Stage in complete darkness. At the stage right hand corner we see a light that looks like the light that would be cast by a round stained glass window of an old church in the noonday sun. In the shadow there is a wooden chair in which FR. EPHRAIMsits wearing a white cassock. We should not see him clearly, but we should realize that he is an old man and he seems to be asleep. PAYEenters and puts down a suitcase and shoulderstrap tape recorder. He looks at the darkness, steps into the light. He sees the old priest, but is afraid to wake him, so he waits.

EPHRAIM: (Clearing his throat as he speaks.) What is it?

PAYE: Startled. What?

EPHRAIM: What can I do for you?

PAYE: I'm looking for the priest.

EPHRAIM: You have found him.

PAYE: Father Ephraim?


PAYE: It's Carlos. Carlos Rabel. The one they called Paye. Carmela Santos and I were the ones who printed those fliers against the banning of sermons . . .?

EPHRAIM: My sister Carmela wanted to marry a colored man, but mother would not allow it. Later when Mama was blind she married him. Darkness is a great equalizer. Pause.

PAYE: I used to be an altar boy.

EPHRAIM: Remembering suddenly. Once you were trying to light the top candles last and you set your sleeves on fire . . .!

PAYE: Delighted by the recognition. Yes, that was me!

EPHRAIM: I'm sorry. I fell asleep on my meditation.

PAYE: I thought the church was empty.

EPHRAIM: I was dreaming of dust. Everyone was dust and the wind was blowing us away. I was supposed to be meditating on the five glorious mysteries. Sighs. I fell asleep

PAYE: Maybe I could come back another . . .

EPHRAIM: You're back?

PAYE: For a visit.


PAYE: I live in Toronto. Canada.


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Cuban American Theater


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