The setting--very simple and schematic--will show a hangar and, toward stage left, the interior of a small airplane, with six seats plus that of the pilot. CHEO CALLEOCHO, dressed in camouflage fatigues, with his shirt open in such a way that an undershirt is seen, with several gold chains around his neck, among them one with a large medallion, an identification bracelet on his right wrist and a large watch on his left wrist, is seen inspecting some boxes and bundles that are in the back of the plane. He might hum a song. PHILLIP BIGMOUTH, dressed in a polyester suit, with a tape recorder hanging from his shoulder and a microphone in his hand, enters from stage right while interviewing MR. BLOND, who carries several files in his hands.

MR. BLOND: (With pursed lips in a prissy attitude.) I don't know how you were allowed in here. I gave strict orders that the press should not find out. It is a secret mission.

BIGMOUTH: Don't get mad, friend. I'm just doing my job. Besides, people have a right to know. Aren't you always talking about human rights in this country? Don't you believe in the rights of a radio reporter?

MR. BLOND: Of course, but some things have to be secret. (Eyeing his watch.) Also I believe in being on time . . .

BIGMOUTH: While we wait, I would like for you to make some exclusive statements to The Voice of Exile.

MR. BLOND: I've already told you. This is a secret mission. I can't speak on the radio. Don't bother me any more, please . . .

BIGMOUTH: Look here, bud, let's make a deal. You give me the interview now, and I give you my word that I won't broadcast it until you return from your mission.

MR. BLOND: I don't know . . . Phillip . . . I don't know . . . (He buries his head in the files.)

CHEO: (Approaching BIGMOUTH.) Hey, big boy! Any problems?

BIGMOUTH: Oh boy! Am I glad to see you here! Can you give me something on this mission for the seven-o'clock-news? That dumb gringo is full of . . . mystery.

CHEO: (Puffing-up his chest.) Well, old man, this is very serious business. You know, we do have to be careful, the infiltrations . . . all have to avoid a repetition of 1961.


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Cuban American Theater


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