Barrio Hollywood.

Romero, Elaine

About the Play

When I first encountered Barrio Hollywood, I became very involved in its reading. Many recent Hollywood movies, as well as television series and specials, depict boxing as a main ingredient in Chicano family life. And even though I have watched such movies and television programs, I still don't understand why Hollywood and TV producers use boxing as the main element to represent the lives of Chicano families. The truth is that it has been done several times, most often unsuccessfully.

Set in Mexico and Arizona, Barrio Hollywood is the story of a mother and her two grown children. The older child, a son, is a successful boxer. When tragedy occurs, an outsider becomes "part of the family," and the lives of all involved are severely transformed. But unlike the cliche movies and TV series that use boxing as the driving force for a story, this play depicts boxing as a symbol of strength and survival and as a means to bring the characters together. At first, boxing seems to be the impetus that will propel the characters on their own journeys, but, surprisingly enough, it becomes secondary, a shadow in the background, and a symbolic image that is used throughout the play. Through unexpected twists and events, the playwright creates a mystery that formulates questions of morality, duty, loyalty, and love. By the end, the reader is left with a multifaceted understanding of the lives of each character and pondering one main question: "What would I do if I were in that situation?"

Elaine Romero's Barrio Hollywood was developed at the San Diego Repertory Theatre through the National Endowment for the Arts/Theatre Communications Group Theatre Residency Program for Playwrights, granted as part of the Calafia Initiative from 1997 to 1999. In 1998 the play was formally read several times: at Colorado University as part of the World Affairs Conference under the direction of Leigh Kennicott; at Brava! for Women in the Arts with Karen Amano as dramaturg; and at Damesrocket Theatre in Tucson, Arizona, under the direction of Caroline Reed, where the play was named "Best New Work" by the Tucson Weekly. In 1999 the San Diego Repertory Theatre hosted a workshop on the play, with William A. Virchis directing and Nakissa Etemad as dramaturg. Barrio Hollywood had its professional world premiere at New Theatre, Coral Gables, Florida (Rafael de Acha, artistic director; Eileen Suarez, managing director), on October 14, 2004. Finally, the play was featured with a stage reading in the Phoenix Theatre's New Works Festival, under the direction of Arizona Theatre Company's associate director, Samantha K. Wyer.

For additional cast and production information, see Appendix A.

CHARACTERS

ALEX MORENO: A twenty-four-year-old Latino boxer

GRACIELA MORENO: Alex's older sister. A twenty-nine-year-old ballet folklorico dancer (When her lines are in ALL CAPS, she raises her voice. There is no build to these moments.)

AMA: The pretty forty-eight-year-old mother of Alex and Graciela. Sometimes a little girl who never grew up. Has a difficult time facing things.

MICHAEL: A white man in his early thirties. Beautiful, but he doesn't know it. Self-deprecating. He is a medical resident.

TIME AND PLACE

1999; Kino Bay, Sonora, Mexico, and Barrio Hollywood, Tucson, Arizona

SET

A flexible space upon which the play takes place. Scenes should move fluidly. Realistic set pieces should be kept to a minimum.

[ILLUSTRATION OMITTED]

Act One

SCENE 1

Cinco de Mayo. Lights come up on ALEX MORENO on one side of the stage in a Mexican boxing ring, indicated by a Mexican flag, and GRACIELA MORENO at Kennedy Park prepping for her dance. She wears a white dress with red trim.

She lights the candle on her headdress. ALEX warms up for his fight with his back to the audience. They start performing simultaneously. GRACIELA performs the folklorico dance, La Bruja. GRACIELA'S dance and ALex's fighting are both slow and rhythmic. Their performances continue until ALEX takes a blow to the left side of his head. He falls, but slowly gets up. He slugs some more until he gets knocked unconscious. GRACIELA looks over at him, seeing across the limitations of physical space.

Soft blue light as GRACIELA holds her unconscious brother in her arms. The candle on her headdress is still lit. A distinct echo of ALEX's little-boy laugh against pitch black.

SCENE 2

Later that day. White lights up to an institutional bright. The hospital. The light accentuates a brick/partial lime green wall--la migra green. AMA lays a pretty handkerchief on the desk/table. She whips a small votive candle in blue glass out of her purse. She lights it with a cigarette lighter. She fans herself with the smoke. She takes out a shaker of salt, shakes a handful of salt into her left hand and throws it over her right shoulder. She twirls three times. She claps her hands together. She puts them together in a prayerful position. She looks in both directions. Assured that the coast is clear, she pulls her rosary out of her bra and begins running the beads through her fingers. Whatever her movements are, she is clearly partaking in an idiosyncratic, eccentric ritual.

AMA: I'll say a rosary every day. I'll go to mass every morning at five o'clock. I'll go to confession twice a week. Make it three. I'll fast every Friday, and not only during lent. For just this one thing, God. I don't ask for much. You know, I never do. I'm happy with what you give me. Muy contenta with your plan. Tu camino loco. (She laughs.) We know. (A disturbing vision undercuts her laughter. ALEX appears behind the scrim. The boxing bell rings, not once, not twice, but three times. Each time corresponds to a blow ALEX takes to his head. It is as if AMA is stuck in that moment. She grabs her head.) But that picture in my mind, en mi mente. Mi hijo. Flat like that. You can change that picture. I know you can. Alex will be fine and will kiss me on the cheek. (Points to her cheek.) Right here. Right, God? (Beat.) Fifteen years with my husband. And fifteen without him. Years where he just drifted off. We waved good-bye to him from the front porch, me and mis hijos, but he did not turn around to say good-bye. My husband, Ernesto, the only husband I'll ever have. Oh, I am faithful to him. Like I promised. Even though he is not faithful to me. Yeah. We gotta a deal, You and me.

AMA gives God a knowing grin. MICHAEL enters.

MICHAEL: Mrs. Moreno?

AMA: Yes?

MICHAEL: We've been checking your son.

AMA: Yes?

MICHAEL: The doctors are looking him over right now. (MICHAEL references ALEX'S chart. He seems awkward in his role as physician.) Currently, his condition is--indeterminable.

AMA: I don't know what you mean.

MICHAEL: (Not sure how to simplify.) Um ...

AMA: (Gesturing.) Find a little word. A tiny word.

MICHAEL: I--

AMA: I want to know what's happening with my son!

GRACIELA: (Offstage.) (Responding to nurse.) Guadalupe Moreno. My mother.

GRACIELA walks in stunned, white, scared. She wears her dance costume. MICHAEL immediately takes notice.

MICHAEL: (To GRACIELA.) Hello, Miss.

AMA: My daughter.

GRACIELA: I--I--I--

MICHAEL: Just take a couple deep breaths.

GRACIELA: I--saw him.

AMA: Mija, could you explain what the doctor means? I don't know what he means.

GRACIELA grabs MICHAEL'S hand.

GRACIELA: Hallway--bed. Door. They wouldn't let me in.

MICHAEL gently removes GRACIELA's hand. She sinks into a chair.

AMA: Mija, mija, mija.

GRACIELA: He--he--he--

AMA: Shhh.

GRACIELA: (To AMA.) He--can't--talk.

GRACIELA breaks out crying. MICHAEL hands GRACIELA a tissue. She blows her nose.

MICHAEL: There's no evidence of that.

AMA: Of course he can talk. He's been talking since he was eighteen months old. You should know, you taught him yourself. (Imitating her.) Cookie, taco, refrigerator. (To MICHAEL.) His third word--refrigerator--she taught him that.

GRACIELA: I screamed, "Alex. Alex!" But he doesn't hear. Me. (Pointing at herself.) Me.

MICHAEL: You need to believe he can hear you. It's very important you believe he can get better. Do you?

GRACIELA: I--

MICHAEL: Do you believe?

GRACIELA: I--

AMA: (Innocently.) I believe.

GRACIELA: He can't say his name.

MICHAEL: It's really early to jump to those kinds of conclusions.

GRACIELA: He didn't answer ... today. He didn't say, "Yes, Gracie. I can hear you. I'm still here." (To MICHAEL; piercing.) Is he still there?

MICHAEL: (Taken aback; beat.) I--we don't know. (Quickly.) When the swelling goes down, we'll be in a much better position to answer your questions.

GRACIELA: What swelling?

MICHAEL: In the brain. (Quickly.) Now, don't worry. Brain swelling happens all the time with athletes.

GRACIELA: (Overlapping with MICHAEL.) God.

AMA: Shh. We're at the hospital.

GRACIELA: (Pointing.) Your son's dying in there.

MICHAEL: He's not ... dying. He's stabilized.

GRACIELA: (Numb.) You saved him?

MICHAEL: (Proudly.) I was on the emergency room staff when they flew him in. I guess you can say that.

GRACIELA: (Rocking; still numb.) I heard it on the radio. They play the radio between sets at the park. They were playing a new song called "Cheech's Chones" for Cinco de Mayo and everybody was laughing.

AMA: (Singing.) "He don't wear no chones. Naa."

MICHAEL: And chones are?

AMA: Underwears.

GRACIELA: And then they made this announcement, about Alex Moreno, the state welterweight champion--how he was illegally boxing in Mexico and he got caught. 'Cause God doesn't let you cheat! (Calmer.) It was a news flash. (Upset.) About my brother. And everything they said, doctor, did not give me the impression--THAT HE WAS OK!

MICHAEL: "OK" would be too strong a word.

GRACIELA: "OK" would be a lie.

MICHAEL: It would be.

GRACIELA: He got fucked.

MICHAEL: (Under his breath.) It appears he did.

GRACIELA: (Finally, the truth.) Thank you.

AMA: (Distracting herself.) Doctor, you don't wear no chones neither, do you?

MICHAEL: I-- (Blushing.)

GRACIELA: When will we know?

MICHAEL: About my underwear?

GRACIELA: About Alex.

MICHAEL: I'm not sure. There may be complications.

AMA: You have to let me visit. I always can cheer him up. He says, "Ama, you make me laugh sooo hard I cry." (Reality seems to be dawning on her.) I want to see my little boy.

MICHAEL: (To AMA.) You can see him as soon as it's safe, Ma'am.

GRACIELA: After the swelling goes down?

MICHAEL: Then.

AMA: I'm not leaving here until I see my son. Go get him, Graciela. Wheel him in.

GRACIELA: We can't, Ama.

AMA: Why not?

MICHAEL: It's best not to move him.

AMA: Bring him in here. Or I'm going there.

She gets up.

MICHAEL: Mrs. Moreno. Your son is in critical condition.

AMA: (To GRACIELA) Why can't you do what I say? Wheel him in. (Demanding like a child.) Why not? Why not?

GRACIELA: They don't know what's wrong with him.

AMA: What?

GRACIELA: It could be really bad. That's what they said on the radio. Wheelchair. Crippled. FUCKED UP.

AMA: You don't need to yell.

GRACIELA grabs MICHAEL by the collar.

GRACIELA: I want to know what's wrong with my brother and ! want to know now!

MICHAEL: We have no information.

GRACIELA: Well, maybe if you got your ass in there and started taking some tests, YOU WOULD.

AMA: Mija. Don't lose control. (To MICHAEL.) You don't know what happens when she loses control.

GRACIELA: I GO CRAZY!

GRACIELA tightens her grip on MICHAEL's collar.

MICHAEL: (Constricted breathing.) Stop.

GRACIELA releases his collar.

AMA: She gets a little upset. (Loud whisper; to MICHAEL.) It's that alcoholism. From her father.

GRACIELA: I'm not an alcoholic!

AMA: She's not an alcoholic.

GRACIELA: I'm not an alcoholic. Geez!

AMA pulls GRACIELA into herself. Resting GRACIELA's head on her shoulder, she pats GRACIELA's head.

AMA: We're gonna get over this. We've been through worse. Like when your father left.

GRACIELA: (Matter-of-factly.) My father left.

AMA: So sad. The kids cried for two years, ?que no? (Matter-of-factly.) I'd run out of candles on my altar. That's why he left. Oh, he didn't know that was the reason, but that was why.

GRACIELA: So sad.

AMA: You got to keep those candles burning or Nuestra Senora won't look down.

MICHAEL: I'm sure after we've had a chance to examine him we'll realize that everything is fine.

GRACIELA: (Still a bit dazed.) I like that song, do you?

AMA: You should hear her sing, doctor. She played Maria in The Sound of Music at Catholic school. Well, she was the understudy. And the other Maria got laryngitis. (Singing with a laryngitic voice.) Y canto asi. (Normal.) And they sent Graciela up. And she sang like an angel. Better than that Anglo girl.

GRACIELA: Ama.

AMA: You did. And everybody said, "Why didn't they give Graciela that part in the first place?" And the nuns, and I don't ever forget this, because we gave las monjitas mucho dinero. They said they just couldn't see a little Mexican girl playing Maria. Her name was Maria. (Louder.) She was a Mexican girl. Son pendejas. And they never taught you nothing, except que el ingles was mejor que el Spanich.

GRACIELA: (Beat.) We'll sing that song for him. We'll bring him back to the world with something he loves.

AMA: Something he loves.

GRACIELA: Boxing. He loves her like a lover, he told me. He has no woman except her.

AMA: He has us. He doesn't need a woman.

GRACIELA: (Quoting ALEX.) "Boxing is in my blood. It's what keeps me alive, Little Sis."

GRACIELA chokes up.

MICHAEL: Everything's going to be fine. Candles or no candles.

GRACIELA looks up at him.

GRACIELA: I believe in you.

GRACIELA's and MICHAEL'S eyes meet. She entrusts herself to him.

AMA: The candles are very important. The fire catches La Virgencita's attention. Como una estrella. The light guides her to see into your house--then your heart. That's why I always keep my candles burning. Don't I, mija?

GRACIELA: Oh she's a nut about it. The house glows like a church.

GRACIELA smiles at the doctor, but AMA seems to be realizing something important.

AMA: Mija, you stole my candle today. (GRACIELA seems taken aback.) Para tu danza. You took la proteccion!

GRACIELA: That's crazy!

AMA: You did. (Beat.) Doctor, I must see my son.

MICHAEL: You can see him through the glass.

GRACIELA: Ama, the Virgin wouldn't punish you like that.

AMA: It's an emergency, !Hijole!

GRACIELA: Ama, don't overreact.

AMA: I want to see him in his room. Right now!

MICHAEL: Three minutes.

AMA: Five.

MICHAEL: This is not a negotiation. I'm breaking the rules.

AMA quickly applies her lipstick, upset.

AMA: Estoy lista.

MICHAEL: Excuse me.

AMA: (Harried.) I'm ready.

MICHAEL: Cinco minutos. Nomas. (GRACIELA looks surprised at the Spanish.) Head nurse taught me that. It's tough to get you guys to leave your family members alone.

GRACIELA: Well, we don't just give up on each other.

AMA stands up, grabs the doctor by the hand.

AMA: (To GRACIELA.) This is your fault.

GRACIELA: They're just candles!

As AMA drags MICHAEL out the door, he looks back.

MICHAEL: You just wait right there. Make yourself at home.

GRACIELA: OK.

MICHAEL: (As they leave.) The swelling makes it look much worse than it is.

GRACIELA drops her head in her hands, wringing her hair. She looks up. Her song is more along the lines of a show tune than a traditional Mexican song.

GRACIELA: (Singing.) Everything is fine. Everything is fine. (Launching into the tune loudly.) EVERYTHING IS VINE (softer) if only I'd believe it. (Belting it out.) EVERYTHING, EVERYTHING (spoken) is fine.

GRACIELA turns her head in both directions to look for listeners. Blackout.

SCENE 3

Out of time. The stage is black. AMA lights a long match. It burns as a light comes up on her. She lays a blue star-studded cloth on the floor. Wrapped in the cloth are a round box of long wooden matches, a Virgin of Guadalupe religious candle, and a shaker of salt. She lights the candle, fanning herself with the smoke. She shakes a handful of the salt into her left hand and throws it over her right shoulder. She twirls three times. She claps her hands together. She puts them together in a prayerful position. When she looks up from the prayer, ALEX and GRACIELA appear in separate light on either side of her.

Each person partakes in his/her own sacred movement, boxing and dancing, respectively. There is something very dancelike about ALEX'S boxing and something very boxinglike about GRACIELA's dancing.

A game ensues', the three begin to move into each other's spaces, taking on each other's movement whether it be praying, boxing, or dancing. The frenzy ends when all fall to the ground as in a children's game. ALEX's little-boy laugh echoes in voice-over, ending abruptly.

GRACIELA: You vanished. Like breath. I want to feel you again inside my lungs, like the steam of the peppermint tea Ama used to give us when we were sick. Because I am sick. So tired. So much older than me. I look in the mirror and watch myself turn thirty. That's when you finally, after all those years, become a real woman.

SCENE 4

Two months after Cinco de Mayo. Lights up on Moreno home. AMA and MICHAEL sit at the kitchen table. ALEX lies flat on a hospital bed with wheels. An intravenous feeding tube is hooked up to his arm.

MICHAEL: They have full-time nurses who really know what they're doing.

AMA: But will they give him love?

MICHAEL: They read to the patients and everything.

AMA: What do they read?

MICHAEL: (Stumped.) I'm not sure.

AMA: I don't want them reading him some gabacho story that he doesn't understand.

MICHAEL: I'm sure they'll read him what he likes.

AMA: If he can't talk, how will they know what he likes? (Disgusted.) Nursing homes.

(MICHAEL has no response. GRACIELA walks in, immediately checks on ALEX, adjusting a pillow to make him more comfortable.) Here's the girl.

MICHAEL: Hi.

GRACIELA: (Shyly.) Hi. (This is obviously more than a house call. There seems to be some attraction here.) Are you sure it's OK--you coming over here to visit?

MICHAEL: Alex isn't my patient anymore. I waited two whole months to even ask you out.

GRACIELA: I'm glad you did.

MICHAEL: You're glad I waited?

GRACIELA: No, called. (Beat.) I loved that place you took me on Tuesday night.

MICHAEL: Club Congress?

GRACIELA: The girl in the cage. Really wild! I'd never have the guts to dance half-naked and crazy like that. And she was a homegirl.

MICHAEL: (Embarrassed.) I didn't know they'd have people doing that there. (Quickly.) I loved your dance performance. Thanks for inviting me.

GRACIELA: Well, when you called to follow up on Alex, I was really touched.

MICHAEL: I liked the way you had your hair up.

GRACIELA: Oh, that wasn't my hair.

MICHAEL: It wasn't? (Disappointed.) Oh, I thought--(it was).

GRACIELA: I used to have hair like that. (Wanting to please.) I could grow it out again.

MICHAEL: It was really pretty on you, even if it was fake.

GRACIELA: Thanks.

MICHAEL touches GRACIELA's hand, intertwines his pinkie with hers. They just stare at each other. They clearly want to kiss. AMA has to split up this mutual admiration party. She clears her throat.

AMA: She changes the IV. She knows how to do it. Those mechanical things confuse me. I've broken everything Alex bought me.

GRACIELA: (Explaining.) She broke the garbage disposal in three days. On avocado pits.

AMA: (A loud whisper.) I was making guacamole.

MICHAEL: (Suddenly serious; to GRACIELA.) So, he's been the same since he left the hospital?

GRACIELA: If you want to take a look--(at him).

AMA: She's the one to ask. She watches him all day long. She won't even look up at the television.

GRACIELA: (Embarrassed.) Ama.

MICHAEL: It's beautiful. You care.

GRACIELA: Well, I know my brother. Like when he boxed, he could beat the biggest guy in the world as long as there were people cheering for him.

AMA: (To ALEX.) Go, Alex!

GRACIELA: (Back to his question.) His eyes.

MICHAEL: What about the eyes?

GRACIELA: They open and shut. Once in the morning. When I lift the blinds and the sun gets in his face. And again after dinner.

MICHAEL: That's great.

GRACIELA: Me and Ama have been trying to figure out what it all means.

AMA: I told her--it's a sign from God. When Alex wakes up, he'll walk over and give me a kiss right here. Won't you, mijo? (AMA waves at ALEX.) !Hola! Graciela: And his toes. I saw him wiggle his toes a few times. That counts, doesn't it?

MICHAEL: Wonderful.

GRACIELA: I knew these were good signs.

AMA: I started lighting La Virgen's candles again to make up for that other time. On Cinco de Mayo.

GRACIELA: He gets better every day.

AMA: Give La Virgen time. Con tiempo, ella siempre perdona. With time, she always forgives.

MICHAEL: I'll have to talk to the neurologist about these signs, but I find any movement at all very, very encouraging.

GRACIELA: Encouraging. (To AMA.) Did you hear that?

AMA points at the casserole dish in the middle of the table.

AMA: Have some enchiladas. Graciela made them. It's her specialty. Actually, it's the only thing she knows how to make.

GRACIELA: (With a smile.) That's not true.

AMA: She uses a little mole. You won't taste them like that out of the freezer section.

MICHAEL: (To AMA.) You first.

AMA: No. I'm just having a little salad.

AMA reaches for a small bowl of salad, crosses herself, and begins eating.

MICHAEL: You're not eating Graciela's enchiladas?

GRACIELA: Will you tell her that woman cannot live on lettuce alone?

AMA: I'm the only woman out of all of my sisters that doesn't have the diabetes. And you know why?

MICHAEL: You didn't inherit it.

AMA: No, you know really why?

MICHAEL: That's really why.

AMA: Because I watch my diet very carefully. What goes in and what goes out.

MICHAEL laughs.

GRACIELA: (Looking at ALEX.) When Alex is thirsty, I give him ice cubes. That's the highlight of his day. Sheer oral pleasure.

GRACIELA catches herself--she's embarrassed.

AMA: She takes good care of him. I tell her she should go to school to become a nurse.

MICHAEL: Are you going to become a nurse?

GRACIELA: The dance school is my dream. Passing down the dance the way it was done by our ancestors. In little villages all over Mexico. And never forgetting that it's all supposed to be fun. I'd forgotten that. But after Alex got hurt, I could hear him talking to me in my head. Like he was dead.

MICHAEL: You mean alive.

GRACIELA: I mean dead.

AMA: The dead talk to us, you know.

GRACIELA: And he told me, "Gracie, you need to have more fun." (Pained.) Because he loves me. And he wants me to be happy. He used to fill up this place with his laughing.

AMA: I think she should become a nurse. It's a good job.

MICHAEL: It's a solid job. You can work wherever you want.

GRACIELA: Like where?

MICHAEL: I don't know--New York, Miami, Michigan--

GRACIELA: Why the hell would I want to go to Michigan?

MICHAEL: I'm from Michigan.

GRACIELA: Oh, I see how this works. You know I just threw out that I'd consider nursing to make her happy and now she won't forget about it.

AMA: (Hurt.) Mija.

GRACIELA: Nurses, doctors, lawyers. Ama, we're from the most beat up street in Barrio Hollywood. We don't have the money to become those kinds of things.

AMA: Alex has a little money saved. I'm sure he'd want you to follow your dream.

GRACIELA: (Firmly.) My dream is to own a dance studio. (Softens.) I like being a dance teacher. It makes me happy.

GRACIELA walks over to ALEX's bed by the window and moves him.

MICHAEL: What are you doing with him?

GRACIELA: Giving him a different view.

AMA: He likes to watch the neighbors.

MICHAEL: Those vatos on their porch across the street smoking pot?

GRACIELA: It's part of his massage.

AMA: We give him a massage every night.

GRACIELA walks over to ALEX, focuses on him, starts massaging his arms. AMA massages ALEX's feet.

GRACIELA: It makes him feel more alive.

AMA: Because he is alive.

GRACIELA: (Sarcastically.) That's why he hasn't said a goddamn word in two months.

AMA: She gets a little upset.

GRACIELA: (Getting upset.) I do not get upset.

MICHAEL: Even for a few days, one of those homes might be nice.

AMA: Maybe he's right.

GRACIELA: We're not putting him in a home.

AMA: Listen to the doctor.

GRACIELA: He's a medical student.

MICHAEL: Resident.

AMA: It might be best.

GRACIELA: Alex is fine. He's got it made. He gets his massage every night at 6:30. Eats through that thing in his arm. He's just taking a time out. A breath. (GRACIELA takes a deep breath in and out. AMA and MICHAEL are transfixed by the breath as if ALEX's fate is hanging on it. GRACIELA lines up a row of religious candles on both sides of ALEX, lighting them one by one. There are two levels of window sills, so some of them are on each side of ALEX'S head. MICHAEL looks like he wants to ask a question. AMA stops him. It is a spiritual moment that should not be interrupted. GRACIELA puts her hands together, nods in prayer and returns to the dinner table.) (To MICHAEL.) I'm sorry. I just want him to get well.

MICHAEL: (Understanding.) I know.

GRACIELA: Maybe you could take a look at him--

AMA: After dinner.

GRACIELA: (Continuing.) I know you're qualified. You saved him and everything.

MICHAEL: (Not sure if he's been saved.) We did.

GRACIELA: It was the right thing to do.

AMA: Do you like the enchiladas?

MICHAEL: Yes. Delicious.

AMA: Why don't we feed some to Alex? He loves Graciela's enchiladas. (GRACIELA and MICHAEL look at each other uncomfortably. ALEX is not conscious enough to eat. AMA starts to put a fork full of food up to ALEX'S lips.) Eat up, mijo.

A magical moment as a red light comes up on ALEX. ALEX opens his mouth, licks the enchilada, smacks his lips, shuts his mouth.

GRACIELA: He moved! (GRACIELA and MICHAEL rush over. GRACIELA takes over the fork, starts trying to feed ALEX the enchilada. AMA hangs onto ALEX's feet, trying to wake him up. ALEX lets out a huge burp. End of movement. They all try to wake ALEX but to no avail. He's out again. The red light fades.) I believe. I believe.

AMA: Alex. Alex.

They all stare at ALEX, transfixed by what has just happened. ALEX doesn't stir. Lights dim slightly on the tableau for a moment. Then, MICHAEL begins to check ALEX'S vital signs. MICHAEL slows down. There is no further movement from ALEX. AMA seems the most distraught.

GRACIELA: It's OK, Ama.

MICHAEL: (Beat.) Do you think we all imagined it? (Beat.) That really was an amazing amount of movement for--

GRACIELA: For what?

MICHAEL: (Knows he's saying the wrong thing.) A comatose patient.

GRACIELA: (Disappointed.) Oh.

AMA: Did you see him, mija? He wanted to eat dinner with us.

GRACIELAL He eats dinner with us every night, ?verdad?

AMA: The other night I went into his room and he was sleeping on his side. Like a baby. And I touched his forehead right there, and he smiled at me.

MICHAEL starts to interrupt. GRACIELA stops him.

GRACIELA: It's Friday night, Ama. Poker night.

AMA: Why don't you two go out? Have another real date.

GRACIELA: No. You go out. Have your poker night.

AMA: Really?

GRACIELA: Yes, really. You deserve a break.

AMA: Are you sure?

GRACIELA: I'm certain. It's only one night, and we have a real doctor here to take care of Alex.

AMA: Well, you know I did very well last week.

GRACIELA: I'm sure you did. Now, go win.

AMA: (Clearly cheered up.) Oh, thank you, mija. (AMA looks at the dishes.) Oh, the dishes.

GRACIELA: I'll get them. (AMA smiles and leaves.) She sees what she wants to see. Alex on his side. Smiles. Tears. It's all part of the movie in her head.

MICHAEL: Let her have her hope.

GRACIELA: It's senseless hope, isn't it?

MICHAEL: Hey, don't give up.

GRACIELA: Why not?

MICHAEL: Hope matters.

GRACIELA: She sometimes stops being an adult when it gets hard. She makes popcorn and goes into Alex's room and flips on the TV. Boxing. "It'll cheer him up, mija."

MICHAEL: I've seen things. People recover who were supposed to be dead. Real miracles. When I was in that trauma unit that night, I didn't think we were going to save him.

GRACIELA: But you did. (MICHAEL touches GRACIELA's hand, comforting her.) You make me strong.

MICHAEL: You make me strong, too.

GRACIELA: Why do you need to be strong?

MICHAEL: (Embarrassed.) I don't know. It sounded good?

GRACIELA: You're funny.

MICHAEL: (Beat.) I can get an appointment to talk to the neurologist next week.

GRACIELA: I'd appreciate that.

MICHAEL: It's gonna be OK.

GRACIELA: Yeah.

MICHAEL strokes her face.

GRACIELA receives it.

MICHAEL: You're amazing--the way you love him.

GRACIELA: It's just--normal.

MICHAEL: Maybe to you it is, but not to the rest of the world. (GRACIELA smiles at him. MICHAEL strokes her face, moves in and French kisses her. She enjoys it for a second and then pulls away. It is more of an awkward than a romantic moment.) It's me. I'm hopeless with my tongue.

GRACIELA: It wasn't that.

MICHAEL: I was trying not to use my teeth.

GRACIELA: It's not that either. (Long beat.) It's just I've never dated anyone like you before.

MICHAEL: What do you mean?

GRACIELA: Well, you're a doctor. Which means you have a job.

MICHAEL: Yeah.

GRACIELA: And you're tall.

MICHAEL: Yeah.

GRACIELA: (Blurting it out.) And I've never dated an Anglo before.

MICHAEL: (Disappointed.) Oh.

GRACIELA: It's OK. I've just never done it. It's not like I'm a racist. I'm open-minded.

MICHAEL: OK, I believe you.

GRACIELA: I feel stupid for even bringing it up.

MICHAEL: No, it's worth bringing up.

GRACIELA: (Beat.) You're very cute.

MICHAEL: Thanks.

GRACIELA crosses to ALEX, tucks in his sheet.

GRACIELA: I'll just put him to bed.

MICHAEL: Graciela.

GRACIELA turns.

GRACIELA: Yeah.

MICHAEL: I like that we're different.

GRACIELA: You do?

MICHAEL: I don't know the rules here. I don't even know how to be polite.

GRACIELA: (Happy.) Good. (GRACIELA wheels ALEX off. MICHAEL picks up the plates and puts the leftover food onto one plate. He does the job with great care. GRACIELA moves back into the room unnoticed. She watches him. Startling him.) You do dishes.

MICHAEL: And I cook.

GRACIELA: Mexican food?

MICHAEL: My mother's meat loaf, but I can learn.

GRACIELA: Family secret?

MICHAEL: Betty Crocker.

GRACIELA: Tell me another--

MICHAEL: What?

GRACIELA: Secret.

MICHAEL: About my family?

GRACIELA: About you.

MICHAEL: (Beat.) When I went to that dance, and you were wearing your dance costume with all the colorful skirts, I thought you were the most beautiful woman I'd ever seen.

GRACIELA: Naa.

MICHAEL: You were. And when you danced, with your face really serious like that, I thought, "I know how to make that woman smile."

GRACIELA: (Challenging him.) Yeah?

MICHAEL moves and kisses her tenderly and less aggressively. GRACIELA smiles. Lights fade.

SCENE 5

A week later. Lights come up on GRACIELA'S front porch. Music blasts from a boom box. MICHAEL and GRACIELA dance together. MICHAEL stops. He talks to her over the music. GRACIELA's backpack sits on the porch.

MICHAEL: I don't know how to do it now that you said I dance funny.

GRACIELA: I didn't mean anything by it. You've just got different ... rhythm.

MICHAEL stops dancing.

MICHAEL: Now, that's a way to get me to cut loose and dance. Gee, I think I'll just move here and explore my different rhythm, like a catatonic on heavy meds.

GRACIELA laughs.

GRACIELA: It's beautiful ... in its own way. Like an irregular heartbeat. I'm behind you, Michael. Behind your aspirations to become a dancer.

MICHAEL: A true teacher at heart.

GRACIELA: Yes.

MICHAEL: So, don't laugh at me anymore. Teachers aren't supposed to laugh.

GRACIELA: (She gestures.) OK, no more laughing. Dance teacher's honor. (They start gazing at each other.) You're growing on me--like a fungus. (She laughs. Suddenly serious.) You're growing on me. (Beat.) I'm not very good at all this, having boyfriends and stuff.

MICHAEL: Oh, and I'm some Mr. Smooth Guy. I'll tell you a little secret. All those years in college and medical school--you can call it a romantic dry spell. I don't think I even went to coffee with anyone in eight years.

GRACIELA: Yikes.

MICHAEL: So you, my darling, are the expert here.

GRACIELA: Wow, I thought--

MICHAEL: Embarrassing, but true.

GRACIELA: I feel guilty--about Alex.

MICHAEL: Hey, I don't like the way we met, either. But the fact we met, that's what matters. And if we didn't meet ...

GRACIELA: Yes.

MICHAEL: We wouldn't know each other.

GRACIELA: Yes.

MICHAEL: And that would be tragic because some people you're just supposed to meet. You're supposed to touch their lives and let them touch yours.

GRACIELA: And I'm a person like that?

MICHAEL: You are that.

GRACIELA: That's very sweet.

MICHAEL: Oh, don't call me sweet. That makes me feel like a real loser.

GRACIELA: You are not a loser. You saved my brother.

MICHAEL: (Ambivalent.) I did.

GRACIELA: So, you're not a loser. We have Alex because of you.

MICHAEL: Yeah.

GRACIELA: What is it?

MICHAEL: You have Alex.

GRACIELA: Because of you.

MICHAEL: Do you really have Alex?

GRACIELA: He's right inside, silly. Hey, I almost forgot. You absolutely must try on the belt. No self-respecting male folklorico dancer would dare dance without the proper accoutrements. (GRACIELA reaches into her backpack to pull out the belt. She can't find it. She starts rummaging through the backpack.) Where is the darn thing?

MICHAEL grabs the backpack. She starts to grab back and a book falls out.

MICHAEL: (Reading the title.) Boxing and Medicine: Head Trauma and the Pugilistic Patient.

GRACIELA: (Backing off.) I ... (She takes the book back.) The librarian ordered it for me from some medical school. They're so good at helping. Give to your public library. I just thought if there was something I could learn, I ought to learn it. I just--just forget it.

MICHAEL: No.

GRACIELA: I mean this doing nothing thing. I just can't do the doing-nothing thing. Is there someone out there who we can talk to?

MICHAEL: I don't know. That neurologist ended up canceling our appointment and then he left the country.

GRACIELA: Will you try somebody else?

MICHAEL: Can I have this?

GRACIELA: I didn't understand the medical jargon anyway. If you could make some calls--ask some questions--

MICHAEL: I'll call the editor of this book.

GRACIELA: Thanks. (Beat.) Shall we try the belt? (GRACIELA wraps a ballet folklorico belt around MICHAEL's waist.) Much better. Almost perfect.

MICHAEL: What would it take for me to be perfect?

GRACIELA: You are perfect. Shut up.

MICHAEL: I don't believe you.

GRACIELA: Believe me. You're perfect.

GRACIELA rises to her toes to kiss him.

MICHAEL: Wow.

GRACIELA: What?

MICHAEL: Did you feel the spark between our lips?

GRACIELA: (Giggles.) You shock me.

MICHAEL: I shock you.

GRACIELA: We shock each other.

MICHAEL just holds her and holds her from behind.

MICHAEL: I'm so glad I know you.

GRACIELA: But do you really know me? That is the question.

MICHAEL: Getting to know you.

GRACIELA: And if you really knew me would you still want me?

MICHAEL: I can't think of anything more amazing than truly knowing you. All the crevices and uncharted places.

GRACIELA: Now shut up and dance. (MICHAEL takes a couple of decent folklorico steps. He stops, awaiting her approval.) What do you want?

MICHAEL: Credit. They were pretty damn good.

GRACIELA: Pretty is not perfection. Keep working. You'll have to establish a regular rehearsal schedule in order to eradicate your deficiencies in dancing.

MICHAEL: Tomorrow. Same place? Same time?

GRACIELA: And wear something with belt loops. (MICHAEL laughs. Suddenly more serious.) I can count on you--to make those calls?

MICHAEL: Yes, of course.

GRACIELA: I just want to know that we've done everything we could.

MICHAEL: Of course.

GRACIELA: I miss Alex.

MICHAEL: If we could start at a different place, I'd give you that.

GRACIELA: Maybe it's the place that allowed us to start. Maybe some places open up spaces for an extraordinary phenomenon like you and me.

MICHAEL: You are--extraordinary.

GRACIELA: You.

MICHAEL: What?

GRACIELA: Extraordinary. Beyond adjectives. Beyond comprehension.

MICHAEL: Me? Beyond comprehension?

GRACIELA: Like a big fat book with lots of stories intertwined. Complicated and thorough. Something that can be delved into like the sea.

MICHAEL: That's quite a compliment.

GRACIELA: Find us the right brain doctor and I'll have more.

MICHAEL: Agreed.

GRACIELA: I'll shower you with praise.

MICHAEL: You'll shower with me?

GRACIELA: In your dreams.

MICHAEL: I have an active imagination.

GRACIELA: Save it for later.

MICHAEL: When's later?

GRACIELA: For when Alex gets well and I can leave this house.

MICHAEL: Well, uh--

GRACIELA: I say a rosary for him every night. Two, actually.

MICHAEL: I've got to get going.

GRACIELA: Michael. Don't you believe?

MICHAEL: I don't know.

GRACIELA: Find out something. Do your homework.

MICHAEL: I'll take this with me.

GRACIELA: It's a library book. Bring it back. If I knew the right questions, I'd call myself. Maybe I should just--

MICHAEL: No, no. I'll do it, Graciela.

GRACIELA: Thanks. (MICHAEL gives her a quick kiss goodbye.) I felt it that time. Your little spark.

Are they establishing a little routine?

MICHAEL: You shock me.

GRACIELA: You shock me.

MICHAEL: (As he leaves.) We're shocking.

GRACIELA laughs.

SCENE 6

The morning of Cinco de Mayo. Lights quickly up on the Moreno home. GRACIELA ices ALEX's head. He is sprawled out on the couch. He is groggy.

ALEX: Not so hard.

GRACIELA: I'm not applying any pressure at all.

ALEX: I'm just a little dizzy.

GRACIELA: Is that why I found you lying face down on the bathroom floor?

ALEX: The tiles feel good on my face in the heat.

GRACIELA: It's not even summer yet. And I don't see you as the kind to roll around on tiles, like a dog, to cool off.

ALEX: (A non sequitur.) Mexican tiles.

GRACIELA: (Doesn't understand.) Yes, they're Mexican tiles. (With humor.) You look like shit. (GRACIELA waits for him to give his standard response.) Aren't you gonna say, "So do you"? (Beat.) You always say that.

ALEX: (Truly not remembering.) I do?

GRACIELA: Yes, you always say, "So do you." It's one of our routines.

ALEX: Routines?

GRACIELA: What happened to you last night? (AMA enters. She plays with her new vacuum cleaner. A gift, it still has a red bow wrapped around it. She vacuums every part of the house while singing "I Feel Pretty." She even tries to vacuum ALEX and GRACIELA with the hose. ALEX just smiles as she runs over him. She grabs her necklace.) Watch out! You could catch my cross in that thing. (Screaming over the vacuum.) He isn't well. Enfermo, Ama.

GRACIELA clicks the vacuum off. Dead silence.

AMA: ?Que que que?

GRACIELA: You're always off in your own little world.

AMA: I like my little world.

GRACIELA: Look at him. He isn't himself.

ALEX: (Singing.) "There's no business like show business like no business I know."

GRACIELA: (To ALEX.) Ever since we got home, you've been acting crazy like Ama.

This clearly offends AMA. ALEX motions for her to come over. She kisses ALEX on the bead.

AMA: IS your head all better, mijo?

ALEX: You're the best, Ama.

ALEX starts kissing her over and over on the cheek. It's a little much.

AMA: (To GRACIELA.) Ella tiene celos. We got good stuff now.

ALEX: Yeah, we got good stuff.

GRACIELA: You're lucky that cabron didn't break your--(nose).

ALEX: I lose one fight and look at you.

GRACIELA: I don't want you to fight anymore, Alex.

ALEX: Christ! A guy's allowed to get knocked out once in his life.

AMA: Yeah!

GRACIELA: You guys are driving me crazy.

ALEX: Go find yourself another family.

AMA: Yeah!

GRACIELA: I thought we agreed to not give her permission to do that.

AMA: Yeah!

GRACIELA: Stop it!

AMA: Yeah!

ALEX: Yeah yeah yeah yeah yeah yeah.

GRACIELA covers her ears, visibly upset.

GRACIELA: I've got to get out of here. I've got a performance.

ALEX: Go. Go perform. (GRACIELA steps out in her ballet folklorico costume. She wears a white dress with red trim and a fake braid. She balances a glass-encased candle, about three inches in diameter, on her head.) That's just gonna fall off your head on the way to the car.

GRACIELA: Will not.

ALEX: Will too.

GRACIELA: (To AMA.) Aren't you gonna come watch me, Ama? It's Cinco de Mayo--the most high-paying Mexican holiday of the year. Kennedy Park. I used to make you proud before that little mocoso came around.

ALEX motions behind GRACIELA'S head, indicating to AMA that she needs to get GRACIELA to leave.

AMA: I used to go watch you dance before the people got shot.

GRACIELA: Those were gang kids. The park has good security now.

AMA puffs her hair.

AMA: I don't want to get any bullet holes through my hair.

AMA smiles, self-satisfied.

GRACIELA: (As she leaves.) I'm outta here.

GRACIELA exits. AMA pulls ALEX'S boxing trunks out of her purse.

ALEX: I thought she was never gonna leave.

ALEX puts his boxing trunks on.

AMA: Are you too fat?

AMA drags out a scale. ALEX stands on it.

ALEX: This is bullshit. I haven't eaten in three days, and I haven't had a glass of water in four hours.

AMA hands him a razor. ALEX looks at it, confused.

AMA: Shave your hairs.

ALEX drags the scale to the hallway, starts taking his trunks off. He stands on the scale again.

ALEX: That scale should be right. I bought it last week.

ALEX: (Offstage.) Thank God.

GRACIELA enters. The glass enclosing the candle on her headdress has indeed broken. She looks distressed, perhaps crying a bit.

GRACIELA: Ama, look. Do you have another candle?

AMA: Only on my altar.

GRACIELA looks with begging eyes. AMA resists.

GRACIELA: Just this once.

AMA: No, mija. That's for La Virgen. You want me to take her candle and give it to you? What's she going to think? That's our protection--para nuestra familia. !No!

GRACIELA: I promise you I'll buy you some nice ones at Walgreens. I'll borrow it just for this afternoon, so I can do this dance from Veracruz. La Bruja--the one where I have to dance completely solo with a pinche candle on my head. (For ALEX's benefit.) I wouldn't have to do it if I had a partner.

AMA: OK. Just this once. (AMA crosses to her altar and takes down a small pink candle, encased in glass. She hands it to GRACIELA.) Don't break this.

GRACIELA: I won't, Ama. (ALEX enters, busily wrapping his hand with tape, in his own world.) You're fighting?

ALEX: Cinco de Mayo. Most highly paid Mexican holiday of the year.

GRACIELA: (To ALEX.) Tell her you can't do this.

ALEX: It's just this little weasel from Nogales. Nothing El Lobo de Magdalena can't handle. No te preocupes.

GRACIELA: Alex.

ALEX: You're doing your thing. I'm doing my thing, Gracie.

Graciela: OK, wa, but I think you should have your head examined.

ALEX: It's my business.

GRACIELA: Whatever. Do what you want.

GRACIELA exits. Lights fade.