his crag. This thing Comes to them all, eagle and kite alike, And now it comes to me. I had a dream That Spain was old, and her arts and ways were worn To mockery, threadbare . . . her power was taken away. . . . Her kings were impotent on her throne, her people Impotent at home. The barbarians Lifted new standards . . . that which once was right Was right no longer, but wrong. The children’s words Were taken for truth . . . the old men stood aside And listened to this new wisdom. A new race came And said, There is a God over you who sets A term to all things, to man and nation alike, And your term is up. Felipe came to me And said, love is not bartered in the new lands. . . . Give me back my love. But this was no dream, Or else my dreams are true. Our race is done. The Spanish blood runs thin. Spain has gone down, And Taos, a little island of things that were, Sinks among things that are. The north will win. Taos is dead. You told me this before, But I wouldn’t believe it. I believe it now. Yes, and it’s right. It’s right Because what wins is right. It won’t win forever. The kings will come back, and they’ll be right again When they win again. Not now. The gods are weary Of men who give orders, playing at God. And why Should a man, an old man, looking forward to nothing, Take pride in breaking men to his will? Meanwhile The years creeping up at his feet, and all he has Going down around him? And then to stand there, alone, Helpless . . . an old man, playing at God. Go out, Leave me, be together, be free! In all Taos There’s only one man who could not surrender and live, And his heritage is darkness. I drink to your mother. She had her way. [_He drinks from the phial._] FELIPE Pablo! MONTOYA And you have yours. FELIPE Never! Pablo, believe me! Hermano, Miguel. [_He goes to the door._] MONTOYA Stay here . . . I need no crowd around me to die! What do you want to do? FELIPE To bring help. . . . [Martinez _enters_.] MONTOYA It’s useless . . . If that’s what you mean. I’d rather you were here, Felipe. Forgive me. It begins to blind me already. [_He reaches for a chair and sits._] FELIPE If I could help you . . . DIANA Or I. [_She kneels beside his chair._] CURTAIN TRANSCRIBER NOTES Misspelled words and printer errors have been corrected. Where multiple spellings occur, majority use has been employed. Punctuation has been maintained except where obvious printer errors occur. [The end of _Night over Taos_, by Maxwell Anderson.]